An archive of photographs relating the art collection of Margaret Gardiner. Margaret Gardiner's superb art collection was donated by Gardiner in 1979 to the Island of Orkney, and became the basis for the Pier Gallery Collection on Stromness. The photographs in this archive are prints made from negatives held by the Courtauld Institute of Art. Many have been annotated for publication and it is likely that these photographs were the images used in the 1978 catalogue "The Pier Gallery, Stromness, Orkney" by Lucy Havelock-Allan and published by The Pier Arts Centre Trust.Containing approximately 80+ large format black and white photographs of individual works held in the collection, works by Roger Hilton, Barabara Hepworth, Ben Nicholson,Terry Frost, Margaret Mellis, Alfred wallis etc. Also some colour photographs of Ben Nicholson's 'Fireworks' and 13 colour tranparencies of works by Wallis, Nicholson and Hepworth etc. Six black and white photographs of the Pier Arts Centre including three copies of an Edwardian image of ladies and a gentleman in a rowing boat in front of the building in 1907, also a small number of modern colour images of the site.Together with approximately 40 black & white photograph showing interior and exterior shots of a Pier Gallery Collection exhibition held at the Tate gallery in London. And also 14 small colour photographs of Margaret Gardiner's own paintings and a framed certificate of appreciation to Margaret Gardiner from the Orkney Islands Council dated April 1994.The Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.
We found 16097 price guide item(s) matching your search
There are 16097 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
16097 item(s)/page
Pearsey COHENThe Blue BonnetOil on canvasSigned and dated 79101x76cmProvenance: From the Estates of June Barrington Ward & Maggie Cameron Fraser‘Two Remarkable Ladies’June Barrington-Ward 1922-2002& Maggie Cameron Fraser 1923-2021 For several decades, two remarkable ladies lived contentedly in the remote farmhouse near Lanreath in Cornwall that they had restored and shared since the 1970s.June Barrington-Ward was a sculptor. She trained at Chelsea School of Art and exhibited widely during the 1960s & 70s. Her work featured in group shows in prestigious galleries and locations like the Royal Academy alongside artists such as Denis Mitchell, John Milne & Kim Lim. June was the daughter of Lancelot Barrington-Ward KCVO, a royal surgeon to King George VI and his family. He also played rugby for England. Her grandfather was the vicar of Duloe in Cornwall. Although her work was applauded by contemporary critics, she never pursued recognition. In the words of a family member “she didn’t seek fame and I believe she was simply happy to be left alone to make things.”We have over 30 pieces of June’s impressive sculpture in our March 10/11th sale.Maggie Cameron Fraser was an academic who specialised in antique glass, a subject on which she wrote extensively and lectured at the Victoria & Albert Museum. Some of the very fine pieces in this sale were part of her treasured collection.They met during the Second World War. June, in the WRNS, drove ambulances in London and Maggie worked at Bletchley Park. For many years they shared a large property in Chiswick with a studio, until making the move to Cornwall.Maggie bought their magical house in North East Cornwall from the Carlyon Family in 1978. After renovating their home, they settled happily into retirement, Maggie astutely playing the stock market and June continuing to create sculpture. June died in 2002 and Maggie followed her last year.The home they left, and their wonderful collection of art and antiques, stand as a celebration and testament to their happy life together.
Edward H. ROGERS (1911-1994)Abstract ShapesPaper collage, two worksEach signed and dated 1963Further signed, inscribed to verso32 x 22cm and 31.5 x 23cm The Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.
Marjorie MORT (1906-1989)Loading the TrolleyOil on boardSignedInscribed to verso25 x 30cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.
John BEDDING (1947) A raku vase raised on four feet, height 31cm.The Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale.
§ ANGUS MCEWAN R.S.W., A.R.W.S. (SCOTTISH CONTEMPORARY) EARLY MORNING LIGHT, VENICE Signed and dated 2002 lower right, mixed media on paper(24.5cm x 38.5cm (9.75in x 15.25in))Provenance: From the collection of the late Dr Angus Gibson, to be sold to support the University of Edinburgh Art Collection
Falconer, William"An Universal Dictionary of the Marine; or, a Copious Explanation of the Technical Terms and Phrases Employed ... of a Ship ...", New Edition corrected, London printed for T Cadell 1789, 12 folding plates , included"A Translation of the Phrases and Terms of Art in the French Marine": bkpl Viscount Keith KB, rebound with contemporary leather laid down and on backstrip, gilt rules, pastedown with gilt titles
D'Assigny, Marius "The Art of Memory, a treatise useful for all especially such as how to speak in public - the second edition corrected and enlarged", London, printed for Andr. Bell at The Cross Keys and Bible in Cornhil 1699, the pages are stained, the binding is contemporary if not original, full leather, corners bumped and with loss, backstrip also, publishers;s advertising page at the back 16cm x 10cm
HOUSE RECORDS NEW/REISSUE 12''. A varied collection of both classic reissue and more modern contemporary House records. Artists, labels and titles are Peven Everett - Stuck (12'', Soul Heaven Records, SHR001), Marcellus Pitman - Come See (Unirhythm, AR-13354, 12''). Other artists and labels include Jitwam, The Jazz Diaries, Heavenly Recording, Flowered Up, Gudu Records, Peggy Gou, A Certain Ratio, Matthieu Faubourg, DJ Negroni, Joaquin Joe Claussell, Sacred Rhythm Music, Kenny Larkin, Art Of Dance Records, Guidance Recordings, Hipbone Records, Tweekin Records, RZ09 Records, Jedi Knights, As One, Sonar Kollektiv, Yoruba Records, Rich Medina, Pepe Bradock, Recloose, Skylax Records, Caroline K, Angel A, LDF Recordings, Skymark and Louie Vega. All records appear to be in excellent condition.
* ELEANOR CHRISTIE CHATTERLEY (SCOTTISH b. 1929), UNTITLED composite sculpture, 160cm high Note: Eleanor Munro was born (1929) and educated in Scotland. She studied sculpture at The Glasgow School of Art and Camberwell School of Art. She taught Sculpture at London Marylebone Institute (St John's Wood Sculpture School) from 1970 - 84 and at Blackheath School of Art from 1987 - 93. In 1952 she married the artist Fyfe Christie (1918 - 1975). Some eighteen years after the death of her first husband (1993) Eleanor married the music producer Albert "Jack" Chatterley (died 2016). Eleanor Christie-Chatterley has exhibited her sculptures at numerous venues including Woodlands Art Gallery (London), Blackheath Gallery (London), Old Cattan House Gallery (Norwich), Buckenham Galleries and at Cyril Gerber Fine Art (Glasgow). Her sculptures are in numerous private collections in the UK, the US and in France. Eleanor Christie-Chatterley lives on the west coast of Scotland and is almost certainly Scotland's oldest living sculptor. In The Scottish Contemporary Art Auction of 24th October, "Green Man Walking" by Christie-Chatterley sold for £3800 (hammer) and three small stoneware sculptures sold for hammer prices of £480, £500 & £500. In the SCA Auction of 5th December, "Woman of the North" sold for £5000 (hammer). SHIPPING: Aardvark Art Services Ltd have quoted £150 to collect this sculpture and deliver it to most (except the more remote) UK mainland locations (further details on request).
PATEK PHILIPPE. RARE MONTRE BRACELET EN ACIER DOUBLE SIGNATURE 'HAUSMANN & CO' MOUVEMENT MECANIQUEPATEK PHILIPPE. A RARE AND SPECIAL 'HAUSMANN & CO' DOUBLE SIGNED STAINLESS STEEL MANUAL WIND WRISTWATCHReference: 96Date: Circa 1935Movement: Jewelled manual wind, wolfs tooth winding, No.827505Dial: Two tone silvered sector dial, black Arabic quarter numerals and black baton hour markers, black outer 1/5th second division track, blued steel leaf hands, centre seconds, signed Hausmann & CoCase: Polished round, snap on back, inside back stamped FB for Francois Borgel, No.613911 8Strap/Bracelet: Black leatherBuckle/Clasp: Associated steel buckleSigned: Case, dial & movementSize: 31mmFootnotes:In 1932, the year the Stern Family became the owner's of Patek Philippe, the ref. 96 was launched. With its timeless proportions that pay homage to the era's Bauhaus, Art Deco, and Modernism styles the watch remains as stylish today as when it was first designed. It is quintessentially 1930s and yet effortlessly contemporary.This watch has been owned by the same family since it was purchased new by the present owners Grandfather who passed it to the current owner as a child because it was a small watch. He wore it to school for a short period, having no idea of its precision and rarity before being retired to a draw until now. A rare opportunity to obtain a piece of Patek Philippe's stainless steel legacy with its period defining sector dial and double signed with the exceptional jewellers Hausmann & Co.For further information on this lot please visit Bonhams.com
Byron, Lord, and others comprising Frederick, Earl of Carlisle The Father's Revenge, a Tragedy. London: W. Bulmer, 1800. 4to, [one of 25 copies only according to Lowndes], contemporary blue morocco gilt by W. Hering with his label, watered silk endpapers, armorial bookplate of Anne Jane Abercorn, g.e., slightly rubbed; [Holford, Margaret] Wallace, or the Fight of Falkirk, a Metrical Romance. London, 1809, First edition, 4to, inscribed on title 'Mary King, the Gift of Lord Kingsborough', contemporary red morocco gilt, g.e.; Godwin, William Life of Geoffrey Chaucer. London, 1803, 2 volumes, 4to, engraved plates, contemporary half calf, spotting, worn, covers detached; Heath, Charles Illustrations to the Works of Lord Byron. [n.d.], 4to, engraved plates, contemporary maroon half morocco; The Art Union Thirty Illustrations of Childe Harold. The original drawings produced expressly for the Art-Union of London. 1855. 4to, 30 plates, contemporary half calf gilt; Heath, Charles Illustrations to the Works of Lord Byron. [n.d.], 4to, engraved plates, green morocco gilt, g.e. (7)Footnote: Provenance: From the Library of the Late William St Clair
8 French works on Greece and art in 13 volumes, comprising Saint-Sauveur, André Grasset Voyage historique, littéraire et pittorespe dans les isles et possession ci-devant Vénitiennes du Levant. Paris: Taverner, an VIII [1798-99], 3 volumes, 8vo, contemporary calf, some spotting, rubbed, one spine crudely repaired; Chandler, Richard Voyages dans l'Asie Mineure et en Grèce. Paris: A. Bertrand, Buisson, 1806, 3 volumes, 8vo, 2 folding maps & 1 folding plan, contemporary calf gilt; Volney, C.F. Considerations sur la Guerre Actuelle des Turcs. "Londres", 1788. 8vo, engraved title & folding map, contemporary quarter calf, spine gilt; Salaberry, Charles Marie d'Irumberry, comte de Voyage a Constantinople, en Italie, et aux îles de l'Archipel. Paris: Crapelet, Maradan, [n.d.]. 8vo, contemporary quarter calf, vellum corners, lacks front free endpaper; Bory de St. Vincent, J.B. Histoire de la Grèce. Descriptions des Iles Ioniennes. Paris: Dondet-Dupré, 1823. 8vo, 1 lithographed portrait frontispiece, contemporary quarter morocco, slightly spotted, lightly rubbed; Volney, C.F. Les ruines, ou méditation sur les Révolutions des Empires. Paris: Courcier, 1817. 5th edition, frontispiece and 2 folding plates, contemporary tree calf, rubbed; Millin, A.L. Les Beaux-Arts en Angleterre. Paris: F. Buisson, 1807. 2 volumes, contemporary pink boards, lettering pieces, slightly rubbed ; Quatremere de Quincy Considérations morales sur la destination des ouvrages de l'art. Paris: Crapelet, 1815. 8vo, modern quarter calf (13)Footnote: Provenance: From the Library of the Late William St Clair
Art and The Elgin Marbles 13 Books, including Bas-Reliefs du Parthénon et du Temple de Phigalieu. Paris: Didier et Ce., 1860. Oblong 4to, 20 plates, original red cloth gilt, some foxing; Bracebridge, Selina Panoramic Sketch of Athens by Mrs Bracebridge, taken May 1839. Loose folding panorama, hand-coloured, with 8pp. explanatory guide: "Notes Descriptive of a Panoramic Sketch of Athens, taken May, 1839", original purple cloth covers, small neat repair to panorama; Smith, A.H. Lord Elgin and His Collection. Reprinted from the Journal of Hellenic Studies, vol. xxxvi, 1916. 8vo, blue cloth gilt; Clarke, Edward Daniel The Tomb of Alexander... Cambridge: R. Watts, 1805. 4to, frontispiece, 4 plates, original boards, some dampstaining; Westmacott, C.M. British Galleries of Painting and Sculpture. London: Sherwood, Jones, and Co., 1824. 8vo, contemporary calf gilt; Willis, N.P. Pencillings by the way. London: John Macrone, 1836. Second edition, 3 volumes, 8vo, original publisher's boards; [Knight, R. Payne] Elgin Marbles. London: Schulze and Dean, [n.d.] 4 unbound pp.; Lucas, R.C. Remarks on the Parthenon... Salisbury: W.B. Brodie and Co., 1845. 8vo, disbound; and 3 others (13)Footnote: Provenance: From the Library of the Late William St Clair
Classical Art, Architecture and Archaeology including Flaxman, John Lectures on Sculpture. London: John Murray, 1829. First edition, 8vo, portrait and 51 plates as usually found (plate 18 never engraved), original cloth; Michaelis, Adolf Der Parthenon. Leipzig: Breitkopf und Härtel, 1870. 2 volumes (text and atlas), 8vo and folio, 15 double-page plates, atlas volume in original boards, text volume in contemporary half calf with upper cover detached; Schöll, Adolf Archaeologische Mittheilungen aus Griechenland... Frankfurt, 1843. Large 8vo, first book only, 7 plates, contemporary boards with later paper spine, foxing; Rous, Francis Archaeologiae Atticae Libri Septem. London: Richard Denis, 1685. Ninth edition, 8vo, later wrappers, a few marginal tears slightly affecting text; Leigh, Peter The Music of the Eye, or Essays on the Principles of the Beauty and Perfection of Architecture... London: William Walker, 1831. 8vo. red cloth; Taylor, John Marmor Sandvicense. Cambridge, 1743. Small 4to, two folding plates and two folding tables, modern half calf, previous owner's name cut from title, some foxing; and 7 others (14)Footnote: Provenance: From the Library of the Late William St Clair
Works by female writers 17th-19th Century Behn, Aphra All the Histories and Novels written by the Late Ingenious Mrs Behn... London: R. Wellington, 1705. Fifth edition, 8vo, advertisement leaves, contemporary calf neatly rebacked; Williams, Helen Maria Sketches of the State of Manners and Opinions in the French Republic... London: G.G. and J. Robinson, 1801. 2 volumes, 8vo, modern quarter calf, endpapers renewed; [Idem] Letters Written in France, in the Summer of 1790... London: T. Cadell, 1794. Fourth edition, 3 volumes, 12mo, contemporary tree calf; Aveling, Eleanor Marx and Edward The Woman Question, [London, 1886]. Pamphlet in wrappers, possibly author's proof with corrections, lacking title-page; Hemans, Felicia The Restoration of the Works of Art to Italy, a poem. Oxford: J. Murray, 1816. Second edition, 8vo, contemporary green calf; Betham, Matilda A Biographical Dictionary to the Celebrated Women of every Age and Country. London: B. Crosby and Co., 1804. 8vo, contemporary half calf rebacked; Montague, Mary Wortley Letters... London: T. Cadell, 1789. 2 volumes, 8vo, contemporary half calf; and four others, sold not subject to return (14)Footnote: Provenance: From the Library of the Late William St Clair
Books from the Library of George A. Zabriskie Including works of Americana Squier, E.G. Notes on Central America. New York: Harper & Brothers, 1855. 8vo, contemporary calf, lower cover detached; Read, John Meredith A Historical Inquiry concerning Henry Hudson... Albany: John Munsell, 1866. 8vo, ALS from the author bound in, orange half morocco gilt, bookplate; Lossing, Benson J. The Hudson from the Wilderness to the Sea. New York; Smith, James Reuel Springs and Wells of Manhattan and the Bronx, New York City. New York: The New York Historical Society, 1938. 8vo, brown quarter morocco; The Evolution of New York. New York, 1897. 4to, blue half morocco gilt, Zabriskie bookplate; Darley, Felix O.C., illustrator The Legend of Sleepy Hollow. The American Art-Union, 1849. Oblong 4to, original wrappers, slight dampstaining; Milbert, J. Picturesque Itinerary of the Hudson River... , facsimile reproduction in green card folder; Murphy, Henry C. Journal of a Voyage to New York. Brooklyn, 1867. 8vo, later cloth; Loomis, Elias A Treatise on Meteorology... New York: Harper & Brothers, 1868. 8vo, contemporary calf, upper cover detached, lower cover lacking; Henslow, T. Geoffrey Ye Sundial Booke. London, 1914. 8vo, contemporary blue half morocco gilt; Du Chaillu, Paul B. The Viking Age. London: John Murray, 1889. 2 volumes, 8vo, original red cloth gilt; Eutropius Eutropij de Gestis Romanorum Libri Decem. Paris: Simon de Colines, 1539. 8vo, contemporary calf, upper board detached, a few neat notes in an early hand; Buchanan, George Poemata... Leiden: Elzevir, 1628. 24mo, later red morocco, upper cover detached; Villon, Françoys. Le Testament Françoys Villon. Paris: la Sirène, 1918. 8vo, red calf gilt with embossed hanging men motif, chipped and darkened; [Scott, Tom] The Cruise of the Midge. Edinburgh: William Blackwood and Sons, 1836. 2 volumes, 8vo, blue straight-grained morocco gilt, bookplates of George A. Zabriskie and Lilian Henkel Haas; The Society of the Antiquaries of Scotland Transactions, volume 1. Edinburgh: William and Alexander Smellie, 1792. 4to, modern boards; An Elementary Manual of Heraldry. New York: Gorham Company, 1905. 16mo, red half morocco gilt; Pater, Alastair and Walter Sebastian van Storck. London: John Lane The Bodley Head, 1927. 4to, number 352 of 1050 copies, original cloth, slipcase; The Universal Historical Atlas... New York: Warren Cockroft and Company, 1873. Folio, original green half morocco gilt; and 6 others, sold not subject to returnFootnote: Provenance: from the collection of George A. Zabriskie
![[Mörner, Hjalmar] Il Carnevale di Roma Roma: Francesco Bourlié, 1820. Oblong folio, (410 x 540mm), 20 etched plates, contempo](https://cdn.globalauctionplatform.com/02298196-2828-412d-8b94-ae1900c30dfa/13b601da-e0da-4d0e-bf29-ae1b00fd71e9/468x382.jpg)
[Mörner, Hjalmar] Il Carnevale di Roma Roma: Francesco Bourlié, 1820. Oblong folio, (410 x 540mm), 20 etched plates, contemporary maroon half morocco, spine gilt, slightly spotted, chiefly in the marginsFootnote: Note: Hjalmar Mörner (1794-1837) travelled in Europe studying art in 1816-29, staying in Rome with the Swedish sculptor Johan Niclas Byström, where he made this finely detailed depiction of the Roman carnival. A few copies were hand-coloured by the artist.
An Art Nouveau opal, pearl (untested) and festoon necklace, the central openwork plaque applied with oak leaves, to trace link chains with circular opal cabochons at intervals, length 49 cm; together with a gilt hinged bangle, the top section set with red and pink circular-cut stones, inner diameter 5.5cm, contemporary fitted case (2)Condition: Overall condition fair/good, commensurate with age Necklace is attractive. White opals with slight variation in colour and wear. Clasp and possibly later safety chain work. Bangle: stones in central floral cluster red whereas than those in floral cluster to either side are pinker. Verdigris around hook clasp. Longish Fixed safety chain. Case with wear to exterior; Interior cream silk fraying around hinge.
A limited edition figure of a nude young woman, in the Art Deco style, no.1/1, with artist's original colourway for Peggy Davis, by Victoria Bourne and a contemporary three-piece tea service, white ground with black animal and abstract decoration in the manner of cave painting, in the style of Christopher Dresser, height of teapot 19cm (4).
Tempera on paper applied to cardboard Signed lower right Migneco. Provenance Gallery of Contemporary Art 70 of Messina. Work without a frame. Giuseppe Migneco was born in Messina in 1903 but moved to Milan in 1931. There he studied medicine and earned his living by drawing sketches for the "Corriere dei Piccoli" and doing the retoucher by Rizzoli. In 1937 he founded the "Corrente" movement with other artists (Vedova, Guttuso, Sassu, Manzù, etc), all with a different vision of art but united by the idea of an open art and which rejects the cultural isolation desired by fascist culture. The social realism that characterizes his art is evident in the bright colors of his land, in the violent features and hard faces of his characters. He has been called a "wood carver who carves with a brush". 28X22 cm
Anthony Clark (20th century)"La Sinagoga Day Santa Maria la Blanca"Signed and titled, watercolour, 20cm by 29.5cm; together with a watercolour by Art Historian Christopher Wright, in aid of the F.A.R.A. charity November 2007, signed, a further watercolour "Middleham from the river Yure, below Spennithorne by Lynn Moore", signed and dated, and a contemporary oil on canvas depicting a Mediterranean coastal scene, signed Martin, 70cm by 90cm
Books. An assortment of antiquarian and other books including:1) Halfpenny (William). New Designs for Chinese Temples, Triumpal Arches, Garden Seats, Palings, etc. [part 1 of 4], London: for R. Sayer and J. Brindley, 1750, bound with:ibid. Useful Architecture ... for erecting Parsonage-Houses, Farm-Houses, and Inns, 3rd edition ('with four additional designs'), London: Robert Sayer, 1760,2 works in 1 volume, 8vo (203 x 125 mm), contemporary sheep, Chinese Temples with engraved title-page and and 13 engraved plates numbered 2-14 as issued (8 pp. introductory letterpress were issued only with part 2), Useful Architecture with 21 engraved plates (all folding), lacking text-leaf D4,2) MacColl (D. S.). Nineteenth Century Art, 1st edition, 'presentation copy of the large paper edition printed on Japanese vellum', Glasgow: James Maclehose & Sons, 1902. Large 4to, original quarter vellum, plates,3) Various other art and architecture books including James Gillespie, Details of Scottish Domestic Architecture, Edinburgh, 1922 (4to, original cloth),4) Bible, 1693 (defective),5) Manuscript memorandum book, London, 1774-5 (oblong 8vo, original speckled sheep with engraved clasp),and others (qty: 2 boxes)See Harris 299 & 317 for Halfpenny's works.
Six boxes of assorted books, including: The Original Water-Colour Paintings by John James Audubon for The Birds of America, London: Michael Joseph Ltd., 1966 (2 volumes, 4to, original cloth, slipcase); A Tour thro' London about the Year 1725 ... by Daniel Defoe, London: B. T. Batsford Ltd., 1929 (folio, original cloth, photogravure and other plates, edges untrimmed); Montes de Oca, Hummingbirds and Orchids of Mexico, 1st edition, one of 1500 copies in English, Mexico City: Editorial Fournier, 1963 (large folio, original cloth, colour plates); The Life of our Lord and Saviour Jesus Christ ... by J. Fleetwood, London: Thomas Kelly, 1834 (4to, contemporary diced calf, engraved plates, joints cracked); and numerous others similar including art reference (qty: 6 boxes)
One portfolio of nine prints titled "Asian Contemporary Art in Print in Celebration of the Asia Society's 50th Anniversary 2006," published by the Asia Society in honor of their 50th anniversary. This portfolio features works by Amanda Heng, Michael Lin, Lin Tian Miao, Jiha Moon, Navin Rawanchaikul, Nilima Sheikh, Wilson Shieh, Yuken Teruya, and Wong Hoy Chong, with a colophon by Xu Bing. Edition: 46/100. The portfolio is housed in a clamshell box.Provenance: Collection of Bruce Dayton & Ruth Stricker Dayton, Minnesota.Portfolio; Height: 21 in x width: 25 1/4 in x depth: 1 1/2 in. Print (Each, approximately); Height: 20 in x width: 24 in.
§ Dan Pearce (Australian / British, b.1973). 'Rave To The Grave - NEON'. Collage of early 90s rave flyers and rave memorabilia . Finished with a raised neon light, bright yellow of the iconic smiley face. Light working, with plug and switch. Signed by the artist with a smiley face verso. 80cm x 80cm. Dan Pearce's mission statement: "Dan Pearce is a contemporary mixed media artist, his works take inspiration from street and pop art and juxtaposing it with fine art, his work is bold and confident in style often completely transforming iconic portraits with his own inimitable style and blurring lines between new media, pop and digital art" (https://danpearce-art.com/). Dan Pearce combines modern day street art with the influences of the likes of Warhol and Lichtenstein in works full of energy and texture. Bringing together styles and materials including graffiti, traditional painting, collage, and neon lighting. Dan has been exhibiting since 2013 throughout the UK as well as internationally. He has held successful solo exhibitions in London and his specially commissioned portrait of Anthony Joshua hangs above the boxing ring at the heavyweight champions training camp. His artwork is also collected by a plethora of stars including RagnBone Man, 50Cent and a host of footballers, he is one of the UKs most talked about and collectable contemporary artists. The neon collection, of which this piece is a part, is a collection of iconic portraits, hand embellished sprayed frames and fitted neon lighting. The piece was created by Dan Pearce in the lockdown of 2020. See https://danpearce-art.com/product/rave-to-the-grave-neon/. For a video of the creation of this artwork interspersed with interviews about the early 90s rave scene visit the folllowing link: https://www.instagram.com/p/B98-z4CnwDc/?utm_medium=copy_link. Provenance: purchased from Whitewall Galleries in 2021. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org.uk for more information. Condition Report: § Generally good condition, with some marks and surface scratches that may be part of the original making process.
JUAN BAUTISTA PORCAR RIPOLLÉS (Castellón de la Plana, Castellón, 1889 - 1974)."Urban landscape".Oil on canvas.Signed in the upper left corner.Size: 27 x 35 cm; 39,5 x 47 cm (frame).Trained with Vicente Castell, in 1906 he travels to Valencia thanks to a scholarship, and enters the School of Fine Arts of San Carlos. Four years later he settled in Barcelona, where he studied at the Escuela de La Lonja. After completing his studies, in 1915 he returned to Castellón, where he founded the Agrupación Ribalta, which focused on landscape painting. A regular at the Círculo Artístico de Sant Lluc in Barcelona, he made his individual debut at the La Pinacoteca gallery in 1918, where he continued to exhibit frequently from then on. He took part in the Barcelona International Exhibition of 1929, as well as in international competitions in Venice, Oslo, Buenos Aires and Paris. In 1954 he won the first medal at the National Exhibition of Fine Arts, an award which brought him definitive recognition. Porcar is represented in the Museums of Fine Arts in Valencia, Alicante and Castellón, the Museum of Contemporary Art in Vilafamés, the Lladró Museum and the National Theatre Museum in Almagro, among others.
SEGUNDO MATILLA MARINA (Madrid, 1862 - Teià, Barcelona, 1937)."Cadaqués", .Oil on canvas.Signed in the lower right corner.Size: 50 x 63 cm; 75 x 88 cm (frame).In this canvas, Segundo Matilla manages to imprint an eternal cadence on a fleeting instant, the one in which night and day exchange their chromatic palettes, and the glaucous lights tinge everything with a magical patina. Thus, the beautiful coastal orography of Cadaqués is filled with an intense lyricism, gliding between infinite mottled blues, greens and pinks.Although he was born in Madrid, Matilla trained and developed his career in Barcelona. He studied at the Barcelona School of Fine Arts under the direction of Antonio Caba. An outstanding representative of Spanish Impressionism, he took part in numerous exhibitions and official competitions held in Barcelona, such as the group exhibitions organised by the Círculo Artístico (1895), the International Exhibitions of 1891, 1894, 1896 and 1898 (honourable mention in 1891) and the Art Exhibitions of 1918 and 1919. In 1897 he received an honourable mention at the National Exhibition of Fine Arts in Madrid for his painting "Lavanderas de Galicia" ("Washerwomen of Galicia"). He also showed his work in Paris, taking part in exhibitions such as the Salon des Artistes Français in 1897. His solo exhibitions included those held at the Salón Vilches in Madrid and, in Barcelona, at the Sala Parés (from 1907) and the Pallarés Galleries (1942), the latter a posthumous tribute. Several of his works exhibited there were bought by the Museum of Modern Art in Madrid, and many others were exported to America. Particularly successful was his very large exhibition (150 works) held at the Sala Parés in 1914, which was unanimously praised by the critics of the time. The following year he was shown in Madrid at the Salón Vilches, where all the works exhibited were sold. His landscapes of the Empordà, Camprodón, Port de la Selva and Cadaqués were a great success with the public and critics. A painter endowed with astonishing skill, a marked personality full of sensitivity, a mastery of drawing and painting technique and an overflowing capacity for work, Segundo Matilla was an excellent painter who cultivated absolutely all genres, being a great landscape and marine painter, painting portraits of great quality, especially of people from the world of show business, and his vases and still lifes were also highly appreciated. His paintings of bullfighting themes, painted with great spontaneity and full of movement, demonstrate his great fondness for the art of Cúchares. Within the landscape genre, Matilla showed a predilection for the evening hours, in the manner of Eliseo Meifrèn. He always painted in a totally intelligible manner and without any kind of reflective complications, ignoring absolutely all the artistic trends of his time. Segundo Matilla was also the teacher of outstanding painters of the following generation, including his nephew, Joaquim Terruella, and Antoni Rosell Altamira. His work is currently exhibited in various museums, such as the aforementioned Museum of Contemporary Art in Madrid, the Prado Museum (works on deposit at the Economic Court of the Central Administration and the Municipal Museum of Malaga), the Pablo Gargallo Museum in Zaragoza and the National Art Museum of Catalonia, as well as in important international private collections.
JOSÉ MARÍA MALLOL SUAZO (Barcelona, 1910 - 1986)."Seated female figure", 1967.Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés.Measurements: 81 x 60 cm; 100 x 76 cm (frame).Mallol Suazo trained at the La Lonja School in Barcelona between 1929 and 1935. He was a draughtsman as well as a painter, and published humorous illustrations in "En Patufet", "Virolet" and "L'Esquitx". The first exhibition of his work took place at the Barcelona Contemporary Art Fair of 1936. That same year he was awarded a prize at the Spring Exhibition in Barcelona and, in 1938, the Nonell Prize for Painting, awarded by the Tardor gallery. In 1945 he became a member of the group of artists at the Sala Parés, the gallery where he met the collector Josep Omar Gelpi, who became his dealer from then on. Mallol did not allow himself to be dragged along by the prevailing artistic trends, always remaining faithful to his own realistic-poetic language, and in this work Mallol Suazo offers us a still life made up of fruit and various ceramic pieces arranged anarchically against a modern background of white and green stripes. The artist draws the forms with a broad, free, impastoed brushstroke and uses a chromatic range based on greens, greys and blues, among which the bright red of one of the vegetables stands out. In 1987, a year after his death, the Sala Parés devoted a large exhibition in homage to Mallol. The artist is also represented in such important museums as the National Art Museum of Catalonia, the Museum of Valls, the Historical Archive of the City of Barcelona and the Abbey of Montserrat, as well as in important private collections.
MATEO BALASCH MATEU (San Andrés del Palomar, Barcelona, 1870 - Barcelona, 1936)."Interior of a tavern". Rome, 1891.Oil on canvas.Signed and located in the lower right corner.Size: 89 x 42 cm; 108 x 62 cm (frame).Mateo Balasch studied at the School of Fine Arts of Sant Jordi, in Barcelona, and in Italy with Antonio Mancini. He made his debut in 1892 at the Sala Parés, obtaining a success that earned him a grant from the Barcelona City Council to further his studies in Rome and Paris. Later he went to Buenos Aires to carry out a commission, and also exhibited his work in Montevideo. During the following years he also worked in Milan, Havana and New York, returning to Barcelona for good in 1913. He took part in the Barcelona Fine Arts Exhibitions of 1894, 1898, 1920 and 1923, winning prizes, as well as in some exhibitions in Madrid and abroad. In 1897 he received an honourable mention at the National Exhibition of Fine Arts in Madrid. Mateo Balasch is represented in the Museums of Contemporary Art in Barcelona and Madrid, as well as in several other European and American museums.
'BUDDHA CHILD 2' BY SOPHANNARITH (BORN 1960)Sophannarith Thou, one of Cambodia's most prestigious artists, born in 1960 and student from the Royal Academy of Fine Arts. In 2000 he was acknowledged as an "Honorable Painter" by the Ministry of Culture of the Kingdom of Cambodia.Oil on canvas, mounted on a stretcher. Painted in expressionistic style depicting Buddha as a child with a subtle smile, standing on a lotus flower.Published: From the collection of Dr. Zelnik, SOPHANNARITH, Icon of the Contemporary Cambodian Painting, p. 39 Condition: Very good condition. Provenance: The collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Dimensions: 65 cm x 50 cm
A SMALL WHITE JADE CONG, QIJIAJade. China, Qijia Culture, c. 2200-1600 BCThe geometric simplicity of this miniature cong renders it extremely contemporary in form. Unlike the Liangzhu culture cong which were decorated with masks motifs, this small plain Qijia cong totally lacks surface decoration. Carved to almost pure perfection with only some slight variation in surface width on the collars, the jade exhibits all the essential features of Qijia jades: purity of form and exploitation of the natural inherent qualities of the stone.The cong, in a white variety of jade found in deposits in Qinghai province, presents some white speckles and striations as well as a couple of areas where the jade is dark brown, mostly located on one of the collars. The stone is polished and fairly smooth, but not shiny, and the core is rougher with the usual central ridge. There are also some deposits of calcification in the nicks on the top edge of one of the collars.Compare a related Qijia culture cong of a similar jade at Christie's New York in Dongxi Studio- Important Chinese Jade and Hardstone Carvings from a Distinguished Private Collection on 17 March 2016, lot 909, sold for USD 27,500, and another at Christie's Hong Kong in Chinese Archaic Jades from The Yangdetang Collection on 29 November 2017, lot 2713, sold for HKD 937,500. See also another but smaller cong from the collection of Robert H. Ellsworth at Christie's Hong Kong in The Pavilion Sale - Chinese Ceramics and Works of Art on 5 April 2016, lot 1, sold for HKD 93,750. Furthermore, a cong carved from a very similar jade is published in F. Salviati, 4000 Years of Chinese Archaic Jades, Edition Zacke, Vienna 2017, no. 103.HEIGHT 7.7 cm, WIDTH 5 cmProvenance: Collection of Prof. Filippo Salviati, acquired in a Nanjing antique shop in the late 1990s.
A PAINTED POTTERY FIGURE OF A BACTRIAN CAMEL, TANG DYNASTYChina, 618-907. Standing foursquare atop the shaped base, the baying camel with an elegantly curved neck and raised head, the bulging pack in the form of two monster heads fitted between the humps, the tail swept to one side.Provenance: Galerie Zacke, Vienna, 1 October 1996. Dr. Mons Fischer, acquired from the above, sold for ATS 68,000 (approx. EUR 7,774 today after inflation). A copy of the invoice, dated 1 October 1996 and stating the aforementioned purchase price, accompanies this lot. A seasoned private collector of modern and contemporary art, Dr. Mons Fischer has also acquired fine Chinese works of art since the 1980s, eventually building one of the most important collections of its kind in Austria.Condition: Some old repair as generally expected from Han dynasty excavations. Extensive wear, soiling, losses, chips, holes, cracks and encrustations.Weight: 3,744 gDimensions: Height 40.3 cm, Length 33.5 cmAuction result comparison: Compare a closely related painted pottery figure of a camel, also dated to the Tang dynasty and with a similar monster-head pack, at Sotheby's New York in Asian Art on 14 September 2019, lot 1627, sold for USD 13,750. 唐代彩繪駱駝俑 中國, 618-907年。駱駝俑站在四方基座上，它引頸張口，後肢直立，前腿略彎，彷彿剛從臥姿直身而起，仰天長嘶。 來源：維也納Zacke藝廊，1996年10月1日。Dr. Mons Fischer購於上述藝廊，ATS 68,000 (通貨膨脹后換成今日歐元大約 EUR 7,774)。隨附一份1996年10月1日出具的發票 顯示了當時的價格。Mons Fischer 博士是一位經驗豐富的現代及當代藝術私人收藏家，自 1980 年代以來，他還收藏了衆多精美的中國藝術品，建立了奧地利最重要的一個藝術品收藏。 品相：一些從漢代考古發掘中普遍預期的舊修復。磨損嚴重，污跡，缺損，缺口、小孔、裂紋和結垢。 重量：3,744 克 尺寸：高40.3 厘米, 長 33.5 厘米 拍賣結果比較：一件唐代相近駱駝陶俑見紐約蘇富比Asian Art 2019年9月14日 lot 1627, 售價USD 13,750。
AN YIXING 'FROG AND LOTUS' TEAPOT AND COVER BY WANG YINCHUN (1897-1977)China. Finely and naturalistically modeled, the body in the form of overlapping lotus leaves, forming five round feet to the base. The spout also in the form of a lotus leaf while the handle is modeled as a gnarled branch, the circular cover in the form of a lotus pod with partly movable seeds and surmounted by a central knop in the form of a frog.Inscriptions: To the interior of the cover, oval seal 'Yinchun'. To the base, square seal 'Made for the Imperial Court of the Great Qing Dynasty'.Provenance: Old private villa estate in Bonn, Germany. German private collection, acquired from the above.Condition: Good condition with extensive wear and some firing irregularities, occasional light scratches, microscopic nibbling to edges. Some of the movable seeds are stuck.Weight: 418.2 gDimensions: Height 10.5 cm, Width 18.5 cmWang Yinchun (1897-1977), one of the Six Old Masters chosen to teach in the main factory when Yixing ware was revived in the 1950s, is well-known for his efficient yet high standard production of teapots in various forms. It is said that Wang used to make more than ten pieces each day without any compromise on the quality of a single teapot.Auction result comparison: For a teapot and cover by the same artist, see Sotheby's New York in Important Chinese Art on 15 March 2017, lot 725, sold for USD 13,750. Compare a related teapot by Jiang Rong, another of the Six Old Masters, at Christie's New York in Contemporary Clay: Yixing Pottery from the Irving Collection on 19-26 March 2019, lot 15, sold for USD 37,500.王寅春宜興青蛙蓮蓬茶壺 中國。壺身以重疊的荷葉形式出現，底部形成五足。壺嘴也呈荷葉形，而手柄則為樹枝狀。壺蓋呈蓮蓬狀，蓮子可活動，上面蓋鈕為青蛙。 款識：壺蓋内見"寅春"二字。壺底有四方印一枚"大清宮廷監造"。 來源：德國波恩私人別墅遺產。德國私人收藏，購於上述收藏。 品相：狀況良好，有大量磨損，並有一些燒製不規則現象，偶有輕微划痕，微小的邊緣磨損。 一些可活動的蓮子有點卡住。 重量： 418.2 克 尺寸：高10.5 厘米, 寬18.5 厘米 拍賣結果比較：同一藝術家的另一件茶壺見紐約蘇富比Important Chinese Art 拍場2017年3月15日 lot 725, 售價USD 13,750. 一件蔣蓉六字款蓮蓬茶壺見紐約佳士得Contemporary Clay: Yixing Pottery from the Irving Collection拍場2019年3月19-26日lot 15, 售價USD 37,500.
A 'TROMPE L'OEIL' PORCELAIN DOUBLE-GOURD VASE WITH A CICADA, BY MIDDLE KINGDOM PORCELAINChina. Thinly potted and covered entirely with a white glaze except for the foot ring, a cicada neatly painted in shades of black and yellow enamel, crawling up the lower lobe. The recessed circular base is inscribed in underglaze blue, Zhong Wangguo Jia Bo Shi ('Contemporary art porcelain, designed by Bo Jia').Provenance: A private collection from Los Angeles, California. Condition: Excellent condition with minor wear and firing irregularities.Weight: 150.6 gDimensions: Height 11.5 cmThe Qianlong Emperor had a unique approach to ceramic production: He favored antiquity-inspired designs, enjoyed objects that were simulations of other materials and he challenged craftsmen to create pieces that were technically pioneering and unconventional in their aesthetics. During his reign and often under his personal supervision, trompe-l'oeil ceramic simulations that were near-impossible to distinguish from the 'real' were produced at the Imperial kilns of Jingdezhen.The present lot is a creation that continues this ancient tradition: Looking like a plain white Hulu, the appearing Cicada will startle anyone when the vase is quickly turned around in an unobserved moment.Middle Kingdom Porcelain is a Studio in Jingdezhen founded by Bo Jia and Alison Alten in 1998 near the old imperial kilns, specializing in modern interpretations of classic designs and glazes. Widely acclaimed for their elegant silhouettes and innovative use of color, Middle Kingdom's wares have been curated by many museums and boutiques across the globe, including the Victoria & Albert Museum in London, the MOMA in San Francisco, and the National Gallery of Art in Washington D.C.當代"中王國賈泊氏"白釉蟬紋葫蘆中國。薄胎，除圈足外，整個葫蘆都覆蓋著白釉。蟬身上黑色和黃色琺瑯，從下往上爬。底足青花款"中王國賈泊氏"。 來源：洛杉磯私人收藏 品相：狀況極好，輕微磨損和燒製缺陷 重量：150.6 克 尺寸：高11.5厘米
Cículo de JUAN DE VALDÉS LEAL (Seville, 1622 - 1690)."Saint Francis of Borgia".Oil on canvas.Repainting.Lacking in the frame.Measurements: 64 x 51 cm; 82,5 x 67,5 cm (frame).Contemporary of Murillo, Valdés Leal was his biggest pictorial rival in the Seville of his time. However, their language differs greatly. Murillo's gentleness contrasts with the latter's harshness and dramatic verism. In this representation of Saint Francis Borgia, whom we recognise by the skull and imperial crown he holds in his left hand, the saint is depicted with a countenance reminiscent of other religious figures depicted by Valdés Leal, starting with the painting of the same figure that he produced for the pictorial series on the life of Saint Ignatius of Loyola (now in the Museo de Bellas Artes in Seville). Under the lowered eyelids, black eyes of impenetrably deep expression, together with the frown and half-open lips, reveal with intensity a moment of inner transformation. The dark, velvety-textured clothing accentuates by contrast the naturalism of the flesh tones, both on the face and on the hands. The glittering jewels on the skull denote particular skill in the use of glazes and glitter. The psychological depth and the symbol of the crowned skull convey the horror at the discovery of the decomposition of the Empress Isabella of Portugal when she was about to hand over her corpse in Granada. The jewels symbolise the saint's renunciation of all earthly goods. Especially known for his paintings of vanitas (such as those he painted for the church of La Caridad in Seville), Valdés Leal nevertheless worked on all kinds of religious themes. We do not know when he moved to Córdoba, although it is likely that he had already trained as an artist in his native city. It has been speculated that he was influenced by the workshop of Herrera el Viejo, and also by the art of the Cordovan Antonio del Castillo, as possible influences for his first known signed and dated work, the San Andrés in the church of San Francisco in Cordoba, dated 1647. In it he was able to combine the monumentality of the figure of the saint with a naturalistic approach with visible success. In 1656 he settled in Seville, where he spent most of his life. In 1660 he was one of the founders of the Academy of Drawing, of which he became president in 1663. The following year Palomino set out on his trip to the court and to El Escorial, a journey that can still be understood as an apprenticeship, driven by his eagerness to become acquainted with the works of the great masters in the royal collections. In 1667 he joined the Brotherhood of Charity in Seville, whose founder had been Miguel de Mañara, the noble visionary author of the eschatological Discourse on Truth, to which Valdés would remain attached from then on. In 1671 Valdés Leal had the opportunity to work as an architect on the ephemeral decorations that the Seville cathedral had installed to celebrate the canonisation of Saint Ferdinand. Thanks to these works Palomino defines him as "a great draughtsman, perspectivist and architect". He also produced two engravings, reproducing his works in the cathedral, for Fernando Torres Farfán's book celebrating the event, which gives us an insight into his work as an architect. These are his most important works as a printmaker, although his engraving of the cathedral monstrance, a self-portrait and the posthumous image of Miguel de Mañara are also known. In 1672 he was in Cordoba, an occasion that Palomino took advantage of to meet him personally. This lends further value to the Cordovan treatise writer's affirmation of Valdés Leal's literary interest, as he describes him as possessing "the ornament of all good letters, not forgetting those of poetry".
ABRAHAM DE VRIES (ca.1590- ca. 1650)"Portrait of a gentleman.Oil on oak panel.With label on the back.Measurements: 66 x 56 cm; 80 x 64 cm (frame).This work has great aesthetic similarities with the painting by Abraham de Vries, "Portrait of an unknown nobleman" which belongs to the collection of the Het Stadmus Museum in Belgium. In both cases the composition, the treatment of the lace on the body, the fabrics of the costume and the tones used are similar. However, in the present painting the sitter is a younger man with a much more defined flesh tones that add a high degree of detail to the portrait, although he turns his face in order to establish eye contact with the viewer.Abraham de Vries was one of the leading portraitists of his day. Due to an itinerant lifestyle that took him to countries such as France, Antwerp and the Dutch Republic, his stylistic qualities are difficult to pinpoint. Little is known about Abraham de Vries' early life and training. It is now generally believed that the artist was born in The Hague because when he joined the Guild of Saint Luke in The Hague in 1644 he paid the fees of a native son of the city. In the past, he was believed to be from Rotterdam. In 1617 the artist was registered in the Rotterdam church administration. De Vries travelled to the south of France in the 1620s. During his period of residence in Aix-en-Provence around 1623-1624 he was the teacher of the Flemish artist Jan Cossiers, who had travelled from his native Antwerp to the south of France. De Vries also spent time in Toulouse, Montpellier (1625), Bordeaux (1626) and Paris (1627-1628). During his stay in France he met the prominent French scientist and humanist Nicolas-Claude Fabri de Peiresc, a close friend of Rubens, and De Vries met Rubens in person in 1629 during a stay in Paris. After his return to the north, he made several trips to Paris and Antwerp. He registered in Antwerp in 1628 and again in 1634 when he became a member of the local guild of Saint Luke in July 1634. Cardinal-Infante Ferdinand of Austria, who was the governor of the Spanish Netherlands, saw a portrait by De Vries during his visit to Antwerp. This led to an invitation to work at the court city of Brussels, where his work was considered superior to that of Anthony van Dyck. In 1639-1640 there are records of De Vries' presence in Rotterdam. Abraham de Vries is primarily known for his portraits although he also produced a number of landscapes. His early works recall the works of contemporary Amsterdam and Hague artists such as Thomas de Keyser and Jan van Ravesteyn. From the late 1620s to the 1630s his painting possessed a clear Flemish influence that is recognisable in his portraits. By the 1640s the Amsterdam art scene had fallen under the spell of Rembrandt's artistic portraiture. Rembrandt's portraits emphasised the character and personality of his models through their physiognomy rather than through symbols and iconography. Abraham de Vries was also unable to resist the influence of this new pictorial style in his portraits.
Bosanquet (Robert Carr & Dawkins, Richard MacGillivray). The unpublished objects from the Palaikastro excavations, 1902-1906. Part I (The British School at Athens supplementary paper no. 1), London: Macmillan & Co., Ltd., 1923, monochrome plates and illustrations, few colour plates, 4to, together with: Frankfort (Henri), Studies in early pottery of the Near East. II. Asia, Europe and the gean, and their earliest interrelations, London: Royal Anthropological Institute, 1927, monochrome plates, 8vo Frankfort (Henri), Cylinder seals, an essay on the Art and Religion of the Ancient Near East, London: Macmillan & Co., 1939, monochrome plates, folding table, 4to, Furumark (Arne), Mycenaean pottery, analysis and classification, Stockholm: Kungl. Vitterhets Historie och Antikvitets, 1941, 689p., few illustrations, large 4to in 8s, Matz (Friedrich), Die fru?hkretischen siegel: eine untersuchung u?ber das werden des Minoischen stiles, Berlin: Walter de Gruyter & Co., 1928, monochrome plates & illustrations, large 4to, and four others similar, all in near contemporary uniform terracotta red morocco-backed boards, 8vo & 4toQty: (10)
Chandler (Richard). Travels in Greece: Or an Account of a Tour made at the expense of the Society of Dilettanti, 1st edition, Oxford: Clarendon Press, 1776, 7 engraved maps and plans, a few folding, some offsetting and light spotting, armorial bookplate of William Constable F.R.S & F.A.S. (1721-1791), of Burton Constable, Yorkshire, art collector, antiquarian and naturalist, all edges red, contemporary tan calf gilt, spine a little rubbed and faded, 4toQty: (1)Footnote: Blackmer 319. Not in Atabey. "Chandler's account of Greece is rather hurried compared to his account of Asia Minor. However, the account of Athens is very important; it was the most detailed that had yet appeared, and Chandler also made the first public announcement of the discovery of the temple of Apollo Epikourios at Bassae. This information was given to him at the lazaretto at Zakynthos by Joachim Bocher, the French architect who had discovered it." (Blackmer).
Art Journal, 63 volumes, a run, 1849-1911, numerous steel engraved plates, wood-engraved illustrations, etched and photogravure plates, and colour illustrations, mixed bindings (38 volumes leather-bound in red, green, and black morocco, the remainder bound in original publishers cloth, or contemporary cloth bindings), rubbed and some marks (bindings generally intact and in good condition), folioQty: (63)Footnote: First published in 1839 as the Art Union Monthly Journal, the periodical became The Art Journal in 1849 and was considered the most important 19th century art publication, ceasing in 1912. The editor, Samuel Carter Hall opposed the emerging Pre-Raphaelite Brotherhood after 1850, considering it to be reactionary and wrote articles attacking the movement and supporter John Ruskin.
Fletcher (William Younger). Foreign Bookbindings in the British Museum, London: Kegan Paul, Trench, Trübner & Co. Ltd., 1896, chromolithograph plates, top edge gilt, remainder untrimmed, original cloth, frayed and worn to joints and extremities, some fading, folio (limited edition 325/500), together with: Bayley (Harold), A new light on the Renaissance displayed in contemporary emblems, London: J.M. Dent & Co., 1909, illustrations to text, top edge gilt, remainder untrimmed, contemporary vellum with yapp fore-edges, gilt-blocked emblem to spine and upper cover, spine mottled, large 8vo, Blackburn (Henry), The Art of Illustration, London: W.H. Allen & Co. Ltd., 1894, monochrome frontispiece, plates and illustrations, original two-tone cloth, extremities rubbed, 8vo, McDonnell (Joseph) & Healy (Patrick), Studies in the History of Irish Bookbinding: I. Gold-tooled bookbinding commissioned by Trinity College Dublin in the eighteenth century, 1st edition, Kildare, Ireland: Irish Georgian Society, 1987, colour & monochrome plates, original cloth in dust-jacket, folio, McLean (Ruari), Victorian Publishers' Book-bindings in Paper, 1st edition, London: Gordon Fraser, 1983, colour & monochrome plates and illustrations, original cloth-backed pictorial boards, in glassine dust jacket, large slim 8vo, plus others by Ruari McLean, including Victorian book design and colour printing, 1967; Victorian publishers' book-bindings in cloth and leather, 1974; and Joseph Cundall, a Victorian publisher, 1976, together with four other book & bibliography relatedQty: (12)
Herbert (Henry, publisher). The Buyers' Guide to the Manufacturing Towns and Manufacturers of Great Britain, 1873, numerous advertisements, endpapers renewed, original half calf gilt, rebacked, some wear to corners, 4to, together with Scott (W. B.).The Ornamentist, or Artisan's Manual in the Various Branches of Ornamental Art, London, Dublin & Edinburgh, 1845, numerous lithograph illustrations, occasional light spotting and stains, contemporary half morocco, rubbed with losses to spine, 4to, plus Cassell's Illustrated Exhibitor... with letter-press descriptions of all the principal objects in the International Exhibition of 1862, 1862, numerous monochrome illustrations, presentation inscription, all edges gilt, original decorative cloth gilt, spine faded, 4to, with 3 others: The Art Journal Illustrated Catalogue of the International Exhibition 1862, The Illustrated Catalogue of the Paris International Exhibition 1878, and The Art Journal. The Paris Exhibition 1900, 1901Qty: (6)Footnote: The Ornamentist, or Artisan's manual in the various branches of ornamental art: being a series of designs selected from the works of Dietterlin, Berain, Blondell, Meisonier, Le Pautre, Zahn, Boetticher, and the best French and German ornamentalists; with an introductory essay on ornamental art by W.B. Scott, of the Government School of Design, Newcastle.
Waring (J.B.) Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862, 3 volumes, London: Day & Son, 1863, additional chromolithograph titles, 301 chromolithograph plates, a few small marginal spots, bookplates of John Rowland Abbey (1894-1969, book collector) and Sir Reginald W. Proctor-Beauchamp (5th Baronet, 1853-1912), contemporary half calf gilt, a little rubbed and scuffed, folioQty: (3)
Loading...-
16097 item(s)/page