There are 16093 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeEichholtz pair of contemporary gold coloured metal swivel tub chairs, in a modern Art Deco style, upholstered in black velour-type fabric, h70cm, w76cmCondition Report: Do not appear brand new but relatively unused. Scratches to gilt frame and minor marks to metal. Very minor marks to upholstery, otherwise in good condition.
TAMAR DE VRIES WINTER: a silver and enamel beakerLondon 2008 With a flaring lip, the sides enamelled in a wave design over a linear ground, height 9cm, weight 10oz.Footnotes:Born in Jerusalem to a family of immigrants from Europe, Tamar was trained in the UK, where she lives and practices her work. Personal memories inspired by two cultures have had a major impact on her life and career as an enameller, jeweller and silversmith. The art of enamelling is central to her work. Digital technology—printing and fusing her own photographic images onto her metalwork—has enabled her to transform her ideas into objects that tell a story. Her interest in the marking of important life events with objects led her to create a range of ceremonial work.Tamar's work has been commissioned and collected both by private individuals and public institutions: the Victoria and Albert Museum (which recently acquired her 'Fragment' Bowl), the Jewish Museums in London and in New York, and the National Museum of Scotland. In addition to teaching in the UK and abroad, since 1996 Tamar is a co-director of Studio Fusion, a London gallery dedicated to contemporary vitreous enamel.For further information on this lot please visit Bonhams.com
Cohausen (Johann Heinrich). Dissertatio satyrica physico-medico-moralis de pica nasi, sive tabaci sternutatorii moderno abusu, et noxa, Amsterdam: Jan Oosterwyk, 1716. 8vo (146 x 85 mm), modern quarter calf, engraved frontispiece (trimmed and mounted), title-page tipped in - Armstrong (John). The Art of Preserving Health. To which is prefixed a Critical Essay on the Poem, by J. Aikin, London: T. Cadell, Jun. and W. Davies, 1795. 8vo (156 x 95 mm), contemporary tree calf gilt, rebacked, half-title, engraved portrait frontispiece, advertisement leaf, 4 engraved plates after Stothard, engraved ownership of Joseph John Alley (1840-1912), architect, dated Manchester [18]63 - Taylor (Joseph). Annals of Health and Long Life; with Observations on Regimen and Diet, so Necessary to the Preservation of Life: including the Records of One Hundred and Forty Remarkable Persons, who attained Extreme Old Age, London: Effingham Wilson, 1818. 12mo (176 x 100 mm), modern half calf retaining contemporary marbled boards, engraved frontispiece - Goldsmith (Oliver). A History of the Earth and Animated Nature, London: A. Fullarton and Co., 1850. Large 8vo (250 x 160 mm), contemporary half calf, rebacked retaining original title-labels, hand-coloured additional vignette title-pages, engraved portrait frontispiece to volume 1, 71 hand-coloured engraved plates (of 72: lacking plate 27), a few plates finger-soiled - and 3 others (qty: 8) ESTC T60014 (Armstrong). Dissertatio ... de pica nasi is the author's best-known work, a Latin parody on snuff in which Apollo orders Mercury to confiscate the noses of snuff-users.
Glasse (Hannah). The Art of Cookery made Plain and Easy. To which are added, One Hundred and Fifty New Receipts, Edinburgh: Alexander Donaldson, 1774. 12mo in half-sheets (172 x 100 mm), contemporary calf, folding bill of fare, wear to spine, occasional spotting, a few leaves dog-eared, together with a manuscript commonplace book of poems and ballads, c.1775 and later, 17 leaves, loose in contemporary sheep covers (with faint manuscript date 1775[?] to front), contents including 'Desponding Negroe' (begins 'On Africas wide plains where the lions now roaring'), 'The Miller of Oxfordshire' ('A miller I am, ever heart whole and free'), 'Corporal Casey' ('When I was at home I was merry and frisky, My dad kept a pig & my mother sold whisky'), and similar (qty: 2) ESTC T90934 (Glasse: two copies only in UK libraries).
Architecture - Nicholson, Emrich " Contemporary Shops in the Unites States" Jackson " Semi-Detached in London" " Eastern European Modernism" Dean, David " The 30's The English Architectural Scene", Yorke F.R.S. and Gibbard " The Modern Flat" vols relating to Art Deco and other vols ( 3 boxes)
Ca. 3100-2500 BC. Bactrian. A fine Bactrian alabaster vessel, featuring a flat foot, a slightly bulbous body with the sides slightly flaring outwards terminating at a flared rim. It has a beautiful cream colour, with greyish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material - soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Size: L:110mm / W:145mm ; 1.32kg. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Ca. 3100-2500 BC. Bactrian. A fine conical Bactrian alabaster vessel, standing on a narrow flared foot. It has a beautiful cream colour, with greyish veins running through its body. Alabaster was a precious material, widely traded in the region from the 4th millennium BC onward. The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, such as column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system. It was one of many economic and social entities in the vicinity and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India, and the Arab States, amongst others. Many stone carvers inhabited the regions of Margiana and Bactria and there was no shortage in raw material - soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi-precious lapis-lazuli, was in Bactria, at Badakhshan (now north-western Afghanistan), which provided material not only for the Bactrian and Margian carvers but also, further to the west into Mesopotamia, for the Assyrian kings. For more information on Bactria, see Mairs, R. (ed.) (2020). The Graeco-Bactrian and Indo-Greek World. London: Taylor & Francis. Size: L:85mm / W:99mm ; 230g. Provenance: Property of an Oxfordshire art professional; previously in an old British collection, formed in the 1980s on the UK / International art markets.
Natural History Books: Voodoo Salon, Errol Fuller, 240 pages, 2014, This book is a visual stroll through great examples of the craft - both historical and contemporary - with a commentary throwing light on its aims and intentions. Work commissioned by the world's great museums is featured; so too are pieces ordered by private collectors including familiar names from the past. Charles Dickens, for instance, grieving at the death of his pet raven, paid a taxidermist to preserve its outward form. Together with The Victorian Taxidermy Co Ltd, a fantastic full colour pictorial reference soft back book cataloging the fine art taxidermy offered for sale by the Victorian Taxidermy Company. A lavishly printed book that is now becoming increasingly rare to find. 139 pages full of the finest cases of taxidermy by many different exponents of the craft. A fantastic reference book. Published 2004. (2).
Bryan Ferry signed 12x8 colour photo. Bryan Ferry CBE (born 26 September 1945) is an English singer and songwriter. His voice has been described as an elegant, seductive croon. He also established a distinctive image and sartorial style; according to The Independent, Ferry and his contemporary David Bowie influenced a generation with both their music and their appearances. Peter York described Ferry as an art object who should hang in the Tate. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99
A collection of original art works of glamorous actresses of the 1930's, mainly in Art Deco/flapper style, the majority signed V.Bates or in initials V.B, including pencil drawings of Joan Crawford, May West, plus James Cagney and Maurice Chevalier, pen and ink drawings Claudette Colbert & Greta Garbo, plus other pen, ink and watercolours etc. plus Jeanne Lanvin fashion house 1948 printed leaflet and invitation, the leaflet with some contemporary costume sketches, etc.
Emerson (William). The Mathematical Principles of Geography, 2 parts in one, London: J. Nourse, 1770, 22 engraved folding plates of diagrams, some offsetting, occasional 20th century annotations to text and few plates, 20th century blind panelled calf, morocco title label, 8vo, together with: Martin (Benjamin), The Young Gentleman and Lady's Philosophy, in a continued Survey of the Works of Nature and Art; by Way of Dialogue, 2 volumes, London: Printed and sold by W. Owen, and by the author, 1759, engraved frontispiece to volume 1, 50 engraved plates only of 52 (includes 9 folding plates, lacking plates 8 & 40), volume 1 text block split, contemporary calf, boards detached, spines without title labels, worn, some insect damage to volume 2 spine, 8vo, Bion (Nicolas), L'Usage des Globes Celeste et Terrestre, et des Spheres suivant les differens systemes du monde, 3rd edition, Paris: Jean Boudot & Jacques Collombat, 1710, 19 engraved plates only of 43 (including 5 folding, one with repaired vertical closed tear), occasional marginalia and few ink marks, initial three leaves torn to upper outer blank corners, some toning and dust-soiling, occasional damp stains, later endpapers, contemporary calf, rebacked, gilt decorated spine preserving morocco title label, boards very worn at fore-edge with loss of leather, 8vo, and four othersQty: (8)
Freart (Roland) An Idea of the Perfection of Painting: Demonstrated from the Principles of Art, 1st English edition, London: Henry Herringman, 1668, occasional marginal toning, occasional spotting, contemporary notation to verso of front endpaper, contemporary sheep, rebacked, boards rubbed and bumped, 12moQty: (1)NOTESFirst English edition translated by John Evelyn. George Baillie's copy (MP for Berwickshire 1708-34) with his bookplate on the front pastedown and his ownership inscription to title-page.
Glasse (Hannah). The Art of Cookery, Made Plain and Easy; Which far excels any Thing of the Kind yet published... In which are included, One Hundred and Fifty new and useful Receipts, not inserted in any former Edition. With a copious Index. New edition. With all the modern Improvements; And also the Order of a Bill of Fare for each Month; the Dishes arranged on the Table in the most fashionable Style, London: T. Longman, B. Law, J. Johnson, et al., 1796, facsimile signature "H. Glasse" printed on p.1, half-title with repaired closed tears and torn lower outer blank corner, initial two contents leaves with repaired closed tears, final leaf slightly frayed to fore-margin, some light toning and minor spotting, later endpapers, contemporary sheep, rebacked, dark green morocco title label to spine, board corners worn and showing, 8vo, together with: Bitting (Katherine Golden), Gastronomic Bibliography, facsimile reprint of 1939 San Francisco edition, London: Holland Press, [1981], original green cloth, 4to (limited edition 447/500)Qty: (2)NOTESGlasse - Cagle 706; Maclean, p.60; Oxford, p.77 in note; Schraemli (1) 210; Simon BG 771; Wheaton and Kelly 2418.
Litta (Pompeo). Famiglie Celebri di Italia, 4 volumes, Milan: presso Paolo Emilio Giusti, 1819-c.1844?, numerous genealogical tables representing 43 families, each family with hand-coloured coat of arms, many heightened with gold or silver, numerous line engraved plates, many with partial hand-colouring, numerous engraved (with aquatint) portraits, scenes and views, most richly hand-coloured, several additional hand-coloured armorials, five maps: 3 with contemporary hand-colouring (one double-page), and one hand-coloured in outline (double-page), the families complete except for: Cesi di Roma (lacks all plates), Ferrero di Bella (4 leaves of plates only, of 6), Dal Verme di Firenze (lacking map), volume I title spotted, a few short closed edge tears, infrequent (mainly light) spotting, fore-edges spotted, uniform late 19th century quarter sprinkled calf, worn, most joints cracked, the spines numbered 1 to 4 and lettered A-C, E-G, M-P, R-V, volume I spine covering detached (loosely inserted), original printed blue wrapper for fascicolo LVIII dispensa 99 loosely inserted, folio, together with: Five further families in individual fascicles, numerous genealogical tables, each family with hand-coloured coat of arms, some heightened with gold, Attendolo Sforza di Cotignola with hand-coloured map, but without all uncoloured plates, Colonna Di Roma, D'Este, Medici di Firenze & Visconti di Milano all without plates, Visconti gia Aicardi di Milano complete (tables only, as issued), each loosely contained in contemporary plain blue wrappers, worn with some soiling or spotting, Medici lacking rear cover, Visconti covers separated at spine, folioQty: (9)NOTESThe families contained in the bound volumes comprise: Volume 1: Acquaviva di Napoli, Altemps di Roma, Aldobrandini di Firenze, Appiani di Pisa, Archinto di Milano, Bentivoglio di Bologna, Buonarroti di Firenze, Bonelli di Roma, Boncompagni di Bologna, Borromeo di S. Miniato, Carraresi di Padova, Casali di Cortona, Castiglioni di Milano, Cavalcabo di Cremona, Cesi di Roma, Corraro di Venezia Volume 2: Erizzo di Venezia, Ferrero di Biella, Foscari di Venezia, Ghilini d'Alessandria, Giovio di Como, Giustiniani di Venezia, Gonzaga di Mantova, Gozzadini di Bologna, Guicciardini di Firenze Volume 3: Marescotti di Bologna, Martelli di Firenze, Massimo di Roma, Mauruzi di Tolentino, Marchesi Del Monte S.a Maria Nell'Umbria detti Bourbon del Monte, Pallavicino, Pio di Carpi Volume 4: Rangoni di Modena, Roverella di Ferrara, Sanvitale di Parma, Simonetta di Calabria, Strozzi di Firenze, Tiepolo di Venezia, Torelli di Ferrara, Trivulzio di Milano, Varano di Camerino, Dal Verme di Verona, Vettori di Firenze The complete work, originally issued in 184 parts, covered 150 families. Pompeo Litta began the work in 1819 and had published 113 families before he died in 1852, after which it was completed by others. Litta only included Italian families that were especially notable or famous. The genealogical tables or Tavolas include brief biographies of the most prominent members of each family, and the drawings of family monuments and tombs are recognised as an important art historical record as many had already been destroyed even at the time of publication.
The Studio. 23 volumes, a broken run, 1897-1927, numerous monochrome illustrations & advertisements, some spotting & toning, mixed contemporary leather & cloth bindings, spines & boards rubbed & toned with some spines with minor loss, 8vo, together with; The Special Number of "The Studio", 15 volumes, 1905-38, numerous monochrome illustrations & advertisements, some light toning, 13 volumes in publishers original wrappers, covers slightly rubbed & toned with minor loss to head & foot, 8vo, plus other late 19th & early 20th-century art reference & literature, including Art Journal, 5 volumes, 1865-1901, The Magazine of Art, 10 volumes, circa 1880-94, mostly in publisher's original bindings, G/VG, 8voQty: (72)
di San Lazzaro, XXe Siecle Nouvelles Situations de L' Art Contemporain (New Situations of Contemporary Art), XIV, 1960, text in French, with three original lithographs by Pierre Alechinsky, Fiedler and Chagall and numerous other reproductions illustrating the articles, all complete and in very good condition
Lesniewicz, Horst (1926 Berlin-2003 ebenda) "Musiker", Öl/Spanplatte, sign. u.r., 54x76 cm, Rahmen (stammte aus uraltem polnischen Offiziersadel, erhielt 1936 in Wobesde in der Nähe von Stolpmünde in Pommern eine Stunde Unterricht im Zeichnen von Max Pechstein (so wurde der Mythos begründet, er sei Schüler von Max Pechstein gewesen) ab 1947 war er als Zeichner und Maler autodidaktisch in Berlin tätig und hat seine Hauptschaffensperiode in den 1970 er und 80 er Jahren gehabt und bis kurz vor seinem Tode noch gemalt, im Jahr 1980 gab es die erste größere Ausstellung in Böblingen, im Jahr 1983 eine im Museum of Contemporary Art in Chicago, welches ein Werk von Lesniewicz besitzt)
1966 TVR 400 Transmission: manualMileage:2500The TVR Griffith Series 400 is a two-door sports car produced by Griffith Motor Company in Plainview, New York , between 1964 and 1967. It was the successor to the TVR Griffith 200 featuring improved cooling via a larger radiator with twin electric fans, redesigned rear suspension, and a redesigned rear with better visibility and the round taillights. The standard engine in the 400 was the more powerful Ford 289 'Hi Po Cobra V8' Windsor Engine producing reputedly 308 bhp that was available in the Series 200 as an option. The 400 weighed a few more pounds than the 200 due mostly to the new Salisbury independent differential with a higher gear ratio giving it a higher top speed. Grantura Ltd of England designed the independent suspension for the TVR automobiles which later became the Griffith 200 and 400. The Griffith 400 had state-of-the-art unequal wishbone suspension all four corners and the car weighed significantly less than its contemporary, the AC Cobra, making it a very potent racing car. As the Series 400 cars were being produced in early 1965, the entire east coast of the US was crippled by a prolonged dock strike. This not only caused a disruption in the supply of the Series 400 bodies that were being shipped from TVR in Blackpool, UK, but also caused a delay in the shipment of the newer body design of the Series 600. Frank Reisner, whose Intermeccanica body works in Turin, Italy, were building the new steel bodied Griffith, was also unable to have the bodies shipped. Jack Griffith attempted to bring his car to the public by having these bodies airlifted across the Atlantic. With only 59 examples of the 400 worldwide, with an unknown number remaining, and the fact that some of the cars have been turned into race cars, this is a very rare road car.This fabulous and rare sports car is presented in black with a deep burgundy leather interior and was restored between 2008 and 2011 at a cost of over £104,000 including the original purchase price. It has covered approximately 2,500 miles since this rebuild. Its 4.7 litre V8, derived from the AC Cobra, provides exhilarating performance pushing out circa 300 bhp. Its brutish looks and fabulous sounding V8 make this stand out amongst rivals of similar stature. With very few of these sports cars still around, this surely must be one for the collector but, for those willing to push the boundaries, can be used for great punishment on the road. The Griffith Motorcar Company in North Carolina, USA have the owner history on file in the Griffith Registry and have confirmed that it is indeed a genuine Griffith. A rare opportunity to purchase a bit of history.Interested parties should satisfy themselves as to the description and condition of each lot prior to the sale. Accordingly, buyers are on notice that each vehicle is offered ‘as is/as seen’ subject to the Terms and Conditions for the auction. Buyers are advised to inspect the vehicle in person or use a professional to carry out this service. Historics will not entertain disputes over descriptions.
Alicò Giovanni (Catania 1906-1971) Oil painting on table depicting country road with houses. (Aci Sant'Antonio) and Etna in perspective. Signed on the bottom right Alicò and dated 1958 50x60 cm, in Frame 71 x 81 cm Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from precondrued constraints or tracks. In 1935 he establishes First in Naples then in Milan. In 1942 he is present with a work at the XXIII Biennale in Venice, and in the The same year, he holds his first personal exhibition at the Tornabuoni Gallery of Florence. Follow, between 1948 and 1953, six years of activity in Argentina, with three personal to Buenos Aires and many participations in Collective in several national salons in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Back Italy, from the mid-fifties and for the entire subsequent decade themselves were his personal to Catania, Milan, Rome and Como. It was awarded Suzzara in 1955 with the farmer's work that rests, where the painter, released by one Cold realistic description and far from the typical Neocuban schemes of the first post-war period, abandons to a painting of luministic suggestion, from the wide green, gray, landownes, supported by A dense pictorial matter defined by a thick outline line. The painting is currently preserved In the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited the Pincio in Piazza del Popolo in Rome, one of the most active realities in the Panorama of art exhibitions, where they also exposed Renato Guttuso and Carla Accardi. He started his artistic path depicting in his painting the carts with the colorful stories of Pupi Using Preferably Tims, then it introduces delicate colors in its palette, Vibrant, and focuses on themes pervaded by a marked spirituality. The favorites are figures Feminine, death nature and landscapes. In the fifties Giovanni Alicò approaches his style to that of Guttuso, in the field of social realism. His attention is towards a synthetic figurative painting, which It proceeds to suggestions in the general adherence to the themes of social realism. After 1960 he enters his work an important poetic made of arabesques bright and chromatic effects Shaded furniture. Since 1967, anthropomorphic characters appear on these wallpapers, sort of ghosts, which Libroise in the space of the composition. The ultimate production of the artist is instead characterized by paintings where signs, repeated geometric shapes and large color stains are made with intense and vivid colors I arrive at informal and material outcomes. Giovanni Alicò dies in Catania in 1971. After his death, an important retrospective is set up At the Palazzo della Stocky in Catania in 1973. Many of his works are present in important collections Private in Europe and America and in various art foundations
Alicò Giovanni (Catania 1906-1971), Oil paintinged on canvas depicting Marina with houses and boats. Italy, (Playa di Catania). Signed on the bottom right and dated '54. 50x60 cm, in Frame 66 x 77 cm Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from precondrued constraints or tracks. In 1935 he establishes First in Naples then in Milan. In 1942 he is present with a work at the XXIII Biennale in Venice, and in the The same year, he holds his first personal exhibition at the Tornabuoni Gallery of Florence. Follow, between 1948 and 1953, six years of activity in Argentina, with three personal to Buenos Aires and many participations in Collective in several national salons in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Back Italy, from the mid-fifties and for the entire subsequent decade themselves were his personal to Catania, Milan, Rome and Como. It was awarded Suzzara in 1955 with the farmer's work that rests, where the painter, released by one cold realistic description and away from the typical neocubism diagrams of the first post-war period, it abandons to a painting of luministic suggestion, from the wide green, gray, landownes, supported by A dense pictorial matter defined by a thick outline line. The painting is currently preserved In the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited the Pincio in Piazza del Popolo in Rome, one of the most active realities in the Panorama of art exhibitions, where they also exposed Renato Guttuso and Carla Accardi. He started his artistic path depicting in his painting the carts with the colorful stories of Pupi Using Preferably Tims, then it introduces delicate colors in its palette, Vibrant, and focuses on themes pervaded by a marked spirituality. The favorites are figures Feminine, death nature and landscapes. In the fifties Giovanni Alicò approaches his style to that of Guttuso, in the field of social realism. His attention is towards a synthetic figurative painting, which It proceeds to suggestions in the general adherence to the themes of social realism. After 1960 he enters his work an important poetic made of arabesques bright and chromatic effects Shaded furniture. Since 1967, anthropomorphic characters appear on these wallpapers, sort of ghosts, which Libroise in the space of the composition. The ultimate production of the artist is instead characterized by paintings where signs, repeated geometric shapes and large color stains are made with intense and vivid colors I arrive at informal and material outcomes. Giovanni Alicò dies in Catania in 1971. After his death, an important retrospective is set up At the Palazzo della Stocky in Catania in 1973. Many of his works are present in important collections Private in Europe and America and in various art foundations
Alicò Giovanni (Catania 1906-1971), Oil paintinged on canvas depicting landscape with houses. Italy, Signed on the bottom left and dated 1947. 55x60 cm, in Frame 76 x 85 Giovanni Alicò was born in Catania in 1906. Self-taught painter, his approach to art is free from precondrued constraints or tracks. In 1935 he establishes First in Naples then in Milan. In 1942 he is present with a work at the XXIII Biennale in Venice, and in the The same year, he holds his first personal exhibition at the Tornabuoni Gallery of Florence. Follow, between 1948 and 1953, six years of activity in Argentina, with three personal to Buenos Aires and many participations in Collective in several national salons in the cities of La Rioja, Santa Fè, Mendoza and Rosario. Back Italy, from the mid-fifties and for the entire subsequent decade themselves were his personal to Catania, Milan, Rome and Como. It was awarded Suzzara in 1955 with the farmer's work that rests, where the painter, released by one cold realistic description and away from the typical neocubism diagrams of the first post-war period, it abandons to a painting of luministic suggestion, from the wide green, gray, landownes, supported by A dense pictorial matter defined by a thick outline line. The painting is currently preserved In the Civic Gallery of Contemporary Art of Suzzara. In 1957 he exhibited the Pincio in Piazza del Popolo in Rome, one of the most active realities in the Panorama of art exhibitions, where they also exposed Renato Guttuso and Carla Accardi. He started his artistic path depicting in his painting the carts with the colorful stories of Pupi Using Preferably Tims, then it introduces delicate colors in its palette, Vibrant, and focuses on themes pervaded by a marked spirituality. The favorites are figures Feminine, death nature and landscapes. In the fifties Giovanni Alicò approaches his style to that of Guttuso, in the field of social realism. His attention is towards a synthetic figurative painting, which It proceeds to suggestions in the general adherence to the themes of social realism. After 1960 he enters his work an important poetic made of arabesques bright and chromatic effects Shaded furniture. Since 1967, anthropomorphic characters appear on these wallpapers, sort of ghosts, which Libroise in the space of the composition. The ultimate production of the artist is instead characterized by paintings where signs, repeated geometric shapes and large color stains are made with intense and vivid colors I arrive at informal and material outcomes. Giovanni Alicò dies in Catania in 1971. After his death, an important retrospective is set up At the Palazzo della Stocky in Catania in 1973. Many of his works are present in important collections Private in Europe and America and in various art foundations
BURLINGTON FINE ARTS CLUB. Exhibition of English Embroidery. [etc.]BURLINGTON FINE ARTS CLUB. Exhibition of English Embroidery executed prior to the Middle of the XVI Century. London: Printed for the Burlington Fine Arts Club, 1905. Large 4to (405 x 320mm). Half title, coloured frontispiece, plates, some coloured (occasional spotting and staining). Original grey buckram gilt, top edges gilt, others uncut. Provenance: John R. Menzies (label). With 6 other books printed by the Burlington Fine Arts Club, namely Exhibition of Pictures by Masters of the Netherlandish and Allied Schools of XV. and Early XVI. Centuries (London, 1892), Exhibition of Pictures, Drawings & Photographs of Works of the School of Ferrara-Bologna 1440-1540, Also of Medals of Members of the Houses of Este and Bentivoglio (London, 1894), Exhibition of a Collection of Silversmiths’ Work of European Origin (London, 1901), Exhibition of Pictures of the School of Sienna and Examples of the Minor Arts of that City (London, 1904), Exhibition of Ancient Greek Art (London, 1904) and Exhibition of Early English Earthenware (London, 1914), all bound in original buckram; with 4 substantial 4to sale catalogues in 5 vols., namely Catalogue des Objets d’ Art et d’ Ameublement [etc.] … [half title:] Vente après Décès de Madame la Comtesse de C. T. [Clermont-Tonnerere] (Paris, 1900), Catalogue des Objets d’ Art et d’ Ameublement … Collections de Mme. C. Lelong (Paris, 1903, 2 vols.), Katalog der Sammlung Baron Königswarter in Wien. II. Abteilung: Gemälde alter Meister (Berlin, 1906) and Tableaux Anciens et Modernes … Provenant de la Collection X… [Groult] (Paris, 1920). The sale catalogues are substantially marked with prices in a contemporary hand and, intermittently, with buyer’s names. The lot sold not subject to return. (12)
Calligraphic Manuscript - “Simplicity. An essay by Coventry Patmore written out by Irene Wellington. 1951.”Calligraphic Manuscript - “Simplicity.An essay by Coventry Patmore written out by Irene Wellington. 1951.” [Noplace]. Small 4to (185 x 135mm). Fine calligraphic manuscript on 8-pages in red,black and blue ink, on hand-made paper. Contemporary green morocco-backedmarbled paper boards gilt, uncut. Provenance: Loosely-inserted is aone-page autograph letter from Christopher Sandford, signed, on paper headed“Golden Cockerel Press”, and dated 18 July 1951, stating, “Dear LadyWorthington, I hope that (as the God-mother of the pleasant association which Ihave had with your husband and the Manchester Regiment) you will acceptenclosed book – which I send with the Golden Cockerel’s homage and good wishes,Yrs sincerely, Christopher Sandford.” Irene Bass Sutton Wellington (1904-84)was a leading British exponent of the art of calligraphy. Having studied at theRoyal College of Art, she undertook various commissions for the Central Schoolof Arts and Crafts between 1944 and 1959, and was also commissioned by theLondon County Council to provide the calligraphy for the Accession andCoronation addresses which were presented to Queen Elizabeth in 1952 and 1953respectively. Christopher Sandford (1902-83) was a book designer, proprietor ofThe Golden Cockerel Press and a founding director of The Folio Society.
MISCELLANY, 18th & 19th CENTURY - Samuel JOHNSON (1709-84). A Dictionary of the English Language. [etc.]MISCELLANY, 18th and 19th CENTURY - SamuelJOHNSON (1709-84). A Dictionary ofthe English Language … The Seventh Edition. London: Printed for F. and C.Rivington (and many others), 1785. Folio (433 x 270mm). Printed largely intriple column (lacks portrait, corner torn away from one leaf of the prefacewith slight loss of letters, occasional light spotting and staining). Laterhalf vellum and marbled boards (lower joints splitting, stains to spine). Provenance:old inscriptions on front free endpaper. The last folio edition. With 22 othermiscellaneous 18th- and early 19th-century works in 24volumes, namely Erasmus’s Colloquiorum … Familiarium opus aureum … Editiotriplici (London, 1717, engraved frontispiece, heavily stained and brownedthroughout, contemporary calf, very worn), Isaac Watts’s Horae Lyricae … TheFourth Edition (London, 1722, engraved portrait, contemporary calf, ratherworn), John Gay’s Fables … The Second Edition (London, 1728, engravedillustrations, title repaired and laid down, contemporary calf, upper coverdetached), An Act to repeal the Statute made in the first Year of the Reignof King James the First, intituled, An Act against Conjuration, Witchcraft anddealing with evil and wicked Spirits ([London, 1736], pp. 425-428, modern wrappers), PhilipBearcroft’s An Historical Account of Thomas Sutton Esq; and of HisFoundation in Charter-House (London, 1737, 2 engraved plates, one folding,lacks portrait, contemporary calf, upper cover detached), The Foreigner’sGuide: Or, a Necessary and Instructive Companion Both for the Foreigner and Native,in their Tour through the Cities of London and Westminster … The Fourth Edition(London, 1763, text in English and French, contemporary calf, crudelyrebacked), Isaac Watts’ Logick … The Fifteenth Edition (London, 1772,contemporary calf, upper cover detached), An Act for Lighting and Watchingthe Hamlet of Highgate, in the County of Middlesex (London, 1775, pp. [1285]-1306,modern wrappers), A Thousand Notable Things on Various Subjects; Disclosedfrom the Secrets of Nature and Art (London, 1785, section excised from one leaf, contemporary calf),Thomas Gray’s The Poetical Works … A New Edition (London, 1785, 12mo,engraved frontispiece, contemporary calf), Harry Carey’s Chrononhotonthologos[a satirical play] ([London, c. 1787]), 4-pages, modern boards), The Life ofFrederick, Baron Trenck (London, 1788, vol. II only (of 2), contemporarycalf, crudely rebacked), Philip Luckombe’s The Tablet of Memory, Shewingevery Memorable Event in History … The Eighth Edition (London, 1791,engraved frontispiece, contemporary calf, crudely rebacked), Isaac Watts’ TheImprovement of the Mind (Edinburgh, 1801, contemporary calf), G. H.Wilson’s The Eccentric Mirror (London, 1806, [?]vols. I-II only (of 4),contemporary calf), First Exercises on the Principal Rules of Grammar, to beTranslated into Latin … Second Edition (Reading, Smart and Cowslade, 1807,contemporary boards), [John Anstey’s] The Pleader’s Guide, A Didactic poem,in Two Parts: containing the Conduct of a Suit at Law, with the Arguments ofCounsellor Bother’um and Counsellor Bore’um … The Fifth Edition (London,1808, contemporary half calf, upper cover detached), Lessons for Children.In Four Parts. Part II. Being the First for Children of Three Years Old(London, 1818, part II only (of 4), printed in an over-sized font, contemporary calf, upper cover detached),[R. Lee’s] Taxidermy: or, the Art of Collecting, Preparing, and MountingObjects of Natural History … The Third Edition (London, 1823, 5 engravedplates, contemporary cloth-backed paper boards), The Traveller’s Oracle; or,Maxims for Locomotion (London, 1827, part I only (of 2), engraved music,contemporary paper boards, crudely rebacked) and Regina Maria Roche’s TheChildren of the Abbey. A Tale (London, 1835, [early reprint], 3 vols.,original cloth-backed paper boards). Provenance: From the Library of the late Sir George Engle. Please note that only a part of this lot is illustrated. The lot sold notsubject to return. (25)
DE CANDOLLE, Augustin Pyramus (1778-1841). Theorie Elementaire de la Botanique, ou Exposition des Principes de la Classification Naturelle. [etc]DE CANDOLLE, Augustin Pyramus (1778-1841). Théorie Élémentaire de la Botanique, ou Exposition des Principes de la Classicification Naturelle et de l’ Art de Décrire et d’ Etudier les Végétaux. Paris: Chez Déterville, 1813. 8vo (200 x 122mm). Half title, table (half title and title repaired at fore-margins without loss of letters, some light spotting and browning, but generally very clean internally). Contemporary cloth-backed marbled boards, spine gilt. FIRST EDITION of the author’s most important work which introduced a new system of plant classification, now known as the “De Candolle System”, and first introduced the word “taxonomie”, the title of the first chapter. The author’s concept of nature being at war with itself, which went on to influence Darwin’s key notion of “the struggle for existence”, is evident in the following remarkable passage taken from Candolle’s Essai Élémentaire de Geographie Botanique (1820, not included in the lot): “Toutes les plantes d’un pays, toutes celles d’un lieu donné, sont dans un état de guerre les unes relativement aux autres. Toutes sont douées de moyens de réproductions et de nutrition plus ou moins efficacies. Les premières qui s’établissent par hasard dans une localité donnée, tendent, par cela même qu’elles occupant l’espace, à en exclure les autres espèces: les plus grandes étouffent les plus petites; les plus vivaces remplacent celles don’t la durée est plus courte; les plus fécondes s’emparent graduellement de l’espace que pourraient occuper celles qui se multiplient plus difficiliement” (p.26). Stafleu and Cowan (citing English ed. of 1821): 992. With the same author’s Organographie Végétale, ou Description Raisonée des Organes des Plantes (Paris, 1827, 2 vols., 60 engraved plates, some fairly heavy spotting, contemporary roan-backed boards, FIRST EDITION). Provenance: from the Collection of Peter and Margarethe Braune. (3)
RONTGEN, Wilhelm Conrad (1845-1923). Ueber eine neue Art von Strahlen. [etc.]RÖNTGEN,Wilhelm Conrad (1845-1923). Uebereine neue Art von Strahlen. (Vorläufige Mittheilung.). [Pages 132-141 in: Sitzungsberichteder Physik.-Med. Gesellschaft zu Würzburg ... Jahrgang 1895]. Würzburg:Verlag und Druck der Stahel'schen K. B. Hof- und Universitäts- Buch- undKunsthandling, 1896. [Bound with:] Ueber eine neue Art von Strahlen. IIMittheilung. (Als Beitrag eingereicht.). [Pages 11-16 in: Sitzungsberichteder Physik.-Med. Gesellscahft zy Wüurzburg ... Jahrgang 1896.] Würzburg: Verlag und Druck der Stahel'schenK. Hof-und Universitäts- Buch- und Kunstanlung, 1897. Half tone plate of anX-Ray of a hand, captioned, "Hand des Anatomen Geheimrath von Kölliker. ImPhysikal. Institut der Universität Würzburg mit X-Strahlen aufgenommen vonProfessor Dr. W. C. Röntgen." Two works in one volume, large 8vo (217 x150mm). Contemporary half brown morocco and pebbled boards. With Wilhelm ConradRöntgen's Eine neue art von Strahlen ... 3. Auflage (Würzburg, 1896,offprint, original wrappers, third edition, with signature "Röntgen'96" on upper wrapper, possibly in Röntgen's hand [see illustration], in modern clothslipcase). Provenance: from the Collection of Peter and MargaretheBraune. EARLY ANNOUNCEMENTS OF THE DISCOVERY OF X-RAYS. cf. Dibner Heralds162; Garrison-Morton 2683; Norman 1841-1842; PMM 380: "[The importance ofX-Rays] in surgery, medicine and metallurgy is well known. Incomparably themost important aspect of Röntgen's experiments, however, is his discovery ofmatter in a new form, which has completely revolutionized the study ofchemistry and physics." (2)
Henderson (Peter Charles) The Seasons, or Flower-Garden: being a Selection of the most beautiful Flowers that blossom at the four Seasons of the Year..., first edition large paper copy, hand-coloured aquatint additional title and 24 hand-coloured plates, contemporary marbled boards, early reback preserving original paper spine label, rubbed and edges abraded, especially lower cover, uncut, [Nissen BBI 848], 4to, R. Ackermann, 1806.⁂ Henderson was one of the artists for Thornton's famous Temple of Flora. Bound in after the work is A Treatise: or, Instructions for Drawing and Painting Flowers, with General Observations on the Art, as often.
McDonald (Alexander) A Complete Dictionary of Practical Gardening: comprehending all the Modern Improvements in the Art , 2 vol., first edition, 61 hand-coloured engraved plates and 13 uncoloured, some foxing but mostly to text and uncoloured plates, contemporary brown straight-grain morocco, stamped in gilt and blind, [Nissen BBI 479], 4to, 1807.⁂ A most handsome copy.
Howell (James) Londinopolis; An Historicall Discourse or Perlustration of the City of London, first edition, title in red and black, engraved frontispiece and double-page view by Hollar, foxed and browned throughout, some water-staining, contemporary calf, rebacked and repaired, [Wing H3091], folio, by J. Streater, 1657.⁂ Interesting provenance dating back to near the time of publication. Ownership inscription of John Glyd [presumably John Glyd, c.1651-89 of Gray's Inn, MP for Bletchingley] on front endpaper (dated 1670) and at head of title; then inscription of John Salter in same places and dated 1788, with note "Bought of Mr Howard at his sale of Miss Northey's furniture on her leaving Limehouse in 1788" and longer inscription in his hand regarding the Great Fire "Copy'd from a manuscript account which had been taken soon after the fire"; later inscriptions on front endpaper detailing the passing of the book from Mrs Parkinson (Miss Salter) to Mrs Eliza Barbara Gardner (and with her signature dated 1845 on title); thence to George Wallis [Keeper of the Fine Art Collections at the South Kensington Museum]; thence to W.R. Lethaby.
Music.- Ashworth (Caleb) A collection of tunes, suited to the several metres commonly used in publick worship, set in four parts, and on the most easy keys; with An introduction to the art of singing and plain composition, first edition, letterpress introduction, engraved music and accompanying text, staining and spotting, affecting part of 1 letter on title, contemporary blind-stamped calf, spine in compartments, joints splitting, but holding, spine ends and corners worn, scuffed and stained, oblong 8vo, Printed and sold for J. Buckland, at the Buck, in Pater-Noster-Row, [?1760].⁂ Rare, with ESTC recording only three copies (two at BL and one Watkinson Library, Trinity College, Hartford, CT).
Rawstone (Lawrence) Gamonia: or, the Art of Preserving Game, first edition, half-title, hand-coloured aquatint frontispiece and 14 hand-coloured plates, tissue-guards, errata bound-in, occasional faint foxing, contemporary green morocco, gilt, lightly sunned spine, slight bumping to corners and extremities, housed in a modern drop-back box, [Tooley 393], 8vo, Rudolph Ackermann, 1837.
Yorkshire.- Gilpin (William, 1724-1804), Attributed to. Album of 68 original oval landscape studies, including studies of Knaresborough Castle and its environs, Grimbald Crag, Fountains Abbey, Wharfedale Valley, Bolton Abbey and environs, Gordale Scar, Weathercote Cave and environs, Kirkby Lonsdale and environs, Lancaster and Lancaster Castle, Skipton Castle, Kirkstall Abbey, and Bolton Abbey, amongst others, pencil, point of the brush, watercolour and ink, each leaf numbered in black ink in upper centre, all with locations inscribed in brown ink underneath, all on uniform stock of 'J Whatman' wove paper without watermark dates, each album leaf approx. 280 x 195 mm (11 x 7 3/4 in), minor handling creases, some worm holes, minor surface dirt, contemporary tree calf, rebacked, spine gilt with red morocco label that reads 'Sketches/ 1791', corners restored, rubbed, 4to, 1791]; together with a copy of William Gilpin's 'Observations on the River Wye...', library stamps of 'Sandeman Library, Perth' throughout, contemporary tree calf, spine splitting, worn with losses, 8vo, 1772Provenance:Private collection, Surrey, UK⁂ An impressive and uniform collection of drawings by a highly competent hand exploring the 'picturesque' possibilities of landscape in the search for the ideal and sublime. The drawings show a direct influence of the work of Gilpin and his 'Observations on the River Wye', both from the structural composition of the drawings and their execution, to the pictorial documentation of a scenic tour; in the case of the present album, of Yorkshire.The remaining original part of the label on the album spine dates the works to '[17]91', which coincides with Gilpin's publication 'Remarks on Forests; and other Wood-land Scenery'. The original working manuscript for this publication of Gilpin's was sold on the art market in 2001 [see Christie's, Natural History, 4th June 2001, lot 24], and bears similarities to the present album, notably the numbering of the album leaves (albeit in a different hand), yet there appears to be some minor discrepancies between the manner of execution of the watercolours and the handwriting of the inscriptions preventing a full attribution to the artist.
Mathematical perspective.- Commandino (Federico), Ptolemy, and Jordanus de Nemore. Ptolemaei Planisphaerium. Iordani Planisphaerium. Federici Commandini Urbrinatis in Ptolemaei Planisphaerium commentarius, 2 parts in 1, first edition, Aldine device to titles and final pages, woodcut diagrams, historiated woodcut initials, first title working a little loose, occasional very light staining to margins, contemporary limp vellum, marked and rubbed, [Adams P2242; EDIT 16; CNCE 28281; Renouard 1558/4; Ahmanson-Murphy/UCLA 449; Houzeau & Lancaster 769; Honeyman 2557; Riccardi I, 360, 1; Sarton I, 277 and II, 616; Andersen, The Geometry of an Art, 2006], 4to (211 x 156mm), Venice, Aldus [Paolo Manuzio], 1558.⁂ First edition of Commandino's important treatise on perspective, together with the first printing of the treatises on stereographic projection of Ptolemy (fl. 2nd century AD) and Jordanus (fl. 13th century) with Commandino's commentary. The work discusses the stereographic projection and the celestial south pole. Ptolemy used this for mapping points on the celestial sphere upon the plane of the equator, suggesting that all the circles of the sphere - apart from great circles passing through the poles - are projected upon circles. He did not prove this result, assuming that his readers would know how to derive it from Apollonius's work. By the 1550s, however, such an assumption was no longer reasonable, and Commandino provided a proof in his commentary. This addendum of the treatises on stereographic projection of Ptolemy and Jordanus also includes his own treatise on perspective which "the first example of an entirely geometrical and rigorous approach to perspective" (Anderson).
Kempsford Mirror The Kempsford Mirror by Gallery Direct is an extremely unique design that is is formed of many small circular mirrors coming together to create one gorgeous design. This extremely contemporary piece will work as an art piece as well as a mirror - perfect for homes in need of an extra boost. W1210 x D40 x H585mm (5055999253734)
Hudson Coffee Table Champagne Add a splash of Scandi style to your home with the Hudson oval coffee table The effortless cool of its clean design is complemented by beautiful and practical detailing, such as tempered glass and an aged bronze finish. Two oval surfaces deliver the perfect ornate coffee table for easy and elegant entertaining. The neutral tones of this piece also offer opportunities to showcase art, colour and modern life. Sophisticated, contemporary and versatile, this piece has been designed for lovers of fine featured furniture. W1120 x D610 x H510mm
Hudson Side Table Champagne The effortless cool of its clean design is complemented by beautiful and practical detailing, such as tempered glass and an aged bronze finish. Two circular surfaces deliver the perfect ornate side table for easy and elegant entertaining. The neutral tones of this piece also offer opportunities to showcase art, colour and modern life. Sophisticated, contemporary and versatile, this piece has been designed for lovers of fine featured furniture W500 x D500 x H600mm
Birdies 4 Framed art print by Tiffany Lynch framed on Matt 250gsm conservation digital paper Tiffany Lynch was born in West Sussex and works from a studio in the heart of Brighton. Bright, whimsical and of the moment, her prints look great in a range of simple frames and fit well in contemporary spaces 30 x 30cm
William John Edmondson (American, 1868-1966)The yellow sweater signed 'Wm.J.Edmondson' (lower right) oil on canvas 61 x 69.2cm (24 x 27 1/4in).Footnotes:ProvenancePrivate collection, Pennsylvania.Anon, sale, Pook and Pook, Downingtown, Pennsylvania, 23 April 2016, lot 268.Private collection, UK. ExhibitedCorcoran Gallery of Art, Washington D.C, Sixth Exhibition of Contemporary American Oil Paintings, 1916.For further information on this lot please visit Bonhams.com
Loading...
![BURLINGTON FINE ARTS CLUB. Exhibition of English Embroidery. [etc.]BURLINGTON FINE ARTS CLUB. Exhibition of English Embr](https://cdn.globalauctionplatform.com/a3276cf8-db78-46ec-8c8b-ad5900c80e7d/e36deb50-b558-4799-8e1e-ad5900dc4f13/468x382.jpg)
![MISCELLANY, 18th & 19th CENTURY - Samuel JOHNSON (1709-84). A Dictionary of the English Language. [etc.]MISCELLANY, 18th and](https://cdn.globalauctionplatform.com/a3276cf8-db78-46ec-8c8b-ad5900c80e7d/9fa4daa7-6b1b-4bbc-ad15-ad5900d9edc7/468x382.jpg)
![RONTGEN, Wilhelm Conrad (1845-1923). Ueber eine neue Art von Strahlen. [etc.]RÖNTGEN,Wilhelm Conrad (1845-1923). Uebereine n](https://cdn.globalauctionplatform.com/a3276cf8-db78-46ec-8c8b-ad5900c80e7d/bad38be9-1770-40c0-a5d5-ad5900e015c4/468x382.jpg)
