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
![CHRISTOS SIMATOS [SOCIETY PORTRAIT ARTIST]; FINE HEAD & SHOULDERS PORTRAIT OF AN UNKNOWN LADY C1930, 19” X 14”](https://cdn.globalauctionplatform.com/1e71fac2-8948-47e7-9bf6-afab00f7cb80/baff3eda-f62e-43d2-a8ba-afb3011f30f4/468x382.jpg)
Los 1
United Kingdom - George III (1760-1820) Gold Guinea 'Military Type', dated 1813, sixth portrait laureate, King George III, GEORGIVS.III.DEI.GRATA./. crowned shield of arms, within garter, BRITANNARUM REX FIDEI DEFENSOR, 1813, in secure plastic holder, graded NGC MS 62, certification number 4494057-001
Los 19
United Kingdom - Victoria (1837-1901) One Florin, dated 1893, 3rd portrait, crowned and veiled bust, Queen Victoria, left, VICTORIA.DEI.GRA.BRITT.REGINA.FID.DEF.IND.IMP/. crown above shields of England, Scotland and Ireland, with national flowers, ONE FLORIN TWO SHILLING, in secure plastic holder, graded NGC PF 64, certification number 6031077-002
Los 20
United Kingdom - Victoria (1837-1901) One Shilling, dated 1893, 3rd portrait, crowned and veiled bust, Queen Victoria, left, VICTORIA.DEI.GRA.BRITT.REGINA.FID.DEF./. crown above shields of England Scotland and Ireland, with National flowers, ONE SHILLING, in secure plastic holder, graded NGC PF 64, certification number 6031077-003
Los 38
Kingdom of England - Elizabeth I (1558-1603) 3rd/4th issue half pound, mm. coronet (1567-1570), crowned bust of Queen Elizabeth I (portrait with ear showing), left, 'ELIZABETH.D.G.ANG.FR.ET.HI.REGINA'./. crowned Royal shield of arms, flanked by 'E.R' (slight chip and damage to legend) 'SCVTVM:FIDEI:PROT EGET:EAM'
Los 22
CRISTOFANO ALLORI (Florencia, 1577 – Florencia, 1621)."Portrait of Cosimo II de Medici.Oil on canvas. Re-tinted.Attached export permit.Label with informative inscription on the back.Provenance: private collection conceived from the 70's between London and Madrid.Measurements: 217 x 136,5 cm.Unquestionable protagonist of his time, as his clothing faithfully reflects, characterised by the richness of the qualities and by the presence of the royal symbols such as the crown on which the arm rests or the details in gold, which are arranged on the armour. Standing facing the viewer against a background against which the drapery stands out, the work displays similar aesthetic patterns of the period, intended for the depiction of aristocratic figures. The quality of the glazing creates a detailed and truthful effigy, although slightly idealised in the pose and features of the protagonist, Cosimo II de' Medici (1590-1621) Grand Duke of Tuscany.The work is very similar to the portrait of Cosimo II painted by the workshop of Justus Sustermans between 1597-1681.Sustermans is best known for his portraits. He also painted a series of history and genre paintings, still lifes and animals. He rarely dated his works, which makes it difficult to establish a chronology. His works have been dated primarily on the basis of the apparent age of the models identified. His early portraits show the influence of his master Frans Pourbus the Younger, whose style of court portraiture was known for its emphasis on attention to precious detail as well as its hard modelling. Sustermans did not share the Flemish preference for concentrating on the details of the models' clothing and preferred a monumental simplicity of form. In Italy his style began to reflect contact with Florentine painters such as Cristofano Allori and Domenico Passignano. An example is the Portrait of Fra' Francesco dell'Antella (private collection, before the beginning of 1623). During his years in Vienna in 1623 and 1624 he painted in a more painterly style that was possibly influenced by the works of Hans von Aachen and Josef Heintz. Later his work became more Baroque, influenced by Flemish painters such as Rubens, Anthony van Dyck and Cornelis de Vos. His mature style of the 1630s is characterised by his loose, expressive brushstrokes and lighter palette. From the mid-1640s onwards he returned to his earlier handling of surfaces, with marked contrasts between light and shade. One example is the full-length Portraits of Vittoria della Rovere with the young Cosimo III de Medici (Museo Nazionale di Palazzo Mansi, 1646). In the mid-1950s there was a decline in the quality of his output. The reason behind this may have been a greater dependence on his workshop, either because Sustermans travelled regularly or because of the imposition of the Grand Duke. In the 1660s and 1670s his brushwork became more restrained and he often set his figures against a dark background with quick, expert touches of highlights.
Los 3
Circle of ANTONIO MORO (Utrecht, between 1516 and 1520 - Antwerp?, 1575/1576)."Philip II.Oil on canvas. Re-engraved.Attached export permit.Provenance: private collection conceived from the 70s between London and Madrid.Measurements: 59 x 52 cm.Portrait of bust that presents the figure of the Monarch Felipe II. The way in which his face has been captured and the clothes indicate that the work is inspired by the portrait that Antonio Moro made of the Monarch around 1557. In that work, however, the king was shown standing. The original work was conceived to commemorate the battle of San Quintín, which is why he is shown in the same clothes he wore at the time of the victory. Philip II wears the harness of the armour of the Burgundy crosses, made by Grosschedel around 1551, on a coat of mail, wearing armour that is still preserved in the Royal Armoury, and above it the golden fleece hanging over a red citation. The work, which aesthetically follows the portrait models of the period, shows a delicate sense of detail in both the clothing and the face. The face is captured from a psychological perspective and shows a king whose gaze marks a certain distance from the viewer, making his absolutist position clear. These aesthetic characteristics suggest the circle of Antonio Moro. Antonio Moro worked in the Southern Netherlands and also in Spain, Italy, Portugal and England. He trained in his native Utrecht as a pupil of Jan van Scorel, whose assistant he became in 1540. According to Karel van Mander, Moro travelled to Italy during his youth and was able to spend three years there before returning to Utrecht in 1544. In 1547 he was admitted as a master to the Guild of Saint Luke in Antwerp, although he preferred to reside in his native city. The following year he attracted the attention of his first important patron, Antonio Perrenot de Granvela, Bishop of Arras and a member of the court of Charles V. His portraits painted between 1549 and 1550 already reveal an innovative style that would replace older portrait painting traditions, combining Flemish precision with Italian models. Particularly important in his language was the influence of Titian, which he brought to him through the works by the Venetian in the collections of Granvela and Maria of Hungary, regent of the Low Countries. Moro's mature style was characterised by the steely precision of his Nordic heritage, the muted colours, the detail in the draperies, folds and qualities, the simplified lighting generally on the left side and a neutral background that emphasises the monumental isolation of the figure, which is usually three-quarter or full-length and fills the entire height of the picture plane. His career received a definitive boost when he was presented by Granvela to Philip II; from then on Moro worked on royal and courtly portraiture in the Dutch and Spanish courts, and his style exerted an important influence throughout Europe, particularly on the Iberian Peninsula, where he had numerous disciples and followers. Among them were Alonso Sánchez Coello, Jorge de la Rúa, Manuel Denis, Cristóbal de Morales and Sofonisba Anguissola. In 1550 he was sent by Maria of Hungary to Lisbon to paint the Portuguese royal family, especially Maria of Portugal, the fiancée of Philip II. On the way he painted his first official portrait of the Emperor Maximilian II, probably in Augsburg. From there he probably continued his journey in the entourage of Philip II, who was then in the Low Countries. He arrived in Spain in 1551, where he painted Philip II's sister and her first daughter, Maria of Austria, with her husband Maximilian II. The following year he worked at the court in Lisbon and finally returned to Brussels in 1553 only to go to London, where he was sent to portray Philip II's wife after her wedding. That same year, 1554, he was officially appointed painter of
Los 37
ABRAHAM VAN STRIJ(1753-1826)."Grisalla de Puttis Allegory of the Arts".Oil on canvas. Re-coloured.Provenance: private collection conceived since the 1970s between London and Madrid.Signed.Measurements: 49 x 188,5 cm; 55 x 194 cm (frame).Scene of allegorical character, where the author has portrayed in an allegorical way several angels in the foreground arranged as a frieze in such a way that they present a clear classical inspiration. In fact, their chromatic finish gives a sculptural finish to the piece, which seems to have been conceived as a relief. Divided into three groups, one in the centre and one on each side, the protagonists show attributes related to painting: a brush, a canvas, a sculpture used as a model. Allegorical paintings emerged in the Middle Ages with the intention of exalting the qualities and situations of life. This type of portrait was used to exalt the qualities of a specific personage, such as kings or well-known personalities. In fact, during neoclassicism, this trend came back into vogue. In this particular case, it is not a portrait of a well-known figure, but the painter wanted to reflect the initial concept of the use of allegory in pictorial art.Van Strij was born and died in Dordrecht. Both he and his brother were pupils of their father, and after receiving lessons from Joris Ponse, Abraham joined his father's workshop, became a member of the Dordrecht Guild of St. Luke and later its director, and his son Abraham II also became a painter, and in addition to his son, he and his brother took in pupils after taking over their father's workshop. His pupils included Pieter Rudolph Kleijn, Johannes van Lexmond, Jacob de Meijer, Johannes Rutten, Johannes Schoenmakers, Johannes Christiaan Schotel and Gillis Smak Gregoor.
Los 40
JOSÉ MIRABENT GATELL (Barcelona, 1831 - 1899)."Flowerpots", 1863.Oil on canvas.Signed and dated in the lower right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 53 x 38 cm (x2); 61 x 46,5 cm (frames, x2).Pair of vases presenting a similar composition, in type. However, the flowers vary, although in both canvases the same types of flowers are repeated and also the chromatism is similar.José Mirabent studied at the School of La Lonja in Barcelona, where he was a disciple of Pablo Milá Fontanals, Claudio Lorenzale and Segismundo Ribó, from whom he received the influence of the Nazarene aesthetics. In 1855 he joined the aforementioned school as an assistant and in 1872 became a teacher of decorative painting, textiles and prints. In his early years he can be considered a Romantic painter in the Nazarene style of his masters and painted mainly portraits and still lifes with flowers and fruit. He later specialised in interior decoration, an activity in which his works for the Gran Teatre del Liceu and the University of Barcelona, the Balaguer Museum in Vilanova i la Geltrú and the churches of Buen Suceso, the Salesas Reales and the convent of the Madres Reparadoras in Madrid are particularly noteworthy. With his paintings of flowers and fruit he took part in the National Exhibitions of Fine Arts in Madrid and won several prizes: honourable mention in those of 1856 and 1858, third medal in those of 1860 and 1867, and a decoration in 1871. He was also awarded a gold medal at the Universal Exhibition in Barcelona in 1888. As a portrait painter he portrayed Pablo Piferrer, Ramón Anglasells and Joaquín Rey Esteve, among others. In 1892 he took part in the First Modernist Festival. He is widely represented in the MNAC, as well as in the Museo del Prado, the Museo de Arte Moderno and the Museo Romántico in Madrid, the Real Academia de Sant Jordi, the Ateneo and the Galería de Catalanes Ilustres in Barcelona, etc.
Los 44
French school of the late 18th century."Portrait of a lady as Hebe".Gouache on vellum.It presents faults on the pictorial surface.It has an early 19th century frame with faults.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 10,5 x 9 cm; 26,5 x 24 cm (frame).Miniature in which a lady is represented carrying a cup, in such a way that she is identified with the goddess Hebe. This type of depiction of ladies adopting attributes of classical divinities became widely popular during the 18th century and later. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or as gifts, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century onwards, in parallel with the development of photography.The most common type of work of this type in the 19th century were historicist representations, often set in the preceding century. However, the portrait we present here takes up the spirit of the eighteenth-century portrait-jewel and applies it to modern times, capturing the image of a real woman of her time, no longer an ideal recreation of the Romantic type.
Los 46
Dutch school; circa 1600."Portrait of a gentleman.Oil on copper.It has a 19th century gilt frame.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 7,3 x 5,8 cm; 9,6 x 6,1 cm (frame).Since the Renaissance, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, being mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Los 47
Dutch school; circa 1600."Portrait of a lady.Oil on copper.It has a gilt frame from the 19th century.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 6,5 x 5,1 cm; 8,6 x 5,4 cm (frame).Portrait of a young woman in miniature, which represents the bust of the protagonist who is in the centre of the composition, turned slightly in three quarters, dressed in black clothes that make the light of her pearly skin stand out even more. From the Renaissance onwards, miniature portraits, framed in a circle or oval, were pieces for private contemplation. Considered as jewellery, in the 17th century they became pieces of personal adornment or a gift, when they were mounted as jewellery. They were executed in a wide variety of techniques, such as oil on copper, pewter or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was lost from the second half of the 19th century onwards, in parallel with the development of photography.Portraiture, whether individual, group or even character portraits, embodies the relationship between the individual and society, and therefore the state. This genre accounts for a full third of the total output of the Dutch Baroque, and its main innovator in Holland was Frans Hals, who, thanks to the power with which he marked the character of his models, penetrating their personality to the point of giving them vitality and spontaneous truth, was able to free himself from the prevailing late mannerism, giving rise to a new conception of the portrait. Faced with the exuberant and elegant Mannerist portraiture, of virtuoso and elaborate execution, a general reaction was triggered at the beginning of the 17th century, based on compositional austerity and operational sobriety. Thus, in contrast to the previous century's desire for virtuosity, Dutch Baroque portraitists revived the earlier models in a more sober and solid manner, focusing on the characterisation of the sitters, the elegance of the poses and the delicate capturing of the qualities of the various objects.
Los 5
Attributed to AGUSTÍN ESTEVE (Valencia, 1753 - 1820)."Portrait of Don Genaro de Perellós y Palafox, Marquis of Dos-Aguas", 1813.Oil on canvas.The original canvas is preserved.It has an inscription on the back.It has restorations and a period frame.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 64 x 45.5 cm; 75.5 x 57 cm (frame).Due to the formal and stylistic characteristics of the piece, we are dealing with a painting that follows the style of the artist Agustín Esteve y Marqués. The canvas represents the portrait of a gentleman soberly dressed in his military uniform. The portrait in three fours and against a neutral background is notable for the artist's psychological capture of the sitter. He is identified as Don Genaro de Perellós y Palafox, Marquis of Dos-Aguas, by the inscription on the back.Agustín Esteve was particularly noted for the innumerable portraits he painted of Court nobles and high-ranking court bureaucrats. Under the protection of Godoy and the Osuna and Alba families, the painter enjoyed a successful career at court until 1808. As in the case of other artists of his generation, the French invasion of 1808 and the turbulent period that lasted until 1814, together with the appearance of new painters and the natural decline of his age, meant that after the restoration of Ferdinand in 1814 his star was eclipsed by minor commissions and, at the end of his life, he even found himself in financial difficulties. Born into a family of artists, Agustín Esteve received his first lessons from his father, the sculptor Antonio Esteve. He then entered the Academy of Fine Arts of San Carlos in Valencia, and from there he went to the Academy of San Fernando in Madrid, where in 1773 he was awarded a third-class prize in the Academy's annual competition for the first time. After completing this final stage of his training, in which the influence of Mengs's teaching is evident, Esteve became Francisco de Goya's assistant, something that would have a profound influence on the Valencian artist's work from that time onwards. His work with Goya must have been intense from 1780 onwards, as after the death of Charles III the new king commissioned numerous portraits from the Aragonese painter for various institutions, many of which were executed directly by Esteve on the basis of Goya's originals. It was around this time that the painter began to establish good relations with the court, becoming the official portraitist first of the house of Osuna and finally the court's principal portraitist at the end of the 18th century. Thus, Goya's patronage and Esteve's intense portrait painting activity were finally rewarded when he was appointed Pintor de Cámara in 1800. With the entry of the French into Madrid and the accession of Joseph I to the throne, Agustín Esteve was faced with the same dilemma as the other court painters regarding his loyalty to the new sovereign. Esteve, like the rest, placed himself under the orders of the new king and was paid his wages as Chamber Painter. Despite this, he had no problems returning to the service of his former master on the return of Ferdinand VII, as he had not found favour with Napoleon's brother. However, by 1814, at the age of sixty-one, Agustín Esteve's physical decrepitude was evident and his best days were behind him. And all the more so as Goya's exile and the rise of Vicente López had pushed him into a corner among the chamber painters, although he continued to undertake a number of important commissions. Esteve is currently represented in the Museo del Prado and the Museo de Bellas Artes in Valencia, among other important institutions and private collections.
Los 8
French school of the second quarter of the 18th century."Portrait of a soldier.Oil on canvas. Relined.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 102 x 82 cm.With a barely sketched smile the protagonist of this work reveals us a great vitality, strength and determination. The author presents this man to us through his long bust, slightly turned in three quarters, his figure occupying almost the totality of the space, without giving importance to the background, but to the character and his personality that is exposed through the gesture of his face, haughty, emphatic and at the same time with his posture, leaning on his baton of command. The hair or wig, which frames his complexion, falls in curls over his shoulders, resting on the armour that serves as his clothing. The polished armour acts as a mirror, catching the light and trapping it on its shiny surface. These features indicate the artist's interest in capturing the qualities, showing great detail in the different textures that make up the scene, including the young man's pearly skin, which reveals the softness of its softness.The French school stood out from all others for its consolidation of a strong tradition in portraiture. The rise of an absolutist and totalitarian monarchy laid the aesthetic foundations for court portraits, where a pattern was established in which the figure of the monarch was the main focus, a pattern that was subsequently extended to the entire court. This century saw the birth of a new concept of portraiture that would evolve throughout the century and unify all the national schools: the desire to capture the personality of the human being and his character, beyond his external reality and social rank, in his effigy. During this century, portraiture became firmly established among the upper classes and was no longer reserved solely for the court. For this reason, as the 18th century progressed and even more so in the 19th century, the formulas of the genre gradually relaxed and moved away from the ostentatious and symbolic official representations typical of the Baroque apparatus. On the other hand, the 19th century reacted against the rigid etiquette of the previous century with a more human and individual conception of life, and this was reflected in all areas, from furniture, which became smaller and more comfortable, replacing the large gilded and carved pieces of furniture, to the portrait itself, which came to dispense, as we see here, with all scenographic elements in order to depict the individual rather than the personage.
![*John Hooper [British]Portrait of Kynance Covephotographic print94 x 75cm (sight)This lot is sold on behalf of the Spectrum c](https://cdn.globalauctionplatform.com/14a0dfc2-fb22-4fb8-a977-af3901211caa/e0f2dde8-f480-4977-9ed7-afb500c55c5d/468x382.jpg)
![* Osi Audu [b.1955]-Untitled,:-signed and dated '97 bottom rightpencil, graphite and mixed media on paper75 x 56cm," I explor](https://cdn.globalauctionplatform.com/14a0dfc2-fb22-4fb8-a977-af3901211caa/b84017f5-9245-4077-9af3-afb500c59292/468x382.jpg)
Los 233
* Osi Audu [b.1955]-Untitled,:-signed and dated '97 bottom rightpencil, graphite and mixed media on paper75 x 56cm," I explore the light sheen of graphite, the matte, light-absorbing quality of black pastel, the white of paper and canvas, and the interactions of colour, investigating how all of these optical attributes can be used to create something evocative about the shape of the head. I am interested in the dualism of form and void, the tangible and intangible, something and nothing, light and dark, body and mind, the self in portraits. The title Self-Portrait in my work is about the intangible self rather than a literal portrait of the artist." Osi Audu.Graphite drawings by Audu similar to the present lot are held in public and private art collections across the globe, including the Smithsonian Institution, National Museum of African Art, Washington DC, and the British Museum London.
Los 6656
Christopher Lee signed Dracula movie still 10"x8", framed, and post card 6"x4", framed, NO COA, Good Plus. Framed 18"x14" canvas painted portrait of Peter Cushing as Baron Frankenstein by Andy Hosegood, dated 1st February 2000, signed on reverse, Good Plus to Excellent, NB. If item needs to be posted, photos will have to be removed from frames and posted without. (3)
Los 152
A 19th century oval portrait photograph of Mrs Owen Pell, grand-daughter of Zachary Bayly Edwards (brother of historian Bryan Edwards), inset to a silver-plated trowel with turned maple handle (the photo 3” x 2”); another of Robert Huish (b. Huyshe, 1811, author) in glazed oak frame, 10½” x 8¾” over-all; & a small portrait miniature of an elderly, 1¼” x 1”.
Los 5031
Six Nonesuch Press titles, including Mariette Lydis (illustrated); George Hamilton (edited): 'The Greek Portrait', London, Nonesuch Press, 1934, limited edition (314/425), numbered, designed by Francis Meynell, 3 collotype plates by Mariette Lydis, each with acetate guards as called for, original pictorial cloth, top edge gilt, slipcase; M.R.H. Farrar (illustrated); John Milton & Henry Lawes: 'The Mask of Comus', L, Nonesuch, 1937, limited edition (268/950), numbered, 5 colour plates (including frontis) and colour title vignette printed from the linoleum cuts of the artist M.R.H.Farrar by the Curwen press as called for, ex library (small number unobtrusive marks at front, else leaves clean/vgc, no other lib markings), folio, orig. blindstamped paper covered boards gilt (slightly worn); James Thomson: 'The Seasons', L, Nonesuch, 1927, limited edition (198/1500), numbered, 5 copper engraved plates & title page vignette as called for, watercoloured through stencils by the Curwen Press, 4to, orig. marbled cloth, leather gilt title label to spine; plus 'The Mistress With Other Select Poems of Abraham Cowley 1618-1667', Nonesuch, 1926, (1037/1050), orig. polished buckram, 'Paradoxes and Problemes by John Donne', Nonesuch, 1923, (493/645), orig. patterned paper covered boards, dust wrapper, plus 1 other (6)
Los 5042
A collection of sixteen titles by Kathleen Raine, poet, critic and William Blake scholar, many of which signed/signed & inscribed by her, including 'Stone and Flower poems 1935-43', London, Editions PL/Nicholson & Watson, 1945 reprint, signed to title page, colour frontis + 3 plates by Barbara Hepworth as called for, original cloth gilt, dust wrapper (worn with part losses), 'A Question of Poetry', Richard Gilbertson, April 1969, limited edition (250), this numbered 32 and one of 100 copies signed by the author to limitation page, further signed & inscribed to John Yeoman verso of FFEP, orig. printed wraps, 'The Lost Country', L, Dolmen Press, 1971, 1st edition, signed & inscribed to John Yeoman on title page, original cloth, dust wrapper, 'The Oval Portrait', L, Enitharmon Press, 1977, signed & inscribed to John Yeoman on half title, orig. cloth, d/w, 'The Hollow Hill', L, Hamish Hamilton, 1965, 1st edition, signed to title page, orig. cloth, d/w, 'On a Deserted Shore', L, Dolmen Press, signed & inscribed to John Yeoman on title page, orig. cloth, d/w, 'The Collected Poems of Kathleen Raine', L, Hamish Hamilton, 1963 reprint, signed & inscribed to John Yeoman, orig. cloth, d/w, 'The Lion's Mouth', L, H.H., 1977, 1st edition, signed to FFEP, orig. cloth, d/w, 'Collected Poems 1935-1980', L, George Allen & Unwin, 1981, 1st edition, signed & inscribed to John Yeoman on title page, orig. cloth, d/w, 'Farewell Happy Fields', L, H.H., 1974, 2nd impression, signed & inscribed to John Yeoman on FFEP, orig. cloth, d/w, 'From Blake to A Vision', Dolmen Press, 1979, 1st edition, signed to half title, orig. pictorial wraps, 'The Inner Journey of the Poet', L, 1982, 1st edition, signed & inscribed to John Yeoman on FFEP, orig. cloth, d/w, 'Blake and the New Age', L, 1979, 1st edition, signed to half title, orig. cloth, d/w, plus 3 others Kathleen Raine, plus Robert Blair: 'The Grave A Poem', Methuen, 1903, new edition, one of 100 copies only, port frontis + 12 etchings by Louis Schiavonetti after William Blake, plus a duplicate of the etched title loosely inserted, orig. quarter cloth, printed paper label to spine. From the estate of John Richard Harding Yeoman (1916-1988), Copy Writer and Director for several Advertising Agencies, Assistant Secretary (Publicity) for the Council for the Protection of Rural England, Borough Councillor for Kensington and Chelsea, Governor of the Chelsea School of Art, and lover of art, poetry and books. John Yeoman’s first wife was Antonia Yeoman, née Beryl Antonia Thompson (1907-1970), the Australian-English commercial artist, cartoonist and illustrator who worked under the name “Anton” (17)
![W.B. Yeats: 'Poems', London, T. Fisher Unwin Ltd, [nd, circa 1924], portrait frontis, xv,[1],314,[1]pp, preface dated June 19](https://cdn.globalauctionplatform.com/00cb7519-64fb-443f-8bcf-afb000dc08be/191ee6c0-a791-468f-84a9-afb300a8db13/468x382.jpg)
Los 5049
Ruthven Todd, 4 titles, all signed & inscribed by him to John R.H. Yeoman, comprising: 'Over the Mountain', L, Falcon Press, 1946, new edition, signed & inscribed to FFEP "John with all the best, Ruthven 1967 - 21 years after!", with postcard sized portrait of the author loosely inserted, this signed & inscribed verso "For John & Toni with love from Ruthven Jan 1969", original cloth gilt, dust wrapper, 'The geography of faces', Madrid/Palma de Mallorca, 1965, limited edition (14/50), numbered and signed & inscribed "for John Yeoman from Ruthven 28 de junio de 1966", orig. printed wraps, 'Garland for the Winter Solstice', L, Dent, 1961, 1st edition, signed & inscribed to FFEP "for John & Toni from Ruthven Galilea 28 de junio de 1966", orig. cloth, d/w, 'The Lost Traveller', Grey Walls Press, 1944, 2nd impression, signed & inscribed to title page "for John - Ruthven Todd, Ruthven 1967", frontis by John Craxton, orig. cloth; plus David Gascoyne, 2 titles: 'Collected Poems', OUP, 1966, 1st reprint, signed & inscribed to FFEP "To John Yeoman, Affectionately, David Gascoyne. March 68.", orig. cloth, d/w, 'The Sun at Midnight', L, Enitharmon Press, 1970, 1st edition, signed and inscribed to John Yeoman on FFEP, orig. quarter cloth; plus Geoffrey Grigson: 'A Skull in Salop', 1967, 1st edition, and 'Collected Poems of Norman Cameron', L, Hogarth Press, 1957, 1st edition, each original cloth, dust wrappers. From the estate of John Richard Harding Yeoman (1916-1988), Copy Writer and Director for several Advertising Agencies, Assistant Secretary (Publicity) for the Council for the Protection of Rural England, Borough Councillor for Kensington and Chelsea, Governor of the Chelsea School of Art, and lover of art, poetry and books. John Yeoman’s first wife was Antonia Yeoman, née Beryl Antonia Thompson (1907-1970), the Australian-English commercial artist, cartoonist and illustrator who worked under the name “Anton” (8)
Los 5052
Suzanne Cocq (illustrated); Isi Collin: 'Almanach de Compere Guilleri', Brussels, A l'Eglantine, 1931, limited edition, one of 250 deluxe edition copies only, this copy numbered 90 and one of 50 copies on Japon imperial paper, signed by the artist Suzanne Cocq to limitation page, engraved frontis + 18 engraved plates by Cocq, each signed by her in pencil to margin, original pictorial printed wraps; Paul Verlaine; Daniel Girard (illustrated): 'Sagesse. Poesies de Paul Verlaine', Paris, Librairie Albert Messein, 1924, limited edition de luxe (314/550), numbered, hand coloured illustrations by Daniel Girard throughout, half morocco over decorative silk boards, decorative silk end papers and pastedowns; Xavier de Maistre: 'Voyage Autour de ma Chambre', Paris, A. Quantin, 1883, engraved portrait frontis of author, 6 engraved plates after Charles Edouard Delort as called for, orig. printed wraps, glassine cover; plus 2 others similar (5)
Los 5104
Fitzroy Maclean: 'Eastern Approaches', London, Jonathan Cape and the Book Society, September 1949, portrait frontis of the author + 14 b/w ills. from photos on 11 full page plates + 3 folding maps as called for, original cloth gilt, dust wrapper. The extraordinary memoir of the early life of Major-General Sir Fitzroy Maclean (1911-1996). Recounts travels, often incognito, in Soviet Central Asia, and coverage of the Moscow State Trials, operating with the Long Range Desert Group behind Axis lines in the Western Desert, and being dropped in occupied Yugoslavia where he lived rough with Josip Broz Tito and his Yugoslav Partisans while commanding the Maclean Mission there. It has been widely speculated that Ian Fleming used Maclean as one of his inspirations for James BondNB this is not a first edition copy, but a Book Society (Book Club) edition published the same year as the first edition
Los 5174
James Barclay: 'Barclay's Universal English Dictionary', London, George Virtue, circa 1842, newly revised, engraved frontispiece of Queen Victoria, engraved vignette title page (these worn with closed tears/small part losses, possibly lacking printed title page?), 4 engraved portrait plates, 54 engraved maps/plans (by Bingley and Schmollinger, from Moule's English Counties Delineated, maps include England & Wales, London & Environs + 52 other county maps and town plans etc), plus 3 other plates (Comparative View of Principal Hills of Britain; Saffron Walden church; Waltham Abbey), ixxxiii,[1],960pp, some maps trimmed, some waterstaining/foxing etc, thick 4to, contemporary calf gilt worn (spine externally crudely reinforced with black tape)
Los 5185
(Bumpus Binding), Edward Gibbon: 'The History of the Decline and Fall of the Roman Empire', London, John Murray, 1862, 8 volumes, engraved portrait frontis + 14 engraved maps (of which 12 folding and 2 single page) as called for, uniform fine three quarter morocco gilt by Bumpus Ltd, Oxford, spines gilt in compartments, all edges gilt, marbled paper covered boards and endpapers/pastedowns. An attractive set of Gibbon's opus (8)
Los 5198
Birket Foster (1825-1899), collection of thirteen late 19th/early 20th Century titles, including H.M. Cundall: 'Birket Foster R.W.S.', London, A & C Black, 1906, limited edition de luxe (319/500), numbered and signed by the publisher, etching, portrait frontis, 73 colour plates + numerous other b/w plates & ills. as called for, 4to, original decorative cloth gilt, top edge gilt, others uncut; 'Poems by Thomas Hood. Illustrated by Birket Foster', L, Moxon, 1872, 22 fine steel engraved plates by Birket Foster as called for, 4to, original pictorial cloth gilt (worn), all edges gilt, together with another copy of the same title, orig. pictorial cloth gilt (worn, lacks lower part of backstrip); 'Birket Foster's Pictures of Landscape', L, Routledge, [1862], numerous wood engraved plates, 4to, recased retaining original decorative cloth gilt, all edges gilt; Oliver Goldsmith: 'The Traveller A Poem', L, David Bogue, [1856], 30 steel etched ills. by Birket Foster as called for, contemporary decorative full crimson morocco gilt, aeg; plus 8 others similar (13)
Loading...-
283287 Los(e)/Seite