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Click here to subscribePeter Layton - London Glassblowing - A large contemporary Highlight Stoneform vase, of compressed ovoid form internally decorated with pale pink bands and yellow spotting over a mottled blue and opal ground all cased in clear crystal, original paperwork, engraved signature, height 33cm.N.B. This lot includes a copy of Glass Art by Peter Layton.
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Circumcision in the stable, etching, 1654, 9.5 x 14.2cm Notes: Bartsch 47; Hinterding & Rutgers (New Hollstein) 280, second state of five. Provenance: With John Baskett, 173 New Bond St. London. The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A fine impression of the earliest state that survives in any numbers (24 are listed by Hinterding & Rutgers, including this one; the first state is only known in two impressions). This impression is cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.16). The third state, still contemporary (though impressions were also printed after Rembrandt's lifetime), is relatively common (46 are listed), and the fourth and fifth states are posthumous reworks.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Ringball player ('Het Klosbaantje'), etching, 1654, 9.4 x 13.9cm, on paper with countermark of double-wired letters D M (not recorded by Hinterding), the sheet 10.2 x 14.8cm. Notes: Bartsch 125; Hinterding & Rutgers (New Hollstein) 282, first state of two. Provenance: Naudet, Marchand d'Estampes au Louvre (Lugt 1937), ink inscription verso (very faded). With John Baskett, 173 New Bond Street, London The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A very good impression, probably contemporary (the second state is not). With margins and in good condition. This impression is also cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.1). Although the print used to be called 'The Golf Player' (from 'kolef'), the man in the foreground is sitting out his turn from the ringball alley in the background, where one man is playing while two others are probably laying bets. The sport was called 'Klossen' (it is still played today but called 'Beugelen'), the Dutch and Flemish word 'klos' being a ball for bowling, and the origin of the mediaeval French and English names of the game, Cloishe or Closh. There is a famous engraving of Louis XIV playing an early form of billiards with his courtiers, with an iron hoop to aim the balls through, rather than pockets, and with a cue with a scooped end, a refined version of the one seen in the etching; so billiards evolved, in fact, as a table-top adaptation of ringball.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale. They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period. This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire. The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots
Books - Art History - Five Hundred Self-Portraits: From Antique Times to the Present Day in Sculpture, Painting, Drawing and Engraving, Chosen, Edited and Introduced by Ludwig Goldscheider, Translated by J. Byam Shaw, Phaidon Press, London 1937, h/b, d/j, 4to; Browse (Lillian), Willian Nicholson, Rupert Hart-Davis, London 1956, h/b, d/j, 8vo; Levey (Michael), Painting At Court, Weidenfeld & Nicholson, London 1971, h/b, d/j, 4to; Sangl (Sigrid), Biedermeier to Bauhaus, 2000, h/b, d/j; Oil Paintings in Public Ownership in Nottingham, 2008; Summer (Ann), The Collector's Eye from Romney to Renoir, The Holburne Museum, Bath, 15 May - 5 July 1998; early 20th century illustrated catalogues of the collections of Prague Castle; Kippis (A.), A Narrative of the Voyages Round the World, Performed by Captain James Cook, With An Account of His Life, During the Previous and Intervening Periods, With Twelve Illustrations Reproduced In Exact Facsimile, From Drawings Made During the Voyages, Bickers and Son, London 1878, contemporary gilt-embossed blue leather, marbled endpapers, 8vo; other history (qty)
* Ray Atkins [b.1937]- From The Studio Window 2012, a view in the Pyrenees,:- signed, inscribed and dated on the reverse oil on canvas 50 x 50cm. * Provenance. Art Space Gallery. Michael Richardson Contemporary Art, June 2015 * " Ray Atkins uses the outside world as a studio. The landscape emerges from day to day involvement with an ever changing subject which is finally committed to a specific visual experience. I have admired these paintings for many years". Leon Kossoff [b.1926] British figure and cityscape painter
Wrigglesworth (Linda), Making the Grade-The Badge of Rank III , signed by one author, exhibition catalogue 4-24th December 1996, original boards ; Wrigglesworth (Linda), The Purse, exhibition catalogue 7th-24th April, 1998, loose leaf; Wrigglesworth (Linda), Immortality, exhibition catalogue, 3rd-11th November 2005, loose leaf; Wrigglesworth (Linda), In Focus-The Robe, exhibition catalogue, card fold-out brochure; Wrigglesworth (Linda), Diametrically Opposed, exhibition card; Wrigglesworth (Linda), Reel to Reality-Chinese Textile techniques of the Qing Period, exhibition card fold-out brochure; Wrigglesworth (Linda), -Viewing Flowers from Afar & Soul of the Desert, exhibition card fold-out brochure; Wrigglesworth (Linda), Happy New Year of the Rooster, 2005, loose leaf; Wrigglesworth (Linda), in association with Myrna Myers, Where Antique Korean Textiles Meet Contemporary Art ; Wrigglesworth (Linda), Antique Chinese, Tibetan & Korean Costumes & Textiles-Creative Momentum celebrating 25 years, loose leaf exhibition catalogue (10)
Artists Anonymous (German/British - founded 2001) - A group of three original photographic panels, 'Haunch'Inset matching ebonised frames.NB: Artists Anonymous are an art group based in Berlin and London, during their studies at The Berlin University of the Arts at the Classes of Georg Baselitz & Stan Douglas. Since 2005 they have exhibited in different international galleries such as The Sommer Contemporary Art, Tel Aviv, Christian Ehrentraute Berlin, Goff Rosenthal, Berlin/NY. In 2006 a work from there Apocalyptic Warriors Series was bought by Charles Saatchi. For further information for Saatchi Gallery and The Wetterling Gallery, Stockholm.
After Mark Grieves (Contemporary) ''First Dance'' Signed and numbered 85/150, giclee print on canvas, together with two further signed giclee prints after the artist ''First Love'' and ''Love Graces'' 65cm by 65cm and 24cm by 44cm respectively (3) Each sold together with the Washington Green Fine Art certificate of authenticity
Follower of Roy Lichtenstein (Contemporary) ''Zap'' Inscribed A/P and dated 2013, screenprint, together with a collection of further pop and urban art prints by various artist's including Chris Penn, Sweet Toof, etc., 70cm by 70cm, 96cm by 47cm and various other sizes (a collection) (unframed)
British Urban Art School (Contemporary) ''Mexicana Scull'' Indistinctly signed and numbered 17/50, screenprint, together with a collection of further urban art prints by Jeff Keen and various other hands and an indistinctly signed pen portrait of a black man, 71cm by 50cm and various other sizes (unframed)
Marie Walker Last (1917-2017) ''Fragment of a Dream'' Signed, inscribed and dated Jan. (19)63, with original artist's original label verso, oil on canvas, 65cm by 100cm Provenance: From the Estate of Marie Walker Last See illustration During her childhood in West Yorkshire, Marie Walker Last showed an early inclination towards art encouraged by her father, a successful textiles manufacturer and keen art enthusiast. After a spell in the Land Army during WWII, Marie's early artistic inclinations leant towards capturing the landscape of West Yorkshire. In the mid-1950s she became a member of the Northern Federation of Artists, and whilst attending their summer painting schools she met leading artists such as Robert Medley and Terry Frost. Here she was encouraged to move beyond representational depictions of landscape towards more abstract, personal expressions of her surroundings. In 1956 Marie was accepted into the Chelsea School of Art, where she produced bold abstract work often inspired by her fascination with the Universe and space exploration. Whilst in London, Marie threw herself into the vibrant art scene, working for the Molton Gallery, Annely Juda and New Vision Gallery. Her first solo show in 1959 was at University Gallery, Newcastle, an offshoot of the New Vision Gallery focusing on contemporary abstract art. This was followed by a solo show in the New Vision Gallery in London. In 1961 Marie married lawyer Tom Last and moved to his home town of Ilkley, where she established a studio in nearby Menston. Here she gravitated back to her early fascination with the Yorkshire landscape, which once more became a strong focus for her work. Marie exhibited both locally and nationally, with her first major retrospective held at Dean Clough Gallery, Halifax in 1991.
NO RESERVE Cicognara Leopoldo. Storia della scultura dal suo risorgimento in Italia fino al secolo di Canova del conte Leopoldo Cicognara per servire di continuazione all'opere di Winckelmann e di D'Agincourt ... Volume primo [-settimo]. Edizione seconda riveduta ed ampliata dall'autore. Prato: per i frat. Giachetti, 1823-1825.7 volumi in-8° (mm 230x145). Antiporta con ritratto dell'autore al primo volume. Esemplare composto dai volumi di testo, mancante del volume con le tavole, lievi bruniture e fioriture ma buon esemplare in barbe. Legatura coeva in mezza pelle, piatti rivestiti in carta marmorizzata, titolo in oro su tassello ai dorsi.Seconda edizione, corretta e assai ampliata dall'autore: con la prima veneziana del 1813-1818 erano usciti solo tre volumi. Opera fondamentale per la storia dell'arte moderna e opera maggiore del Cicognara, destinata a proseguire i lavori di Winckelmann e di D'Agincourt. Schlosser Magnino, 510; Graesse II, 186: "Cet ouvrage est un des meilleurs que l'Italie ai produit sur les beaux-arts". 7 volumes. 8° (230x145 mm). Frontispiece with portrait of the Author on the first volume. Copy composed by the text volumes, wanting the volume with the plates. Light browning and foxing otherwise a fair copy, uncut. Contemporary half-leather, marbled paper on the covers, gilt title on littering piece on the spine. Second edition, correct and enriched by the author: with the first venetian one of 1813-1818 appeared only three volumes. Fundamental work for modern art history and masterpiece of Cicognara, destine to continue the works of Winckelmann and D'Agincourt. Schlosser Magnino, 510; Graesse II, 186: "Cet ouvrage est un des meilleurs que l'Italie ai
SERRES (Dominick and John Thomas) Liber Nauticum, and instructor in the Art of Marine Drawing. London: John Nichols for Edward Orme, 1805-06, folio, two parts in one, two engraved Addresses and 41 etched plates, many with aquatint, 1 hand-coloured, 3 printed in sepia, title with correction printed letter 'S' pasted over final letter 'M' of 'Nauticum', slight cropping affecting some platemarks, contemporary binding with upper board detached
A FRANCO-FLEMISH VERDU TAPESTRY, BRUXELLES, 16TH CENTURY woven wool, organic pigments, depicting a bear hunt in a verdant landscape surrounding a château and moat populated by hunters, huntresses and dogs in the foreground within a four-sided classical border of scrolling flower arrangements, summer fruits and foliage offset by four graceful figures to each corner,splits, foreground repairs, relined with Belgian linen, later blue border, restorations, cleaned and lined in Paris in 1987 by M. Kechichain, Quai de la Seine, Paris332 by 245cmTapestries, the fine embodiment of history and art, coalesced in Europe in the great weaving centres of Italy, France and the Netherlands, over a thousand years ago. Before the Royal houses of Europe ordered sumptuous and labour intensive heraldic tapestries in the medieval period, smaller and simpler ones were commissioned by ordinary households for the purpose of warmth and decoration. It is however the grand and regal tapestries that have survived over time - many housed in museums, and royal residences - that are now sought after by collectors. Not since the January 1997 sale of a 17th century Brussels tapestry depicting Ulysees and Circe from the estate of the Baroness Grace Confaloneri , has Stephan Welz and Co in Cape Town been in a position to offer two superb examples of early Flemish tapestry. The weaving centres of Bruxelles and Enghien in Flanders (Belgium) reached their height in the XVIth century. The tapestries in lots 457 and 458 produced by these centres, are made entirely by hand of gathered, spun and organically dyed wool. Designs were specially created by “tapestry painters” who created novel designs to be placed under the warp of the loom for the weavers to bring to life. As well as scenes of courtly life, themes of classical mythology and the bible were used as central panels framed by borders of decorative foliage, fruit, flowers and figures set in architectural niches. It is interesting to note that there is a renewed interest in Flemish tapestries, particularly when juxtaposed with clean, contemporary interiors like those of acclaimed Belgian decorator Axel Verwoordt.- Carol Kaufmann
Mark Wilfred Batten (1905-1993), A bronze portrait bust of John Hull Grundy, signed, titled and dated 1958, height, 48cm, 19in. * The bust is of the pioneering medical zoologist John Hull Grundy who himself trained in sculpture before going into medicine and was a contemporary of Batten's at Chelsea Art School. Artists' Resale Right ("droit de suite") may apply to this lot.
Illuminated Testimonial. An illuminated testimonial for John Dent Goodman upon tendering his resignation as director and chairman of the London and Midland Bank Ltd., 15th July 1898, produced by Blades, East & Blades, [1898], a total of 4 well-executed watercolour, gilt and gouache leaves, the first 2 with text, the third leaf with 23 mounted vignette oval portrait photographs (manuscript key leaf loosely inserted), the fourth leaf with 15 vignettes of bank buildings (11 albumen print photographs and 4 well-executed watercolours to match), the Art Nouveau decorative borders with floral and foliage designs, the second leaf with 2 armorials and mottos to lower border, each 34 x 25 cm and window-mounted in thick card, Blades, East & Blades gilt stamp to final blank leaf, some mostly marginal spotting, moire silk doublures, all edges gilt, contemporary red morocco with gilt rules and bank's circular gilt crest to upper cover, inner dentelles with gilt floral design, minor rubbing at head and foot of spine, large 4to (49 x 40 cm) From the collection of his grandson Sir Victor Goodman, Clerk of the Parliaments. (1)
Ireland (Samuel). Picturesque Views on the River Wye, from its Source at Plinlimmon Hill, to its Junction with the Severn below Chepstow: with Observations on the Public Buildings, and other Works of Art, in its Vicinity, 1st edition, 1797, half-title not present, single-page engraved map, 30 sepia aquatint plates (including frontispiece) and one engraved portrait plate, several woodcut illustrations, dust-soiling & marginal damp stains mostly to frontispece and title, modern calf gilt by Period Binders of Bath, large 8vo, together with Scott (Walter). Waverley Novels, 47 volumes (of 48), Edinburgh: Cadell & Company, London: Simpkin & Marshall, 1829-1833, volume 48 lacking, engraved frontispieces and vignette titles, engraved dedication leaf (with spotting and browning), contemporary blue green calf, gilt decorated spines with morocco labels at head & foot, gilt & blind decoration to borders of boards, 8vo, plus Carnan (T. & Newbery, F., publishers), A Description of England and Wales. Containing a Particular Account of each County, 10 volumes, mixed editions, 1769-1775, numerous engraved plates, contemporary marbled calf, gilt decorated spines, contrasting morocco labels (some lacking), volume 4 spine torn with slight loss, few joints cracked, 12mo, and Dickens (Charles). Works, 20 volumes, London & New York: Chapman & Hall Ltd., and Henry Frowde, circa 1910, black & white illustrations, top edge gilt, original dark green morocco gilt, 8vo, and Byron (Lord George), The Works..., with His Letters and Journals, and His Life, by Thomas Moore, 17 volumes, John Murray, 1832-1833, engraved frontispieces and additional engraved titles, contemporary half calf gilt, lacking some labels, upper board of volume 1 detached, worn, 8vo, and others, including Theo A. Stephens, My Garden, An Intimate Magazine for Garden Lovers, volumes 1-12, January 1934-December 1937,colour and black & white plates, numerous illusttations and advertisements, contemporary uniform green morocco, 8vo, Hollandischen Maler by Dr. C. Hofstede de Groot, volumes 1-7, 9-10 only (vol. 10 facsimile reprint), Paris, 1907-1928, black & white plates, contemporary uniform cloth-backed boards gilt (vol. 10 in full vellum), morocco spine labels, large 8vo, and two large folio volumes containing extracts, cuttings & reviews regarding the acclaimed Italian actress Eleonora Duse (1858-1924), with mounted black & white illustrations, and two portrait photographs (one signed) Abbey Scenery 544, Upcott pages 330-332, for the first work. (3 cartons)
The Art Journal, a broken run, 38 volumes, a broken run, 1848-51, 1853-55, 1859-60, 1862, 1873, 1874-76, & 1885-1906, plus duplicates for 1855 and 1886, numerous black and white engravings and illustrations, some light toning, together with 7 other 19th century art journals, all mixed contemporary leather bindings, boards and spines slightly rubbed, large 4to (45)
Bolliger (Hans). Dokumentations-Bibliothek zur Kunst des 20. Jahrhunderts/Bibliography of 20th century Art Publications, Alan Wofsy, 1991, monochrome illustrations, original cloth in dust wrapper, 4to, VG, together with Gill (Eric), Drawings From Life, 1st edition, 1940, monochrome illustrations, original blue cloth gilt in dust wrapper, rubbed and a little frayed to edges, 8vo, plus Whistler (James McNeill), Eden versus Whistler, The Baronet & The Butterfly, a Valentine with a Verdict, Paris, Louis-Henry May, 1899, original cloth-backed boards gilt, very slightly rubbed, 8vo (from the library of Leonard Smithers, with recent printed ticket loosely inserted), and other art and design interest, including Axis, a quarterly review of contemporary abstract painting & sculpture, no. 2, April 1935, Walter Crane, Line & Form, 1900, Antony Griffiths, The Print in Stuart Britain 1603-1689, British Museum, 1998, Penguin Modern Painters series, Poetry Review, 6 issues, March 1912-July 1913, etc. (46)
Marquis of Stafford's Art Collection - Ottley, William YoungEngravings of the Most Noble the Marquis of Stafford's Collection of Pictures in London. London: Longman, Hurst [&c.], 1818. 4 volumes in one, large 4to, 13 plans and 126 engraved plates [13, 25, 31, 59, 11], contemporary green half morocco, t.e.g., scattered spotting to platesProvenance: The property of the Newbattle Abbey College Trust
Art Reference & Bibliography, 24 booksMaclehose, James, printer Pictures Exhibited in the Royal Reception Rooms in the Art Galleries of the Glasgow International Exhibition 1901. Glasgow, 1902. 4to, two bookplates designed by D.Y. Cameron belonging to J. Craig Annan and Lessing and Edith Rosenwald (loose), original boards with blue morocco gilt labels; "Bromley, Henry" A Catalogue of Engraved British Portraits. London: T. Payne..., 1793. 4to, contemporary tree calf, rebacked, bookplate; Almack, Edward A Bibliography of the King's Book or Eikon Basilike. London: Blades, East & Blades, 1896. Folio, original black cloth gilt, bookplate; Partridge, Frank Ralph Wood Pottery, Mr. Frank Partridge's Collection. London: [n.d.] 4to, original blue cloth gilt; Menpes, Mortimer Whistler as I knew Him. London: Adam and Charles Black, 1904. 4to, original cloth gilt; Huth, Henry A Catalogue of Woodcuts and Engravings in the Huth Library. London: Chiswick Press, 1910. 4to, contemporary quarter morocco, bookplate; Gebelin, François Les Chateaux de la Renaissance. Paris, [1927]. Folio, original cloth; Blanc, Charles Grammaire des Arts Décoratifs. Paris, 1882. 4to, contemporary quarter morocco gilt; Trusler, John The Works of William Hogarth. London: Jones and Co., 1833. 4to, contemporary half calf; Field, George A Grammar of Colouring... London: Crosby Lockwood & Co., 1877. 12mo, original cloth; and 14 others, sold not subject to return (24)
Art, Architecture & Clocks, 22 volumesMillais, John Guille The Life and Letters of Sir John Everett Millais. London: Methuen & Co., 1902. Third edition, 2 volumes, 8vo, contemporary red morocco gilt with floral tooling to spine; MacQuoid, Percy & Ralph Edwards The Dictionary of English Furniture. London: Country Life, 1924. 3 volumes, folio, original green cloth gilt; MacGibbon, David & Thomas Ross The Castellated and Domestic Architecture of Scotland... Edinburgh, 1990. 5 volumes, 8vo, green cloth; M. Harris and Sons A Catalogue and Index of Old Furniture and Works of Decorative Art, [n.d.] 3 volumes, 4to; Symonds, R.W. English Furniture from Charles II to George II. London: The Conoisseur, 1929. Folio, original cloth gilt; Cescinsky, Herbert The Old English Master Clockmakers. London: George Routledge & Sons, Ltd., 1938. 8vo, black cloth, spine detaching; and 7 others, sold not subject t return (22)
Angling - Two 18th century works comprising Shirley, ThomasThe Angler's Museum; or, the whole Art of float and fly Fishing... The third edition. London: Printed for John Fielding, [c. 1784]. pp. 5, '8', [vii]-viii, 135, [1], with a final page of advertisements and a frontispiece portrait (dated 1784) of John Kirby [Bound with:] The Gentleman Angler. Containing brief and plain Instructions by which the young Beginner may in a short Time become a perfect Artist in angling for all Kinds of Fish. London: Printed for G. Kearsley, 1786. pp. vii, [1], 122, [2], with a final advertisement leaf and frontispiece engraving; 2 works in one volume, 12mo, contemporary half calf, spine chipped at head, joints cracking slightly
Tessa Beaver (British, 20th Century), Spring Catalpa; Spring Shagbark Hickory; New England Maple; each signed, titled and numbered in pencil (in lower margin) and each with Christie's Contemporary Art label (verso), etchings, each 63 x 52cm, together with another etching by Greenwood titled 'Reed Gold', signed, titled and numbered in pencil (in lower margin), 53 x 46cm (4). May be subject to ARR
JOSEPHINE WILSON (CONTEMPORARY) CHECKA I & II, a pair of portrait pencil drawings of a young woman in side profile with large hoop earrings, approximately 76cm x 56cm, framed and glazed (2) (The Artist and the sitter were final year art students at Leeds College of Art) and comes with Aon Community Art Award brochure 2015 featuring Checka I & II on page 4/5 and the work of the sitter Checka Levi Morenos on pages 14/15
A Chinese export silver cocktail shaker,c.1920,in Art Deco style, embossed with stylised camellias, blossom and bamboo leaves, the similarly decorated handle of serpent form, the detachable domed cover and spout stopper mounted with cork, the interior cover with hooks, marked below the base with Chinese characters, and stamped sterling,24cm high, 17oz overallAt first glance, this object could be mistaken for a Tiffany or an Asprey cocktail shaker. The distinct Art Deco form is comparable with contemporary cocktail shaker styles of the 1920s and 1930s.
A dealer lot of silver to include necklace of various shapes and sizes, all silver mounted. To include abalone inlaid roundel, brutalist, agate teardrop, faced glass roundel, square agate, transluscent teardrop,mother of pearl teardrop, Art Nouveau, contemporary, hearts, vintage, padlock heart etc. Total weight 158.2g
Japanese folding book, silk laid onto paper, printed landscape and scenes and characters with silk covered bds, a little wornJapanese Drama, The Tourist Library no.6, Tokyo, the Maruzen Company Limited 1936, folding colour frontis, colour and photographic ills, limp coversTwo books in Chinese, image of Confucius on front coversProgramme for opera and dance in Osaka, probably 1920's Hosie, Lady "The Pool of Ch'ien Lung, a tale of modern Peking", Hodder & Stoughton 1944, colour frontis, blue bds, gilt titles and characters, dj chipped and with lossSeike, Kyoshi and Terry, Charles S "Contemporary Japanese Houses" pub Kodansha International Ltd, Tokyo, Japan 1970, folioThe New Art Library"The Practice and Science of Drawing...", Sealey Service, djGuerman, M"The Art of the October Revolution"Amay, Mario "Pop as Art", bds "A Wealth of Poetry part 2", Selected Copyright 1963, Basil Blackwell, arranged in 12 themes, each visually introduced by Bridget Riley, gilt decs to front board, limp covers, shelf wear Curtis Comic, vol 1, Zero Taker, Art by Yoonyeol Choi, story by Kimgoon, dated 2002 and various other volumes (1 box)
Verve: The French Review of Art, Nos.5/6, 14 colour lithographs Guys (4), Braque, Rouault, Derain (2), Léger, Bonnard (2), Matisse (2) and Klee, plates and illustrations, some mounted, title lightly browned, contemporary boards, rubbed, original colour lithograph wrappers by Maillol bound in, 4to, Paris, 1939.
Warhol (Andy).- Green (Samuel Adams) Andy Warhol, first edition, designed by Ben Brillo, printed on cream green and silver leaves, plates, a few leaves loose (as often), original cloth-backed wrappers, upper cover featuring Campbell Soup tins, very slightly rubbed and soiled but a good copy, 8vo, Philadelphia, Institute of Contemporary Art University of Pennsylvania, 1965.⁂ Scarce catalogue of the artist's first museum exhibition in 1965. In the crush at the press night some of the paintings were damaged so they were removed before the official opening the following night, effectively making Andy Warhol himself the exhibit and creating his status of Pop Art icon.
Meijer (Emile) & Joop Swart. The Photographic Memory: Press Photography - Twelve Insights, 1988 § Whelan (Richard) Double Take: A Comparative Look at Photographs, New York, 1981 § Hudson (Roger) An Independent Eye: A Century of Photographs, 1998 § Epic (The) and the Everyday: Contemporary Photographic Art, 1994, illustrations, the first two original cloth with dust-jackets, the last two original wrappers; and a quantity of others, photography, including some duplicates, v.s. (3 boxes)
Ark: The Journal of the Royal College of Art, Nos. 1, 7, 12, 23, 28, 35, 37 & 38 only, plus a duplicate of no.28, original pictorial wrappers, 1950-65 § Evans (Myfanwy, editor) The Pavilion: A Contemporary Collection of British Art & Architecture, with contributions by Wyndham Lewis, John Betjeman and Edward Bawden, original wrappers, spine torn, [1946]; Axis: A Quarterly Review of Contemporary Abstract Painting & Sculpture, No.8 only (of 8), original printed wrappers, colour plates after Alexander Calder and Paul Nash, 1937 § Shawe-Taylor (Desmond, editor) The Arts, No.2, original pictorial wrappers by Edward Bawden, spine slightly frayed, [c.1947], plates and illustrations, some colour, all a little rubbed and soiled; and a small quantity of others on British art and design, including several 1950s issues of Royal Academy Illustrated, Penguin Modern Painters publications and some exhibition catalogues, v.s. (c.50)
Mandey (Venterus & Moxon, James). Mechanick-Powers: or, the Mistery of Nature and Art Unvail'd, 1st edition, 1696, engraved portrait frontispiece, 17 engraved folding plates, signature to title, upper outer corner of title torn & frayed with slight loss to double-ruled border, occasional marginalia & notes, few ink marks and some to verso of plates, later endpapers, contemporary blind panelled calf, rebacked and corners repaired, 4to Wing M418. (1)
[James, Robert]. The Rational Farmer, and Practical Husbandman by the Author of the new Medicinal Dictionary, to which is added, the British Herbal..., 2 parts in 1 volume, 2nd edition, printed and sold by the booksellers of London and Westminster, 1747, first part in double column, second part with woodcut botanical illustrations, some occasional heavy spotting and old dampstaining, tear with loss to upper outer corner of T1 of first part, with resultant loss of page numbers and to letters of the last/first word of recto/verso, old marginal paper repairs to Y3-4 & Z1 of first part, not affecting text, contemporary engraved illustration from another work pasted as frontispiece, contemporary sheep, rubbed, some edge wear, 4to Very rare and not in Fussell or Henrey. ESTC lists only 4 copies of the first edition of 1743 and 2 copies of this second edition: University College Wales, Hugh Owen Library; Henry E. Huntingdon Library and Art Gallery. (1)
A signed coloured limited edition etching by John Brunsdon showing a Welsh landscape, signed bottom right, edition number 140/150, inscribed Llansannan, with Christie's Contemporary Art certificate verso, 40 x 47 cm, together with a further signed coloured limited edition etching by John Brunsdon - Dusk over Pen-y-Gwryd, 137/150, 27 x 35 cm both in gilt frames
Helen Stuart ( fl.1880s ) Portrait of a Maori Wearing a huia-feather headdress over-painted gelatin Silver Print. Signed and Dated lower left In contemporary gilt and ebonised frame.1885. Size 22 x 21 Inches. Helen Stuart was the sister of the painter and photographer Samuel Stuart Jnr, who both emigrated to New Zealand from Scotland. Helen Stuart was one of very few recorded colourists, mostly of her brothers photographs and possibly, as may well be the case here, of the photographs of Josiah Martin. The Christchurch Star of 5th November 1886 reported that a photograph of a Maori coloured by Helen Stuart was Included In an exhibition of New Zealand art, part of the Colonial and Indian Exhibition, held at the Royal Albert Hall In London, where examples of Martins ethnological and topographical Photographs are also recorded as being exhibited.Reference ebook; Crombie To Burton Early New Zealand Photography, page 58 to view similar portrait
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