* GORDON K MITCHELL RSA RSW RGI (SCOTTISH b 1952), CATALONIAN ROMANCE oil on canvas, signed 100cm x 85cm (approx 40 x 33 inches) Framed. Label verso: Roger Billcliffe (Gallery), 134 Blythswood Street, Glasgow. Note: A major solo show of Gordon K Mitchell's work is currently being staged by the prestigious Roger Billcliffe Gallery, Glasgow (26th April - 28th May) where paintings of this size are priced at approximately £10,000. Prizes and Awards include: Borders Biennial Exhibition; First Prize, City Arts Centre, Open Exhibition; First Prize, Educational Institute for Scotland; Purchase Prize, Glasgow Mayfest Award, Royal Scottish Academy Award; First Prize, Royal Scottish Society of Painters in Watercolour; William Gillies Award, Scottish Drawing Competition, Paisley; Second Prize, Royal Scottish Academy; J. Murray Thompson Award, Scottish Artists and Artist Craftsmen; Arts Club Prize, Scottish Artists and Artist Craftsmen; Whyte & Mackay Award, Scottish Artists and Artist Craftsmen; Scottish Provident Award, Scottish Artists and Artist Craftsmen; Dunfermline Building Society Prize, Scottish Artists and Artist Craftsmen; SSWA Special Award.Solo Exhibitions : Dorothy Quinn Gallery, St. Andrews, Henderson Gallery, Edinburgh, Old City Art Gallery, Jerusalem, Traverse Theatre, Edinburgh, Open Eye Gallery, Edinburgh (biannually since 1992), Roger Billcliffe Fine Art, Glasgow (biannually since 1993), Atholl Gallery, Dunkeld (1993) Albemarle Gallery (biannually since 1997). Represented in Group Exhibitions in the United Kingdom, including:Allan Park Gallery, Stirling, Atholl Gallery, Dunkeld, Borders Biennial Exhibition, City Arts Centre, Edinburgh, Contemporary British Art Show, London, Contemporary Fine Art Gallery, Fine Art Society Galleries, Glasgow, Gracefield Art Centre, Dumfries, Hilton Hotel, Hong Kong, John Martin of London, Kirkcaldy Art Gallery, Mall Galleries, London, Morrison Scottish Portrait ExhibitionOpen Eye Gallery, Edinburgh, Paisley Art Institute, Portland Gallery, London, Richard Demarco Gallery, Edinburgh, Roger Billcliffe Fine Art, Glasgow, Royal Glasgow Institute, Royal Scottish Academy, Edinburgh, Royal Scottish Society of Painters in Watercolour, Scottish Arts Club, Edinburgh, Scottish Arts Council Gallery, Smith Art Gallery & Museum, Society of Scottish ArtistsSociety of Scottish Artists and Artist Craftsmen, Stirling Gallery, Talbot Rice Gallery, Edinburgh Group Exhibitions held abroad: Through the `Old City Gallery` Jerusalem, paintings have been included in group exhibitions in Israel, Australia, Canada, U.S.A. and Sweden. Blue and White Gallery, Jerusalem, Contemporary Scottish Art 1994, Hilton Hotel, Hong Kong Collections:Works held in a great many private and public collections, including; Alliance & Leicester Building Society, Edinburgh Distillers Co. Ltd, Edinburgh College of Art, Educational Institute for Scotland, Johnny Walker Whisky Co, Kansas City Art Institute, Macfarlane Group Plc, National Westminster Bank, Paisley Art Institute, Scottish Arts Council, Scottish Brewers Limited, Slottseal Forthside Limited, The Knesset, Israel, University of Edinburgh, Welcome Inns, Whyte & Mackay Group.
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* JANET KENYON (BRITISH b 1959), NELSON'S COLUMN (LONDON) watercolour on paper, signed 51cm x 71cm Mounted, framed and under glass. Note: Janet Kenyon is the multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in corporate and private collections throughout the UK and abroad.
* PETER GRAHAM ROI (SCOTTISH b 1959), DECORATIONS WITH FLOWERS oil on canvas, signed 58cm x 55cm Framed. Note: A very rare appearance at auction for one of Scotland's and the UK's most successful contemporary artists. Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brush work combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries.
ALEXANDER MCKENZIE (AUSTRALIAN B 1971 - ), NIGHT SCENE oil on linen, signed and dated '01, further signed, titled and dated '01 verso 60cm x 60cm Framed. Note: Alexander McKenzie is one of Australia's most successful contemporary artists. The son of Scottish migrants, McKenzie knew he would become a painter from the earliest years and had his own purpose-built art studio at home from the age of eleven. Shortly after leaving the City Art Institute he won the Brett Whiteley Scholarship to study at Julian Ashton School of Art, graduating in 1994. Between 1995-2002 he studied and traveled throughout England, Ireland, France, Scotland and Italy. His landscape paintings have been described as "aesthetically reminiscent of 15th century Dutch Masters – with contemporary motifs... reflecting the human journey that transpires time and place". In 2013 he was commissioned by the Australian War Memorial to paint a ten metre by three metre background as part of the World War I centenary commemorations. The diorama depicts the 1918 Battle of Semakh that unfolded on the Sea of Galilee's southern shore in the last months of the Sinai and Palestine campaign. McKenzie's work has been part of numerous solo and group exhibitions in Australia, Hong Kong, Scotland, Ireland and the United States and is part of corporate and private collections across the globe. YouTube features several films of exhibitions and interviews with McKenzie (Youtube Alexander McKenzie artist). Several of Alexander McKenzie's paintings have been sold at auction in Australia and prices are recorded at the Australian dollar equivalent of US$17,917, US$14,572 and US$13,935 (very approximately £13,700, £11,200 and £10,700) source "findartinfo".
* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b 1944), HOME FOR TEA mixed media on panel, signed 45cm x 50cm Mounted, framed and under glass. Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings, Singapore and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.
ATTRIBUTED TO BERTEL THORVALDSEN, (19TH CENTURY) Cupid with LyreCarrara marble, 59cm high Bertel Thorvaldsen was born in Copenhagen in 1770 into a family of modest means. At the tender age of eleven, he was accepted into the Royal Academy of Fine Arts in Copenhagen, where it became quickly apparent that he was student with considerable talent. His journey to Rome, where he would continue to spend the next forty years (1797 - 1838), was facilitated by a stipend from the Academy. In the collection of the Hermitage Museum, St Petersburg, there is a Cupid with Lyre marble by Thorvaldsen (Inventory number Н.ск-262). It is one six sculptures by the Danish artist housed in the museum, all of which follow a similar theme of classical figures, Greek God and Goddesses, reveal the lasting influence of the Renaissance artistic tradition had on the Dane’s creative process. Thorvaldsen’s statues were in keeping with the fashion of the time, in which artists were working in the neoclassical style, producing art influenced by the mythology of antiquity. Thorvaldsen’s work is most commonly compared with that of his Italian contemporary Antonio Canova. Both sought out the commissions of large-scale sculptural groups, employing an increasingly idealistic form of expression. While Canova’s sculptures are known for their lightness and grace, Thorvaldsen produced works with a heavier and more robust quality. As in this present example in which the Cupid figure sits on a solid square base, his body vigorously modelled, his symbolic instrument, the lyre balanced between his legs. On his return to Denmark in 1838, Thorvaldsen was granted ‘freedom of the city of Copenhagen’. He died in 1844 aged 73 and following the opening of a museum dedicated to him and his life’s work in Copenhagen in 1848, his body was laid to rest in the burial chamber in the courtyard of the museum. The museum houses many smaller studies by Thorvaldsen and his workshop. These clay and plaster models are the original versions of his later marble sculptures, which were often carved in several copies.
TWOMBLY CY: (1928-2011) American painter of large-scale and graffiti works. Signed postcard photograph by the American Painter, the image depicting an intense red colour work of Twombly entitled Bacchus to the safety curtain at the Vienna Opera Theatre. Signed in dark black ink with his name alone at the head of the image. EX £100-150 The exhibition series "Safety Curtain" is a project of Museum in Progress in cooperation with the Vienna State Opera, which transforms the safety curtain into a temporary exhibition space for contemporary art. The CY Twombly work Bacchus was exhibited in 2010-11.
JAZZ - LPs. Contemporary collection of over 90 x LPs with a selection of 20 x 7"/EPs. Artists/titles include Charlie Mingus Quintet - Chazz! (UK Vocalion LAE 543 - VG+/VG+), Art Tatum with Red Callender and Jo Jones (Pablo 2310 735), Carmen McRae, Earl Hines, James Moody, Stan Getz - Getz Au Go Go , Hank Jones, Charlie Ventura, Charlie Parker, Bud Freeman, Edmond Hall/Art Hodes, Ella Fitzgerald, Roland Hanna Trio - Time For The Dancers, Coleman Hawkins, Milt Jackson, Max Roach, Wardell Gray, Martin Denny, Keith Jarrett with EPs from Sidney Bechet (Esquire EP 1580), Bunny Berigan, Louis Armstrong and Duke Ellington.
OKSANA TANASIV (UKRAINIAN-AMERICAN B. 1976) V-18, 2019 laminated collage on board 122 x 122 cm (48 x 48 in.) signed, dated and titled on verso LOT NOTESOksana Tanasiv, born in Ternopil, Ukraine, is a contemporary artist based in the United States. In her work, Tanasiv addresses the intersection of art, high fashion, and, most recently, identity politics. The present piece is part of a series entitled "Code U", dedicated to Ukrainian history and culture. These neo-folk compositions are based on patterns found in traditional embroidery - one of the world's most ancient art forms and one with an especially rich history in Ukraine. As the artist explains: These symbols, signs, systems and unique patterns have been used for several thousand years in Trypillian culture. I remake these antique symbols [and] elements of embroidery into abstract combinations and codes, with the help of new materials and colours, bringing together our history and culture from years past.
Medieval Viking era necklace formed with stone and glass beads with silver/iron attachments. Professionally restrung, suitable for contemporary wear. - 600mm, 117 grams - ca.900AD - Property of a Central London gallery, purchased on the European art market in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .
Hugh Mcintyre (Scottish, b. 1943) Caerlaverock Erosion 1979, expressionist landscape worked in loose brush strokes, pencil signed and dated, entitled verso, framed and mounted under glass, 15 x 15 cm The atmospheric overtones of the great outdoors feature prominently in the works of Hugh Mcintyre, who typically walks seashores and riversides amid all weathers, before returning to his studio to relive his experiences on canvas. Mcintyre's paintings are in the collections of H.R.H The Prince of Wales, the Bank of Scotland, Tommy Hilfiger, Ashai Optical Co. Ltd, Brunel University, Hilton International and Albert Fisher Group PLC, et al. Mcintyre exhibits widely and has been represented by Contemporary Fine Art (Eton) since 1990.
Military.- Simes (Thomas) The Military Guide for Young Officers, Containing a System of the Art of War..., third edition, folding table, 20 engraved plans on 14 plates (1 folding), 4 folding maps, contemporary calf, slightly rubbed, lower cover with surface wear, corners bumped, rebacked, original red label on spine, 8vo, J. Millan, 1781.
NO RESERVE Sweet (Robert) The Hot-House and Greenhouse Manual, or Botanical Cultivator, second edition, previous owner's ink signature to title, 2pp. publisher's advertisements at end, cracked hinges, later half calf, lightly browned spine, rubbed, small loss to lower board, 1825 § Skuse's Complete Confectioner, a Practical Guide to the Art of Sugar Boiling in all its Branches, advertisements, cracked upper hinge, original cloth, rubbed and worn, W.J. Bush & Co., n.d. § Riviére (M.) Guide Pratique du Vétérniaire et du Parfait Bouvier, engraved illustrations, spotting, contemporary half calf, rubbed and worn, Paris, Laplace, n.d.; and 14 others, mainly incomplete sets, 8vo & 12mo (17)
Fincham (John). A History of Naval Architecture: to which is prefixed, an introductory dissertation on the application of mathematical science to the art of naval construction, 1st edition, 1851, 58 single-page steel engraved plates, original blue cloth, slightly rubbed, large 8vo, together with Biden (Christopher). Naval Discipline. Subordination contrasted with insubordination; or, a view of the necessity for passing a law establishing an efficient naval discipline on board ships in the merchant-service; comprising a valuable record of occurrences on board various ships..., 1st edition, J.M. Richardson, 1830, small stain to head of title (generally in clean condition), contemporary dark blue half calf gilt, a little rubbed, 8vo, plus Lewis (Richard). History of the Life-boat and its Work, 1st edition, Macmillan, 1874, wood engraved plates and illustrations, folding map, publisher's catalogue at end, some spotting to endpapers, original blue cloth gilt, slightly rubbed and spine a little dulled, and Gilly (William O.S.). Narratives of Shipwrecks of the Royal Navy: between 1793 and 1849, 2nd edition, revised, John W. Parker, 1851, bookplate of the Hon. George Charles Colville to front pastedown, original blindstamped dark blue cloth gilt, rebacked with original spine laid down (small portion of original spine missing at foot), both 8vo (Qty: 4)Provenance: Library of Colin and Joan Deacon.
Amick (Marion L.). History of Donaldson's Balloon Ascensions, Laughable Incidents, Frightful Accidents, Narrow Escapes, Thrilling Adventures, Bursted Balloons, Trapeze Performances, Mock Suns... , first edition, Cincinnati, 1875, wood-engraved illustrations including portrait frontispiece, ballooning and other news cuttings from The Baltimorean pasted to front endpapers and on additional leaves bound in at rear, some spotting, contemporary half morocco, rubbed and soiled, together with Wise (John), A System of Aeronautics, Comprehending its Earliest Investigations, and Modern Practice and Art... , first edition, Philadelphia, 1850, lithographic portrait frontispiece and 12 plates, errata slip tipped in, heavily spotted and browned throughout, institutional ink stamp to front pastedown, original cloth, soiled and worn, both 8vo (Qty: 2)Provenance: From the ballooning collection of Wilf Woollett.
De Baye (Baron J.), The Industrial Arts of the Anglo-Saxons, translated by T. B. Harbottle, 1st edition in English, Swan Sonnenschein and Co., 1893, engraved plates, spotting, a few leaves proud, top edge gilt, original green pictorial cloth gilt, mottling to covers, slightly rubbed, 4to, together with: Lane-Poole (Stanley), Coins and Medals, their Places in History and Art, 1st edition, Elliot Stock, 1885, woodcuts in text, engraved bookplate of R. C. Temple, top edge gilt, others untrimmed, contemporary quarter sheep, gilt spine, cloth sides, 8vo, Fox (Cyril), The Archaeology of the Cambridge Region, 1st edition, Cambridge: University Press, 1923, 5 folding maps in end-pocket, original pictorial cloth, 8vo, Fowler (W. Warde), The Religious Experience of the Roman People from the Earliest Times to the Age of August, the Gifford Lectures for 1909-10, 1st edition, macmillan and Co., Limited, 1911, unopened , original cloth, slightly rubbed, 8vo, and numerous others, British archaeology and classical antiquity, most in original cloth, dust jackets, 8vo and 4to (approximately 75 volumes) (Qty: 3 shelves)
Cricket. Tayler (Albert Chevallier, illustrator), The Empire's Cricketers [title printed on spine, published Fine Art Society, 1905], forty-eight (complete) chromolithographic plates with descriptive biographies by George W. Beldam (one biography for T. Hayward detached), near contemporary cloth, slight staining, folio (Qty: 1)Padwick 6997. Regarded as the highest development of cricket portraiture in book form.
MacDonald (Duncan). The New London Family Cook: or, Town and Country Housekeepers' Guide; comprehending directions for marketing..., general observations, and bills of fare for every week in the year; practical instructions for preparing soups, broths, gravies, sources and made dishes; and for dressing fish, venison, hares, butchers' meat, poultry, game... with the respective branches of pastry and confectionery..., Albion Press: printed for J. and J. Cundee, [1812], engraved frontispiece portrait of the author, 8 wood engraved plates, a few minor marks and frontispiece lightly spotted (generally in clean condition), contemporary calf gilt, rubbed to joints and edges, together with Poole (Watkin, editor). The Female's Best Friend; or, the Young Woman's Guide to Virtue, Economy, and Happiness: containing a complete modern system of cookery, formed upon principles of economy for private families..., a new edition, edited and compiled by Watkin Poole, Manchester, printed and published by J. Gleave and Son, 1826, engraved frontispiece and additional engraved title (somewhat spotted), 12 engraved plates (complete), some light marks, and some waterstaining, many to plates, contemporary ownership signature to front blank of Ann Mansfield, dated 1829, modern red reversed calf with black morocco gilt label to spine, slightly rubbed, 8vo, plus 5 other cookery interest: The Gentleman's Table Guide, being practical recipes for wine cups, American drinks, punches, cordials..., 1871, Social Etiquette, the art of cookery and hints on carving, 4th thousand, Houlston and Wright, 1860, The Reason Why Domestic Science, circa 1870, Beeton's All About Cookery, circa 1880 & Menus Made Easy by Nancy Lake, 1894, all in original cloth, generally in good condition, 8vo (Qty: 7)
Accomplish'd Ladies Delight. The Accomplish'd Ladies Delight, in Preserving, Physick, Beautifying, and Cookery. Containing I. The Art of Preserving and Candying Fruits and Flowers; and the making of all sorts of Conserves, Syrups, and Jellies. II. The Physical Cabinet: or, Excellent Receipts in Physick and Chirurgery; together with some Beautifying Waters, to Adorn and add Loveliness to the Face and Body: and also some New and Excellent Receipts relating to the Female Sex: and for the general good of Families, is added the True Receipt for making that famous Cordial Drink Daffy’s Elixir Salutis. III. The Compleat Cook’s Guide: or, Directions for Dressing all sorts of Flesh, Fowl and Fish, both in the English and French mode; with all sorts of Sauces and Sallets: and the making Pyes, Pasties, Tarts, and Custards, with the Forms and Shapes of many of them, 7th edition, enlarged, London: B. Harris, and are sold by Henry Nelme, [1696], additional engraved title present (browned, torn & frayed to margins), double-page woodcut plate of pie forms & shapes (browned, torn with some loss), lacking portrait frontispiece, some fraying and short tears to margins throughout affecting some letters, toning and few marks, index leaves heavily browned, contemporary sheep, worn, 12mo (Qty: 1)Wing W3273. "An unauthorized work based on [Hannah Wooley’s] books and adorned by a spurious portrait and unreliable biographical information was published in 1673 as The Gentlewomans Companion, and similar works followed in 1675 (The Accomplished Ladies Delight) and 1685 [sic] (The Compleat Servant-Maid). Like her authentic works, these were reprinted frequently." -- Oxford Dictionary of National Biography.
Briggs (Richard). The English Art of Cookery, according to the Present Practice, Dublin: P. Byrne, 1791, initial leaves with light dampstain at gutter, short worm trail and few tiny worm holes, dust-soiling and few marks, lacking front free endpaper, contemporary calf, morocco title label, 8vo, together with Raffald (Elizabeth) , The Experienced English Housekeeper, new edition, Derby: Printed by & for Henry Mozley, 1821, engraved frontispiece, few leaves frayed to margins, light dust-soiling, contemporary sheep, boards detached, worn, 12mo, with Farley (John) , The London Art of Cookery, and Housekeeper's Complete Assistant, 6th edition, 1789, engraved frontispiece, 12 engraved plates of bills of fare, 20th-century morocco-backed boards, 8vo, plus other 18th & 19th century cookery & domestic economy related, some defective (Qty: 10)
Cleland (Elizabeth). A New and Easy Method of Cookery, Treating, I. Of Gravies, Soups, Broths, &c. II. Of Fish, and their Sauces. III. To Pot and make Hams, &c. IV. Of Pies, Pasties, &c. V. Of Pickling and Preserving. VI. Of Made Wines, Distilling and Brewing, &c. To which are added, by way of Appendix, fifty-three new and useful Receipts, and Directions for Carving. By Elizabeth Cleland. Chiefly intended for the Benefit of the Young Ladies who attend Her School, 3rd edition, Edinburgh: R. Fleming & W. Gray, 1770, a few tissue repairs to title, toning, spotting and some dampstaining throughout, modern half calf gilt, 8vo, together with Raffald (Elizabeth) , The Experienced English Housekeeper for the Use and Ease of Ladies, Housekeepers, Cooks, &c., 13th edition, 1806, engraved portrait, 3 folding plates (two with light repairs), toning and some spotting, contemporary calf, gilt decorated spine, morocco title label, slight wear at head & foot of spine, 8vo, with Hammond (Elizabeth) , Modern Domestic Cookery, and useful Receipt Book. Containing approved Directions for Purchasing, Preserving and Cooking, Meat, Fish, Poultry, Game..., the Art of making British Wines, Brewing, Baking, &c., 6th edition, improved, 1828, engraved portrait frontispiece and additional title, dust-soiling and few marks, contemporary half calf, joints split and light wear, 12mo, plus an incomplete Complete House-keeper and Professed Cook, by Mary Smith, new edition, Newcastle, 1786 (Qty: 4)
[Glasse, Hannah]. The Art of Cookery, made Plain and Easy..., 5th edition, with additions, 1755, half-title with signature to verso and slight show-through, author's signature to first leaf of chapter 1, some light toning and minor marks, contemporary calf, joints cracked and lower board loosening, light wear, 8vo, together with a 6th edition of the same title, published 1758, and The Art of Cookery made Plain and Easy; Excelling any thing of the kind ever yet published, London: Orlando Hodgson, circa 1830s, bound without illustrations, some dust-soiling, untrimmed, side-stitched as issued, lower printed wrapper present only, slim 8vo, plus an 1842 & 1843 edition of The Complete Art of Cookery, by Hannah Glasse, wood engraved frontispiece and illustrations, original cloth, rubbed & some wear, 16mo (Qty: 5)
[ Glasse , Hannah]. The Art of Cookery, made Plain and Easy..., by a Lady, new edition, 1770, recent endpapers, contemporary calf, rebacked, maroon morocco title label, 8vo, together with Harrison (Sarah) , The House-Keeper's Pocket-Book, and Compleat Family Cook: Containing about Twelve Hundred Curious and Uncommon Receipts in Cookery, Pastry, Preserves, Pickling, Candying, Collaring, &c., with Plain and easy Instructions for Preparing and Dressing every thing suitable for an Elegant Entertainment, Two Dishes to Five or Ten..., 9th edition, revised & corrected, 1777, title slightly marked and first & last few leaves browned to margins, closed tear to lower blank margin of H6, occasional light dampstains, lacking front free endpaper, contemporary sheep, amateur reback, board edges worn, 12mo, with [Plumtre, Annabella] , Domestic Management; or, the Healthful Cookery-Book..., by a Lady, second edition, 1813, engraved frontispiece, toning and some spotting, untrimmed, original printed boards, loss at head of spine, joints spit, dust-soiled and some wear, 12mo, and M ason (Charlotte) , The Lady's Assistant for Regulating and Supplying her Table,, being a Complete System of Cookery, 3rd edition, 1777, lacking frontispiece, dust-soiling, occasional marks and spotting, contemporary sheep, old reback and corner repairs, rubbed, 8vo, plus other 18th & 19th century cookery and related, some defective (Qty: 12)
Haslehurst (Priscilla). The Family Friend, and Young Woman's Companion; or Housekeeper's Instructor: containing a very complete collection of Original and Approved Receipts in every branch of Cookery, Confectionery, &c., Sheffield: Printed by C. & W. Thompson, 1814, engraved frontispiece, colophon dated 1815, some dust-soiling and spotting, modern half calf gilt, morocco title label, 8vo, together with Henderson (William Augustus) , The Housekeeper's Instructor; or, Universal Family Cook..., to which is added the Complete Art of Carving, 20th edition, revised and considerably improved by Jacob Christopher Schnebbelie, circa 1840, engraved frontispiece and additional title, 11 engraved plates, some toning and spotting, cloth hinge repairs, contemporary calf, rebacked preserving original spine, 8vo, with Eaton (Mary) , The Cook and Housekeeper's Complete and Universal Dictionary; including a System of Modern Cookery, in all its various branches, adapted to the use of Private Families..., 1st edition, Bungay: J. & R. Childs, 1823, engraved portrait frontispiece & additional title, half-title present, some spotting and light dust-soiling, contemporary half calf, worn, 8vo (Qty: 1)
House (T.). The Family Cookery, Combining Elegance and Economy: with various Receipts for Making Gravies, Soups, Sauces, and Made Dishes; Directions for Roasting and Boiling Game, Poultry, Meat, Fish, &c. and Making of Pastry and Confectionary; Directions for Trussing and Carving; Rules for Brewing and Making Wines, the Art of Pickling and Preserving, the Management of Poultry and Bees, and Bills of Fare for the Year... Forming a Complete System of Domestic Management, London: Printed and sold by J. Bailey, [1810?], [2], xii, 204, [2]pp., engraved frontispiece and additional vignette title, 6 engraved plates (of 7), final advertisement leaf present at rear, occasional spotting and marks, ink smudge to verso of O2, few leaves slightly sprung and with consequent light fraying at fore-edge, contemporary sheep, red morocco title label to spine, upper joint slight, repair at head of spine, extremities rubbed, 12mo (Qty: 1)Rare. Not in Bitting, Cagle, Oxford or Vicaire. No copy listed on COPAC. Simon gives a publication date of circa 1810; John Bailey operated under his own name alone at 116 Chancery lane between 1808 and 1822, cf. I. Maxted's London Book Trades, 1775-1800. R. House, formerly head cook to the Duke of Portland.
Hughson (D.). The New Family Receipt-Book: or Universal Repository of Domestic Economy..., with Specifications of Approved Patent Medicines..., 1817, engraved portrait frontispiece frayed to margins and lined to verso, some browning and spotting, modern half calf, morocco title label, 4to, together with Darton & Harvey (Publishers) , Economical Cookery, for Young Housekeepers; or, the Art of Providing Good and Palatable Dishes for a Family..., to which are added, Directions for Pickling, Preserving, &c. and a Variety of Useful Domestic Receipts, by a Lady, 3rd edition, 1835, engraved frontispiece (stained, manuscript to verso) early manuscript to front pastedown and rear endpaper, original green roan-backed printed boards with contemporary bookseller paper label to upper pastedown of 'Noyes Book-seller, Binder &c. Chippenham', rubbed and light wear, 12mo with Mackenzie (Colin) , Five Thousand Receipts in all the Useful and Domestic Arts..., new edition, 1832, scattered spotting, contemporary half morocco, rubbed, 12mo, with Oddy (S.A., publisher) , The Housekeeper's Receipt Book, or, the Repository of Domestic Knowledge; containing a Complete System of Housekeeping, 1813, engraved frontispiece browned and margins frayed, contemporary inscription to upper margin of title, some ink staining, spotting and browning, modern marbled boards, 8vo, plus other 19th century related, some defective (Qty: 22)
Hughson (David). The New Family Receipt-Book: Or Universal Repository of Domestic Economy, Including a Fund of Useful Knowledge and Experience in all the Various Branches of Cookery..., 1st edition, 1817, engraved frontispiece (toned and somewhat edge-frayed), text in double column, some spotting and dampstaining, mainly to first and last few leaves, final few leaves with some worm damage at foot of gutter, page 5 has old repair at fore-edge, modern quarter calf gilt, 4to together with [Copley, Esther] , The Cook's Complete Guide , on the Principles of Frugality, Comfort, and Elegance including the Art of Carving, and the Most Approved Method of Setting-Out a Table...by a Lady, 1st edition, circa 1827, additional engraved title (with fragment of adhered paper at head of gutter), frontispiece and ten engraved plates, Bill of Fare plate for September loosely inserted from another (slightly smaller) copy, occasional spotting and minor marks, front hinge cracked after endpapers, contemporary brown half morocco, rubbed with some wear to extremities, 8vo, plus Macdonald (Duncan) , The New London Family Cook: or, Town and Country Housekeeper's Guide..., 3rd edition, [1812], portrait frontispiece and ten engraved plates, variable spotting and toning, modern blue quarter morocco gilt, 8vo, and five others similar (Qty: 8)First two items: Cagle 766, & 632 respectively.
Hunter (Alexander). Culina Famulatrix Medicinae ; or, Receipts in Modern Cookery; with a Medical Commentary, new edition, York: Wilson for J. Murray, London, 1810, engraved frontispiece, trimmed signature to upper margin of title and inscription at head of dedication leaf, adhesive browning to gutter margin of frontispiece and title, few annotations to lower margins of last few leaves, general toning & light spotting, 20th-century quarter morocco, 12mo, together with Radcliffe (M.) , A Modern System of Domestic Cookery; or, the Housekeeper's Guide: Arranged on the most Economical Plan for Private Families..., Manchester: J. Gleave, 1823, engraved frontispiece, additional title and 10 plates (few cropped to ruled margin at fore-edge), light dust-soiling and occasional spotting, contemporary half calf, later red morocco title label to spine, rubbed and slight wear, 8vo, and Peckham (Ann) , The Complete English Cook; or, Prudent Housewife. Being a Collection of the most general, yet least expensive Receipts in every Branch of Cookery and Good Housewifery..., 4th edition, to which is added a supplement, containing Forty-Nine Receipts, never before printed, Leeds: Thomas Wright, John Binns, William Fawdington etc., circa 1790, some light dust-soiling and minor damp stains, printed book label of the Circulating Library of Margaret Fair, of Bishop Auckland to upper pastedown, contemporary half sheep, joints split and some wear, 12mo, plus Thomas (J.E.) , The Housewife's Guide; or a Complete System of Modern Cookery, new edition, Leeds: H. Spink, 1833, bound with The New Whole Art of Confectionary: also, Sugar Boiling, Iceing, Candying, making of Wines, Jellies, &c. for the use of Ladies, Confectioners, Housekeepers, &c., new edition, Leeds: Henry Spink, 1831, closed tear to first leaf of preface, bound with The Servant's Companion; comprising the most perfect, easy, and expeditious methods of arranging and getting through their work..., Leeds: H. Spink, 1830, some dampstaining, modern quarter calf, 12mo, plus other 18th & 19th century cookery related (some incomplete & defective), including The Lady's Complete Guide; or, Cookery in all its Branches, by Mrs Mary Cole, 3rd edition, 1791, adhesive tape residue to gutter margin of half-title & final leaf, contemporary sheep, lower board detached, lacking upper board, 8vo (Qty: 10)
Nutt (Frederic). The Complete Confectioner, or the Whole Art of Confectionary , made easy; with Receipts for Liqueures, Home-made Wines, &c., 5th edition, 1808, engraved frontispiece, 10 engraved plates (two folding), some dampstaining, contemporary calf, joints cracked, covers rubbed and marked, 12mo, with Simpkin, Marshall, & Co. (Publishers) , The Housekeeper's Assistant: Containing 330 Receipts for Confectionary, Preserving, and Pickling, 1836, six lithograph plates of bills of fare, title with contemporary annotation 'by Mrs Ball for many years Housekeeper of the Countess of Dartmouth', scattered spotting, original cloth, rebacked, faded and few marks, small 8vo, with Marshall (Agnes B.). Fancy Ices, circa 1920s, numerous black & white illustrations to text, 30 pages publisher's advertisements at rear, original blue cloth, blocked in silver and black, 4to, together with another edition of the same work, with The Book of Ices, Including Cream and Water Ices, Sorbets..., with Names in French and English and Various Coloured Designs for Ices, 12th thousand edition, circa 1920s, four chromolithograph plates, including frontispiece, numerous black & white illustrations to text, some browning, original blue cloth, slim 8vo, plus four others, including The Italian Confectioner; or, Complete Economy of Desserts by W.A. Jarrin, new edition, revised & enlarged, 1861 (Qty: 12)
May (Robert). The Accomplisht Cook , or the Art and Mystery of Cook ery. Wherein the Whole Art is Revealed in a More Easie and Perfect Method, than Hath been Publisht in any Language..., 1st edition, printed by R.W. for Nath. Brooke, 1660, lacks portrait frontispiece, toned title with small loss to lower outer corner, woodcut illustrations to text, intermittent dampstaining (mainly affecting Sections I & II), Section I lacking pages 37-42, final five gatherings with worm damage at foot of gutter, lacks all after page 432, inside front cover with book ticket of Josephine Dockar Drysdale, contemporary calf, rubbed with some wear, front joint cracked, rear joint partly cracked, 8vo, together with [M., W.] , The Queens Closet Opened, Being Incomparable Secrets in Physick, Chyrurgery, Preserving, and Candying, &c. which were presented to the Queen, by the most experienc'd Persons of the times... Tenth Edition, Corrected, with many new and large Additions, 3 parts in 1, printed for E. Blagrave, 1696, lacks portrait frontispiece, partly detached title with loss of lower margin (affecting border), two leaves lacking lower outer corner, some toning and staining throughout, hinges strengthened, 19th-century calf, upper cover near detached, rear joint cracked, crude repairs to tail of spine and lower corner of rear cover, worn, 12mo, plus a defective copy of Countrey Contentments, in Two Bookes: The first, containing the Whole Art of riding great Horses... the Arts of Hunting, Hawking, Coursing of Grey-Hounds...The Second intituled The English Huswife..., by G.M., 1st edition, 1615 (Qty: 3)Sold with all faults, not subject to return.
Thacker (John). The Art of Cookery. Containing Above Six Hundred and Fifty of the most approv'd Receipts heretofore published, under the following Heads, viz. Roasting, Boiling, Frying, Broiling, Baking, Fricasees, Puddings, Custards, Cakes, Cheese-Cakes, Tarts, Pyes, Soops, Made-Wines, Jellies, Candying, Pickling, Preserving, Pastry, Collering, Confctionary [sic], Creams, Ragoos, Brasing, &c. &c. Also, a Bill of Fare For every Month in the Year. With an Alphabetical Index to the Whole: Being a Book highly necessary for all Families, having the Grounds of Cookery fully display'd therein, 1st edition, Newcastle Upon Tyne, 1758, a few woodcut illustrations, first & last few leaves frayed, dust-soiling, toning and some marks, lacking free endpapers, contemporary sheep, upper board detached, worn, 8vo, together with M oxon (Elizabeth) , English Housewifry. Exemplified in above Four Hundred and Fifty Receipts, giving Directions in most Parts of Cookery..., 9th edition, corrected, Leeds: Printed by Griffith Wright, 1764, light dust-soiling and few marks, a few leaves sprung and slightly frayed, contemporary sheep, upper board detached, worn, 12mo (Qty: 2)Cagle 1019; MacLean, p. 140; Oxford, p. 88. John Thacker was cook to the Honourable and Reverend the Dean and Chapter in Durham. Bills of Fare include a Dinner for the Grand Jury, a Justices' Dinner, and a Dinner for the Prebendaries at Durham.
[ Trusler , John]. The Honours of the Table, or, Rules for Behaviour during Meals; with the Whole Art of Carving, illustrated by a variety of cuts. Together with Directions for going to Market, and the Method of distinguishing good Provisions from bad; to which is added a Number of Hints or concise Lessons for the Improvement of Youth, on all occasions in Life. By the author of Principles of Politeness, &c. For the use of Young People, London: Printed for the Author, at the Literary Press, 1788, numerous woodcut illustrations, contemporary manuscript notes to upper margin of A12, contemporary marbled lower board only, 12mo, together with Smith (J., Publisher) , The New Domestic Cookery, 1827, folding engraved frontispiece (creased, marked, frayed to edges and tissue repair), soiling throughout, edges untrimmed, modern calf backed marbled boards, 12mo, with Tyas (Robert, Publisher) , The Hand-Book of Domestic Cookery; containing Directions for preparing upwards of four hundred dishes, 1839, engraved frontispiece (browned & spotted), scattered spotting, all edges gilt, original brown limp cloth gilt, 16mo, and The Hand-Book of Carving..., 1839, wood engraved illustrations to text, all edges gilt, original limp cloth gilt, 16mo, and Warne (Frederick, & Co., Publisher) , Warne's Bijou Books. Etiquette of the Dinner-Table: with the Art of Carving, 1867, chromolithograph frontispiece and additional title, illustrations to text, all edges gilt, original red cloth gilt, 16mo, plus other similar 19th century cookery, carving, confectionery & etiquette of dinning related etc., mostly small format volumes, including 21 volumes of the Little Book series published by George Newnes Ltd. (Qty: approx. 60)
AN IMPRESSIVE PAIR OF EMERALD AND DIAMOND 'CAROLINE' PENDENT EARCLIPS, BY REPOSSIEach of chandelier design, suspending series of lozenge and pear-shaped panels, set to the centre with collet-set cabochon emeralds, surrounded by round brilliant-cut diamonds, mounted in 18K gold, diamonds approximately 8.50cts total, signed Repossi, Italian assay marks, length 6.5cmRich in heritage and craftsmanship, the fourth-generation, family-run House of Repossi is synonymous with elegance and style. The house is renowned for its exquisite, ornate and diamond-studded creations which incorporate exceptional stones into pieces that seamlessly blend contemporary designs with classical elements. The brand was first created in Turin, Italy by Constantino Repossi in 1920. Upon completing his studies in industrial design, the young Constantino took over his father’s jewellery business and atelier in post-war Italy. The first Repossi store was opened in 1949 in Turin during Italy’s modernist era. Art Deco and Avant-Garde styles prevailed in the first Repossi collections, which demonstrated Costantinos ability to combine both his technical and artistic backgrounds. Subsequently, Constantino’s son, Alberto, began designing pieces at the age of seventeen after learning the craftsmanship of the family’s atelier. In 1974, Alberto took charge of the house and brought the brand to international recognition. Under Alberto, the Repossi House saw the opening of a flagship store in Monte Carlo in 1977, followed by the Paris store in Place Vendôme in Paris in 1986. Repossi designs became famed for their elegance and were celebrated by many influential people. Repossi became the official purveyor to HRH The Prince Rainier III of Monaco in 1994 which gave the house worldwide recognition. Repossi also became the official supplier to the Saudi Royal family, and to the Royal families of Qatar and Dubai. The house continues to work with royalty in many countries, and its designs are enjoyed by socialites, jewellery connoisseurs and celebrities worldwide. Today, much of the work is still done in the same workshops that were used in the 1920s. Following tradition, Alberto’s daughter Gaia Repossi is now leading the family business which is nearing its 100th anniversary and is more successful today than ever before.
Advertising Art Nouveau original vintage poster The Fine Art Society's Exhibition - Water Colours of Flower Time. In the Austrian Tyrol Italy & England by Rosa Wallis. The Fine Art Society are art dealers with two premises, one in New Bond Street, London occupied since February 1876, and given a new entrance facade in 1881 by Edward William Godwin (1833–1886), and most recently fully refurbished in 2004–05, with a new gallery created for contemporary work. The other gallery is in Dundas Street in Edinburgh's New Town (originally Bourne Fine Art, established 1978). The gallery is also known as the pioneer of the one-man exhibition, most famously that of James McNeill Whistler's First Venice Set of etchings in December 1880; the gallery having sent Whistler to Venice in 1879 in part to enable him to escape from the issues following his libel action against John Ruskin. The commission was for Whistler to travel to Venice for three months to create a series of twelve etchings. Beguiled by the city, he stayed for fourteen months and completed approximately fifty etchings. Venice also inspired Whistler to make some hundred works in pastel, of which 53 were shown in the Venice Pastels exhibition in 1881. During Whistler's absence in Venice, the gallery showed his antagonist John Ruskin's private Collection of Watercolours by J. M. W. Turner, and ran a subscription to pay for Ruskin's legal costs: a supreme exhibition of political sleight of hand. Other living exhibitors at the London premises included Sir John Everett Millais, John Singer Sargent, Burne-Jones, Frank Brangwyn, Walter Richard Sickert, Walter Crane, George Washington Lambert, Henry Charles Brewer and Joseph Southall, and more recently Leonard Rosoman, Emma Sargent, Emily Young, John Byrne, Alexander Stoddart and Geoffrey Clarke. Of many memorial exhibitions held, one was for Lady Alma Tadema in 1910.Fair condition, tears in margins, waving, creases. County: UK, year of printing:1910s, designer: Charles R. Stanton, size (cm): 64x49.5
Original vintage advertising poster for Origina Light by Villemot. Bernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least three books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985); "Villemot: l’affiche de A à Z," by Guillaume Villemot (2005); and "Embracing an icon: the posters of Bernard Villemot," by George H. Bon Salle (2015). Good condition, colours pale, backed on linen. County: France, year of printing:19080s, designer: Bernard Villemot, size (cm): 166x57.5
Original vintage health propaganda poster published by the French Ministry of Public Health and the French National League Against Cancer (founded 1918) to promote the fight against cancer "Vaincre le Cancer." Dynamic design by the notable French graphic artist Bernard Villemot (1911-1989) featuring a symbolic image of a strong hand formed into a fist breaking up cancer into several pieces like shards of glass against a blue and red background, the title above in yellow letters. Printed in France by Imp. Jean Laurance., Paris. Very good condition, folds. ernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. At least three books have been published that survey his art: "Les affiches de Villemot," by Jean-Francois Bazin (1985); "Villemot: l’affiche de A à Z," by Guillaume Villemot (2005); and "Embracing an icon: the posters of Bernard Villemot," by George H. Bon Salle (2015). Country:France. Year:1964. Designer:Bernard Villemot. Size (cm):38x28
Four Cookery and Domestic works bound together in one volume, comprising E. Wythe: 'A Complete Guide to the Housewife, &c. A carefully selected assortment of Useful Family Receipts...', Ipswich, J. Scoggins, [ND circa 1830], 32pp + J.E. Thomas (2 titles): 'The Housewife's Guide; or a complete system of Modern Cookery...', 1830, new edition, 48pp, 'The New Whole Art of Confectionary...', 1830, 12th edition, 48pp, + one other work similar, 48pp, these 3 allpublished Leeds, 1830, and printed by Henry Spink, 12mo, contemporary cloth backed boards slightly worn
![[Richard Sibbes]: 'The Saints Cordials', London, Robert Dolman, 1629, contains twenty nine sermons delivered upon special occ](https://cdn.globalauctionplatform.com/b53304f4-c429-44d6-9a64-aa4000eab407/85b38ecd-e3dc-4989-ab7b-aa4300ac9eb7/468x382.jpg)
[Richard Sibbes]: 'The Saints Cordials', London, Robert Dolman, 1629, contains twenty nine sermons delivered upon special occasions in the city of London and elsewhere, by Richard Sibbes and possibly Thomas Hooker and others, sermons include 'The Art of Contentment'; 'Discouragements Recoverie'; 'Judgements Reason' etc, each sermon with separate title page with woodcut device and 1629 date, 'The Art of Contentment' title page with Miles Flesher for Robert Dolman, in Pauls Churchyard...1629 imprint, 453pp, possibly lacking a general title page 'The Saints Cordials'?, first few leaves with light wear, some small repairs and pencil annotations, folio, contemporary panelled calf worn
London, Art & Tea at The Savoy This lot includes the following: - travel to London and back by train (available on any Southern, Great Northern & Thameslink Railways routes) - Champagne afternoon tea for two at The Savoy, valid until May 2020 - Two tickets to the National Gallery to see the Joacquin Sorolla Exhibition (available until 7th July 2019) - Two tickets to the National Portrait Gallery to see a new retrospective on leading contemporary artist, Cindy Sherman (available 27 June to 15 Sept 2019) Kindly donated by Govia Thameslink Railway, The Savoy, The National Gallery & The National Portrait Gallery
Phillips (Thomas) A Letter to a Student at a Foreign University on The Study of Divinity, contemporary ink inscriptions to title and front endpaper, for R.Baldwin, 1756 § Lévesque de Pouilly (Louis-Jean) The Theory of Agreeable Sensations..., second edition, woodcut decorations, lacking half-title, upper hinge splitting, for W.Owen, 1750 § Lloyd (Thomas) An Essay on the Literary Beauties of the Scriptures, Chester, by J.Fletcher, 1784 § [Wilcocks (Joseph)] Sacred Exercises. In Four Books..., engraved illustrations, title with woodcut coat-of-arms, woodcut decorations, front endpaper with ink inscription dated 1791, by B.Barker, 1759 § [Allestree (Richard)] The Art of Contentment..., title with woodcut device, woodcut decorations, [Evans, 7083], Oxford and Philadelphia, by James Chattin, 1753, each but second first edition, foxing and/or spotting, first later half calf, third later quarter cloth, preserving contemporary boards, others contemporary calf, fourth rebacked, all worn, first upper board detached, second and last joints splitting; and 22 others, similar, v.s. (27) ⁂The inscriptions identified as by William Smith (1711-87) poet, classicist, chaplain to Edward Stanley, the 11th Earl of Derby: they concern the gift of the book to Smith. Thomas Phillips (1708-74) Jesuit priest and scholar, chaplain to George Talbot, the 14th Earl of Shrewsbury. The inscriptions: to title: "T. Philips Author of a Life of Cardinal Pole, & Chaplain to | Ld Shrewsbury"; to front endpaper: "NB. This piece written by Father Philips, Chaplain | to the Earl of Shrewsbury, the first Earl of England and a Papist, | was sent as a present through the conveyance of Sr Rowland | Stanley a Papist to me, who am Chaplain to the second Earl, | of England, and the first Protestant Earl, the Earl of Derby".A further inscription on the front pastedown, in another hand: "This Book was a present from the author to | Dean Smith, whose hand writing appears | on the Title page, and on the leaf before | the Title".Provenance: second mentioned: John Bond, Grange (bookplate)
Professor Gregory Maloba (Ugandan Contemporary Sculptor, 1922 - 2004), a sculpted terracotta bust, of an emaciated African elder, sunken cheeks and exposed collar bones, lightly glazed in matt tones of red, brown and ochre, 35cm highProfessor Maloba - 'one of Uganda's first professional sculptors', according to Sunrise - was born in Mumias, Kenya, in 1922, the son of a carpenter with aspirations for his talented son. Following boarding school, Maloba studied at St Mary's School, Yala, where the principal displayed the gifted student's work during the visit of Sir Henry Moore in 1940. Lady Moore, herself a graduate of the Slade School of Art, spotted the young artist's skill and offered Maloba a scholarship to St Mary's Kisubi in Uganda so that he could train under Margaret Trowell at Makerere. Later he graduated from Manchester University and the Royal College of Art, London. During the Kenyan struggles Maloba worked in Uganda, championing the growth of Contemporary independent African art, and was commissioned by the then government to make the country's official gift for the wedding of Princess Margaret and Lord Snowden in 1960. Throughout the rest of Maloba's career - academic and artistic - he sculpted a generation of future African artists and thinkers. Many tributes were awarded to Maloba in his life, however, posthumously Uganda from May 2010 has featured his work on their banknotes. Provenance: Purchased by the vendor's late father from a friend of the artist while living and working in Uganda in the 1950s/1960s. Condition Report: The bust is not signed. We ourselves could not send this to you. However, we will happily cooperate with any courier of your choice.
John Doherty (b.1949)Devane's, Dingle, Co. KerryOil on canvas, 107 x 163cmSigned, inscribed and dated (19)'84 versoJohn Doherty’s path to becoming a painter best known for his superb depictions of vernacular Irish architecture was circuitous. True, he was born in the architecturally rich setting of Kilkenny, where his grandmother had a shop on High Street. The other side of the family hailed from Wicklow. He grew up with an appreciation of the built environment and a love of the sea, and went to study architecture at Bolton Street. Then, in a surprise move, he decided to try living in Australia, began exhibiting paintings there, based on the patterns of urban motorway schemes, and was for a time artist in residence at Papua New Guinea’s National College of Art in Port Moresby.Back in Australia, he gradually zeroed in on his core subject matter. He painted buildings and details, including functional harbour apparatus. But Ireland increasingly infiltrated his canvases. On visits home, he photographed sites that captured his interest. These include the rapidly disappearing traditional shop fronts and petrol pumps in provincial towns, agricultural buildings and machinery and, again, the trappings of boating and navigation. He has since moved back to Ireland, and is based in West Cork.Doherty is usually described as a photo-realist, which is fair enough given that he makes images with a lens-like optical quality, and he is immensely skilled, technically. But he is not obsessed with photographic verisimilitude, as many photo-realist painters are or were. It is more a means to an end. In the same sense, Vermeer and Canaletto are photo-realists. Their use of optical devices gives their work a crisp, contemporary quality today. Doherty’s liking for head-on, frontal views and hard, defining light recall the enormously influential photographic work of Bernd and Hilla Becher in their typologies of industrial buildings.Like them, he does not sentimentalise or pictorialise his subject matter but presents it in as direct and factual a way as possible. Even so, he unmistakably has a great, attentive fondness for it - and a liking for anthropomorphic titles. Even with his harbour paintings, however, there is a powerful sense that we are looking at a world that is fading away before our eyes, partly because that is the nature of time and corrosion, and partly because of changes in demographics and technology. Often, he will emphasise the fact that we are viewing a façade by introducing a break in the façade: an open doorway or a side road or an entrance leading deeper into the pictorial space, and into the passing of time.Aidan Dunne 2019
ALICE MAHER (b.1956)SwimmersOil on canvas, 244 x 133cmSigned and dated 1996 versoHillsboro Fine Art Label versoBorn in County Tipperary in 1956, Alice Maher grew up in the rural townland of Kilmoyler. After initial studies at Cork’s Crawford School of Art, Maher went on to earn a Master’s degree from Ulster University. Having received a prestigious Fulbright scholarship in 1986 Maher engaged in a formative period of study at San Francisco’s Art Institute. In the following decades Maher became one of the leading figures in contemporary Irish art. Her oeuvre is extremely diverse (and includes drawing, painting, sculpture, film, photography, print and digital media) but cohesively unified by a set of very particular conceptual concerns.Swimmers (1996) exemplifies Maher’s penchant for interpreting mythological or fabular subjects in a uniquely subversive way. This work was shaped by her fascination with the Roman Goddess Venus, who is said to have been born from the foam created when the castrated testicles of Uranus were flung into the sea. Rather than emulate the tired tropes of Western Art in which Venus is depicted as a passive, prettified subject (à la Botticelli’s Birth of Venus c. 1480) Maher multiplies the goddess into a multitude who avoid the male gaze by concealing themselves below the water line. Only the head and eyes of the troop of swimmers are visible and some have even turned their backs on us. While there is certainly humour in Maher’s work she eschews whimsy or frivolity and seeks to restore the archetypal potency of the goddess figure.Swimmers demonstrates how within Maher’s oeuvre, particular motifs and symbols can connect works executed in very different media. This painting is significant in that it is linked directly to two sculptural installations that Maher also produced the same year she made this painting. The first of these was an impressive aquatic sculptural installation initially produced for an expanse of water in a Paris public park but later exhibited elsewhere. Entitled Les Filles d'Ouranos the work comprised of fifteen heads (similar to those in this painting) made from a buoyant foam that float upon the surface of the lake. The other work connected to this painting (also entitled Swimmers) consisted of four bronze heads that evoke art historical representations of Ophelia. This intriguing painting demonstrates Maher’s career long interest in mermaids, nymphs and various archetypal women of the water. In addition to her singular visual vocabulary Maher is also renowned for her distinctive approach to materials. This is notable in her recurring use of found biological elements (including bees, snails, brambles and human hair) which are incorporated into art objects that are at once elegant and uncanny.Several significant exhibitions of Maher’s work have taken place in recent years including a major retrospective at the Irish Museum of Modern Art in 2012 entitled Becoming. Maher’s work has been exhibited in numerous international contexts and her work is held in several significant public collections including the Irish Museum of Modern Art; The British Museum, Crawford Gallery, Deutsche Bank, the Fogg Museum, the Hammond Museum L.A, and the Museum of Fine Arts Boston. Boston, and the Arts Councils of Ireland and Northern Ireland. Maher is a member of Aosdána and the RHA.Pádraic E. Moore, March 2019
John O'Neil (Oklahoma, Texas, Kansas, Missouri, 1915 - 2004) Mid Century Abstract Painting. Signed lower left. Oil on Canvas. Exhibited: World's Fair New York, 1939; Carnegie Institute, 1941; Colorado Springs Fine Arts Center, 1939, 1941; Denver Art Museum, 1940; Directions in American Painting, Carnegie Institute; Abstract & Surrealist Art, Art Institute of Chicago; Contemporary American Painting, University of Illinois; Troisieme Salon International des Realites Nouvelles, Paris, France; M-59 Exhib., Copenhagen, Denmark; Louisiana Gallery, Houston, TX, 1970s Sight Size: 17.75 x 23.75 in. Overall Size: 24.5 x 30.5 in. (JR1)
(12) Tiffany & Co. Audubon Sterling 'Gold Vermeil' Teaspoons. Japanese (now Audubon) was designed in 1871, during the most innovative period in the history of Tiffany silver and it is still one of the most popular of all Tiffany patterns. Japanese was the first Tiffany pattern to introduce silver decorated in the Japanese revival style. The flowing designs of branches and twigs with leaves, buds, flowers and exotic birds were entirely different from anything in American silver at that time. This pattern was a direct result of the interest in exotic cultures that became widespread in the late nineteenth century. This interest led directly into the American Art Nouveau movement, whose leader was Louis Comfort Tiffany, son of Tiffany's founder. Each piece of Audubon is decorated with intricate designs adapted from nineteenth century Japanese bird paintings, with eight species represented. The back of each piece has complementary designs derived from Japanese flowers. Audubon's exquisite detail lends itself well to a wide range of table-setting designs from traditional to contemporary. Total Weight: 7.77 ozt Length: 4 1/8 in. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER or CASHIER"S CHECK, no other forms of payment will be accepted.
Andrew Macara (B. 1944) Oil on canvas painting of children playing on the beach at sunset. Signed lower right. Christie's label verso. Mixed Exhibitions Royal Academy of Arts, Piccadilly, London. W H Pattersons, 19 Albemarle Street, London - New English Art Club mixed exhibitions Red Rag Gallery, Stow-on-the-Wold International Art Fair, Olympia, 20th Century Art Fair Bath Contemporary Art Fair. Sight Size: 13.25 x 15.25 in. Overall Size: 18.25 x 20.25 in.
![NO RESERVE Thompson (William) An Hymn to May, half-title, [Foxon T171], for R.Dodsley, [1746] § [Hawkins (William)] "A Gentle](https://cdn.globalauctionplatform.com/ed69d075-30bb-48c2-a1b9-aa2500c239a7/2def0e8f-3011-42ea-b831-aa2500c46873/468x382.jpg)
NO RESERVE Thompson (William) An Hymn to May, half-title, [Foxon T171], for R.Dodsley, [1746] § [Hawkins (William)] "A Gentleman of Oxford". The Thimble..., [Foxon H112], for J.Roberts, 1743 § The Scotch Hut..., for J.Almon, 1779 § [Bramston (James)] The Art of Politicks..., engraved frontispiece, 1p. publisher's catalogue, [Foxon B387, BM Satires 1833], for Lawton Gilliver, 1729 § A Dialogue Between G--s E---e and B--b D---n, [Foxon W479], by T.Taylor, 1741, first editions, each but third woodcut decorations, soiling and browning, creases and nicks, second marginal loss to title, first and third as issued, others disbound; and 9 others, including both another copy of last and a first edition of Shenstone's The Judgment of Hercules annotated in a contemporary hand but lacking half-title and advertisement f., v.s. (14)
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