(Counter Culture.) 'Oz Magazine', London, OZ Publications Ink, 33 issues May 1967 to November 1973 (final issue), comprising No.'s 4, 6-8, 19-44, 46-48. Includes the following issues/content amongst others: Oz No.4, June 1967, with large fold out Hapshash and the Coloured Coat cover poster by Michael English & Nigel Waymouth, Martin Sharp Tarot cards images to the reverse; Oz No.6 'OZ & Other Scenes', August 1967, Martin Sharp cover illustration; Oz No.7, October 1967, Bob Dylan 'Blowin in the Mind' psychedelic cover by Martin Sharp; Oz No.8, January 1968, Louise Ferrier cover, with Che Guevara poster and psychedelic While Dads Away, Mum Will Play poster on reverse); Oz No.19, March 1969, Germaine Greer/Viv Stanshall cover; Oz No.21, May 1969, Elektra Records Amazement advert cover with Outcry & Running Man inserts; Oz 24, November 1969, with Honeybunch Kaminski poster insert; Oz No. 26, February 1970, Pussy Power issue with rare "Print Mint" insert; Oz No. 27, April 1970, Acid Oz Robert Crumb cover The Acid Facts text and graphic 2; Oz No. 28, May 1970, The Schoolkids issue white & blue cover with green inset; Oz No. 30, October 1970, with Jimi Hendrix folding poster pull out; Oz No. 35, May 1971, Special Pig issue with pink cover by Ed Belchamber; Oz No. 36, July 1971, with Janis Joplin folding poster pull out; Oz No. 40, February 1972, Special 5th Anniversary John Hurford; Oz No. 41, April 1972, Crime & Conspiracy Issue; OZ No. 43, July 1972, Bali: Hippy Paradise/Van Gough Bowie Lou Reed Hawkwind Martin Sharp etc, The Rock 'n' Roll Show flyer intact; Oz No. 44, September 1972, The Virgin Sperm Dancer + cozmic comics flyer intact, John Lennon etc; Oz No. 47, April 1973, The Rising of the Women issue Soft Machine Yoko Ono Loudon Wainwright etc; OZ No. 48, November 1973, The last issue, nude Oz staff & Nixon cover, plus many others; together with a scarce lithograph print for the OZ Obscenity Fund by David Hockney, London, 1971, depicting the three editors Richard Neville, Jim Anderson and Felix Dennis posing nude. By celebrating the innocence of the naked male form, Hockney playfully portrays the OZ magazine editors as innocent. Approx size 58.5 x 91cm, a/f, with large closed tear. Oz was an independent alternative/underground counterculture magazine founded & edited by Richard Neville, and with many issues with cover art by, and containing superb cartoon, pop art and psychedelic art illustrations by co founder Martin Sharp, and whose staff writers included Germaine Greer, Philippe Mora, Lillian Roxon, Michael Leunig, Angelo Quattrocchi, Barney Bubbles & David Widgery. A good run of issues of the foremost anti-establishment underground press magazine of the 1960s, subject to a famous obscenity trial in the UK in 1971. (34)
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(India, Sikh.) PRINCESS BAMBA DULEEP SINGH COLLECTION catalogue, Dr. F.A. Khan: 'The Princess Bamba Collection (Antiques of Sikh Period) Catalogue', Department of Archaeology, Government of Pakistan, 1961, 17pp letterpress, 3 colour plates (portrait of Maharajah Duleep Singh; Maharajah Ranjit Singh at Amritsar; Maharajah Sher Singh in Council) + 10 b/w illsutrations (7 full page, 1 double page folding, 2 on 1 page) as called for, original pictorial wraps, neatly rebacked gilt cloth. Rare first and only edition of the remnants of the Sikh art collection held by Maharajah Duleep Singh and inherited by his eldest daughter in Lahore. The collection was sold to the Lahore Fort in 1958.
Josef Dahinden: 'The Art of Ski-ing', London, Faber & Gwyer, 1928, 1st edition, 154 illustrations from photographs as called for, 218pp, original blindstamped green cloth. Scarce; together with Albert E. Knight: 'The Complete Cricketer', L, Methuen, 1906, 1st edition, engraved frontis + 49 plates as called for, original cloth gilt (2)
Charles Ricketts (illustrated): 'The Rubaiyat of Omar Khayyam', translated Edward Fitzgerald, London, Printed by the Ballantyne Press, 1901, 1st edition, one of 310 copies printed at the Ballantyne Press, sold by Hacon & Ricketts, art nouveau style wood engraved frontis + decorative borders and designs by Charles Ricketts as called for, original cloth backed paper covered boards, printed title label to front cover.
Five assorted illustrated/art realted titles, including John Ruskin: 'Giotto and His Works in Padua: Being an Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society After the Frescoes in the Arena Chapel', Arundel Society, 1854, 1st edition, 124pp, ills. in text, contemporary full morocco gilt by Cawthorne, Leeds, inner dentelles gilt, gauffered edges, Edmund Dulac (ill.): 'The Rubaiyat of Omar Khayyam', L, Hodder & Stoughton, [nd], c.1938, 12 tipped in colour plates as called for, original cloth gilt, Paul Gallico: 'The Snow Goose', 1952, 27th impression, signed Paul Gallico on FFEP, orig. cloth, dust wrapper, plus 1954 1st edition of 'Love of Seven Dolls' in dust wrapper, and William Russell Flint: 'Models of Propriety. Occasional Caprices for the Edification of Ladies an dthe Delight of Gentlemen', 1951, 1st edition, illustrations throughout, orig. cloth, dust wrapper (5)
Ten assorted art and illustrated titles, including four Philip Hofer Edward Lear limited edition booklets, comprising 'Calico Pie', 1952, (500), 'The Duck and the Kangaroo', 1956, (500), 'A Drawing Book Alphabet', 1954, (1000), Edward Lear', 1962, (960), each illustrated throughout, each original wraps; David Hockney: 'The Blue Guitar. Etchings by David Hockney. Who was Inspired by Wallace Stevens. Who was Inspired by Pablo Picasso', Petersburg Press, 1977, 2 colour plates as called for, original boards, d/w; Pete Morgan: 'One Greek Alphabet', Ceolfrith Press, 1980, signed & inscribed by Morgan on half title, orig. card wraps, dust wrapper; two Albert Skira published titles 1940's 'Anthologie du Livre Illustré par les Peintres et Sculpteurs de l'Ecole de Paris', [1946], ills. by Pierre Bonnard, Georges Braque, Marc Chagall, Raoul Dufy, Henri Matisse, Pablo Picasso etc., 'Editions Albert Skira - Vingt Ans D'Activité', 1948, ills. by Henri Matisse, André Derain, Pablo Picasso, Marc Chagall etc, of which some tipped in colour plates, orig. pictorial wraps (2nd title with front cover by Matisse); plus another French title with ills. by Raoul Domenjoz; plus 'London a la Carte', Habitat, 1967, 2nd edition, 30 facsimile menus from leading London restaurants of the period, housed loose as issued in original pictorial portfolio (10)
Ralph Steadman, 8 titles by/illustrated by him, some signed, including 'My After-Dinner Speech', White Stone Publishing, 1988, signed by Steadman in red ink on title page, original printed wraps, 'Dogs Bodies', L, Abelard-Schuman, 1970, 1st edition, signed and dated by Steadman on title page, orig. pictorial wraps, 'The Plague and the Moonflower Libretto', Maidstone, STEADman and I, Leonardo, 1989, 1st edition, commissioned by Richard Gregson-Williams in 1989 for the Exeter Festival, loose leaves contained within buff paper covers held together by a white plastic strip as issued. Scarce. 'Jones of Colorado', L, Ebury Press, 1995, 1st edition, signed and dated by Steadman on half title, original cloth gilt, dust wrapper, 'Who? Me? No! Why?', ill. Carol Ann Duffy, Steam Press, 1986, limited edition, one of 500 copies only signed by Carol Ann Duffy, orig. printed wraps, 'Doodaaa. The Balletic Art of Gavin Twinge', L, Bloomsbury, 2002, 1st edition, orig. cloth lettered in silver, dust wrapper, plus 2 others Steadman (8)
Assorted poetry, limited editions, limited editions signed etc, 19 titles, including William Russell Flint (ill.); M.R. James (Intro.): 'Judith', London, Haymarket Press, 1928, limited edition, No. 520 of 875 copies, 4 mounted colour plates after W. Russell Flint as called for, orig. Japanese vellum gilt, dust wrapper, Kenneth Hopkins: 'Collected Poems 1935-1965; ...1966-1977', Warren House Press, 1981, 1st English edition, limited edition (45/200), signed & inscribed on FFEP; 1978, 1st edition, signed & inscribed on FFEP, 2 volumes, each orig. quarter cloth, orig. slipcases, Sacheverell Sitwell: 'Two Poems, Ten Songs', L, Duckworth, 1929, ltd. edition (121/275), signed, 4to, orig. quarter cloth gilt, Sophocles: 'Antigone', Privately Printed at Maidstone College of Art, 1954, limited edition, one of 150 copies only, orig. cloth gilt, Basil Dowling: 'A Day's Journey: Poems', Caxton Press, 1941, 1st edition, signed & inscribed on FFEP, orig. paper covered boards, d/w, John Watts: 'Eleven Bagatelles', 1979, limited edition (84/160), signed, orig. quarter cloth, Christopher Burns: 'Giacomo's Juliet', Clarion Publishing, [1996?], limited edition, (133/249), signed by the author and the illustrator, orig. paper covered boards, David Mackenzie: 'The Cartographer', Clarion Publishing, [nd], ltd. edition, (133/249), signed by the author and the illustrator, orig. paper covered boards, Christopher Lee: 'The Bright Cloud', Cambridge, Rampant Lions Press, 1961, ltd. edition (250), inscribed by author on FFEP, orig. stitched printed wraps, James Reeves: 'To Robert Graves in Deya', Gruffyground Press, 1992, ltd. edition (350), orig. stitched printed wraps, plus 9 others of which several signed (19)
Rembrandt van Rijn; Edme Francois Gersaint: 'Catalogue raisonné de toutes les pieces qui forment l'oeuvre de Rembrandt...avec les augmentations nécessaires, par les sieurs Helle & Glomy.', Paris, Chez Hochereau, 1751, 1st edition, engraved portrait frontis of Rembrandt-Van-Rhein by Jean-Baptiste Glomy as called for, second part with separate printed title page 'Supplement au catalogue raisonné de ... Rembrandt.', by Pierre Yver, Amsterdam, Pierre Yver, 1756, first part xxxii,326pp., second part viii,187,[11]pp. + errata leaf, the copy of George Fairholme of Greenknowe (1789-1846), Geologist, land owner, banker, traveller and naturalist, with his armorial bookplate to front pastedown, and copious manuscript pen & ink notes to text and margins throughout, stating sizes and various remarks about the works "Mr B. has an impression of this , great part of which is unfinished, the figures at bottom of angels being only traced out" (No.43 L'Annonciation aux Bergers) "another landscape, on the right are houses, particularly a large one with a turret, surrounded by trees, a river runs through in the foreground on the left...and in the background a view of Amsterdam with windmills...in the middle are two small figures on horseback, one of which seems pointing at the prospect. It has neither name nor date, and is one of those that he washed in Indian Ink - it is extremely scarce, as I never saw another - J.B.", 12mo, contemporary calf gilt, morocco gilt label to spine, together with John Evelyn: 'culptura historico-technica: or, The history and art of engraving...To which is now added, A chronological and historical series of the painters from the eleventh century. Extracted from Baldinucci, Florent Le Compte, Fairthorne, the Abecedario pittorico, and others authors. With copper-plates.', L, J. Marks, 1770, 4th edition, 10 engraved plates as called for, xi,264pp., contemporary calf, morocco gilt label to spine, armorial book plate of George Fairholme of Greenknowe. His father, William Fairholme (mother Elizabeth) made his living from banking and was a serious art collector. Nothing is known of George's childhood years and there is no record of his attending any university. But he was probably tutored at home and self-taught in keeping with his family’s wealthy financial situation. In 1800 an uncle bequeathed to him the Greenknowe estate (5000 plus acres) near Gordon, Berwickshire. Like many in his day he used his wealth to pursue his study of geology both in Britain and in Europe. On 15 November 1818 he married Caroline Forbes, who was the eldest daughter of the eighteenth Lord Forbes and granddaughter of the sixth Duke of Atholl. They lived in Perth; Greenknowe; Berne, Switzerland; Brussels; Ramsgate, Kent; and many other locations in Europe. They had five children, William, James (a naval officer lost on the Franklin Expedition), George, Charles and Elizabeth Marjory. George died in November 1846 in Royal Leamington Spa, willing homes, paintings and nearly 3000 pounds to each child. From the estate of George Fairholme, provenance by descent (2)
![Graham Keen & Michel la Rue (eds.): 'Underground Graphics', London, Academy Editions, 1970, 1st edition, xiii, [2] pages,](https://cdn.globalauctionplatform.com/b3c2c738-19d0-4d60-8532-b0c100bdc003/4671ce55-db82-40c2-9688-b0c101089e10/468x382.jpg)
Graham Keen & Michel la Rue (eds.): 'Underground Graphics', London, Academy Editions, 1970, 1st edition, xiii, [2] pages, 77 leaves of illustrations (of which many colour, 4 double page), being mainly psychedelic magazine cover artwork and illustrations, many for the counter culture magazines 'Oz' and 'it - International Times', and for 'Gandalf's Garden' and other commercial art, art for flyers, music industry related art including John Peel, Frank Zappa etc, artists include Michael English, Martin Sharp, Mal Dean, John Hurford, Eileen Astrahan, Mike McInnerney, Paul Kitchin, Mike Peters, Red Miller, Peter Spurrier etc etc, [2]pp at end index and acknowledgements, 4to (28.5 x 21cm), original pictorial covers (worn), front cover by Robin Laurie, back cover by Graham Keen. Scarce
(Interior Design, Georgina Fairholme, John Fowler.) Five books on interior design, art etc. from the estate of the interior designer Georgina Fairholme (1921-2019,) protégé of decorator John Beresford Fowler (1906-1977), founder of the esteemed London firm of Colefax & Fowler, some with autograph letters signed from John Fowler to Georgona Fairholme loosely inserted, others signed & inscribed by Fowler to Fairholme or by the author to Fairholme. Items include Richard Hampton Jenrette: 'Adventures With Old Houses', foreword by HRH The Prince of Wales, Charleston, Wyrick & Company, 2005, 1st edition, content includes 1 Sutton Place North (p.33-41), New York town house purchased by Richard H. Jenrette in 1972. Jenrette decided that he wanted a distinctly British look for the interiors, so he called New York designers Harrison Cultra (1941-1983) and Georgina Fairholme (1927-2019) for a “quick fix on this grand English-style Georgian house.” (p.37.) With 25 mainly black & white photographs of the interior of the property loosely inserted, Cultra-Fairholme inkstamps verso, together with 2 Autograph Letters Signed from John Fowler to Georgina Fairholme 1974, "...My Dear Georgina. It was so nice to hear from you and to hear that you are doing well & enjoying it. I am so glad...I am better thank you but feel weak & very tired but i'm getting better I am sure. I probably work too hard both for the N.T. & now that P.[rince] Charles has decided to make Chevening his home there is a great deal to do & organise. I saw him there last week & he's so thrilled with the possibilities of the house it's very fine & we must make it really nice; he's such a dear fellow...I shall much look forward to seeing you when you are over & I do hope you will come for a weekend here. No more now as i've got to go up to London this morning. I hate it! Lots of Love J.", 39 lines, 2 leaves, The Hunting Lodge, Odiham, Hampshire headed paper, original hand written addressed postally used envelope, with another 23 line ALS from Fowler to Fairholme similar period, plus original Typed Letter Signed from the firm Sibyl Colefax and John Fowler Ltd., 10th September 1964, to Georgina Fairholme offering her the job as advertised, signed D.J. Nuttman, secretary, all loosely inserted in the book, original pictorial wraps; plus John Fowler and John cornforth: 'English Decoration in the 18th Century', L, Barrie & Jenkins, 1974, 1st UK edition, 20 page ALS from John Fowler to Georgina Fairholme c.1970's loosely inserted, together with some other associated cuttings and ephemera incl. John Fowler in memoriam Order of Service 24th November 1977 etc., orig. cloth gilt, dust wrapper (d/w worn); plus Stalker & Parker: 'A Treatise of Japanning Varnishing and Guilding 1688', L, Alec Tiranti, 1960, John Fowler's copy with his ownership signature dated Jan. 1961 at head of FFEP, subsequently signed & inscribed by Fowler to Georgina Fairholme beneath and dated October 1970, orig. boards gilt, Stella Margetson: 'Leisure and Pleasure in the Eighteenth Century', L, Cassell, 1970, 1st edition, signed & inscribed on FFEP from Fowler to Fairholme Christmas 1970, orig. cloth, dust wrapper, plus Erica Brown: 'Interior Views - Design at Its Best', NY, Viking Press, 1980, 1st edition, signed & inscribed by the author to Georgina Fairholme on FFEP "For Georgina With love - & admiration Erica Brown", orig. cloth gilt, dust wrapper. Interior designer John Beresford Fowler CBE (1906–1977) joined the decorating and antiques firm Thornton Smith, where he painted Chinese-style wallpaper (sold as 18th century originals), and learned other paint decoration techniques, such as marbling and graining, and subsequently decorated furniture for Peter Jones. He established his own business on the Kings Road in Chelsea in 1934, and then went into business with Sybil Colefax, founding Colefax & Fowler. Nancy Lancaster employed him to help with the decoration of her own rooms but became fascinated with decoration herself. At the end of World War II she bought the firm that became Colefax and Fowler from the retiring Colefax. He leased the Hunting Lodge at Odiham in Hampshire from the National Trust in 1947, and his simple but elegant decorative scheme made a great impact. Fowler was involved in the redecoration of dozens of substantial country houses and town houses, including Radbourne Hall, Daylesford House, Tyninghame House and Grimsthorpe Castle. He also worked on decorative schemes for Buckingham Palace, Holyroodhouse, Chequers, Chevening, Christ Church, Oxford, and the Bank of England. In the 1960s and '70s Fowler was still engaged in major commercial projects but increasingly preferred to work with the National Trust. By the time of his death in 1977, at the age of 71, John Fowler was recognized as the éminence grise of English decoration.Georgine Fairholme was born in London, 18 August 1927, and attended St Martin’s School of Art in London. She subsequently worked at interior designer Joy King’s Elizabeth Eaton shop in Belgravia before joining the esteemed London firm Colefax & Fowler in 1964, where she became a protégé of decorator John Fowler, founder of the firm. She re-located to New York to work in the firm’s Manhattan office and later joined Rose Cumming, in whose studio she presumably met the designer Harrison Cultra (1941-1983.) Together they formed the Cultra-Fairholme partnership, clients included Richard H. Jenrette and Jacqueline Kennedy Onassis amongst others. Following the dissolution of the partnership, in 1978 she opened her own firm in New York City in a fiercely competitive sector but ran a book with many famous and notable clients including Jacqueline Kennedy Onassis, Mr. and Mrs. Paul Mellon as well as Mr. and Mrs. John Hay “Jock” Whitney. In 1986, Architectural Digest called Fairholme the “doyenne of English Country Style.” In addition to designing interiors, she designed furniture, china, fabrics and wall coverings. On retirement she moved to Italy thence for the last 17 years of her life to Lavenham, Suffolk. She died in Bury St Edmunds 27 August 2019 – soon after her 92nd birthday. Provenance by descent
(Anatomy, Physiognomy, Art Technique), Petrus Camper: 'The Works of the Late Professor Camper, in the Connexion between the Science of Anatomy and The Arts of Drawing, Painting, Statuary, &c. &c. in Two Books', translated from the Dutch by T. Cogan, London, C. Dilly, 1794, engraved portrait frontispiece + 17 engraved plates (of which 5 double page) as called for, 4to, disbound
Peter Henry Emerson & T.F. Goodall: 'Wild Life on a Tidal Water: 'The Adventures of a House-Boat and Her Crew', London, Sampson Low, Marston, Searle & Rivington, 1890, 1st edition, limited edition, number 268 of 500 copies, though Emerson later wrote that only 300 were ever printed, 30 photogravure plates by P.H. Emerson and T.F. Goodall and a large folding plan of Breydon Water as called for, plates all with printed captioned tissue guards complete, xiii,145pp, 4to, recased in the original pictorial blue cloth depicting a river scene blocked in black, gilt lettering, top edge gilt, recent brown leather spine in the style of the original. "The simple record of my impressions and experiences, whilst living with my friend T.F> Goodall on his house-boat on Breydon Water in Norfolk." P.H. Emerson (1856-1936) is regarded as one of the most important influences in Victorian photography. Emerson was the first English photographer to work out a theory of naturalistic photography, his attitude and philosophy having 'a profound effect on the growth of good photography - he was a mainstream man when his colleagues were stagnating in backwaters' (Bill Jay, Album, 1970). A keen naturalist and photographer he records country life in Norfolk in his photographs. Breydon Water at the time was a haven for punt gunners, wildfowlers and bird collectors. Newhall's 'P.H. Emerson: The Fight for Photography as a Fine Art.' and Turner and Wood's 'P.H. Emerson: Photographer of Norfolk.'
Jacqueline Kennedy Onassis (née Bouvier, 1929-1994.) A collection of correspondence including autograph letters signed, autograph Christmas cards signed, signed & inscribed book, autograph note signed etc., c.1973-1978, to the interior designer Georgina Fairholme (1921-2019.) Former First Lady Jacqueline Kennedy Onassis was a client of hers in the 1970's when she was operating in the Cultra-Fairholme partnership, and after the dissolution of the partnership when Georgine Fairholme subsequently opened her own firm in New York City. Items include 25 line Autograph Letter Signed, [nd], circa 1973, content re decoration of Onassis’s Manhattan apartment as photographed by Horst P. Horst and featured in the June 1973 issue of Vogue. "Miss Fairholme- When you arrange the library-I'm sure you'll want to make the books a bit neater-all the things I haven't gotten around to yet- In the closet by the bar-underneath- there are some Tanagra figures- They used to look nice among the books- but now I don't think they will...- + the weird little fertility figure was the first thing excavated at Sumer- The bottle encrusted with shells - which now blazes forth from the middle of the bookcase - John made for me- + next to it I put a mushroom I brought back from the jungle around Angkor Wat - so please don't throw it out- And the festering pomander ball that Caroline made- you can hide it - but please don't throw it out either- And under the bar is a piece of black coral I dove very deep for in Yucatan- I guess we'll have to do another room to get all my Collier brother treasures in it- Anyway have fun and move all the furniture you want...thanks so much J. Onassis", on a sheet of lined paper 28 x 21.5cm, loosely inserted in the corresponding issue of Vogue magazine, September 1 1973, Number 11, with the double page colour illustrated feature on her redecorated New York apartment library by Cultra-Fairholme; Autograph Letter Signed, 25 lines plus additional sketch of a room lay out on separate sheet and colour photograph of an Indian bedspread "Dear Miss Fairholm [sic]- I should be back by March 4 - so perhaps we can see each other that week - i'll call you then. I took this polaroid of an Indian bedspread like 2 that are in the living room in Greece...I don't suppose one could find the same - at Azuma - or Sorva the Golden One - If not - at least it gives you an idea of whats there now...I enclose a sketch of the room -not that you need it! + the picture + label from the spread - I can't wait to see the house - it will soon be so pretty...thank you so much sincerely Jacqueline Onassis...", with photograph, sketch, label and original hand written addressed envelope by Jacqueline Kennedy Onassis; plus similar 11 line ALS, two Autograph Christmas cards signed in red ink "for Dear Georgina with much love at Christmas Jackie", Autograph note Signed "good luck and congratulations dear Georgina! much love Jackie" on blue personal printed card and matching printed envelope "1040 Fifth Avenue New York 10028", together with 'In the Russian Style', edited Jacqueline Onassis, New York, The Viking Press, 1976, 1st softcover edition, signed & inscribed on half title in green ink "For Georgina who does wonders In the Fairholme Style affectionately Jacqueline Onassis December 1976", illustrated throughout, original colour pictorial wraps, with four packets of souvenir views of St. Petersburg, Peterhof Palace, Catherine Palace etc. circa 1960's, plus two A.S. Onassis printed stationery card/envelope sets by Tiffany & Co New York, and two other envelopes. Jacqueline Lee Kennedy Onassis (née Bouvier, 1929–1994) was an American socialite, writer, photographer, and book editor who served as the first lady of the United States from 1961 to 1963, as the wife of President John F. Kennedy. A popular first lady, she endeared the American public with her devotion to her family, dedication to the historic preservation of the White House, the campaigns she led to preserve and restore historic landmarks and architecture along with her interest in American history, culture and arts. During her lifetime, she was regarded as an international icon for her unique fashion choices, and her work as a cultural ambassador of the United States made her very popular globally. After the assassination and funeral of her husband in 1963, Kennedy and her children largely withdrew from public view. In 1968, she married Greek shipping magnate Aristotle Onassis, which caused controversy. Following Onassis's death in 1975, she had a career as a book editor in New York City, first at Viking Press and then at Doubleday, and worked to restore her public image. Even after her death, she ranks as one of the most popular and recognizable first ladies in American history, and in 1999, she was listed as one of Gallup's Most-Admired Men and Women of the 20th century. She died in 1994 and was buried at Arlington National Cemetery alongside John F. Kennedy and the two children who had predeceased them. Georgine Fairholme was born in London, 18 August 1927, and attended St Martin’s School of Art in London. She subsequently worked at interior designer Joy King’s Elizabeth Eaton shop in Belgravia before joining the esteemed London firm Colefax & Fowler in 1964, where she became a protégé of decorator John Fowler, founder of the firm. She re-located to New York to work in the firm’s Manhattan office and later joined Rose Cumming, in whose studio she presumably met the designer Harrison Cultra (1941-1983.) Together they formed the Cultra-Fairholme partnership, clients included Richard H. Jenrette and Jacqueline Kennedy Onassis amongst others. Following the dissolution of the partnership, in 1978 she opened her own firm in New York City in a fiercely competitive sector but ran a book with many famous and notable clients including Jacqueline Kennedy Onassis, Mr. and Mrs. Paul Mellon as well as Mr. and Mrs. John Hay “Jock” Whitney. In 1986, Architectural Digest called Fairholme the “doyenne of English Country Style.” In addition to designing interiors, she designed furniture, china, fabrics and wall coverings. On retirement she moved to Italy thence for the last 17 years of her life to Lavenham, Suffolk. She died in Bury St Edmunds 27 August 2019 – soon after her 92nd birthday. Provenance by descent
Three Franco Maria Ricci fine art limited edition works, comprising Giovanni Fanelli: 'Florence Lost : As Seen in the 120 Paintings by Fabio Borbottoni (1820-1901)', intro. Italo Calvino, Milan, FMR, 1985, limited edition (2922/5000), numbered, 2 volumes, 122 tipped in colour plates as called for, oblong 4to (31 x 31cm), uniform original black cloth gilt, mounted colour illustrations to front covers, original solander box (slightly worn), P. chiara & F. Roncoroni (ed.): 'Tamara de Lempicka. Introduction by Giancarlo Marmori. With the journal of Aélis Mazoyer, Gabriele d'Annunzio's housekeeper', Parma, FMR, 1977, limited edition (2317/3000), numerous tipped in colour plates reproducing artworks by Tamara de Lempicka and tipped in facsimile letters as called for, folio, original black cloth gilt, mounted colour illustration to front cover, original solander box, 'Gnoli. Introduzione di Italo Calvino', Milan, FMR, 1983, limited edition (2776/5000), numerous tipped in colour plates as called for, folio, original black cloth gilt, mounted colour illustration to front cover, original solander box (3)
![[The Choice Library of the English Poets. With Introductions by Eminent Writers.] A set of 30 volumes of Poetry, Gresham Publ](https://cdn.globalauctionplatform.com/b3c2c738-19d0-4d60-8532-b0c100bdc003/30c4e266-6e6e-4917-9d9f-b0c10108d4f3/468x382.jpg)
[The Choice Library of the English Poets. With Introductions by Eminent Writers.] A set of 30 volumes of Poetry, Gresham Publishing Co, c.1910, an attractive set inclduing Tennyson, Keats, Browning, Shelley, Christina Rossetti and others.uniform original art nouveau style decorative cloth gilt, top edges gilt, others uncut, housed in original oak bookcase (30)
(John Piper.) Orde Levinson: 'Quality and Experiment: The Prints of John Piper A Catalogue Raisonné 1923-91', London, Lund Humphries, 2010, revised, updated and expanded edition, 232pp, profusely illustrated with colour and b/w plates and ills. as called for, original cloth lettered in silver, dust wrapper; together with Adrian Stokes; John Piper (illustrated): 'Venice', L, Duckworth, October 1965, 1st trade edition, full page plates (some double page) and ills. throughout by Piper as called for, orig. cloth, dust wrapper, Frances Spalding: 'John Piper Myfanwy Piper: Lives in Art', Oxford University Press, 2009, 2nd impression, colour and b/w plates & ills. throughout, orig. cloth, d/w, 'John Piper A Painter's Camera: Buildings and Landscapes in Britain 1935-1985', L, The Tate Gallery, 1987, ills. from photographs by Piper throughout, oblong 4to, original cloth, dust wrapper (4)
(Art Deco), Guillaume Janneau: 'Le luminaire et les moyens d'éclairages nouveaux, Exposition internationale des arts décoratifs modernes Paris 1925', Editions d'art Ch. Moreau, Paris, 1926, 48 plates as called for depicting Art Deco light fittings shown at the 1925 Paris Exhibition, including examples by Lalique, Edgar Brandt etc., original half cloth portfolio designed by L. Romanet; together with 19 issues and a bound volume of 'L'Artisan Pratique' circa 1920's, illustrations (some folding), original printed wraps; Leon Moussinac, 2 titles: 'Étoffes imprimées et papiers peints.', Paris, Albert Levy, 1924, 50 plates (of which 14 coloured en pochoir) including some designs by Raoul Dufy, 'Tapis', Paris, Albert Levy, 1925, 56 plates depicting carpets, some coloured, including examples by Süe et Mare, Dufrène M., Ruhlmann J., Herbst R., Da Silva Bruhnns, Jourdain etc, each housed in original quarter cloth gilt portfolios, ribbon ties; plus two other similar fRench publications with plates depicting 1930's Art Deco glass
A collection of fourteen assorted modern first editions, all original cloth, all in dust wrappers, including Robert M. Pirsig: 'Zen and the Art of Motorcycle Maintenance', New York, William Morrow, 1974, 1st edition, (dust wrapper worn with tape repairs) Salman Rushdie: 'The Moor's Last Sigh', L, Cape, 1995, 1st edition, signed, Laurie Lee: 'As I Walked Out One Midsummer Morning', L, Deutsch, 1969, 1st edition, William Dalrymple: 'In Xanadu', L, Collins, 1989, 1st edition, John Creasey: 'The Blight', L, H & S, 1968, 1st edition, Alan Bennett: 'The History Boys', L, Faber, 2004, 1st edition, Douglas Adams, 2 titles: 'So long, and thanks for all the fish', L, Pan Books, 1984, 1st edition, 'Dirk Gently's Holistic Detective Agency', L, Heinemann, 1987, 1st edition, Sue Townsend: 'The Growing Pains of Adrian Mole', L, Methuen, 1984, 1st edition, Pip Vaughan-Hughes: 'Relics', L, Orion, 2006, 1st edition, Number 32 of 100 exclusive signed first edition copies only, etc etc (15)
(Nazi plunder, Holocaust.) Jean Cassou & Jacques Sabile: 'Le Pillage par les Allemands des Oeuvres d'Art et des Bibliothèques appartenant à des Juifs en France', Paris, Editions du Centre, 1947, 265,[3]pp, 19 full page b/w illustrations of 3rd Reich documents and artworks by Vermeer, Van Gogh, Pierre Bonnard etc. looted by Hermann Goering, original printed wraps. By some estimates, the Nazis stole 650,000 works of art from 1933 to 1945, many from Jewish families who were arrested and then killed in concentration camps during the Holocaust. Some of the stolen pieces were created by some of the world's most heralded artists, including van Gogh, Picasso and Chagall.
(India, Punjab, Ranjit Singh, Sikh Empire.) Fakir Syed Waheeduddin: 'The Real Ranjit Singh', Karachi, Lion Art Press, May 1965, 1st edition (2,000 copies), 19 colour plates (of Maharaja Ranjit Singh, Fakir Syed Azizuddin, Prince Sher Singh, Fakir Syed Nuruddin, Maharani Mehtab Kaur, etc) + 2 b/w plates facsimiles of Farman as called for, 217pp, Including index, original cloth (slightly worn). Waheed-ud-Din was a descendant of the Muslim minster and confidante of the Sikh ruler of Lahore, Ranjit Singh. His account is one of the most intimate and accurate accounts of the reign of Maharajah Ranjit Singh ever published.
The Art Nouveau 18ct yellow gold bangle is made by French goldsmith Charles Georges who worked in Paris in the late 19th and early 20th Centuries. The bangle has an ivy leaf motif around the circumference, is 14mm wide and has an internal diameter of 62mm. The bangle is marked with French control mark for 18ct gold as well as the maker's mark for Charles Georges. Some tarnishing to the gold which would benefit from cleaning.Weight: 46.6g Size: 62mm internal diameter
BANKSY (BRITISH, b. 1974-), PAIR OF CUT & RUN EXHIBITION POSTERS, 2023 pair of posters from the 2023 Banksy Cut & Run Exhibition, purchased from Glasgow's Gallery of Modern Art at the time of the exhibition, new, unframed and still in original wrapper (images are just for reference)The anonymous graffiti artist known as Banksy is perhaps the most controversial street artist of today. He is famous for his stenciled graffiti works, which appear in public spaces around the world. His use of stenciling developed from a need to complete a work quickly, namely to avoid being caught vandalizing by police. Between 15th June and 28th August 2023 at the Gallery of Modern Art in Glasgow he held his first show in 14 years: Cut & Run featuring stencils and more from his career on the street. “I’ve kept these stencils hidden away for years, mindful they could be used as evidence in a charge of criminal damage. But that moment seems to have passed, so now I’m exhibiting them in a gallery as works of art. I’m not sure which is the greater crime” each poster approximately 42cm x 30cm
Thérèse Oulton (b. 1953), 'Objektiv' (2002), unsigned, oil on canvas, 92 cm x 122 cm, framed 95 cm x 126 cmMarlborough Fine Art, Albermarle St, London label versoGenerally good condition, on close inspection two pinholes present and potential wear to paint on canvas corner - please see photos
After Daniel Maclise RA (1806-1870) engraved by Charles William Sharpe (1818-1899) THE DEATH OF NELSON at the Battle of Trafalgar WELLINGTON AND BLUCHER meeting after the Battle of Waterloo engravings, published by Art Union of London 1875 and 1876, 25 x 128cm, gilt framed (2) Further details: foxing to both
Flämisch - Schule -- um 1560/80. Die Beweinung Christi.Öl auf Holz, parkettiert. 106 x 82 cm.Die jüngst in Berlin gezeigte Überblicksschau von Hugo van der Goes vereinte erstmals bis auf wenige Ausnahmen das überlieferte Gesamtwerk dieses herausragenden Großmeisters altflämischer Kunst. Darunter auch ein Leinwandfragment, das die trauernde Jungfrau und Johannes den Evangelisten zeigt. Dieses Tüchlein ist alles, was von van der Goes vielleicht erfolgreichster Bildfindung geblieben ist - der um 1475/77 entstandenen „Beweinung Christi“, auch als „Große Kreuzabnahme“ bekannt. Es zeigte in großer Nähe zu den Betrachtern herangerückt die Jungfrau, Johannes und Maria Magdalena als Halbfiguren, dicht versammelt um den leblosen Leib Christi, der von Josef von Arimathäa und Nikodemus gehalten wurde.Wie sehr die innovative Form des erzählenden Halbfigurenbildes van der Goes‘ Zeitgenossen und nachfolgende Generationen beeinflusste, beweist die Vielzahl an Kopien, die bis ins 17. Jahrhundert entstanden. Zu den frühesten und exaktesten gehören jene in Amsterdamer Rijksmuseum und im Museo di Capodimonte in Neapel. Sie sind es auch, die es erlauben nachzuvollziehen, dass unser Künstler weniger eine akribische Wiederholung des verlorenen Meisterwerks anstrebte, sondern vielmehr eine eigenständige Adaption mit zahlreichen Abweichungen schuf. So weitete er den Bildraum nach oben aus, ergänzte ihn um den Kreuzstamm und eine daran angelehnte Leiter und ersetzte den monochromen Goldgrund durch einen Landschaftsausschnitt. Im Vordergrund ist die Figurengruppe wie in der Ur-Komposition auf engstem Raum verdichtet, wird allerdings um eine sechste Person ergänzt: Am rechten Bildrand hinter Maria Magdalena steht eine junge Frau, die mit ihrer Haartracht und dem Kleid aus dem 16. Jahrhundert auffällig mit den altertümlich gewandten Protagonisten kontrastiert. Es dürfte sich dabei um eine Stifterfigur handeln, deren männliches Pendant vermutlich mit Josef gleichzusetzten ist, der Christus‘ Schultern stützt. Anders bei van der Goes und den meisten Kopien ist Josef nämlich nicht als Greis mit spitzem Gesicht und eingefallenen Wangen dargestellt, sondern auffallend porträtähnlich als ein Mann mittleren Alters mit fülligen Zügen und leichtem Doppelkinn. Besonders an diesem realitätsnah wirkenden Gesicht tritt das treffsichere Können des Malers zutage, der das Bild in weichem, samtigem Duktus aufbaute. Im Zuge des Übersetzungsprozesses verlieh er der Szene idealisierende Elemente, vor allem die Gesichter sind runder und weniger herb in den Zügen. Auch Christus' Körper ist nicht ausgemergelt und aus seinen Wunden tritt kein Blut.Der vielleicht größte Unterschied zum spätgotischen Werk liegt jedoch in der Art der Interaktion der Figuren mit dem Betrachter. Bei dem älteren Prototyp war es das von ausdrucksstarker Trauer gezeichnete Mienen- und Gestenspiel, das an die Emotionen der gläubigen Betrachter appellierte. Die scheinbare Beziehungslosigkeit der Anwesenden untereinander veranschaulichte zudem die Einsamkeit der Leiderfahrung. In unserer Arbeit blicken dagegen die Stifterin und der hl. Johannes uns in die Augen; die Kontaktaufnahme und Einladung zur Versenkung sind also direkt und unmittelbar. Weitere Änderungen nahm der Künstler auch bei den Farben und der Gestaltung der Kleidung vor. So tragen Josef (bzw. der Stifter) und Johannes keine dunklen Stoffe, sondern leuchtendes Rot und Nikodemus‘ Kostüm mutet durch das Hinzufügen eines hohen Turbans gar orientalisierend an. Zusammenfassend eignet sich der Maler in einem bemerkenswerten Akt der künstlerischen Zitation das berühmte Vorbild an, passt es an den Zeitgeschmack an und wandelt es souverän im Hinblick auf die Funktion als Stifterbild ab.Provenienz: Sammlung Marie Dauw-de Bruyn, Schloss Relst, Campenhout, Belgien.Sammlung Geneviève van den Eynde, Löwen.Durch Erbgang an Eliane Claikens, Brüssel und deren Erben.Privatsammlung Deutschland.Ausstellung: 1907, Exposition provinciale du Limbourg à Saint-Trond, Palais de l'Art Ancien, Nr. 83 (als "Jan van Scorel"). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Blunck, Detlev Conrad -- Selbstbildnis mit 46 Jahren.Öl auf Leinwand, auf Karton aufgezogen. 20,8 x 19,4 cm. Rechts unten (geritzt) signiert, datiert und ortsbezeichnet "Blunck 1844 Wien", verso auf dem Karton mit verschiedenen Auststellungsnummern sowie mit einem unbekannten Sammlerstempel "HRV" (ligiert, nicht bei Lugt). Nach seinem Studienabschluss in Kopenhagen, wo er unter Christoffer Wilhelm Eckersberg und Johann Ludwig Lund studierte, ging Detlev Blunck mit einem Stipendium nach Rom. Dort lebte er fast 10 Jahre und schloss sich dem Kreis der dänischen Künstler um Thorvaldsen an. In dieser Zeit entstand auch sein Gemälde "Dänische Künstler in der Osteria la Gensola in Rom" von 1837 (Öl auf Leinwand, 74 x 99,4 cm, Nationalhistorisches Museum Schloss Frederiksborg), das zu den berühmtesten Kunstwerken dieser Zeit gehört. Im Jahre 1838 kehrte Blunck nach Kopenhagen zurück, doch war sein Aufenthalt nur von kurzer Dauer, da er vermutlich wegen Anschuldigungen der Homosexualität das Land bereits im August 1840 mit einem consilium abeundi, einer Art akademischer Ausweisung, wieder verlassen musste. In den folgenden Jahren lebte er einige Zeit in Berlin und München bevor er sich Ende des Jahres 1841 in Wien niederließ und dort bis zum Schleswig-Holsteinischen Freiheitskrieg von 1848 blieb. In Wien entstanden einige seiner wichtigsten Arbeiten, darunter die Vier Lebensalter (1840/45), aber auch bedeutende Bildnisse, wie das hier vorliegende sehr lebensnahe Selbstportrait aus dem Jahre 1844.Wir danken Frau Karin Bechmann Søndergaard für wertvolle Hinweise, die das Gemälde in den geplanten Ergänzungsband zum Werkverzeichnis aufnehmen wird. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Schiertz, Franz Wilhelm -- Abendstimmung an einem norwegischen Fjord. Öl auf Papier, auf Karton aufgezogen. 24,6 x 33 cm. Unten rechts mit Pinsel in Rotbraun signiert und schwer leserlich datiert und bezeichnet "F. W. Schiertz 1853 / Bergen". Ruhig liegt der Fjord im warmen, von der Abendsonne rötlich gefärbten Licht. Die Sonne versinkt hinter den fernen Bergen, die zur Rechten mit Schnee bedeckt sind und zart mit den losen Wolkenbändern kontrastieren. Im Vordergrund sitzt eine Gruppe samischer Hirten bei einem kleinen Lagerfeuer und schaut sich das Naturschauspiel auf dem Fjord an, während ihre Rentierherde auf den Hängen grast. Schiertz führt in dieser Komposition meisterhaft seine romantisch geprägte Naturauffassung und seine Liebe für die wilde Landschaft Norwegens zusammen und schafft damit eine Art Schlüsselwerk für sein norwegisches Spätwerk. Die hier gefundene Komposition hat er zu verschiedenen Zeiten in Gemälden mehrfach wieder aufgegriffen.Franz Wilhelm Schiertz war Schüler Johan Christian Clausen Dahls und wurde aufgrund seines Talents schon 1836 nach Norwegen gesandt, um Zeichnungen für Dahls Werk über norwegische Holzbauten zu erstellen. Im Jahre 1841 wurde er von König Friedrich Wilhelm IV. beauftragt, den Abbau der Stabkirche von Vang, sowie deren Transport und Neuaufbau in Krummhübel im Riesengebirge zu überwachen. Im Jahre 1844 begleitete er seinen Lehrer Dahl erneut auf eine Norwegenreise, auf der er auch die Inspiration für vorliegendes Gemälde gefunden haben wird. Da Schiertz während der Revolution von 1848 auf Seiten der Demokraten stand, musste er Dresden später verlassen und ging schließlich ins Exil nach Norwegen, wo er auch als Architekt tätig war und unter anderem Fridtjof Nansen und Ludvig Munthe Unterricht im Zeichnen erteilte. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
Wackerle, Joseph -- Circe mit Wasserschüssel und drei Panthern.Flachrelief in Zinn mit Kupferauflage, im Original-Eichenholzrahmen. 17,8 x 37,4 cm. Links oben im Relief bezeichnet "-Circe-", rechts unten monogrammiert und bezeichnet "IW / Osiris", verso gestempelt "/Osiris/ 800 /Isis/".Wackerle studierte an der Königlichen Kunstgewerbeschule und der Kunstakademie in München. Bereits 1906 wird er zum künstlerischen Leiter der Porzellanmanufaktur Nymphenburg ernannt. 1913 bis 1917 lehrt er am Kunstgewerbemuseum Berlin. 1917 kehrt er nach München zurück und lehrt bis 1950 an der dortigen Kunstakademie. Einen weithin bekannten Namen erwirbt er sich vor allem als Brunnenplastiker. Das vorliegende Relief wurde von Wackerle für die Firma Osiris entworfen und um 1902 bis 1906 hergestellt. Die Osiris Metallwarenfabrik wurde 1899 von Vater und Sohn Friedrich und Walter Scherf in Nürnberg gegründet. Im Jahr 1902 entwickelte Walter Scherf eine neue Art von Zinn, das "ISIS"-Metall, und von 1902 bis 1905 gewann Osiris Medaillen in Turin (1902), St. Petersburg (Gold, 1903/04), St. Louis (1. und 2. Preis, 1904) und Kapstadt (Gold, 1904/05). Das Germanische Nationalmuseum bewahrt einen 1908 von Andreas Oberseither, einem Mitarbeiter der Metallwarenfabrik, illegal angefertigten Gipsabguss (Inv.Nr. Des1449). - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.
No reserve - Christofle 12-piece set Fish cutlery model: America by Luc Lanel silver-plated. Cutlery model America was created in 1933 by the designer Luc Lanel and is a typical Art Deco model. With its carved sides, its drawn shape and its angles drawn according to the America model for a clean graphic line, characteristic of the architectural movements of this period. France, Paris, Orfevrèrie Christofle, 20th century, hallmarks: Christofle, France, maker's mark. 616 grams, silver plated. Dim. Length 19.7cm. This lot will be auctioned without reserve price.
No reserve - Christofle 12-piece set Fish cutlery model: America by Luc Lanel silver-plated. Cutlery model America was created in 1933 by the designer Luc Lanel and is a typical Art Deco model. With its carved sides, its drawn shape and its angles drawn according to the America model for a clean graphic line, characteristic of the architectural movements of this period. France, Paris, Orfevrèrie Christofle, 20th century, hallmarks: Christofle, France, maker's mark. 617 grams, silver plated. Dim. L 19.7cm. This lot will be auctioned without reserve price.
No reserve - Christofle 12-piece set of dinner forks model: America by Luc Lanel silver plated. Cutlery model America was created in 1933 by the designer Luc Lanel and is a typical Art Deco model. With its carved sides, its drawn shape and its angles drawn according to the America model for a clean graphic line, characteristic of the architectural movements of this period. France, Paris, Orfevrèrie Christofle, 20th century, hallmarks: Christofle, France, maker's mark. 821 grams, silver plated. Dim. L 20.5cm. This lot will be auctioned without reserve price.
No reserve - Christofle 12-piece set of forks model: America by Luc Lanel silver-plated. Cutlery model America was created in 1933 by the designer Luc Lanel and is a typical Art Deco model. With its carved sides, its drawn shape and its angles drawn according to the America model for a clean graphic line, characteristic of the architectural movements of this period. France, Paris, Orfevrèrie Christofle, 20th century, hallmarks: Christofle, France, maker's mark. 534 grams, silver plated. Dim. L 18cm. This lot will be auctioned without reserve price.
No reserve - Christofle 12-piece cake fork set model: America by Luc Lanel silver-plated. Cutlery model America was created in 1933 by the designer Luc Lanel and is a typical Art Deco model. With its carved sides, its drawn shape and its angles drawn according to the America model for a clean graphic line, characteristic of the architectural movements of this period. France, Paris, Orfevrèrie Christofle, 20th century, hallmarks: Christofle, France, maker's mark. 357 grams, silver plated. Dim. L 15.3cm. This lot will be auctioned without reserve price.
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