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Click here to subscribeVLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Khanty-Mansiysk Girl, oil on cardboard50.5 x 39.8 cm (19 7/8 x 15 5/8 in.)signed lower right; signed and titled on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 25325 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.18 (label on backing board)
PORFIRIY NIKITICH KRYLOV (RUSSIAN 1902-1990)Beginning of Autumn , 1969oil on board31 x 44 cm (12 1/4 x 17 3/8 in.)signed and dated lower right; signed and titled on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 21394/825 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.193 (label on the backing board)
VLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Head of a Girl, 1969oil on cardboard34.7 x 26.3 cm (13 5/8 x 10 3/8 in.)signed and dated upper rightEXHIBITEDUSSR, Art Export Salon, inventory no. 241/181 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.181 (label on backing board)
VALERIY GREGORIEVITCH KOKURIN (RUSSIAN B.1930)Colorful City, 1971oil on board40.5 x 52 cm (16 x 20 1/2 in.)signed and dated lower rightEXHIBITEDUSSR, Art Export Salon, inventory no. 12059/250 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.429 (label on the backing board)
GENNADY IOSIFOVICH MALYSHEV (UKRAINIAN 1922-1999)Autumn at Liman, 1972oil on canvas 51.7 x 70.5 cm (20 3/8 x 27 3/4 in.)signed and dated lower right; titled on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 257/52; 13/492 (labels on verso stretcher)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.430 (label on backing board)
ALEKSANDR ALEKSANDROVICH AFAGONOV (UKRAINIAN B. 1947)The Winter Sun, 1973oil on canvas 60.3 x 50 cm (23 3/4 x 19 3/4 in.)signed and dated lower right; signed and inscribed on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 14159/250 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.182 (label on backing board)
GRIGORIEV SERGIE ALEXEYEVITCH (RUSSIAN 1910-1988)Fine Day, 1973oil on board34.8 x 45.2 cm (13 3/4 x 17 3/4 in.)signed and dated lower right; signed, dated and titled on verso EXHIBITEDUSSR, Art Export Salon, inventory no. 297/41 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings (label on backing board)
VLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Mist over the Fields. Yesenin's Homeland, 1973oil on canvas36 x 56 cm (14 1/8 x 22 in.)signed and dated lower rightEXHIBITEDUSSR, Art Export Salon, inventory no. 11374/165 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.90 (label on the backing board)
VLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Dacha Near Moscow, 1976oil on canvas on board49.2 x 34.2 cm (19 3/8 x 13 1/2 in.)signed lower left; signed, dated, and titled on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 24605 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings (label on backing board)
VLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Mansi Girl, 1976oil on canvas on board34.7 x 25 cm (13 5/8 x 9 7/8 in.) signed lower left; signed, titled and dated on versoEXHIBITEDUSSR, Art Export Salon, inventory no. 25327 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings (label on backing board)
SERGEY FOTIEVICH BESEDIN (UKRAINIAN 1901-1996)White, Yellow, and Red Roses, 1977oil on board70 x 48.6 cm (27 1/2 x 19 1/8 in.)signed and dated lower rightEXHIBITEDUSSR, Art Export Salon, inventory no. 28880 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.32 (label on backing board)
VLADIMIR ALEKSANDROVICH IGOSHEV (RUSSIAN 1921-2007)Mansi Girl in Yellow Headscarf, 1978oil on board40.8 x 29.7 cmsigned and dated lower rightEXHIBITEDUSSR, Art Export Salon, inventory no. 30758 (label on verso)Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings no.97 (label on backing board)
NIKOLAI ALEKSANDROVICH SYSOEV (RUSSIAN 1918-2001) Still Life with Book, 1978oil on canvas50 x 70 cm (19 3/4 x 27 1/2 in.)signed and dated lower right; signed, dated and titled on verso EXHIBITEDUSSR, Art Export Salon, inventory no. 91943 (label on verso) Gekkoso Gallery, Tokyo, Contemporary Soviet Paintings, no.181 (label on the backing board)
BRINTON, A GROUP OF FOUR RARE AMERICAN ILLUSTRATED EXHIBITION CATALOGUES OF SOVIET ARTcomprising:a) CHRISTIAN BRINTON, catalogue and introduction by, THE GONCHAROVA-LARIONOV EXHIBITION (New York: Redfield-Kendrick-Odell Company, 1922). Edition of 2000 copies. 8vo (238 x 180 mm) with original card wrappers after Goncharova. Text in English.b) CHRISTIAN BRINTON, foreword by, and P. NOVITSKY, introduction by, EXHIBITION OF CONTEMPORARY ART OF SOVIET RUSSIA. PAINTING. GRAPHIC. SCULPTURE (New York: Redfield-Kendrick-Odell Company, 1929). 8vo (260 x 178 mm) with original wrappers. Text in English.c) CHRISTIAN BRINTON, catalogue and introduction by, EXHIBITION OF RUSSIAN PAINTING AND SCULPTURE. REALISM TO SURREALISM (Philadelphia: The Locust Press, 1932). 8vo (240 x 187 mm) with original wrappers after Goncharova. Text in English.d) CHRISTIAN BRINTON, catalogue and introduction by, and FISKE KIMBALL, foreword by, THE ART OF SOVIET RUSSIA (Philadelphia: The Locust Press, 1934). 8vo (240 x 184 mm) with original wrappers. Text in English. Accompanied by a Moscow News November Seventh Anniversary issue, 1934.
Gary Dyer (British, 20th century): 'Three Vertical Forms', an abstract, acrylic on paper on plywood, label verso for the Contemporary Art Society Market,1987, 25 by 24cm, together with I. Johnson (British, 20th century): 'Elgin Crescent' and 'Winter Branches', a pair of studies, acrylic on canvas, with legends verso, dated 1998, 21 by 30cm, in narrow box frames. (3)
*Beaumont College, Old Windsor, Berkshire. An album containing 137 real photo postcards of the school, collected by a pupil, Leo Burgess, circa 1911-20, comprising general school views including aerial shots, St John's, cyclists, the grounds, chapel and interiors, classes, playground, cricket field, library, gym, rowing teams on the river, cricket, rugby and other sports teams, armoury and instructors, shooting range, matron, horseriding, swimming pool, art and other classrooms, laboratory, the chaplain, OTC selection, band parades, many with captions in the negative and some with annotations to versos, corner-mounted and generally VG, some mounts and leaves blank, contemporary boards with home-made cloth cover An extraordinary pictorial record of this Jesuit public school which opened in 1861 and closed in 1967. Beaumont College was one of only two public schools to send their first Eleven to Lord's and their first Eight to Henley, the other being Eton College. When de Coubertin visited England in the course of researching the basis of his new Olympic movement the four schools he visited were Eton, Harrow, Rugby and Beaumont. The Combined Cadet Force was the only one in the country to be affiliated to the Household Division. Beaumont is one of the few great schools now gone, the property owned by Principal Hotels De Vere Beaumont Estate. The album has the school colours stitched to the cloth cover, Burgess's name on the front endpaper and a card sent to him in 1916 is included in the album. (1)
Arte & Architettura/Art & Architecture. Du Breuil Jean. La perspective practique, nécéssaire à tous peintres, graveurs, sculpteurs, architectes, orfèvres, brodeurs, tapissiers et autres se servans du dessein, par un Parisien, religieux de la Compagnie de Jésus. Paris, Melchior Tavernier, 1642-1649.Tre volumi in-4° (mm 238x167). I. [12, incluso il frontespizio calcografico in coloritura coeva], 1-18, [1], 19-41, [1], 42-121, [1], 122-128, [1], 129-150, [5] carte. Segnatura: ã4 ē4 ĩ4-1 A-Z4 Aa-Rr4. II. (Seconde partie de la perspective pratique qui donne une grande facilité a trouver les apparences de tous les corps solides,... Paris, vedova di Francois Langlois, 1647): [13, incluso il frontespizio calcografico], 1-7, [1], 8-23, [1], 24-74, [1], 75-87, [1], 88-123, [6] carte. Segnatura: π4 ē4 ī4 A-Z4 Aa-Kk4 Ll2. III. (Troisiesme et derniere partie de la perspectiue pratique. Ou se voient les beautez & raretez de cette science. Avec les methodes pour les pratiquer sur toutes sortes de plans. Et les effets admirables des trois rayons... Paris, vedova di Francois Langlois, 1649) [21, incluso il frontespizio calcografico], 1-50 [recte 51], [3], 51-63, [3], 64-91, [4], 92-107, [4], 109-123, [5], 125-155 [recte 158], [3], 157-160 carte, con [1 tavola ripiegata fuori testo stampata sui due lati e numerata 161-162], 162-163 carte, [1 tavola ripiegata fuori testo], 164, [7] carte. Segnatura: π4 ā4 ē4 ī4 ō2 A-Z4 Aa-Zz4 AAa-CCc4. Le carte 15, 135, 136 e 138 sono ripetute nella numerazione, le carte 108, 124 e 156 sono omesse nella numerazione. I tre volumi presentano una numerazione particolare con il numero di carta ripetuto al verso della carta precedente con lo scopo di dare la stessa numerazione al testo e alla tavola corrispondente posta a fronte. Nel complesso i tre volumi presentano 438 tavole a piena pagina, di cui due ripiegate ed una con parti sovrapponibili (c. Cc1r del terzo volume). Il presente esemplare reca inoltre nel primo volume due figure aggiunte, non pertinenti all'edizione, una incollata alle carta K3v, l'altra con anamorfia alla carta R4v. I volumi sono inoltre corredati da testatine, fregi ed iniziali ornate (di cui tre colorate all'epoca nel primo volume). Ciascun volume con duplice frontespizio: il primo recante il monogramma della Compagnia di Gesù entro una vignetta calcografica, sempre diversa; il secondo, differente in ciascun tomo, è inciso in rame e nel primo volume è in coloritura d'epoca. Margini sobri, restauro al margine inferiore del frontespizio del primo volume, lieve brunitura uniforme. Legatura ottocentesca in mezza pelle verde con piatti in carta marmorizzata e titoli impressi in oro ai dorsi, tagli spruzzati. Minimi difetti e spellature. Nota di possesso ('Ing.re Gio. Batt.a Rossi') manoscritta alla carta di sguardia anteriore dei tre volumi, altra nota di possesso manoscritta ('Bibliotheca S. Barnabae Mediol.') ai frontespizi dei volumi II e III.Ottima copia completa della prima edizione di questa importante opera di prospettiva pratica corredata da ben 438 tavole calcografiche a piena pagina. Barbier, Dictionnaire des ouvrages anonymes, II, col. 837; De Backer-Sommervogel, II, coll. 144-145.Three volumes, 4° (238x167 mm). I. [12, including the engraved title page in contemporary coloring], 1-18, [1], 19-41, [1], 42-121, [1], 122-128, [1], 129-150, [5] leaves. Collation: ã4 ē4 ĩ4-1 A-Z4 Aa-Rr4. II. (Seconde partie de la perspective pratique qui donne une grande facilité a trouver les apparences de tous les corps solides,... Paris, veuve de Francois Langlois, 1647) [13, including the engraved title page], 1-7, [1], 8-23, [1], 24-74, [1], 75-87, [1], 88-123, [6] leaves. Collation: π4 ē4 ī4 A-Z4 Aa-Kk4 Ll2. III. (Troisiesme et derniere partie de la perspectiue pratique. Ou se voient les beautez & raretez de cette science. Avec les methodes pour les pratiquer sur toutes sortes de plans. Et les effets admirables des trois rayons... Paris, veuve de Francois Langlois, 1649) [21, including the engraved title page], 1-50 [recte 51], [3], 51-63, [3], 64-91, [4], 92-107, [4], 109-123, [5], 125-155 [recte 158], [3], 157-160, [1 folding plate printed on both sides and numbered 161-162], 162-163, [1 unnumbered folding plate], 164, [7] leaves. Collation: π4 ā4 ē4 ī4 ō2 A-Z4 Aa-Zz4 AAa-CCc4. Leaves 15, 135, 136, and 138 are repeated in numbering, leaves 108, 124, and 156 are omitted in numbering. The three volumes have a peculiar numbering; each leaf number is repeated on the verso of the preceding leaf so that text (on verso) and related plate (on facing recto) have the same number. All in all the volumes have 438 full-page illustrations, of which 2 are folding and 1 has overlapping moveble parts (fol. Cc1r of volume 3). The present copy presents in addition two engraved illustrations, not related to this edition, one pasted on fol. K3v, the other one, bearing an anamorphic landscape, pasted on fol. R4v. The volumes are also illustrated with headpieces and large initials, of which 3 are colored by a contemporary hand in volume 1. Every volume opens with a double title-page: a printed one bearing a vignette with the Society of Jesus monogram at the center, and an engraved one different in every volume (colored in volume 1). Margins cut a bit short, lower margin of the title-page of volume 1 restored, light browning throughout. 19th-century half calf, gilt title on spine, sprinkled edges. Manuscript ownership entry ('ng.re Gio. Batt.a Rossi') on the front flyleaf of each volume; another ownership entry ('Bibliotheca S. Barnabae Mediol.') on the title-page of volume 2 and 3.A good complete copy of the first edition of this important treatise on practical perspective illustrated with 438 engraved full-page illustrations. Barbier, Dictionnaire des ouvrages anonymes, II, col. 837; De Backer-Sommervogel, II, coll. 144-145.
Arte & Architettura/Art & Architecture. Magrini Antonio. Memorie intorno la vita e le opere di Andrea Palladio pubblicate nell'inaugurazione del suo monumento in Vicenza, lì 19 agosto 1845 colla serie di ventisette scritture del medesimo architetto in parte inedite ed ora per la prima volta unite. Padova, Tipografia del Seminario, 1845.In-folio (mm 301x223). [12], 348, 66, LXXXVIII, [2] pagine, con il ritratto litografico di Palladio in antiporta (disegnato da Bellio e inciso da Ciani), 4 tavole litografiche fuori testo ed 1 grande tabella ripiegata contenente il Quadro genealogico della famiglia del Palladio. Bellissima copia in barbe di grande freschezza. Legatura coeva in mezza pelle, fregi, tassello e titolo in oro al dorso. Spellature, mancanze agl'angoli e alle cuffie.Si offre insieme il prospetto editoriale dell'opera ed un estratto sulla stessa tratto dall'Indicatore parmense del 20 luglio 1847. Folio (301x223 mm). [12], 348, 66, LXXXVIII, [2] pages with Palladio's lithograph portrait as a frontispiece, 4 lithograph plates and 1 folding table containing the genealogical tree of the Palladio family. A very nice, uncut copy. Contemporary half calf, morocco lettering piece on spine. Top and bottom of spine and corners worn and rubbed.We offer together the editorial prospectus of the work and a review on the book taken from the Indicatore parmense July 20, 1847.
Arte & Architettura/Art & Architecture. Orlandi Pellegrino Antonio. Abecedario pittorico... contenente notizie de' professori di pittura, scoltura, ed architettura in questa edizione corretto e notabilmente di nuove notizie accresciuto. Napoli, 1763.In-4° (mm 229x165). [20], 473, [1 bianca], [100] pagine, con 5 tavole incise fuori testo. Il fascicolo Nnn è presente due volte nel volume in due tirature differenti. Fioriture e bruniture sparse, a tratti piuttosto forti. Buona copia genuina. Legatura coeva in pergamena su cartone, tassello con titolo manoscritto al dorso, tagli picchiettati rossi. Al frontespizio timbro di Antonio Buonamici.Si tratta dell'edizione Nicolò e Vincenzo Rispoli del 1733 ristampata con nuovo frontespizio e nuova dedica. La prima edizione di questa fortunata opera era apparsa a Bologna nel 1704. Schlosser Magnino, La letteratura artistica, Firenze, 1964, 508.4° (229x165 mm). [20], 473, [1 blank], [100] pages and 5 engraved plates. The quire Nnn is repeated in two different variants. Foxed and browned throughout, heavier in places. A good, genuine copy. Contemporary stiff vellum, morocco lettering-piece on the spine, sprinkled edges. On the title-page stamp of Antonio Buonamici.This is a reprint, with a new title-page and a new dedication, of the Nicolò and Vincenzo Rispoli edition of 1733. The first edition of this successful work first appeared in Bologna in 1704. Schlosser Magnino, La letteratura artistica, Firenze, 1964, 508.
*Boxing. Bridgeman (G.), "The Noble Art". The Greeting, The Contest [and] The Victory, published John W. Barnett, 1882, three humorous lithographs with contemporary hand colouring, large margins, slight overall toning, spotting and dust soiling, each approximately 285 x 365 mm, framed and glazed (3)
Hulten (K.G. Pontus). The Machine as seen at the end of the mechanical age, New York, Museum of Modern Art, 1968, numerous black & white illustrations, original colour printed embossed aluminium covers (designed by Anders Osterlin), with hinged spine, contained in original card box with printed spine, 4to, together with Nash (Paul), Paintings Drawings and Illustrations, edited by Margot Eates, 1948, numerous colour and black & white illustrations, front free endpaper (partly toned) with contemporary ink inscription, original boards, dust jacket, rubbed with some wear, 4to, plus Hughes (Ted), Remains of Elmet A Pennine Sequence, Photographs by Fay Godwin, 1979, numerous black & white illustrations from photographs, original cloth-backed boards, dust jacket, 4to, and approximately 140 others art related, including some paperbacks From the library of Alan & Joan Tucker. (approximately 143)
Peters (Harry T.). Currier & Ives, printmaker to the American People, & America on Stone, the other printmakers to the American People, 2 volumes, reprinted, 1976, numerous black and white illustrations, uniform original cream cloth, boards and spines lightly marked and rubbed to head and foot, large 8vo, together with Schiller (F.), Fridolin, or The Road to the Iron-Foundery; A Ballard, 1824, 8 black and white engravings by Henry Moses, some light spotting and offsetting, bookplate to front pastedown, contemporary blue half calf bound by Clyde, boards and spine rubbed, 4to, and Merchant (W. Moelwyn), Shakespeare and the Artist, OUP, 1959, black and white illustrations, original gilt decorated cloth, spine slightly faded, large 8vo, plus other 19th century and modern art reference and related, including The Art Journal, 5 volumes, 1853 (x2), 1868, 1877, 1879, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4to (6 shelves + a carton)
Blanckley (Thomas Riley). A Naval Expositor, shewing and explaining the Words and Terms of Art belonging to the Parts, Qualities, and Proportions of Building, Rigging, Furnishing, and Fitting a Ship for Sea, 1st edition, E. Owen, 1750, engraved title page, numerous engraved vignettes in margins and 3 larger engraved vignettes in the text, all by Paul Fourdrinier, list of subscribers, bound green silk page-marker, engraved title and blank final page tanned, a handful of other leaves slightly spotted or toned, but contents crisp and clean, contemporary sprinkled tan calf, richly gilt spine, tan morocco label, dog-tooth border and floral cornerpieces gilt to sides, spine slightly dry, light rubbing to extremities, short split to head of front joint, 4to (26.5 x 20.5 cm) An attractive copy of this important naval dictionary, preceeding Falconer's Universal Dictionary of the Marine by nearly 20 years. Blanckley (1717-1753) was sometime clerk of the survey at Portsmouth and a commissioner of the Victualling Office. (1)
SEVENTEENTH & EIGHTEENTH CENTURY WORKS ON ART AND ARCHITECTURE, 16 BOOKSINCLUDING DU FRESNOY, C.A. - DRYDEN, TRANSLATOR The Art of Painting. London: William Taylor, 1716. Second edition, 8vo, later half-calf; [Idem] L'Art de Peinture. Paris: Nicolas Langlois, 1673. Second edition, 12mo, contemporary calf; le Comte, F. Cabinet des Singularitez d'Architecture… Brussells: Lambert Marchant, 1702. Second edition, 3 volumes, 8vo, contemporary calf; [Antonini, Annibale] Memorial de Paris et de ses Environs. Paris: Bauche, 1749. 2 volumes, 8vo, contemporary calf; Du Bos, l'Abbé Reflexions Critiques sur la Poesie et sur la Peinture. Paris: Pierre-Jean Mariette, 1746. 3 volumes, 12mo, contemporary calf; Cochin & Bellicard. Observations sur les Antiquités d'Herculanum. Paris: Ant. Jombert, 1757. Second edition, 8vo, later calf, rebacked; De Piles Recueil de Divers Ouvrages sur La Peinture at Le Coloris. Paris: Cellot & Jombert, 1775. 12mo, contemporary half calf; [Idem] Cours de Peinture par Principes. Paris: Jacques Estienne, 1708. 12mo, contemporary calf; and 3 others, sold not subject to return (16)
LEMERE, BEDFORD HENRY - CYANOTYPESINTÉRIEURS ANGLAIS [London: Bedford Lemere & Co., c.1900] Folio with 50 mounted cyanotypes, each 41 x 31cm (including mount), in a contemporary green marbled portfolio case (some wear, upper cover detached), one plate a little bentProvenance: From a Scottish Country House LibraryNote: In the late 1890s and early 1900s, Bedford Lemere set out to photograph the interiors of British country houses and civic buildings. In total, Lemere is thought to have produced around 100,000 images, creating 'catalogues' to display the architectural trends of the day. Examples of Bedford Lemere Photographs and Cyanotypes can be found in important public collections such as the V&A and the Paul Mellon Centre for British Art.
SCOTTISH HISTORY AND TOPOGRAPHY, C.140 VOLUMES, INCLUDINGWILSON, J.M. THE IMPERIAL GAZETTEER OF SCOTLAND. [C.1865] 2 volumes, 8vo, maps and plates, contemporary half calf gilt, slightly spotted; Wilson, Messrs. Moray, a Fragment. Aberdeen, 1888. 8vo, original photographs, original cloth; Dickson, R. Introduction to the Art of Printing in Scotland. Aberdeen, 1885. 8vo, number 53 of 500 copies, original cloth; Macpherson, A. Glimpses of Church and Social Life in the Highlands in Olden Times. 1893. 4to, plates, original cloth, slightly rubbed; M'Michael, A.C. Notes by the Way. Ayr, [c.1865], 8vo, original cloth; Paterson, W., printer A Book of Scottish Pasquils. 1568-1715. 1868. 8vo, original cloth; Mackay, W. Narrative of the Shipwreck of the "Juno". 1892, 8vo, original cloth; Maughan, W.C. Rosneath Past and Present. 1893. 8vo, original cloth, rubbed; Lees, J.C. A History of the County of Inverness (Mainland). 1897. Number 69 of 100 large paper copies, 2 maps in pockets, original cloth, slightly rubbed; Hay, G. History of Arbroath. Arbroath, 1899. 4to, original red buckram gilt, neatly rebacked retaining spine, slightly faded; Frew, D. The Paris of Urr. 1909. 8vo, original cloth; Hunger, J. The Diocese and Presbytery of Dunkeld. [c.1910], 2 volumes, 4to, original cloth; Mackay, J.G. The Romantic Story of the Highland Garb and the Tartan. 1924. 4to, original cloth; Loudon, J.H. James Scott and William Scott, Bookbinders. 1980., 8vo, dustwrapper, slipcase; Ferguson, M. Scottish Gaelic Union Catalogue. 1984, dustwrapper (quantity)Provenance: From the collection of Larry Hutchison
Martin Greenland (British, b.1962) Still Life, Hyperrealism depiction with duck eggs and a broken glass, oil on board, signed, 15 x 19 cm Martin Greenland was born in Yorkshire and studied at Exeter College of Art. He has lived and worked in Cumbria since 1985. In 2006, Greenland was awarded first prize in the prestigious John Moores Painting Prize, the UK's largest contemporary painting exhibition held at the Walker Art Gallery, Liverpool. Martin Greenland is primarily a realist painter and his subject is embedded in the Northern British Landscape. His work contains a subtle narrative about contemporary Britain, making his views feel at once both faintly familiar and entirely imagined.
Martin Greenland (British, b.1962) Still Life, Hyperrealism depiction with a rainbow trout and a tumbler of whisky, oil on board, 15 x 19 cm Martin Greenland was born in Yorkshire and studied at Exeter College of Art. He has lived and worked in Cumbria since 1985. In 2006, Greenland was awarded first prize in the prestigious John Moores Painting Prize, the UK's largest contemporary painting exhibition held at the Walker Art Gallery, Liverpool. Martin Greenland is primarily a realist painter and his subject is embedded in the Northern British Landscape. His work contains a subtle narrative about contemporary Britain, making his views feel at once both faintly familiar and entirely imagined.
Trees.- [Venette (Nicolas)] The art of pruning fruit-trees, with an explanation of some words which gardiners make use of in speaking of trees. And a tract of the use of the fruits of trees, for preserving us in health, or for curing us when we are sick, woodcut illustrations within text, 3 advertisement ff. at end, small wormholes / traces to lower margins, occasionally encroaching on the odd catch-word or letter of text, with minor loss, occasional spotting or staining, contemporary speckled calf, covers detached, backstrip worn, [Henrey 1; Wing V187], 8vo, printed for Tho. Basset, at the George near St. Dunstans Church in Fleet-street, 1685.⁂ Scare first English edition of L'Art de tailler les arbres fruitiers of1683, translated by 'a physician of Rochelle'.
Irene Lesley Hope Main (20th/21st century) - 'Arum Lilies and Mixed Flowers', signed and dated 1987, also inscribed on a label verso, mixed media, 43" x 31.25" **Provenance: Main Fine Art, The Studio Gallery, 16, Gibson Street, Kelvinbridge, Glasgow, G12 8NX, also The Bath Contemporary Art Fair, the original cost price being £1,200 **The artist studied at Glasgow School of Art from 1976 until 1980, under Donaldson, Robertson, Shanks and Rae
Marshall (H. Rissik, F.L.S.), Coloured Worcester Porcelain of the First Period (1751 - 1783), Ceramic Book Company, Newport 1954, blue buckram, 4to; Branyan (Lawrence), French (Neal) and Sandon (John), Worcester Blue and White Porcelain 1751 - 1790: An Illustrated Encyclopaedia of the Patterns, Barrie & Jenkins, London 1981, h/b, d/j, 8vo; Spero (Simon) and Sandon (John), Worcester Porcelain 1751 - 1790: The Zorensky Collection, Antique Collectors' Club, Woodbridge 1996, h/b, d/j, 4to; Spero (Simon), Worcester Porcelain: The Klepser Collection, Lund Humphries, London 1984, h/b, d/j, 4to; Sandon (John), The Dictionary of Worcester Porcelain: Volume I, 1751 - 1851, The Antique Collectors' Club, Woodbridge 1996, h/b, d/j, 4to; Spero (Simon), Lund's Bristol and Early Worcester Porcelain 1750 - 1758: The A.J. Smith Collection, C and J Smith, London [n.d., 2005], h/b, d/j, small folio; Hobson (R.L.), Catalogue of the Frank Lloyd Collection of Worcester Porcelain of the Wall Period Presented by Mr. & Mrs. Frank Lloyd in 1921 to The Department of Ceramics and Ethnography in the British Museum, Privately Printed by Waterlow & Sons Limited, London [n.d., c. 1921], contemporary tan leather, gilt lettered spine, marbled endpapers, stamped: Dept. of Medieval and Later Antiqs., British Museum, small 4to; Sandon (Henry), The Illustrated Guide to Worcester Porcelain 1751 - 1793, Herbert Jenkins, London 1969, h/b, d/j, 4to; others, second edition, 1974 and third edition, 1980, (2); Reynolds (Dinah), The Marshall Collection of First Period Worcester Porcelain, Ashmolean Museum, Oxford 1999, h/b, 8vo; Dawson (Aileen), The Art of Worcester Porcelain 1751 - 1788: Masterpieces from the British Museum collection, The British Museum Press, London 2007, h/b, d/j, square 4to; Barrett (Franklin A.): Worcester Porcelain, Faber and Faber, London 1953, h/b, d/j, 4to & Worcester Porcelain and Lund's Bristol, Faber and Faber, London 1953, h/b, d/j, 4to, (2); Godden (Geoffrey A.), Caughley & Worcester Porcelains 1775 - 1800, limited edition 1396/1500, Antique Collectors' Club, Woodbridge 1981, h/b, d/j, 4to, [15]
WILLIAM WALKER (BRITISH CONTEMPORARY), a Studio Art glass bowl with an applied foot, decorated with swirling blues, browns, greens, yellows and purple, signed to base, indistinctly titled, approximately 14cm high, together with an unmarked Studio glass vase, decorated with shades of grey and bubble inclusions, the rim folded inside the body, approximately 24cm high (2) (condition: no obvious damage to the bodies, normal wear and tear to the bases)
MISCELLANEOUS INTERNATIONAL AND FOREIGN ORDERS AND DECORATIONS, MAINLY WORLD WAR ONEincluding Military Order of Antioch, Germany, Brazil, Italy, The Vatican, Siam (Thailand), Belgium, commemorative and miniature medals and other contemporary items including German trench art, patriotic bronze and silver Iron Cross bracelet and ring and Third Reich letter knife in the form of a naval dagger, Christmas 1914 tin, Waltham military issue watch, etc (approx. 35)++Very mixed condition
Alfred Priest (British, 1810-1850), Extensive landscape with village and church , oil on canvas, signed and dated 1850 lower right , 20 x 34in. (51 x 86.5cm.)* Condition: There is extensive restorative overpainting covering approximately a third to a half of the sky. Also several small spots of overpainting on the right hand side towards the bottom of the painting.The wooden fencing to the left of the figure at lower right has been completely overpainted. Some further patches of painting at the base of the picture towards the left side.The painting has been relined and extensively cleaned and a section of the narrow shaped moulding at the top edge of the gilt frame is missing, approx. 9.5 cm. long, to the left of centre.There is an old paper label of a Dublin art dealer on the reverse of the frame which is inscribed in ink with the artist's name. This appears to be contemporary.
Stukeley (William). Itinerarium Curiosum. Or, an Account of the Antiquitys and Remarkable Curiositys in Nature or Art, Observ'd in Travels thro' Great Britain. Illustrated with Copper Prints. Centuria I, 1st edition, 1724, engraved frontispiece and 100 engraved plates, including four double-page (plate 53 cropped to plate number), closed tear to gutter margin of title at head, occasional light spotting and toning to plates (generally in very good condition), all edges gilt, contemporary diced calf, elaborate gilt and blind decorative border to boards and gilt decoration to spine, upper joint cracked, folio Upcott xxx. (1)
Stukeley (William). Itinerarium Curiosum: Or, An Account of the Antiquities, and Remarkable Curiosities in Nature or Art, Observed in Travels through Great Britain, 2 parts (Centuria I & II) in 2 volumes, 2nd edition, with large additions, 1776, engraved frontispiece to first volume only, 2 folding engraved maps, 206 engraved plates (including two folding & one folding), light stain to upper margin of 2C2 (verso) of first volume, contemporary calf gilt, contrasting green & red morocco labels to spines, joints a little cracked, folio Upcott xxx. The work contains a mezzotint plate of the appearance of the total solar eclipse from Haradon Hill on May 11, 1724. (2)
Racinet (Auguste). Polychromatic Ornament ... comprising upwards of Two Thousand Specimens of the Various Styles of Ancient, Oriental, and Medieval Art, and including the Renaissance and the Seventeenth and Eighteenth Centuries, 1st edition in English, Henry Sotheran and Co., 1873, 100 chromolithographic plates, many heightened with silver or gold, light spotting to initial text leaves, a few plates faintly oxidised or marked in margins, all edges gilt, contemporary crushed red morocco by Francis Bedford, titles and decorative quatrefoils gilt to spine compartments, foliate cornerpieces gilt to boards within gilt and blind frames, small section of wear to top edge of front board, folio (38.5 x 26 cm) An exceptionally bright copy of Racinet's magnificent pattern book, in full red morocco gilt by Francis Bedford (1799-1883), the leading English bookbinder of his time. (1)
Smith, Rev. Thomas The Wonders of Nature and Art. Printed for J. Walker, 44, Paternoster-Row et al, 1803-4. 12mo (12 vols). Full contemporary calfs, spine with contrasting morocco lettering pieces gilt roll-tooled board edges; 35 engravings (3 in each vol. except xii). A fascinating and rare early travel series derived from numerous sources and illuminating aspects of natural history, topography and local culture around the world. The series begins in Britain and ends with the Antipodes taking in experiments with salamanders (v), criminal justice in the Congo (viii) and the Constitution of the United States (x).Boards scuffed and rubbed, II lettering piece lacking section, very slight foxing, staining, creasing etc internally, but generally a very good example of an attractive set.
Children's Book - Provincial Imprint, Roberts (G., Master of Rodden Classical and Commercial Seminary, Near Frome), A Catechism of Drawing; In Which the Rules for Attaining a Knowledge of that Accomplished Art are given In language adapted to the comprehension of the Youthful Student, Printed at the Mentorian Press, by S. Maunder, for W. Pinnock [...], Newbury [n.d., 1810], pp: 67, [i], adverts [8], engraved allegorical title-piece of Mentor instructing Genius in the Art of Drawing, contemporary card covers sewn together, fragmentary paper title label to front, contemporary ink and pencil ownership to pastedown: Sarah Jane Mary Brooke Duesbury, further inscriptions, pencil notations to recto endpaper, 18mo
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