§ ELIZABETH BLACKADDER O.B.E., R.A., R.S.A., R.S.W., R.G.I., D.Litt (SCOTTISH B.1931)Etching and aquatint, A/P, signed and editioned in pencil to margin, titled in plate (Dimensions: 60cm x 45.5cm (23.5in x 18in), plate size)Biography: Elizabeth Blackadder is well known for her images of cats, flowers and still lifes, but to see her as some comfortably predictable painter of the domestic scene would be a fundamental mistake, missing out on the ground breaking radicalism and intellectual acuity of an artist who is no less than a national treasure. Born in Falkirk, Blackadder studied at Edinburgh College of Art from 1949 to 1955 under Robert Philipson, William MacTaggart and William Gillies. Interestingly, as a student on the joint Fine Art course she was also taught art history by the esteemed art historian David Talbot Rice and this surely had an effect upon her development, specifically encouraging a growing interest in other cultures. A travelling scholarship in 1954 took her to Greece, Italy and Yugoslavia where she was influenced by Byzantine art and mosaics. On a further scholarship to Italy the following year she immersed herself in early Renaissance art but also looked at such contemporary artists as Morandi, whose extraordinarily spare still lifes would later be recalled in her own work. The drawings made on the early Italian journey also reveal the extraordinary talent for draughtsmanship which has continued to underpin her practice over the last sixty years. In 1956 Blackadder married the landscape painter John Houston and together they began to travel extensively, all the time increasing their shared visual vocabulary. As a developing artist, Blackadder was never averse to new ideas and in particular, despite the fact that she could never be described as an 'abstract artist', gained much from her understanding of the non-figurative revolution which swept through European and American painting in the late 1950s and 1960s. Having in the early 1960s worked extensively in landscapes which echo Gillies, by 1965 Blackadder was looking at new ways of approaching the still life, taking her cue from Redpath and the Edinburgh School but bringing to this her own unique vision which drew on sources as diverse as Mughal miniatures and colour-field abstraction. Through the 1980s and 90s, as she worked in different styles for each of her chosen genres, her botanical work became more intense and her landscapes ever simpler. At the same time, the still lifes adopted a yet more flattened appearance with no perspective whatsoever. The objects were always chosen with care: from popular toys and ornaments to Japanese and Indian prints, floating in their space, often surrounded by a shimmering aura, suggesting an individual presence and character.
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§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) BRITTANY VIEWSigned, watercolour (Dimensions: 62cm x 87cm (24.5in x 34.25in))Biography Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and her education in art and Breton culture helped establish him as a leading 'Breton' artist and Brittany became one of his main sources of inspiration. He exhibited widely in Brittany and in 1966 for the first time he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ flagship of the Brittany Ferries Company. His work brought together landscapes, small scenes & still lives. The tables of the first class dining room were divided by paintings of food hanging at right angles. The originality of the scheme and the large number of works on display was received with great acclaim at the time. He liked to see, and attempt, mastery in painting but in a more conventional way; remaining uninspired by 20th century artistic movements, such as cubism or futurism. He has been described as 'an old-fashioned painter,' and for a man who felt that his job as an artist was 'to simply to tell a story in pictures and to speak with a clear voice,' presumably this was a compliment. But for the artistic establishment at this time, that would be far from a positive affirmation of his approach, entirely aside from their thoughts on his technical abilities. As Sir Timothy Clifford, former Director-General of the National Galleries of Scotland eulogised, Goudie 'had the skill and eye to describe, as almost no one else could, the sweating flanks of a cart-horse, the toiling, foreshortened form of a Breton peasant, the sheen on silk velvet, or the glow on a pretty girl's cheek.'
§ ARCHIE FORREST R.G.I. (SCOTTISH B.1950) WINDOW, TELLARO - 2000Signed, inscribed and dated verso, oil on canvas (Dimensions: 89.5cm x 100.5cm (35.25in x 39.5in))Note: Archie Forrest, 12 - 31 May 2000, Portland Gallery catalogue accompanies this lot Biography: Archie Forrest is a Scottish contemporary artist, known for his work in the Scottish Colourist tradition and his use of brilliant colour, quality of detail and sense of form. Born in Glasgow in 1950, Forrest attended Glasgow School of Art from 1969-73 and taught there from 1978-85. In 1985, he left teaching so that he could devote his time to painting. He works in the Scottish Colourist tradition, creating brilliantly colours and skilful compositions that involve still lives, figures and landscape subjects. Elected a member of the Royal Glasgow Institute of the Fine Arts in 1988, Forrest has regularly exhibited there and at the Royal Scottish Academy since 1975.
§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) BOATS IN HARBOURSigned, mixed media (Dimensions: 48.5cm x 63.5cm (19in x 25in))Biography Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and her education in art and Breton culture helped establish him as a leading 'Breton' artist and Brittany became one of his main sources of inspiration. He exhibited widely in Brittany and in 1966 for the first time he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ flagship of the Brittany Ferries Company. His work brought together landscapes, small scenes & still lives. The tables of the first class dining room were divided by paintings of food hanging at right angles. The originality of the scheme and the large number of works on display was received with great acclaim at the time. He liked to see, and attempt, mastery in painting but in a more conventional way; remaining uninspired by 20th century artistic movements, such as cubism or futurism. He has been described as 'an old-fashioned painter,' and for a man who felt that his job as an artist was 'to simply to tell a story in pictures and to speak with a clear voice,' presumably this was a compliment. But for the artistic establishment at this time, that would be far from a positive affirmation of his approach, entirely aside from their thoughts on his technical abilities. As Sir Timothy Clifford, former Director-General of the National Galleries of Scotland eulogised, Goudie 'had the skill and eye to describe, as almost no one else could, the sweating flanks of a cart-horse, the toiling, foreshortened form of a Breton peasant, the sheen on silk velvet, or the glow on a pretty girl's cheek.'
§ WILLIAM GEAR R.A., F.R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - RED, ORANGE, BLUEMixed media on paper (Dimensions: 38.5cm x 24cm (15.25in x 9.5in))Biography: A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avant-garde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a long-established tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement made up of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war. In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham Museums and Art Galleries. In later years his collecting has been celebrated, but his vision was ahead of the curve in Britain, where at the time it was ridiculed and criticised. Towards the end of his life, Gear's critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists' featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear's importance as both an artist and passionate champion of the arts has been increasingly recognised in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.
§ WILLIAM GEAR R.A., R.S.A., R.B.S.A. (SCOTTISH 1915-1997) UNTITLED - 1975Signed and dated, acrylic on paper (Dimensions: 46cm x 58cm (18in x 22.75in))Biography: A key figure in Post-War British art, William Gear was one of the few British artists in this period to make a strong impression overseas, through his commitment to developments in abstraction and involvement with avant-garde groups in Europe. Throughout his life and career he remained a dedicated artist and passionate champion of art and other artists. Gear headed for Paris in 1947, maintaining a long-established tradition of Scottish artists working and studying in the French capital. It was during this time that he established his more progressive credentials, when he became involved with CoBrA, a European avant-garde art movement made up of artists united in their pursuit of complete freedom of form, as they searched for new modes of expression to fit with their expectations of life post-war. In 1950, Gear decided to return to England but seemed to fall out of critical favour at this time, and was exhibiting less regularly. Yet he continued to paint and support the arts in other ways; acting as Curator of the Towner Art Gallery, where he influenced the purchasing committee to establish a collection of post-war British Art, and working as Head of the Faculty of Fine Art at the College of Art in Birmingham, while continuing to support local artists through acquisitions made by the Friends of Birmingham Museums and Art Galleries. In later years his collecting has been celebrated, but his vision was ahead of the curve in Britain, where at the time it was ridiculed and criticised. Towards the end of his life, Gear's critical reputation was reinvigorated when an exhibition of CoBrA work revived interest in the movement, offering a variety of exhibition opportunities for Gear, one of only two British artists' featured in the retrospective. Gear was also recognised institutionally, with an election to the Royal Academy in 1995. A controversial figure in his lifetime, Gear's importance as both an artist and passionate champion of the arts has been increasingly recognised in recent years. An artistic visionary, Gear stayed true to his principles and perspectives despite unpopularity and criticism and it is only now that the true extent of his vision and its contemporary relevance are finally becoming clear.
§ BANKSY (BRITISH B.1974) DI-FACED TENNEROff-set lithograph, unframed (Dimensions: 8cm x 14cm (3in x 5.5in))Biography: Banksy is a contemporary British street artist, activist, and film director who has maintained an anonymity, despite his international fame. Although details of the artist’s life are largely unknown, it is thought that Banksy was born in Bristol, c. 1974, and began his career as a graffiti artist in the city in the 1990s. His work traditionally acts a form of cultural criticism; a political and social commentary through satirical street art and stencilled works. His work, which mysteriously appears on location, combines graffiti and epigrams and has been featured publicly on streets, walls, and bridges of major cities throughout the world. Although Banksy no longer sells photographs or reproductions of his street graffiti, his public installation pieces are regularly offered for sale, even if it means removing the wall they were painted on. A small number of Banksy's works are also officially, non-publicly, sold through Pest Control, a handling service acting on behalf of Banksy. Banksy's documentary film Exit Through the Gift Shop (2010) debuted at the 2010 Sundance Film Festival and he was nominated for the Academy Award for Best Documentary the following year. Banksy continues to create work worldwide, winning awards and notoriety. He was awarded Person of the Year at the 2014 Webby Awards and, in 2015, opened Dismaland Bemusement Park, a temporary art exhibition that functioned as a theme park and included collaborations with fellow artists. One of the artist's most famous stunts was his shredded painting in 2018. As a painting by Banksy was sold at auction for $1.4 million, a mechanism was triggered that caused the artwork to partially shred, resulting in a new piece titled Love in the Bin (2018).
Howard Koslow (1924 - 2016) "Contemporary Hot Air Balloons" Signed lower right. Original Acrylic painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.This painting was published on the Fleetwood First Day Cover for the U.S. 20c Hot Air Ballooning stamp issued March 31, 1983. Just as there were, in the earliest of times, men who watched birds and tried to emulate their flight, there were other dreamers who sought some magic substance that would enable them to defy gravity and soar into the sky. These early dreamers were the first to harness the magic of hot-air ... capturing it in bags and using it to fly high, into the heavens. The art of Ballooning -- some two-hundred years old -- is truly the oldest kind of flying known to man. Except for some war-time applications ... such as the use of tethered balloons as observation posts, and of free flying balloons to get messages and important people out of besieged Paris in 1870 ... ballooning has always been essentially a sporting form of flight. Calm summer evenings are the most popular time for a balloon flight, which begins with the big balloon envelope being laid out, downward of the gondola. After a careful inspection of the whole airship, the narrow neck of the balloon is opened and fiery-hot air is forced into the gigantic envelope. The huge, lifeless balloon suddenly begins to take shape and soon the brightly colored envelope contains enough hot air to lift itself and its passenger high into the sky -- where noises of civilization are blotted out, and the soothing sounds of flowing breezes are company enough for anyone. Image Size: 14 x 12 in. Overall Size: 20.25 x 17.75 in. Unframed. (B07917)
OLIVE CARLETON SMYTH (1882-1949) 'THE PIPES OF PAN' tempera on vellum, signed with initials lower right OCS, within contemporary silvered frame (Dimensions: 24.5cm x 40.5cm)(24.5cm x 40.5cm)Footnote: Literature: Burkhauser, Jude, 'Glasgow Girls: Women in Art & Design 1880-1920', 1990, pages 170-172 Note: Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. Smythe's work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes.
THOMAS J. CLAPPERTON (1879-1962) 'WONDERLAND', CIRCA 1926 bronze, with revolving socket on a dished marble base, signed in the bronze THOS. J. CLAPPERTON (Dimensions: bronze 31cm high, marble base 12.3cm high, 43cm diameter)(bronze 31cm high, marble base 12.3cm high, 43cm diameter)Footnote: Image re f: 1/4-055813-G. Alexander Turnbull Library, Wellington, New Zealand. Note : Regarded as ‘The Border Sculptor’, Thomas Clapperton initially trained at the Glasgow School of Art, before becoming apprentice to Sir William Goscombe John, one of the most eminent sculptors of the period. After much time studying in Paris and Rome, Clapperton eventually settled in London and setup a sculptor's studio in Chelsea. Although his sculpture of Robert the Bruce at Edinburgh Castle is renowned, the sculptor’s skilful execution of numerous war memorials are also highly regarded. In the immediate aftermath of the First World War, the nation was in mourning and anxious to reflect; Clapperton’s sympathetic and emotive treatment of the subject won him several commissions at this early stage in his career, including those from as far afield as New Zealand. During an official visit to the UK, mayor Robert Milligan was charmed by Sir George Frampton’s portrayal of Peter Pan in Kensington Gardens, now an iconic homage to J. M. Barrie’s novel of the same name. Following this, he reached out to Clapperton for two commissions: one for the North Otago War Memorial; and the other for ‘Wonderland’. Initially, the mayor’s request was to produce a direct replica of Frampton’s Pan, however Clapperton felt copying the work of his contemporary would not be appropriate so instead agreed to produce a similar bronze, drawing inspiration from the piece. The influence from Frampton’s Pan are clear in ‘Wonderland’: a conical base with mystical fairies, pixies and woodland creatures perching amongst the naturalistic rockery; the charming innocence of the figures in search of adventure. Clapperton however, opts for a more dynamic rendition of the piece, as the figures interact with the wonderland they have just discovered below them. The girl, perhaps a representation of J.M. Barrie’s Wendy , sits on the edge of the rock face and delights in the fantasy world below. The boy, eagerly peering over the edge, is about to be drawn in to the dreamlike world by one fairy, reaching out to touch the tip of his foot, as if inviting the children into Wonderland. Upon its completion in 1926, Robert Milligan gifted the piece to the children of Oamaru, New Zealand, where it still stands today in the Wonderland Garden. The finished bronze, of which this is a reduction, marks Clapperton’s diversity as a sculptor, stepping away from sombre memorial compositions to stir up fond memories of the joys of childhood.
Ca.800 - 600 BC. An early necklace formed with bronze and stone beads, large pendants in the form of a bell attached, possibly Hallstatt culture. Professionally restrung, suitable for contemporary wear. 740mm; beads- 480mm; 29.156x 18.912 in; 322g; Provenance: Private London collection, formed in the 1980s on the UK and European art market.
Experimental printing.- Lucas (Richard Cockle, British sculptor and photographer, 1800-1883) A collection of seven Nature Prints, including a Foxglove leaf, a Fern leaf, Blackberry leaf, and other plants, nature prints, in various colours on thin Japan, various sizes from 190 x 110 mm. (7 1/2 x 4 1/4 in) and 300 x 210 mm. (11 3/4 x 8 1/4 in), irregularly trimmed, some handling creases, minor surface dirt, loose in contemporary paper wrapper, inscribed on upper cover 'In 1858 and subsequent years/ at Chilworth, Hants, R.C. Lucas/ made many experiments in Nature Printing/ of which, these are specimens', unframed, [circa 1858] (7)⁂ The seven examples in the present lot were produced by Nature Printing, a somewhat obscure technique that grew in popularity during the 19th century. It involved the inking of specimens, most frequently botanical ones as here, and then printing directly from them. Rather than serving as a more accurate scientific record of plant specimens, Lucas utilised the technique as a form of art, with the examples often being an edition of one, similar to the monotype printing process.
Michael Storey - Isle Of Wight Glass - Infinity Millennium Vase - An original contemporary studio art glass vase of two parts, the crizzle base and the cameo top or rim, which are fused together using the incalmo technique. The rim decorated with MM AD and gilded over the stunning body of the vase. Limited edition 14/25. Complete with certificates / paperwork. Measures: 19cm.
NO RESERVE India.- Charles (A.P.) A Monograph on Gold and Silver Ware produced in the United Provinces, plates, original decorated cloth, gilt, Allahabad, 1905 § Birdwood (G.C.m.) The Industrial Arts of India, 1880 § Grünwedel (A.) Buddhist Art in India, revised and enlarged by Jas. Burgess, 1901 § Tavernier (J.B.) Travels in India, translated by V.Ball, 2 vol., 1889 § Smith (Maj. J.T.) Observations on the...Management of Mints, chiefly with reference to...India, later library half morocco, Madras, 1848 § Melville (Henry Dundas, Viscount) Heads of Mr. Dundas's Speech, on the Finances of the East-India Company, 25th March 1800, drop-head title, light foxing, contemporary half calf, worn, spine defective, upper cover detached, 1800, the first four with plates and illustrations, original cloth, most a little rubbed; and 5 others on India, v.s. (12)
Japan.- Conder (Joseph) The Flowers of Japan and the Art of Floral Arrangement, first edition, 54 plates, 14 colour, illustrations, holes to inner margins from original cord binding, bound in library half morocco, t.e.g., with original pictorial wrappers bound in, a little rubbed and faded, Tokyo, 1891 § Anderson (William) The Pictorial Arts of Japan, plates, mostly photogravure, a few chromolithographed, tissue guards, illustrations, original morocco-backed decorated cloth, gilt, g.e., spine worn, joints split, 1886 § Hayashi (T.) [Sale Catalogue] [Hayashi Collection] Objets d'Art du Japon et de la Chine, Peintures, Livres, plates, some photogravure, contemporary library half morocco, spine gilt, original pictorial wrappers bound in, Paris, 1902; and 3 others on Japanese art and crafts, v.s. (6)⁂ The first is the first book in English on ikebana or Japanese flower-arranging.
![Horology.- D[erham] (W[illiam]) The Artificial Clock-maker. A Treatise of Watch, and Clock-work..., first edition, errata sli](https://cdn.globalauctionplatform.com/5fa34ad6-3fee-4e08-824c-ab6100f26bee/7c4b7ad8-71bc-453b-b912-ab61010fccab/468x382.jpg)
Horology.- D[erham] (W[illiam]) The Artificial Clock-maker. A Treatise of Watch, and Clock-work..., first edition, errata slip pasted in at end of Preface, folding woodcut plate of musical notation and chimes, woodcut diagrams, Addenda leaf at end, title with contemporary ink signature on verso (erased), another signature at head of Preface partly erased causing hole with loss of a few letters from first line on verso, rather soiled and stained, plate torn along fold, contemporary mottled calf, rubbed, upper joint split, [Baillie p.123; Clockmakers' 255; Tardy p.74; Wing D1099], 8vo in 4s, for James Knapton, 1696.⁂ Rare; the first comprehensive and scientific treatment of the art of horology, with far greater detail on clock & watch movement and construction than given by John Smith in his Horological Dialogues of 1675. Derham also produced the earliest, reasonably accurate estimate of the speed of sound. In his preface to the present work he admits to having had help "in the History of the Modern Inventions" from Hooke and Tompion.
NO RESERVE Mezzotint engraving.- Evelyn (John) Sculptura; or, the History and Art of Chalcography, and Engraving in Copper, second edition, engraved portrait frontispiece, plate and folding mezzotint plate by Prince Rupert of the Rhine, after Ribera, oval bookplate of T.Beale, contemporary calf, gilt, a little rubbed, 8vo, for J. Payne, 1755.⁂ Originally published in 1662 this was the first book in English to describe the process of mezzotint engraving and to include a mezzotint print, 'The Executioner' by Prince Rupert of the Rhine after Ribera. Mezzotint was invented by Ludwig von Siegen in the 1640s and the process was developed and brought to England by Prince Rupert, whom Evelyn credited with the invention. This edition includes 'The Little Executioner', a greatly reduced copy of Rupert's version.
Art Nouveau.- Follot (Paul) Documents de Bijouterie et Orfèvrerie modernes, 24 plates including 12 fine pochoir jewellery designs, title browned and frayed at edges, loose as issued in original cloth folder with ties, Paris, Henri Laurens, [c.1900] § Beauclair (René) Neue Ideen für Modernen Schmuck, 2 vol., 50 plates of jewellery designs by André Petitjean, Jules Armbruster, Paul Liénard, Emile Jammes and Paul F.Follot, 7 chromolithographed, contemporary half morocco, original pictorial upper wrappers bound in (the first torn and repaired), spines faded, Stuttgart, [c.1900] § Geffroy (Gustave) Les Industries Artistiques Françaises et Étrangères a l'Exposition Universelle de 1900, photogravure plates, contemporary half green morocco, t.e.g., spine faded, Paris, [1900] § Marx (Roger) La Décoration et les Industries d'Art a l'Exposition Universelle de 1900, photogravure plates, illustrations, library morocco-backed boards, original pictorial wrappers bound in, Paris, 1901, rubbed; and 3 others, Art Nouveau design, folio (8)
NO RESERVE Silver.- Cutlery.- Gorham M.F.G. Co., Silversmiths of New York. Spoon Patterns in Sterling Silver, trade catalogue, contemporary half morocco over pictorial boards, worn, lacking backstrip, covers detached, New York, 1889 § Avery (Mrs. A.P.) Photographs of the collection of Spoons...1867-1890, and presented...to the Metropolitan School of Art..., album with title in manuscript and 9 photographs mounted on thick card leaves, contemporary half morocco, spine faded, New York, 1897 § Westman (H.O.) The Spoon, lithographed plates, foxing, later library half morocco, 1845 § Price (F.G.Hilton) Old Base Metal Spoons, one of 500 copies, illustrations, prospectus loosely inserted, original pictorial cloth blocked in silver, 1908, rubbed; and 8 others on cutlery, mostly spoons, v.s. (12)
NO RESERVE Industrial Art.- Griggs (W., publisher) Portfolios of Industrial Art: Portfolio of Indian Art, 28 parts in 1, 41 plates, some double-page or folding, many chromolithograph, original printed wrappers bound in, contemporary half morocco, 1881-83; and 39 others, Industrial art etc., including 15 from the Portfolio of Industrial Art series, v.s. (40)
Ornament.- Gruner (Louis) Specimens of Ornamental Art, 2 vol. including 'Explanatory Text and Additional Plates' by Emil Braun, Atlas with wood-engraved title-vignette and 80 lithographed plates, some tinted, c.50 chromolithographed, some heightened with gold, text with 8 additional lithographed plates, uniform contemporary half crimson morocco, spines gilt, g.e., rubbed at edges, joints cracked, folio & 4to, 1850.
![Sale and collection catalogues.- Hamilton (Duke of) [Hamilton Palace collection, Sale catalogue] Catalogue of the Collection](https://cdn.globalauctionplatform.com/5fa34ad6-3fee-4e08-824c-ab6100f26bee/901209f8-2473-4847-8834-ab61010f8723/468x382.jpg)
Sale and collection catalogues.- Hamilton (Duke of) [Hamilton Palace collection, Sale catalogue] Catalogue of the Collection of Pictures, Works of Art, and Decorative Objects, 5 parts in 1, carbon print photographic plates by James Annan (son of Thomas Annan), a few prices in pencil, upper hinge weak, original cloth, head of spine chipped, Christie, Manson & Woods, 1882 § Denison (Christopher Beckett) [Sale catalogue] Catalogue of the Valuable Collection of Pictures, Works of Art, and Decorative Objects, 2 parts in 1, photographic plates, ruled in red and with prices throughout and most buyers' names, contemporary half morocco, Christie, Manson & Woods, 1885 § Forster (Henry Rumsey) The Stowe Catalogue Priced and Annotated, title in red and black with wood-engraved vignette, later half morocco, 1848 § Walpole (Horace) [Sale Catalogue] A Catalogue of the Classic Contents of Strawberry Hill, additional wood-engraved title, lithograph portrait frontispiece, contemporary cloth, George Robins, 1842; and 31 others, auction and collection catalogues including The Palace Collections of Egypt (lacking Stamps), 4to and 8vo (35)
NO RESERVE Gold & Silver.- Harcourt (Raoul d') L'Argenterie Péruvienne al l'Époque Coloniale, printed in blue and black, contemporary library half morocco, original pictorial upper wrapper with lion and llamas in gold and silver bound in, rubbed, Paris, [1928] § Gallo (M.M.) The Gold of Peru, original cloth, dust-jacket, slip-case (rubbed), Recklinghausen, 1959 § Anderson (Lawrence) The Art of the Silversmith in Mexico 1519-1936, 2 vol., original cloth, New York, 1941, plates and illustrations, folio & 4to (4)
![[Holbach (Paul Henri Dietrich, Baron d', translator)] Art de la verrerie de Neri, Merret, et Kunckel, Parfis, first edition,](https://cdn.globalauctionplatform.com/5fa34ad6-3fee-4e08-824c-ab6100f26bee/d67f1919-08b8-4b77-b38b-ab61010fe47e/468x382.jpg)
NO RESERVE Lithography.- Hullmandel (Charles) The Art of Drawing on Stone, first edition, lithographed vignette title and 19 plates, 2 printed on india paper and mounted, 2 printed with ochre (one the background colour separation for the other), light foxing and soiling, contemporary cloth, rubbed, spine defective, [Abbey, Life 221], tall 8vo, C.Hullmandel & R.Ackermann, [1824].
![Baskerville.- Jennings (Rev. David) An Introduction to the Knowledge of Medals, first edition, [Gaskell 28, variant imprint],](https://cdn.globalauctionplatform.com/5fa34ad6-3fee-4e08-824c-ab6100f26bee/a656df94-af30-493e-8537-ab61010f640e/468x382.jpg)
Baskerville.- Jennings (Rev. David) An Introduction to the Knowledge of Medals, first edition, [Gaskell 28, variant imprint], Printed by John Baskerville for T. Field...and J. Payne, 1764 bound with Ponz (Don Antonio) Sketches on the Art of Painting, translated by John Talbot Dillon, half-title, errata leaf at end, 1782 and James (George) [Sale Catalogue] A Catalogue of the Valuable Collection of Pictures, Drawings, Prints and Books of Prints...sold by Auction by Mr. Spackman, foot shaved close, corner of final leaf defective just touching one word, 1792; and another work, together 4 works in 1, contemporary mottled calf with oval shape to both covers, gilt, upper joint cracked, 8vo⁂ A prettily-bound collection of works including the quite scarce first edition of Jennings' work on coins with the variant Baskerville imprint.
Japan.- Audsley (George A.) & James Lord Bowes. Keramic Art of Japan, 2 vol., printed in red & black, plates, 41 chromolithographed, some heightened with gold, some photogravure, illustrations, some printed in colours, occasional spotting to text, contemporary decorated vellum with onlaid strips of blue morocco forming panel ruled in red and blue and blocked in gilt, by Giulio Giannini of Florence, g.e., rather rubbed and soiled, folio, Liverpool & London, 1875.
Barba (Albaro Alonso) The art of metals, in which is declared the manner of their generation, and the concomitants of them. In two books, translated by Edward, Earl of Sandwich, 2 parts in 1, engraved plate, lacking final blank, contemporary calf, rebacked, corners worn, rubbed, [Duveen, p.42; Hoover 83; Ward and Carozzi 113; Wellcome II, p.96; Wing B678], 8vo, printed for S. Mearne, stationer to the Kings most excellent Majesty, 1674.⁂ Second edition in English of this important work on mining and metallurgy. Originally published in Spanish in 1639 it was the first significant work on mining in that language, and indeed the first book on mining in the Americas. Includes the extraction of silver using mercury, and the extraction of gold, silver and copper by boiling with salt solution and mercury in a copper vessel. 'Barba was ... pastor of St. Bernards at Potosi, in South America. While there he had the opportunity of studying minerals and mining, extraction of silver and assaying, and became very skilful in these branches of science.' (Ferguson).
NO RESERVE Fine art collections.- Ottley (William Young) & Peltro William Tomkins. Engravings of the Most Noble The Marquis of Stafford's Collection of Pictures in London, 4 vol. in 1, half-titles to vol.1 and 4 only, 13 engraved plans and numerous engraved illustrations on 126 sheets, contemporary russia, gilt, joints splitting, corners worn, rubbed, g.e, Printed by Bensley and Son, 1818 § Babelon (Ernest) Catalogue des camees antiques et modernes de la Bibliotheque Nationale. 2 vol., including plate vol., half-titles, titles in red and black, 76 photographic plates, a few double-page, 20th century purple half crushed morocco, gilt, spines in compartments and with floral decorations, Paris, Ernest Leroux, 1897; and 24 others, art collections, some sale catalogues, v.s. (27)⁂ Of the first mentioned Frank Herrmann in his The English as Collectors, (p.432) writes 'This catalogue, in four monumental quarto volumes, was probably the most luxurious to have appeared in England by 1818...The collection was not only the most important of its day but one of the few open to the public...'.
Pettus (Sir John) Fleta minor. The lavvs of art and nature, in knowing, judging, assaying, fining, refining and inlarging the bodies of confin'd metals, 2 parts in 1 vol., first edition, numerous engraved illustrations, woodcut decorative initials, lacking engraved portrait, occasional spotting or staining, engraved bookplate of Arthur Dalrymple, contemporary calf, rebacked, corners worn, rubbed, [Ferguson I, pp.185-186; Wellcome II, p.527; Wing P1906; cf. Hoover 633], folio. printed, for the author, by Thomas Dawks, his Majesty's British printer, at the West-end of Thames-street, 1683.⁂ The first part is the first edition in English of Lazarus Ercker's 1574 treatise on ores. The second part is a dictionary of metallurgical terms compiled by Pettus.
NO RESERVE Ornament.- Racinet (Auguste) L'Ornement Polychrome, 100 chromolithographed plates, some heightened with gold, spotting to text, contemporary morocco-backed cloth, rebacked preserving old gilt spine, Paris, [c.1870] § Dresser (Christopher) The Art of Decorative Design, 23 chromolithographed plates, some heightened with gold, original decorative cloth, gilt, rebacked preserving original spines, 1862 § Vacher (Sydney) Fifteenth Century Italian Ornament chiefly taken from Brocades and Stuffs..., 30 chromolithographed plates, some heightened with gold, original decorated boards, dust-jacket, slip-case, 1886 § Foord (J.) Decorative Flower Studies, 40 colour plates, half-title loose, 1901; Decorative Plant & Flower Studies, 40 colour plates, broken and loose, prospectus loosely inserted, 1906, plates and illustrations, the last two original pictorial cloth, rubbed; and 11 others on ornament and design, v.s. (16)
NO RESERVE Poultry.- Réaumur (René Antoine Ferchault de) The Art of Hatching and Bringing Up Domestick Fowls, first edition in English, half-title, 15 engraved folding plates, final f. with note about translation / errata, occasional spotting or mostly light staining, contemporary calf, rebacked, corners worn, rubbed, Printed for C. Davis [and others], 1750 § Lawrence (Richard) An Inquiry into the Structure & Animal Oeconomy of the Horse, 18 engraved plates, some folding, occasional spotting, contemporary half calf, backstrip detaching, corners worn, rubbed and scuffed, 1801; and 3 others, Agriculture, v.s. (5)Saleroom notice: A leaf of the second mentioned (Lawrence) is torn with loss.
NO RESERVE Art and artists.- Reynolds (Sir Joshua) A Discourse delivered to the Students of the Royal Academy, first edition, half-title with ink presentation inscription from the author, repair to one margin, later half morocco, by Thomas Cadell, 1793 § Artist's Assistant (The), in the Study and Practice of Mechanical Sciences, engraved frontispiece, title and 10 engraved plates, most folding, contemporary calf, rebacked, London and Birmingham, for the Author, [?1785] § Arclaid de Montamy (Didier d') Traite des Couleurs pour la Peinture en Email et sur la Porcelaine, half-title, contemporary sheep, rebacked, corners worn, Paris, 1765 § Payne (John) The Art of Painting in Miniature, on Ivory, second edition, dabs of colour paint to margin of one leaf, original upper marbled wrapper with printed paper label mounted and bound in, library half morocco, 1798; and 26 others, art and artists, v.s. (30)
Manuscript illumination.- Shaw (Henry) Illuminated Ornaments Selected from Manuscripts And Early Printed Books from the Sixth to the Seventeenth Centuries, additional engraved illuminated title and 59 plates, all hand-coloured, scattered spotting, contemporary morocco-backed boards, corners worn, rebacked, preserving original backstrip, later endpapers, 1833 § Tymms (W.R.) and M. Digby Wyatt. The Art of Illuminating, additional decorative title, half-title, imprint and 99 plates, all chromolithographed, some heightened with gold, text with decorative borders in red, hinges strengthened, original decorative cloth, gilt, spine ends and corners a little bumped, 1860 § Alfonso X [King of Castile and Leon] Lapidario [edited by Jose Fernandez Montana], facsimile edition, colour plates, original cloth-backed boards, uncut, new endpapers, corners bumped, Madrid, 1881; and 17 others on illumination and manuscripts, v.s. (20)
NO RESERVE Ceramics.- Sèvres.- Baumgart (E.) La Manufacture de Sèvres a l'Exposition Universelle de 1900, plates, 6 chromolithographed, the rest photogravure, tissue guards, contemporary half morocco, t.e.g, a little rubbed, Paris, 1900 § Laking (Guy Francis) Sèvres Porcelain of Buckingham Palace and Windsor Castle, colour plates, original pigskin-backed cloth, t.e.g., lacking backstrip, defective, 1907, 4to (2)⁂ The first displays contemporary Art Nouveau designs rather than the traditional Sèvres styles.
NO RESERVE Ceramics.- Solon (Louis M.) The Ancient Art Stoneware of the Low Countries and Germany: or "Grès de Flandres" & "Steinzeug", 2 vol., number 144 of 270 copies on Dutch hand-made paper signed by the author, 25 etched plates, contemporary half morocco, uncut, rubbed, spines a little faded, printed at the Chiswick Press for the Author, 1892 § Garnier (E.) Dictionnaire de la Céramique, contemporary half calf, spine gilt, upper cover detached, Paris, n.d. § Ris-Paquot. Manuel du Collectionneur de Faïences Anciennes, contemporary half roan, Amiens & Paris, 1877-78 § Barber (E.A.) Tulip Ware of the Pennsylvania-German Potters, Philadelphia, 1903 § Chaffers (W.) The Keramic Gallery, 2 vol., mounted photographic plates, 1872, plates and illustrations, many colour, the last two original cloth, the last rebacked preserving original spines, all rubbed; and 7 others on ceramics, mostly continental, folio & 8vo (14)
Spitzer (Friedrich) La Collection Spitzer, 7 vol. including Atlas, number 321 of 600 copies, 342 photogravure or chromolithographed plates, some heightened with gold, wood-engraved illustrations, Atlas with 68 photogravure plates, contemporary half morocco, t.e.g., others uncut, slightly rubbed, Paris & London, 1890-92; and with the 2 vol. sale catalogue and bound list of prices, folio & 4to (10)⁂ Friedrich Spitzer (1815-90) was an art dealer who assembled one of the largest and most impressive private art collections of his time. After his death the collection was dispersed at auction in Paris, much of it being purchased by the Australian collector Georg Salting (1835-1909) who bequeathed it to the British Museum, the National Gallery, and the Victoria and Albert Museum.The main work comprises: vol.1 Antiques, ivoires, orfèvrerie religieuse, tapisseries; vol.2 Emaux peint, meubles et bois sculptés, faïences de Saint-Porchaire, faïences de Bernard Palissy, serrurerie, cuirs; vol.3 Orfèvrerie civile, incrustations sur métal, verrerie, vitraux, bijoux et bagues; vol.4 Faïences italiennes, plaquettes, médailles, dinanderie; vol.5 Gemmes, horloges et montres, instruments de mathématiques; vol.6 Armes et armures. Rare to find complete with the Atlas volume.
NO RESERVE Middle Ages.- Becker (C.) and J. von Hefner. Kunstwerke und Geräthschaften des Mittelalters und der Renaissance, 3 vol., engraved hand-coloured dedication and 216 engraved hand-coloured plates, many heightened in gold, the odd spot or light marginal soiling, contemporary half morocco, spines gilt, a little rubbed, 1852-63 § Constable (Archibald, editor) The Kennet Ciborium: A Description of that Relic, number 4 of 32 copies initialled and dated by the editor, chromolithographed frontispiece, 2 lithographed plates, illustrations, original cloth, Edinburgh, privately printed, 1890; and 2 others, medieval and early art, 4to (6)
NO RESERVE Ceramics.- Wedgwood and Bentley. A Catalogue of Cameos, Intaglios, Medlas, Busts, Small Statues, and Bas-Reliefs..., fifth edition, modern half library morocco, Cadel...Robson...and Johnson, 1779 § Wedgwood's Catalogue of Cameos...reprinted from the edition of 1787, edited by Eliza Meteyard, one of 250 copies, wood-engraved illustrations, contemporary roan-backed cloth, 1873 § Meteyard (Eliza) Memorials of Wedgwood [&] Choice Examples of Wedgwood Art, together 2 vol., mounted photographic plates, the first with a few plates loose, original cloth, gilt, the first with mounted oval portrait to upper cover (rubbed), 1874-79 § Gatty (Charles T.) Liverpool Art Club. Catalogue of a Loan Exhibition of the Works of Josiah Wedgwood, illustrated and revised edition, photographic plates, contemporary half morocco, t.e.g., Liverpool, 1879, a little rubbed; and 2 others on Wedgwood, v.s. (7)
London Livery Companies & Guilds.- Young (Sidney) The Annals of the Barber-Surgeons of London, contemporary half roan, rebacked, 1890 § Heath (Baron) Some Account of the Worshipful Company of Grocers, third edition, Privately Printed, original full morocco, gilt, by Holloway, 1869 § French (George Russell, editor) A Catalogue of the Antiquities and Works of Art exhibited at Ironmongers' Hall, 2 vol. in 1, plates and illustrations, contemporary red half roan, rubbed, corners worn, 1869; and a quantity of others on London Livery Companies, Guilds etc., v.s. (qty)
NO RESERVE Russia.- Bobrinskii (Count Alexei) Kurgani i Sluchainiya Arkheologicheskiya Nakhodki bliz Mestechka Smeli [Burial mounds and fortuitous archaeological discoveries near Smiela], 2 vol., text in Russian, 4 folding maps and 55 plates, mostly lithographed, 10 chromolithographed and heightened with gold and/or silver, 2 folding, contemporary library half roan, original printed wrappers bound in, rubbed and scuffed, St. Petersburg, V.S. Balashev, 1887-94 § Tooke (William) View of the Russian Empire, 3 vol., second edition, folding engraved map, spotting, later half roan, 1800; and 3 others on Russian art, some with chromolithographs, 4to & 8vo (8) ⁂ Bobrinskii was head of the Imperial Archaeological Commission from 1886 to 1917 and his collection is now part of the Hermitage.
![Japan.- Bowes Museum, Liverpool. [Sale Catalogue] Catalogue of the Magnificent and Unique Collection of Japanese Art Objects.](https://cdn.globalauctionplatform.com/5fa34ad6-3fee-4e08-824c-ab6100f26bee/bae7068a-a6cb-4a0a-b828-ab6101108de6/468x382.jpg)
Japan.- Bowes Museum, Liverpool. [Sale Catalogue] Catalogue of the Magnificent and Unique Collection of Japanese Art Objects..., plates mounted on stubs, some photographic, deluxe copy with 4 plates of chromolithographs, one folding, 2 with 2 images cut and mounted, contemporary half morocco, original wrappers bound in at end, Liverpool, Branch and Leete, 1901 § Bowes (James L.) Japanese Pottery..., printed on Japanese vellum, plates, some chromolithographed, contemporary half morocco, t.e..g, others uncut, Liverpool, 1890 § Morse (Edward S.) Catalogue of Japanese Pottery, photogravure plates, original boards, uncut, Cambridge, Mass., Riverside Press, 1901, all a little rubbed; and 7 others on Japanese and Chinese art, mostly ceramics, v.s. (10)
NO RESERVE Trade Catalogues.- British Association for the Advancement of Science. Portfolio of Lithographic Drawings of the Principle Articles of Manufacture at the Birmingham Exposition 1849, decorative title printed in gold, 34 lithographed plates, some tinted, tissue guards, title trimmed to border at fore-edge and reinforced, foxing to a few plates, contemporary half calf, Birmingham, 1849 § Elkington & Co., Manufacturers of Electro Plate, Birmingham. Universal Exhibition Vienna 1873. Illustrations of Art Manufactures in the Precious Metals..., lithographed decorative title printed in colours and gold, photographic portrait and 14 plates, interleaved, later library half roan, original glazed decorative wrappers bound in, Birmingham, 1873 § Christofle & Cie. Tarif-Album des Ornemens en Bronze Galvanique pour Décoration de Meubles, Ébénisterie, Marberie, Tapisserie, Serrurerie. etc., trade catalogue, letterpress price list with strips of new prices pasted in, 63 plates mounted on stubs, ink stamp of Herbert S.Taylor & Co. of Berners St. London at head of title and plates, light spotting or soiling, original cloth, rather crudely rebacked, Paris, [c.1900], all rubbed; and 6 others, designs for silver, some trade catalogues, including a German pattern book of engraved and lithographed designs, v.s. (9)⁂ The Birmingham Exposition of Manufactures of 1849 was a precursor to the Great Exhibition of 1851. In 1842 the Parisian jeweller Charles Christofle bought the electroplating patent from Henry and George Richards Elkington and built a large factory in Paris to produce such goods.
NO RESERVE Greek Vases.- Burlington Fine Arts Club. Catalogue of Objects of Greek Ceramic Art, number 9 of 25 copies on Japon, contemporary half morocco, spine gilt, t.e.g., spine faded, 1888 § Harrison (J.E.) & D.S.MacColl. Greek Vase Paintings, original pictorial cloth, soiled, spine ends worn, 1894 § Pottier (E.) Vases Antiques du Louvre: Salles A-E & E-G, 2 vol., contemporary half morocco, original wrappers bound in, Paris, 1897-1901, plates, some photogravure, all a little rubbed, folio & 4to (4)
Erotica: Sculpture/Garden Design: ▲ William Crozier (1942), Marilyn, 1975/80, Bronze, cast Hans Mayr Foundry, Munich, 1981, Edition 3/9, Signed and dated, 113cm by 83.2cm by 96.5cmExhibited: New York, Xavier Fourcade Inc, 1985 The following six lots (lots 104 to 109) of erotic bronzes by William Crozier, were formerly in the collection of Robert Skull who with his first wife, was one of the first collectors of contemporary American Art in the 1960's. The 1973 Sotheby's auction, "The Collection of Robert C. Scull", of 50 mostly Pop Art lots yielded $2.2 million, and was the first single seller auction of contemporary American art.William Crozier is a figurative sculptor who has lived and worked in New York for more than 30 years.For many years William Crozier was represented by Richard Bellamy and Xavier Fourcade. He has had one-person shows at Xavier Fourcade, Inc, New York, (where a number of these bronzes were exhibited) as well as the Richard Hines Gallery, Seattle and Jason McCoy Gallery, New York. Crozier's work was included in the 1983 Whitney Biennial Exhibition and is in the permanent collection of the Metropolitan Museum of Art. The collector Robert Scull purchased one cast of each of his new pieces from 1970 to 1983 and all of the bronzes in this collection are numbered 1/9. Other bronzes in the edition have subsequently been sold at Sotheby's and Christies contemporary art sale in New York in the 1980's and 90's.Crozier's public commissions include a monumental-scale sculpture of Senator Jacob Javits for the Jacob Javits Convention Center, The Korean War Veterans Memorial in Kissena Park, Queens, New York and a portrait bust of David Rockefeller for Rockefeller University.Due to the erotic nature of these bronzes we have not illustrated them, however photographs are available on request.
Erotica: Sculpture/Garden Design: ▲ William Crozier (1942), Bob, 1971/80, Bronze, cast 1981, Edition 2/9, Signed stamp foundry |Guss Hans Mayr Munchen|, 22.9cm by 137.19cm by 61cmExhibited: New York, Xavier Fourcade Inc, 1985 The following six lots (lots 104 to 109) of erotic bronzes by William Crozier, were formerly in the collection of Robert Skull who with his first wife, was one of the first collectors of contemporary American Art in the 1960's. The 1973 Sotheby's auction, "The Collection of Robert C. Scull", of 50 mostly Pop Art lots yielded $2.2 million, and was the first single seller auction of contemporary American art.William Crozier is a figurative sculptor who has lived and worked in New York for more than 30 years.For many years William Crozier was represented by Richard Bellamy and Xavier Fourcade. He has had one-person shows at Xavier Fourcade, Inc, New York, (where a number of these bronzes were exhibited) as well as the Richard Hines Gallery, Seattle and Jason McCoy Gallery, New York. Crozier's work was included in the 1983 Whitney Biennial Exhibition and is in the permanent collection of the Metropolitan Museum of Art. The collector Robert Scull purchased one cast of each of his new pieces from 1970 to 1983 and all of the bronzes in this collection are numbered 1/9. Other bronzes in the edition have subsequently been sold at Sotheby's and Christies contemporary art sale in New York in the 1980's and 90's.Crozier's public commissions include a monumental-scale sculpture of Senator Jacob Javits for the Jacob Javits Convention Center, The Korean War Veterans Memorial in Kissena Park, Queens, New York and a portrait bust of David Rockefeller for Rockefeller University.Due to the erotic nature of these bronzes we have not illustrated them, however photographs are available on request.
Erotica: Sculpture/Garden Design: ▲ William Crozier (1942), Debra, 1976/77, Bronze, Edition 1/9, Signed, 11.5cm by 43.2cm by 37cm The following six lots (lots 104 to 109) of erotic bronzes by William Crozier, were formerly in the collection of Robert Skull who with his first wife, was one of the first collectors of contemporary American Art in the 1960's. The 1973 Sotheby's auction, "The Collection of Robert C. Scull", of 50 mostly Pop Art lots yielded $2.2 million, and was the first single seller auction of contemporary American art.William Crozier is a figurative sculptor who has lived and worked in New York for more than 30 years.For many years William Crozier was represented by Richard Bellamy and Xavier Fourcade. He has had one-person shows at Xavier Fourcade, Inc, New York, (where a number of these bronzes were exhibited) as well as the Richard Hines Gallery, Seattle and Jason McCoy Gallery, New York. Crozier's work was included in the 1983 Whitney Biennial Exhibition and is in the permanent collection of the Metropolitan Museum of Art. The collector Robert Scull purchased one cast of each of his new pieces from 1970 to 1983 and all of the bronzes in this collection are numbered 1/9. Other bronzes in the edition have subsequently been sold at Sotheby's and Christies contemporary art sale in New York in the 1980's and 90's.Crozier's public commissions include a monumental-scale sculpture of Senator Jacob Javits for the Jacob Javits Convention Center, The Korean War Veterans Memorial in Kissena Park, Queens, New York and a portrait bust of David Rockefeller for Rockefeller University.Due to the erotic nature of these bronzes we have not illustrated them, however photographs are available on request.
Erotica: Sculpture/Garden Design: ▲ William Crozier (1942), Aching, 1981/82, Bronze, Edition 1/9, Signed and dated |81-82| and foundry mark Guss Mayr Munchen, 132cm by 128.3cm by 231cmExhibited: New York, Xavier Fourcade, 1985 The following six lots (lots 104 to 109) of erotic bronzes by William Crozier, were formerly in the collection of Robert Skull who with his first wife, was one of the first collectors of contemporary American Art in the 1960's. The 1973 Sotheby's auction, "The Collection of Robert C. Scull", of 50 mostly Pop Art lots yielded $2.2 million, and was the first single seller auction of contemporary American art.William Crozier is a figurative sculptor who has lived and worked in New York for more than 30 years.For many years William Crozier was represented by Richard Bellamy and Xavier Fourcade. He has had one-person shows at Xavier Fourcade, Inc, New York, (where a number of these bronzes were exhibited) as well as the Richard Hines Gallery, Seattle and Jason McCoy Gallery, New York. Crozier's work was included in the 1983 Whitney Biennial Exhibition and is in the permanent collection of the Metropolitan Museum of Art. The collector Robert Scull purchased one cast of each of his new pieces from 1970 to 1983 and all of the bronzes in this collection are numbered 1/9. Other bronzes in the edition have subsequently been sold at Sotheby's and Christies contemporary art sale in New York in the 1980's and 90's.Crozier's public commissions include a monumental-scale sculpture of Senator Jacob Javits for the Jacob Javits Convention Center, The Korean War Veterans Memorial in Kissena Park, Queens, New York and a portrait bust of David Rockefeller for Rockefeller University.Due to the erotic nature of these bronzes we have not illustrated them, however photographs are available on request.
Erotica: Sculpture/Garden Design: ▲ William Crozier (1942), Dawn-Marty, 1973/78, Bronze, cast 1980, Edition 1/9, Signed dated '1973-8' Stamp foundry Munchen19.1cm by 90.2cm by 61cmExhibited: New York, Xavier Fourcade Inc, 1984 The following six lots (lots 104 to 109) of erotic bronzes by William Crozier, were formerly in the collection of Robert Skull who with his first wife, was one of the first collectors of contemporary American Art in the 1960's. The 1973 Sotheby's auction, "The Collection of Robert C. Scull", of 50 mostly Pop Art lots yielded $2.2 million, and was the first single seller auction of contemporary American art.William Crozier is a figurative sculptor who has lived and worked in New York for more than 30 years.For many years William Crozier was represented by Richard Bellamy and Xavier Fourcade. He has had one-person shows at Xavier Fourcade, Inc, New York, (where a number of these bronzes were exhibited) as well as the Richard Hines Gallery, Seattle and Jason McCoy Gallery, New York. Crozier's work was included in the 1983 Whitney Biennial Exhibition and is in the permanent collection of the Metropolitan Museum of Art. The collector Robert Scull purchased one cast of each of his new pieces from 1970 to 1983 and all of the bronzes in this collection are numbered 1/9. Other bronzes in the edition have subsequently been sold at Sotheby's and Christies contemporary art sale in New York in the 1980's and 90's.Crozier's public commissions include a monumental-scale sculpture of Senator Jacob Javits for the Jacob Javits Convention Center, The Korean War Veterans Memorial in Kissena Park, Queens, New York and a portrait bust of David Rockefeller for Rockefeller University.Due to the erotic nature of these bronzes we have not illustrated them, however photographs are available on request.
Sam Francis (1923-1994)Untitled (Lembark 263)Lithograph printed in colours, 1984, signed in pencil, numbered from the edition of 250, on BFK Rives paper, as included in the portfolio Eight by Eight to Celebrate the Temporary Contemporary, published by the Museum of Contemporary Art, Los Angeles, the full sheet printed to the edges, sheet 1066 x 731mm (42 x 27 7/8in) (unframed)
AN EXHIBITION POSTER BY ZYGMUNT GLINICKI (POLISH 1898-1940) FOR THE STATE TRETYAKOV GALLERY, 1933 ZYGMUNT GLINICKI (POLISH 1898-1940), SOVREMENNOE POLSKOE ISKUSSTVO [Contemporary Polish Art] (Moscow: State Tretyakov Gallery, 1933), edition of only 2 000, lithograph, signed in plate upper left, full sheet measuring 102.5 x 71 cm (40 3/8 x 28 in.)
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