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Lot 620
John Geldersma (American/Louisiana, b. 1943) , "Untitled", 1992, mixed media painted wood, signed, dated, and possible artist brand on reverse, h. 44 1/2 in., w. 17 1/2 in., d. 4 in . Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund. Note: A New Orleans native, John Geldersma began carving wood totems and tablets in 1970. Dividing his time between Louisiana and Colorado, the artist works primarily with native woods such as fallen aspen, pecan or weathered driftwood. Geldersma’s sculptures resonate with both the energy of the bayou in Louisiana and the minimalist rigor of his East Coast training. His creative process is a careful dialogue with his materials, often combining burned wood (for black) and vibrant paint. As seen in the work offered here, the color palette gives life to Geldersma's forms with a tribal, elemental feel that is strong and direct. The totems are central to the artist’s private mythology and invite meditation and solitary contemplation. Ref.: “John Geldersma.” Chiaroscuro Contemporary Art, Santa Fe, NM. www.chiaroscurosantafe.com. Accessed Aug. 15, 2016.
Lot 252
Robert Remsen Vickrey (American/Florida, 1926-2011) , "Comma", 1960, egg tempera on masonite, signed lower right, partial "Midtown Galleries, A.D. Gruskin, Director, NY" label with artist and title and pencil-inscribed "Midtown" en verso, 25 3/4 in. x 39 3/4 in., framed . Provenance: Private Collection, Shreveport, LA. Note: Robert Remsen Vickrey was a leading figure of the magic realism school who mastered the difficult technique of egg tempera painting while a student at Yale. In the 1950s and 60s, Vickrey was a prominent artist, exhibiting in the Whitney Museum’s annual exhibitions showcasing contemporary art. During this time, he also received dozens of portrait commissions for the cover of Time magazine. Not only did Vickrey excel at the technicality of the egg tempera medium, he became an expert on it, writing two books on the subject. Vickrey’s paintings combine realism and surrealism in city scenes, often depicting children, with his own as models. In the obituary of the artist, the NY Times specifically mentions the painting offered here, "Comma," dating to 1960, as an example of his technical skill since he painstakingly painted 4,000 individual bricks in the wall in the background. The composition shows a young boy seated on a wooden crate holding an American flag, his back to the viewer. The title refers to the comma painted on the brick wall in the background. Ref.: Grimes, William. “Robert Vickrey, Magic-Realist Painter, Dies at 84.” New York Times Apr. 20, 2011: B18.
Lot 906
Jade Jewett (American/New Orleans, 20th c.) , "Left-Handed Compliment", 1992, oil on wood, signed and dated lower left, "Gasperi Gallery, Julia St., New Orleans" label with artist, title and date en verso, 7 in. x 6 in., framed . Note: After graduating with a MFA from Tyler School of Art at Temple University, Jade Jewett worked in New Orleans as a studio assistant for Ida Kohlmeyer and printmaker for the Contemporary Arts Center. Jewett is currently department chair and professor of painting and drawing at California State University in Fullerton
Lot 911
Ed McGowin (American/Mississippi, b. 1938) , "Inflatable Sculpture with T.V.", acrylic on canvas, unsigned, gallery label with artist and title en verso, 56 in. x 50 1/4 in., period frame . Provenance: Property of the New Orleans Museum of Art, Sold to Benefit the Acquisitions Fund. Note: A Hattiesburg, MS native, Ed McGowin completed an undergraduate degree at Mississippi Southern College (now the University of Southern Mississippi) in Hattiesburg in 1960, studying in the small art department with Vernon Merrifield, Walter Lok and Charles Ambrose. After one semester of graduate painting studies at the University of Alabama, McGowin accepted a position as an art instructor and returned to Mississippi Southern, teaching there until his move in 1962 to Washington, D.C., then a more supportive environment for a Southern artist than New York. McGowin rapidly established himself as a pioneering figure in the art worlds of New York, Washington and Baltimore during the 1960s and 1970s. An exhibition of his paintings was presented at the Corcoran Gallery in December of 1962. Following this first exhibition at the Corcoran, he was invited by Henrietta Ehrsam to join her stable of artists at the Henri Gallery in Alexandria, Virginia. During the 1960s, he witnessed a proliferation of new styles and movements including Pop, Neo-Dada, Minimalism, Post-Minimalism, Conceptual, Earth and Feminist art. In April 1964 McGowin wrote that his art would be: “changing constantly, never repeating anything no matter how much I like it....I don’t want to be put in any school or group. It is too confining—I want to be able to do anything I damn please—which is the only way….I don’t want a label unless the label is change. I change every day, every hour, every second. Why shouldn’t my art change, and the more the better…” In keeping with this desire, McGowin had his name changed legally twelve times in 1970 as a didactic work of art, creating and exhibiting works under each name as a way “to explore a theory I conceived about the way art history would evolve in the future.” In the 1970s and 1980s, there was an developing sense of the importance of contemporary Southern art, and McGowin and his unique works were an important part of the foundation for the future acceptance of Southern artists. Over the course of his career, McGowin was recognized as an “artist’s artist,” known for his technical skill, innovation and unique vision. Due, in part, to his continual evolutions in styles and materials, as well as his deliberate use of diverse names in his projects, McGowin remains an elusive artist in large part. At times baffling critics and the general public, he has avoided the creation of easily identifiable imagery. The work offered here is an example of that imagery, depicting a mysterious and dramatically-lit interior with a narrative known only to the artist. Ref.: Gruber, Richard J. “Ed McGowin and T.M. Dossett: True Stories and The Southern Voice.” Ed McGowin. http://www.edmcgowin.com. Accessed August 13, 2016.
Lot 608
Hazel Titherley RCA ATC ATD (Manc) NDD (British, b. 1935) - 'Abstract Landscape'Oil on panel, signed, dated verso '3 Feb 1970', approx. 52x67cm, inset painted contemporary frame.NB: Hazel Titherley has work displayed in The Salford Art Gallery, and in private collections in Britain, Scandinavia, USA, Pakistan, Czechoslovakia, Yugoslavia, France and Spain. She exhibits with The Royal Cambrian Academy with The New London Artists, with The Northwest Contemporary Design Collective, and in her studio.
Lot 141
Europe, probably France or the Low Countries, ca. 1400 to 1500 CE. A collection of three printed illuminated pages from two different but likely contemporary Books of Hours. Two of the pages are still bound together. On those two pages, the Latin text is embellished with headings and paragraph marks printed in rich, colorful red and blue. The other page features a large printed uncial in the center of the page with an initial bordering that column of text. Size of largest page: 4" W x 5.75" H (10.2 cm x 14.6 cm)On the single page, colorful, gilded designs of vines bearing strawberries (vines often signify a French maker) surround the column. Both pages are printed in a formal display script known as Textura semi-quadrata (also Textualis); this was used for later medieval works. Like many illuminated books, the pages here are works of art with their interesting use of layout, color, decoration, and script. Books like these would have been made by an urban bookseller, called a libraire; in this time period it could have come from Paris, Bruges, Ghent, or Valenciennes. They were prized objects, often given as gifts at important occasions. The Book of Hours was a prayerbook used by (mostly wealthy) laypeople; like its counterpart for the clergy, the Divine Office, it was divided into times of day and included the Psalms, hymns, and various prayers. These books often belonged to upper class and emerging middle class women, who would have treasured them both as devotional objects and as status symbols. Provenance: Ex-private East Coast USA collection Condition: These three pages were cut from two different Books of Hours. Two small stain areas on one page, although neither prevents it from being read; edges have slight wear/damage both along cut line (from binding) and along outside edge (from touch). All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #119150
Lot 106
Sheraton (Thomas). The Cabinet-Maker and Upholsterer's Drawing-Book in Four Parts, [3rd revised edition, 1802], facsimile edition, 1895, plates and illustrations throughout, rear hinge weak, contemporary publisher's cloth gilt, slight fraying to top of spine and some rubbing to extremities, 4to, together with Ottley (William Young), An Inquiry into the Origin and Early History of Engraving, upon Copper and in Wood..., 2 volumes, 1816, 22 engraved plates, contemporary calf, covers marked and covers near detached, 4to, plus Hewitt (Graily), Lettering for Students and Craftsmen, 1930, tipped in illustrations, top edge gilt, original vellum-backed buckram, 4to (edition de luxe, 308/380 copies, signed by the author), plus other 19th & 20th century art and design including oversize books (22)
Lot 16
Burgess (James). The Lives of the Most Eminent Modern Painters, who have lived since, or were omitted by Mons. De Piles, Thomas Payne, 1754, period annotations to the title page, some light spotting, top edge gilt, later gilt decorated brown half morocco, slightly rubbed, 8vo, together with Gibson (Frank), Charles Conder, His Life and Work, 1914, 121 monochrome illustrations, some light spotting, original white cloth spine to boards, slightly toned and rubbed, 4to, and Snare (John, publisher), The History and Pedigree of the Portrait of Prince Charles (afterwards Charles I), painted by Velasquez, Reading, 1847, monochrome portrait frontispiece, bookplate and news cuttings to front endpapers, some light spotting, contemporary gilt decorated blue half calf, boards and spine rubbed with minor loss, 8vo, plus other 19th and early 20th century art and artist reference, mostly original cloth, some gilt decorated, some leather bindings and odd volumes, G/VG, 8vo/folio (3 shelves)
Lot 22
Lewis (John). John Nash, the Painter as Illustrator, The Pendomer Press, 1978, limited edition 33/150, signed by the author to the limitation page, numerous monochrome illustrations, original gilt decorated blue quarter morocco in slipcase, 8vo, together with Latham (Charles), In English Homes..., volumes 1-3, 2nd edition, 1907, numerous monochrome illustrations, some light marks, all edges gilt, uniform original gilt decorated blue cloth, boards and spines slightly rubbed to head and foot, folio, and James (J.T.), The Flemish Dutch and German Schools of Painting, John Murray, 1822, bookplate to front endpaper, some light marks and spotting, contemporary gilt decorated brown half calf, boards marked and rubbed, spine slightly rubbed to head and foot, 8vo, plus other 19th century and modern art reference, including The Studio, 8 volumes, numbers 11, 12, 16, 20-24, mostly original cloth, some in dust jackets, some leather bindings, G/VG, 8vo/folio (6 shelves + 2 cartons)
Lot 61
Sami-Azar (A. R.). The International Collection of the Tehran Museum of Contemporary Art, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations, original publisher's cloth in dust jacket, folio, plus Javaherian (Faryar), Gardens of Iran, Ancient Wisdom, New Visions, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations throughout, original publisher's printed wrappers, folio, plus other reference titles on Iranian art and contemporary art in Iran (21)
Lot 3079
[Smith, John] The True Art of Angling, twelfth edition, half-title, advertisement leaf with woodcut of fish and crown, contemporary mottled calf, extremities rubbed, upper joint slightly cracked, 12mo, London: Onesimus Ustonson, 1770 Tipped-in to the front is a single leaf titled 'The Angler's Commandments', laid down, printed Mayo, Newbury.
Lot 1252
Anish Kapoor"Teardrop Lamp",signed with monogram verso,wood and parchment, wired for electricity,39.5 x 19 x 20cms; 15 1/2 x 7 1/2 x 8in. deep.One of nine designs by leading British sculptors for the "At Home With Art" project, produced in collaboration with the Tate Gallery and Homebase. The project was conceived by Tate Curator, Colin Painter, in an attempt to bring contemporary art into domestic life. The objects, ranging from pure sculpture to the functional, included a coat hook by Antony Gormley, a shower curtain by Permindar Kaur, a beach towel by David Mach, and artworks by Richard Deacon, Angela Bulloch, Richard Wentworth and Alison Wilding. The exhibition ran from November 1999 to February 2000 (sold together with a copy of the exhibition catalogue).DROIT DE SUITEArtist's Resale Rights may apply, please refer to our 'Terms & Conditions'.
Lot 403
Le Clerc (Sebastien). Practical Geometry: Or, a New and Easy Method of Treating that Art, translated from the French of Monsieur S. Le Clerc, 3rd edition, 1727, 80 copper-engraved illustrations, first three letters of title overwritten in manuscript, occasional light soiling, contemporary calf, upper cover detached, spine rubbed, 8vo, together with Memoirs of the Lord Viscount Dundee, the Highland Clans, and the Massacre of Glenco: With an Accound of Dundee's Officers after they went over to France, by an Officer of the Army, 1st edition, 1714, manuscript poem 'An Epitaph on Dundee' to verso of His Epitaph leaf, some spotting, previous owner signature of Blackburne to title, bookplate, later panelled sheep, a little rubbed with small wormtracks, 8vo, plus Mordaunt Hall; Or, a September Night. A Novel, [by Anne Marsh, afterwards Anne Marsh-Caldwell], 3 volumes, 1st edition, 1849, a few light spots, contemporary half calf, a little rubbed, 8vo, with others including the Duke of Rochefoucault's Moral Maxims and Reflections, 2nd edition, 1706, Catherine Sinclair's Modern Flirtations, or a Month at Harrowgate, 3 volumes, 1841, Observations on the Trial by Jury, Particularly on the Unanimity Required in the Verdict, by John Longley, 1812, H.T. de la Beche's How to Observe Geology, 1835, Andrew Combe's The Physiology of Digestion, 1836 and Herbert Spencer's Social Statistics: Or the Conditions Essential to Human Happiness Specified, and the First of them Developed, 1851 (with manuscript note to title stating it was withdrawn) (34)
Lot 413
Ruskin (John). The Seven Lamps of Architecture, 5th edition, 1886, numerous engraved plates, occasional spotting, top edge gilt, contemporary full pigskin, gilt initials C.J.H.C. (for C.J. Harold Cooper of Bloomsbury Square, London) and date 1886 to upper cover, some soiling, large 4to, together with The Eagle's Nest. Ten Lectures on the Relation of Natural Science to Art, given before the University of Oxford, in Lent Term, 1872, 3rd edition, 1894, manuscript ownership inscription to upper blank margin of title, top edge gilt, contemporary full pigskin, gilt title and embossed shield with initials C.J.H.C. to upper cover, light soiling, 8vo, with Anacreon, [Anakreontos Teiou mele]. Praefixo Commentario quo Poetae genus Traditur et Bibliotheca Anacreonteia Adumbratur. Additis var. Lect., Parma: in Aedibus Palatinis, [Bodoni], 1791, all edges gilt, silk endpapers, contemporary gilt decorated vellum, morocco title label to spine, slight wear at head of spine, 8vo, with [Coleridge, Sara, translated], The Right Joyous and Pleasant History of the Feats, Gests, & Prowess of the Chevalier Bayard..., by the Loyal Servant [i.e. Jacques de Mailles], 2 volumes, John Murray, 1825, bookplate of Michael Tomkinson of Franche Hall, Worcestershire to upper pastedowns, contemporary green calf, gilt decorated spines with morocco labels, extremities slightly rubbed, 8vo, plus one other odd volume (6)
Lot 436
Humphreys (Henry Noel). The Illuminated Books of the Middle Ages; an Account of the Development and Progress of the Art of Illumination..., Illustrated by a Series of Examples..., Executed on Stone and Printed in Colours by Owen Jones, 1849, additional chromolithograph title, letterpress title printed in red and black, one uncoloured plate and thirty-nine leaves of chromolithograph plates, plus other mounted chromolithograph illuminated letters and borders, all by Owen Jones, many with gilding, text for plates eight, nineteen and twenty deficient, spotting and toning throughout (severe in places), lower edge of front pastedown with very small ink bookbinder's stamp, all edges gilt, contemporary half morocco, rubbed to extremities with some skinning of leather surface mainly on back board, large folio (1)
Lot 150
Mawe (John). The Mineralogy of Derbyshire: with a Description of the most Interesting Mines in the North of England, in Scotland, and in Wales; and an Analysis of Mr. William's Work, Intitled "The Mineral Kingdom", Subjoined is a Glossary of the Terms and Phrases used by Miners in Derbyshire, 1802, three engraved plates (including frontispiece) and single-page map, edges untrimmed, original boards, printed title label to spine, loss at head & foot of spine and some wear, 8vo, together with Sopwith (T., land & mine surveyor), An Account of the Mining Districts of Alston Moor, Weardale, and Teesdale, in Cumberland and Durham; comprising Descriptive Sketches of the Scenery, Antiquities, Geology, and Mining Operations, in the Upper Dales of the Rivers Tyne, Wear, and Tees, Alnwick: Printed by and for W. Davison, 1833, hand-coloured engraved map frontispiece (lightly offset to title), scattered spotting, original cloth, neatly rebacked preserving original printed title label, some fading to boards, 8vo, with Forster (Westgarth), A Treatise on a Section of the Strata, from Newcastle Upon Tyne, to the Mountain of Cross Fell, in Cumberland; with Remarks on Mineral Veins in General. Also, Tables of the Strata, in Yorkshire, Derbyshire, &c., To which is added, a Treatise on the Discovery, the Opening, and the Working of Lead Mines; with the Dressing and Smelting of Lead Ores, 2nd edition, greatly enlarged, Alston, Cumberland: Printed for the Author by John Pattinson, 1821, ink initial stamp to title, eleven plates (4 hand-coloured, some folding, plates 1, 2 & 11 not published), folding table, wood engraved diagrams & illustrations to text, endpapers renewed, contemporary half calf, rebacked, 8vo, plus Werner (Abraham Gottlob), New Theory of the Formation of Veins; with its Application to the Art of Working Mines..., Translated from the German, to which added, containing notes illustrative of the subject by Charles Anderson, 1st English Edition, Edinburgh: Printed at the Encyclopaedia Britannica Press for Archibald Constable & Co., 1809, half-title, lacking portrait frontispiece, edges untrimmed, original boards, repair to upper joint, wear to spine & upper joint, 8vo (4)
Lot 426
Wyld (Samuel). The Practical Surveyor, or, The Art of Land-Measuring Made Easy..., to which is added, an appendix added shewing how to draw buildings, &c. in perspective..., 2nd edition: corrected and enlarged by a careful hand, printed for H. Lintot, circa 1730, folding engraved frontispiece and 6 folding engraved plates, some marks and soiling, one plate restrengthened to fore-edge, contemporary calf, good-quality antique-style modern reback, together with Wilson (Henry), Surveying Improved: or, The whole art, both in theory and practice, fully demonstrated, 6th edition, with additions, two which is now added, Geodoesia Accurata... also, a new essay upon solids, by William Hume, 1769, 11 folding engraved plates, some light browning to title and margins of preliminary leaves, contemporary calf, good-quality antique-style modern reback, plus a 4th edition of the same work, 1755, 11 folding engraved plates, contemporary calf, modern antique-style reback, retaining old spine label, all 8vo (3)
![[Allestree, Richard] 1619-1681"The Government of the Tongue", 5th impression, pub at the Theater in Oxford 1693, engraved fro](https://cdn.globalauctionplatform.com/173b1f84-8165-4c31-88b9-a6f900c656b9/5b9964e1-c21e-444b-a166-b333aab4fc21/468x382.jpg)
Lot 59
[Allestree, Richard] 1619-1681"The Government of the Tongue", 5th impression, pub at the Theater in Oxford 1693, engraved frontis, woodcut head pieces bound with "The Art of Contentment", frontis, vignette on tp, 1694 and "The Lively Oracles given to us...", the Theater 1679, engraved frontis, vignette on tp, rebound contemporary leather laid down (Richard Allestree was a Royalist churchman and provost of Eton College from 1665) CONDITION REPORT: note: every page of every book is not checked, if you are unable to view yourself please ask for detailed information
Lot 87
Contemporary Art Deco style Approx. 2.75 carat Round Brilliant Cut Diamond, 2.75 Carat Emerald and 18 Karat White Gold Bracelet. Diamonds F-G color, VS2-SI1 clarity. Emeralds are well matched with very nice color. Signed 750. Chips to bezel edge of two emeralds. Good condition. Measures 7-1/4" L, 5/16" W. Approx. weight: 28.6 grams. Shipping $30.00 (estimate $2000-$3000)
Lot 233b
Western Europe, Spain, late 18th to early 19th century CE. A fascinating wooden crucifix scene set inside of a frame with an arch inscribed with Arabic. The Arabic is certainly old but may not be contemporary with the rest of the object; however, it calls to mind the Moorish culture that has greatly influenced Spanish and Portugeuse culture, and particularly the carving of Christ being removed from the cross that is underneath a Moorish arch at Mezquita, the Mosque–Cathedral of Córdoba, in Andalusia. Size: 1.5" L x 5.7" W x 11.25" H (3.8 cm x 14.5 cm x 28.6 cm)There are wonderful painted and carved details on this piece. Inside the arch, Christ and the cross are fully painted, with a sunburst design behind him, and, on the interior of the arch, a series of stars on a dark background. The frame is heavily decorated on all sides, including ornate, unpainted wood work with a cross, flowers, and birds/feathers design on the back. The archway stands upon four columns; below these is a stand showing several symbols associated with Christ, including a rooster, a skull, and a ladder, all above a floral border. A wonderfully ornate piece of religious folk art with an intriguing, interfaith design. Provenance: Ex-Young Collection, New Hampshire Condition: Wear to paint All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #118755
Lot 313
*JUNE REDFERN,SOUTHERN SHOREoil on linen, signed, titled and dated 2002 verso39cm x 29.5cmFramedLabel verso: Aitken & Dott Ltd, The Scottish Gallery, EdinburghExhibited: The Scottish Gallery, Edinburgh, 'Christmas Exhibition 2002', 30 November - 24 December, 2002Note: June Redfern’s work is widely represented in private and public collections including: National Gallery (London), Leeds Education Authority, Contemporary Art Society (London), Middlesborough Art Gallery, Dundee Art Gallery, Charlotte Englehart Foundation, Bradford Art Gallery, Laing Art Gallery, Kirkcaldy Art Gallery, University of Strathclyde, Michael Peters Group plc, Robert Fleming plc, Arthur Anderson, Texaco plc, Hiscox Holdings, Berkshire Associates, Proctor and Gamble, Spectrum (London), Standard Life, Scottish National Gallery of Modern Art, Aberdeen Art Gallery, Maclaurin Art Gallery, Glasgow Museum and Art Gallery, Lewisham College, Lillie Art Gallery (Glasgow), Paintings in Hospitals, BBC Television and Albertina Museum (Vienna).
Lot 3133
Wildlife Artists.- Waters (David) Archibald Thorburn Artist and Illustrator…1889-1934, ONE OF 205 COPIES SIGNED BY THE AUTHOR half rexine over patterned boards, 2009; McIntosh (Michael) Robert Abbett, ONE OF 500 COPIES, contemporary calf over patterned boards, Camden SC, 1989, slip-cases; Frace (Charles) Nature's Window ONE OF 3600 COPIES SIGNED BY THE AUTHOR, rexine, 1992; .- The Animal Art of William Kuhnert , ONE OF 2300 COPIES, rexine, 1995; Wieland (Terry) Guy Coheleach, publisher's cloth, dust-jacket, Camden SC, n.d. [c.1990]; and 18 others similar, wildlife illustrators, v.s. (23).
Lot 296
AN EXTENSIVE ORIGINAL COLLECTION OF VICTORIAN AND EARLY 20TH CENTURY POSTCARDS IN TWO BULGING CONTEMPORARY ALBUMS INCLUDING REAL PHOTOGRAPHIC COLWICK VILLAGE AND OTHERS, NOTTINGHAM, HOUSES, CHURCHES, GARDENS, COASTAL SCENERY, CATS, GREETINGS, CHROMO, ART AND MANY OTHERS, MAINLY POSTALLY USED, (APPROX 500)
Lot 378
After Linda le Kanff, 'The Orchid', colour print, 63cm x 43cm, limited edition, No.80/200, with certificate, andAfter Renee Halpern, Assiette de Fruit, colur print, 47cm x 45cm, limited edition No.21/200, with Christie's Contemporary Art certificate, and After Carl March, 'Flowers for Adelaide', etching with aquatint, 34cm x 47cm, pencil signed, limited edition No.15/150, with Christie's Contemporary Arts certificate, (3).
Lot 70
Ellsworth Kelly, American (1923-2015) Graphite and collage on paper, in 2 parts "Untitled" Executed in 1987. Signed, inscribed and dated "for Paul with thanks, Sept. 1987 Ellsworth Kelly" on the reverse. Good condition. Measures 14" x 21-1/2" (sight), frame measures 20-1/2" x 28-1/2". Provenance: Gifted by the artist to the present owner who was founder and publisher of Hudson Hills Press, which specialized in fine art books. Hudson Hills Press published the first catlogue raisonne of Ellsworth Kelly's prints. This work is the jacket design that Kelly created for that book. Exhibited: Ithaca, Cornell University Herbert F. Johnson Museum of Art, Contemporary Prints from the Anbinder Collection, April 5 - June 15, 1997. Shipping $235.00 (estimate $30000-$50000)
Lot 1519
OLIVE CARLETON SMYTH (SCOTTISH 1880 - 1933),CATHLIN CLUTHA AGUS OSCARpen, ink and heightened with gold on vellum, signed20.5cm x 25cmMounted, framed and under glass.Notes: This drawing shows Cathlin Clutha with Oscar. Cath'lin of Clu'tha, daughter of Cathmol. Duth-Carmor of Cluba had slain Cathmol in battle, and carried off Cathlin by force, but she contrived to make her escape and craved aid of Fingal. Ossian and Oscar were selected to espouse her cause, and when they reached Rathcol (where Duth-Carmor lived), Ossian re- signed the command of the battle to his son Oscar. Oscar and Duth-Carmor met in combat, and the latter fell. The victor carried the mail and helmet of Duth-Carmor to Cathlin, and Cathlin said, " Take the mail and place it high in Selma's hall, that you may remember the helpless in a distant land."OSSIAN is the narrator and purported author of a cycle of epic poems published by the Scottish poet James Macpherson from 1760. Macpherson claimed to have collected word-of-mouth material in Gaelic, said to be from ancient sources, and that the work was his translation of that material. Ossian is based on Oisín, son of Finn or Fionn mac Cumhaill, anglicised to Finn McCool, a legendary bard who is a character in Irish mythology. Contemporary critics were divided in their view of the work's authenticity, but the consensus since is that Macpherson framed the poems himself, based on old folk tales he had collected. The work was internationally popular, translated into all the literary languages of Europe and was influential both in the development of the Romantic movement and the Gaelic revival.Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. She was appointed Head Of Design at the GSA in 1933. Her work rarely appears at auction but 'PYTHEUS BUYS AMBER' a tempera and gold paint on vellum (34 by 40cm., 13¼ by 15½in) sold at Sotheby's, London 13.10.2012 lot 136 for £43,250 (premium).Smythe's work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes.
Lot 239
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)
Lot 332
Baxter (Richard). Gildas Salvianus; The Reformed Pastor. Shewing the nature of the Pastoral work; Especially in Private Instruction and Catechizing. With an open Confession of our too open Sins..., 2nd edition, 1657, lacking A1 (blank?), armorial bookplate of James Stonhouse of Berkshire, hinges repaired, contemporary marbled boards with vellim tipped corners, modern reback, 8vo, together with [Allestree, Richard], The Causes of the Decay of Christian Piety. Or an Impartial Survey of the Ruines of Christian Religion, Undermin'd by Unchristian Practice, 1667, imprimatur leaf present, engraved vignette title, contemporary speckled calf, modern amateur title label to spine, joints cracked, 8vo, with The Ladies Calling, in Two Parts, 8th impression, Oxford, 1705, engraved portrait frontispiece, engraved vignette title, occasional scattered spotting, all edges gilt, hinges cracked, contemporary red morocco, gilt panelled boards and decoration to spine, joints slightly cracked at head & foot, 8vo, and The Government of the Tongue, 6th impression, Oxford, 1702, imprimatur leaf, engraved portrait frontispiece, bound with The Art of Contentment, Oxford, 1705, engraved portrait frontispiece & vignette title, bound with The Lively Oracles given to us..., Oxford, 1696, imprimatur leaf, engraved frontispiece and vignette title, later printed front endpaper, contemporary panelled calf, joints cracked and crude repair to upper panel of spine, 8vo, plus five other late 17th & 18th century antiquarian, including theology (9)
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16093 item(s)/page