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Click here to subscribePiles (Roger de). The Art of Painting, with the lives and characters of above 300 of the most eminent painters ..., to which is added, an essay towards and English School, 3rd [and final English] ed., in which is now first inserted The Life of Sir Godfrey Kneller, by the late B. Buckeridge, [1750], pubs. ads. to final leaf verso, some spotting and dust soiling, contemp. calf, rubbed and joints cracked, 8vo (1)
The Studio, An Illustrated Magazine of Fine and Applied Art, vols. 1-8 & 10-76 bound in 71, 1893-1919, num. col. and b&w illusts., mostly ex-lib. copies with inkstamps to margins throughout, bookplates etc. mixed bindings, mostly orig. green cloth gilt, a few vols. contemp. half calf/contemp. half morocco etc., damage to a few spines, lib. nos. to spine of each, some wear to extrems. (vol. 1 worn with some dampstaining), 4to. Sold as a periodical, not subject to return. (71)
Wittrock (Wolfgang). Toulouse-Lautrec, Catalogue complet des estampes, 2 vols., pub. Paris, 1985, col. and b&w illusts. throughout, orig. cloth gilt in d.j.s, contained in slipcase, folio, VG, together with Harambourg (Lydia & Bouillot, Roger), André Brasilier, Monographie, Monograph, 2 vols., pub. Lausanne, 2002, col. illusts. throughout, orig. col. pict. boards in d.j.s, contained in slipcase, folio, VG, plus Nocera (Frédéric), Henri Goetz, Catalogue raisonné, Tome I, 1930-1960, pub. Paris, 2001, col. and b&w illusts., orig. cloth gilt in d.j., folio, VG, plus eight other art reference various, incl.Jean-Gabriel Domergue, L’art et la mode, by Gérard Louis Soyer, Paris, 1984 & Modern British Sculpture, by Guy Portelli, Pennsylvania, 2005 (13)
PAUL ZUNTERSTEIN (ATTRIBUTED TO) STONEWARE VESSEL, 1960S blue glazed bottle form modelled with a female form, 44cm high; also a STONEWARE SQUAT BALUSTER VASE, 25cm high; and a FREEFORM VASE with glazed panels, 37cm high (3) Note: Paul Zunterstein (1921-1968) arrived in Scotland from Austria in 1938 to study sculpture at the Glasgow School of Art (1946-1950). Later he taught there, and exhibited at the RSA and the RGIFA from 1950 to 1968.
JAMES PITTENDRIGH MACGILLIVRAY A PHANTASY circular bronze plaque, mounted on a moulded rectangular mahogany board with original bronze mounts and hanging chain, signed in the bronze `MacGillivray`, plaque, 46cm diameter Also original pen and ink preparatory drawing for `A Phantasy`, signed Pittendrigh MacGillivray` , 15cm square, along with a copy of the original receipt in the artists hand, dated 28th May 1930 (2) Exhibited: Aberdeen Art Gallery & Museum, `Pittendrigh MacGillivray` Exhibition 1988, No. 27
KOCH, ALEXANDER EXPOSITION DE TURIN 1902 L`exposition Internationale des arts decoratifs modernes a Turin 1902. Darmstadt: Alexander Koch, 1902. 4to, pp.[8],340, [1], publisher`s adverts., French text, text by George Fuchs and F.H. Newbery, illustrated throughout, 4 coloured plates, 2 tinted, Jessie M. King decorative title for Scottish section, on different paper, the "Papier de garde" (end papers) supplement are used as end papers, original Art Nouveau designed vellum gilt, some light spotting to page edges otherwise fine Note: Extremely rare in this fine condition, published in connection with the first international exhibition of modern decorative art, Turin 1902, which included architecture, interior design, painting, ceramics, metal works, book illustrations, typefaces, glass, etc. Participants were Holland, Scotland (includes an extensive article on Charles Rennie Mackintosh and the Glasgow School), Germany, Austria, Hungary, Italy, Belgium, France, USA, Denmark, Sweden, England, and Japan. Special emphasis on the German contribution, with designs and typographical arrangement by Peter Behrens. The Turin Exposition of 1902 was the first to celebrate the emergence of the Art Nouveau style in Italy and is considered the first international exhibit of modern decorative art. Turin was a centre of liberal ideas and creativity and thus a receptive environment for imported modernism with work exhibited by Behrens, Mackintosh, Olbrich, et al. Italian artisan workshops and individual craftsmen such as Carlo Bugatti were also featured. The exposition was concerned also with the renewal of Italian architecture. A bold, exuberant, stylistically appropriate setting was created by Raimondo D`Aronico, at that time the chief architect to the Sultan in Constantinople. His work for the exposition was influenced by a visit to the Darmstadt Artist`s Colony designed by Joseph Olbrich. His entrances, pavilions and exhibition and administrative buildings are illustrated in the first section of the present work, which deals with architecture.
GEORGE WALTON GREEN STAINED LINEN PRESS, CIRCA 1898 The projecting cornice above twin doors, each inset with stained and leaded glass panels with copper inlay worked as foliate motifs, backed by original net hangings and enclosing four sliding shelves each with original linen covers, the base with three long graduated drawers each with brass-backed cut-out handles, the whole raised on bracket feet 152cm wide, 183cm high, 68.5cm deep Literature: Moon, Karen, `George Walton, Designer and Architect`, pub. Oxford 1993, page 115 Exhibited: `George Walton: Designer and Architect` Glasgow Art Gallery and Museum, Kelvingrove, Glasgow 11 June - 19 September 1993 and at Brighton Museum and Art Gallery Church Street Brighton 4 November 1993 - 9 January 1994, No 2.7 Note: This fine linen press in green stained ash was designed by the architect and designer George Walton and was made, circa 1899, for a director of his company, Robert Dick. Walton opened his first showroom at 152 Wellington Street Glasgow in 1888, naming it `George Walton & Co, Ecclesiastical and House Decorators`. In 1897 Walton followed his brother Edward to London where he set up house and studio at 16 Westbourne Park Road, Bayswater, and in 1898 a showroom was opened in York. In the following year a four-storey block of workshops was built in Buccleuch Street, Glasgow, and it was in the same year that Robert Dick became a director of the Glasgow company, rising to chairman by 1905. In her 1993 biography of Walton Karen Moon comments " . . . in the north the company`s directors were keeping them busy: when the two brothers James and Robert Dick, who had been involved in the company since 1899, both married in the early years of the new century, their houses were done out grandly in company style". This press would have stood in one of the bedrooms or upper landings of the house and it retains its original net hangings for the windows and linen covers inside for the drawer slides.
E.A. TAYLOR (ATTRIBUTED TO) FOR WYLIE & LOCHHEAD, GLASGOW OAK ART NOUVEAU CANTERBURY, CIRCA 1900 the divided superstructure with motifs to each side carved as stylised plant forms above a lower single drawer on square tapering supports with part-pierced arched aprons 54cm wide, 52cm high, 39cm deep Provenance: Sir James Morton, and by family descent. Literature: Morton, J., `Three Generations in a Family Textile Firm`, London: Routledge & Kegan Paul, 1971
E.W. GODWIN (ATTRIBUTED TO) FOR WILLIAM WATT, LONDON ROSEWOOD CENTRE TABLE, CIRCA 1880 the octagonal top with moulded edge, above square and tapering reeded supports, with beaded knops, linked by panelled stretchers on outswept legs, terminating in carved claw and ball feet with pot castors 67cm diameter, 70cm high Note; See Sotheby`s `Applied Art and 20th Century Design`, 3rd May 2002 for a similar oak example with stamped mark `William Watt, Furniture Maker for E.W. Godwin, 40 345.0 (?)`
Julie Forrester (1954-), "Canal", initialled, titled and dated 2010 on verso, oil on canvas, 58.5 x 48.5cm.; 23 x 19in. * Her work has been shown recently in the Northern Art Exhibition in Wigan and is available from several galleries across the North of England, including Ryburn Gallery, Sowerby Bridge; CollectArt, Lymm; Framed Up, Pemberton, Wigan and StudioArt, Stockton Heath.
Robin Wallace R.A., R.B.A., A.R.B.C. (1897-1925), "The Green Candle", signed, artist`s label inscribed on verso, exhibition label on verso - `Abbot Hall Art Gallery, Kendal, 1976`, oil on board, 40 x 30cm.; 15.75 x 11.75in. * Exhibited at the Royal Academy; Royal Institute of Painters in Watercolours; Royal Institute of Oil Painters and in the provinces. Member of the Lake Artists` Society.
Marie Walker-Last (1917-), Abstract, initialled, inscribed on verso, mixed media, 24 x 26.5cm.; 9.5 x 10.5in. * She trained at the Chelsea School of Art, under Vivian Pitchforth and, later under Sir Terry Frost and Robert Medley. She and her husband were great friends of Ben Nicholson and Dame Barbara Hepworth, and she mixed in London with many of the great painters of the day; she also met Alfred Wallis, who was such a great influence on the work of Ben Nicholson. In her earlier days, she exhibited world-wide, with Exhibitions in London, Paris, Athens, Florence and Australia, and in 1988, she won First Prize in the Druce Constable Award at an exhibition of contemporary British landscape painting in the Camden Arts Centre. Her works are in the Collections of the Bank of England, the Halifax Building Society, Granada Television, the Arthur Haigh Collection, the Open University, Yorkshire Television, Bradford Art Galleries and Museums and the Universities of Leeds, Bradford and York.
Ernest Herbert Whydale A.R.E. (1886-1952), "The Ploughman`s Rest", signed, watercolour, 25.5 x 35cm.; 10 x 13.75in. * Exhibited at the Royal Academy; Royal Society of Painter-Etchers and Engravers; Society of Graphic Art and was elected A.R.E. in 1920. Represented in several public collections.
Mabel Dawson R.S.W. (1887-1965), "Design for panel of King Charles 1st from St. Mary`s Cathedral, Palmeston Place, Edinburgh", signed in pencil in the margin, with artist`s label on verso, gouache, 21 x 19.5cm.; 8.25 x 7.75in. * Studied at the College of Art under William Walls and Frank Calderon. Exhibited her work at the Royal Academy; Royal Scottish Watercolour Society and the Royal Scottish Academy. Newport Museum and Art Gallery holds her work.
Jean Young (1914-1995), "The Ark", signed, oil on canvas, 63 x 75.5cm.; 25 x 29.75in. * Was a member of the Royal Society of British Artists and the New English Art Club. Had a series of solo shows in London, Canterbury and Bath, mixed show appearances including the Royal Academy, London Group and the Society of Wildlife Artists. Hereford City Museum and Art Gallery hold her work.
William Turner F.R.S.A., R.Cam.A. (1920-), "Mersey Square, Stockport", signed, artist`s label inscribed and dated 1958 on verso, oil on board, 29 x 22cm.; 11. 5 x 8. 5in. * Turner studied at Derby College of Art and went on to teach for Manchester Education Committee. He was a member of the Manchester Academy of Fine Arts and the Royal Cambrian Academy, also exhibiting with the Royal Institute of Painters in Water Colours, Royal Society of British Artists, Tib Lane Gallery in Manchester, Pitcairn Gallery in Knutsford, Compton Gallery in Windsor and Boundary Gallery. In 1996 he shared a show at Graham Gallery, Tunbridge Wells. Stockport Art Gallery holds Turner`s work. A widely anticipated exhibition entitled `William Turner - An English Expressionist`, was held in Oldham Art Gallery in May 2005. Most recently in September 2010 a stunning exhibition of works was on show at Clark Art Ltd, Hale and a book on the artist was released titled "William Ralph Turner" by Stuart Archer and Bill Clark.
Don Mckinlay (1929-), Floral still life, initialled and dated 99, titled on verso, oil on canvas, 60 x 50cm.; 23.75 x 19.75in. * His painting one-man shows have been held at the Bluecoat Gallery, Liverpool, the Rosengalerie, Amsterdam, Ayling Porteous Gallery, Chester, Bede Gallery, Jarrow, Liverpool Cathedral (Amnesty International), Liverpool Academy, Merseyside Arts, Merkmal Gallery, Liverpool and Salford Art Gallery. His work has been included in mixed shows at the Walker Art Gallery, Liverpool, Cartwright Hall, Bradford, Cornerhouse, Manchester, Liverpool Academy, Williamson Art Gallery, and Birkenhead. A member and regular exhibitor at the Manchester Academy of Fine Arts, he is undoubtedly one of the most talented artists to come from the North-West of England in the past generation.
Michael d`Aguilar (1924-), "Sur la Plage - Midi", signed, titled on verso, oil on board, 19.5 x 24.5cm.; 7.75 x 9.75in. * Baron Michael D’Aguilar was born in 1924 in London and is the brother of the artist Paul D`Aguilar. His parents were English and Spanish and he spent much of his early life in Spain. He studied at the Royal Academy Schools from 1948-53, winning a number of awards including the Leverhulme Scholarship, the Royal Drawing Society’s gold, silver and bronze medals and the Armitage and silver medal at the Royal Academy. He has had numerous solo exhibitions including Temple Gallery, New Grafton Gallery, Bruton Street Gallery and was represented in Bradford City Art Gallery. He has also exhibited at the Royal Academy, Paris Salon, Royal Society of British Artists, Leicester Galleries, Royal Institute of Oil Painters, and the New English Arts Club.
Postcards - "Beautes de Studio". Catalogues special de collection 500 photographies d`art vivant, James & Co., Liverpool no date. Paper covers, fully illustrated catalogue, with one mounted real photographic nude portrait card, 19cm x 13cm; also two other real photographic nude portrait cards (blank verso); and a copy of Health & Efficiency magazine, July 1941.Best Bid
Approximately 100 stereoscopic view cards, the subjects including `Execution by the Garrote in the Yard of the City Prison, Havana, Cuba`; `The Bowery, New York`, with aerial railway; `Shooting Prairie Chickens`; `State Street, Chicago`; `Boompjes, Rotterdam`; and others, mainly topographical, the majority by The Fine-Art Photographers` Publishing Co. and mounted on grey card; together with a table-top aluminium and mahogany viewer.
ART. Mallalieu, H.L. The Dictionary of British Watercolour Artists up to 1920, three volumes, Antique Collectors` Club, Woodbridge 1990 / 1988 / 1990. Cloth, dustjackets, illustrations, quarto; Hardie, Martin. Water-Colour Painting in Britain, three volumes (The Eighteenth Century, The Romantic Period, The Victorian Period), Batsford, London 1969 / 1970 / 1971. Cloth, dustjackets, illustrations throughout, quarto; and Williams, Iolo Aneurin. Early English Water-Colours and some cognate drawings by artists born not later than 1785, The Connoisseur, London 1952. Ivory cloth, illustrations, quarto, (7).
ART. Comstock, Francis Adams. A Gothic Vision: F.L. Griggs and his Work, second printing, limited edition of 500, Boston Public Library / Ashmolean Museum, Oxford 1978. Black cloth, illustrations, quarto; Collins, Roger. Charles Meryon. A Life, Garton & Co., Devizes 1999. Boards, dustjacket, illustrations, quarto; Harris, John. The Artist and the Country House, Sotheby Parke Bernet, London 1979. Boards, dustjacket, illustrations, square quarto; and assorted other works, (total twelve volumes).
Galerie Antique, ou Collection des Chefs-d`Oeuvre d`Architecture, de Sculpture et de Peinture Antiques, de la Grace, Treuttel & Wurtz et al., Paris etc 1808. Rebound in crimson buckram, ninety-seven engraved plate illustrations, folio; and L`Art Pour Tous. Encyclopedie de l`Art Industriel et Decoratif (Septieme Annee 1867-1868), edited by Claude Sauvageot, Morel, Paris 1868. Quarter cloth, colour plate and black and white text illustrations, tall quarto, (2). This lot sold with all faults, not subject to return.
A novelty Art Deco electric automaton mantel clock by Vitascope, with brown patterned bakelite case, and rocking three masted clipper ship in glazed aperture above chrome circular dial, with electric movement, impressed 06723 and with UK, US, Swiss, Belgium and French patent applied for marks
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