Cescinsky (Herbert). English Furniture of the Eighteenth Century, volumes 1-3 (complete), circa 1920s, numerous black and white illustrations, uniform contemporary green half morocco, boards rubbed, spines slightly faded and rubbed to head and foot, 4to, together with Mackenna (F. Severne), Chelsea Porcelain, the Red Anchor Wares, 1st edition, 1951, 207/500, numerous black and white illustrations including tipped-in frontispiece, original red cloth, spine faded and slightly rubbed to head and foot, 4to, plus King (William), Chelsea Porcelain of the Victoria and Albert Museum, 1st edition, 1922, numerous black and white illustrations, some slight toning and marks, original gilt-decorated brown cloth, spine slightly faded, 4to, plus other modern porcelain, architecture and art reference, all original cloth, many in dust jackets, G/VG, 8vo/4to (3 cartons)
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Lodge (Edmund). Portraits of Illustrious Personages of Great Britain... , volumes 1-12 bound in 6, circa 1860s, numerous black and white illustrations, some light marks and spotting, contemporary uniform green half morocco, boards and spine rubbed with minor loss, 8vo, together with Jordan (William), National Portrait Gallery of illustrious and eminent personages of the nineteenth century... , volumes 1-5, 1830, numerous black and white engraved illustrations, some spotting, uniform contemporary gilt-decorated red half morocco, boards and spines rubbed with minor loss, 8vo, plus Barratt (Thomas J.), The Annals of Hampstead, volumes 1-3 (complete), Lionel Leventhal Limited, 1972, numerous black and white illustrations, original green cloth in slipcase, large 4to, plus other print and art reference and related, some leather bindings, mostly original cloth, some in dust jackets, G/VG, 8vo/4to (3 cartons)
Moss (C.E.). The Cambridge British Flora, volumes 2 (text & plates) & 3 (text & plates), 1st editions, 1914-1920, numerous black and white illustrations from drawings by E.W. Hunnybun, volume 2 publisher's original gilt-decorated green quarter morocco, volume 3 uniform contemporary boards with cloth spine, spines slightly faded and rubbed to head and foot, folio (4 volumes in total), together with Mawson (Thomas H.), The Art & Craft of Garden Making, 1st edition, 1900, numerous black and white illustrations, contemporary inscription to front endpaper, some light marks, original gilt-decorated green cloth, boards and spine slightly faded, large 4to, plus Jekyll (Gertrude), Wood And Garden... , 1st edition, 1899, frontispiece detached, plus Home and Garden... , 1st edition, 1900, Lilies for English Gardens, 1st edition, 1901, Children And Gardens, 1st edition, 1908, Old English Household Life, 1st edition, 1925, numerous black and white illustrations, some contemporary inscriptions and spotting, all original gilt-decorated cloth, some spines slightly faded and rubbed, 8vo, (5 volumes in total), plus other late 19th and early 20th-century gardening and horticultural reference including W. Robinson, Robert Thompson, all original cloth, some decorative bindings, condition is generally good/very good, 8vo/folio (3 shelves)
Omar Ramsden, A George V silver salver, of circular form with stepped dentil border, atop an inner raised circular skirt, engraved with contemporary inscription, "Presented to Mr E W Hallett of Merriott, Somerset, by the directors of George Kemp Ltd in recognition of his achievement in securing the highest aggregate sales of Christmas Cakes. 1934." hall-marked verso for Omar Ramsden, London 1934 and inscribed with the signature "Omar Ramsden Me Fecit", diameter 29 cm, weight 35.4 ozt / 1102 g approx Note: Omar Ramsden (1873 - 1939) was a Sheffield-born silversmith and came to London with his partner, Alwyn Carr (1872-1940), shortly after their graduation from the Sheffield School of Art in 1897. Their partnership blossomed until the onset of WWI and after the war, Ramsden continued on his own. He was one of the most successful silversmiths of his generation and produced very high quality silver in the arts and crafts style. An archive of Ramsden's work is exhibited at the Victoria and Albert Museum in London.
![Art History - Croal Thomson (D.), The Landscapes of Corot, "The Studio", Ltd., London [nd], oblong folio, 29 and 50 unpaginat](https://cdn.globalauctionplatform.com/17a5bb55-f821-470f-91f4-a5c200d86e75/904c543b-d782-4173-80c0-98f60371e186/468x382.jpg)
A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped... A Fine German Renaissance gilt brass and iron hexagonal table clock Stamped with initials M L , mid to late 16th century The posted twin fusee movement with pinned iron-capped brass spring barrels concealed between two horizontal plates in the base beneath posted frame with four fine slender double baluster turned uprights, the going train now with verge escapement regulated by short bob pendulum swinging to the rear, the strike train set behind the going train incorporating twin-arbor warned release and sounding the hours via a vertically pivoted hammer on a bell mounted on top of the clock, the exterior with moulded cornice and geometric panel decorated frieze over twenty-four hour dial with stylised bird and fruiting foliage engraved centre within punch-stamped Arabic numeral chapter ring with touch pieces to the moulded outer margin, set over a shaped scribed panel enclosing further scrolling foliate and centred with a winding square, the sides with twin panel doors engraved with standing figures of Adam and Eve to the right and a pair of allegorical females to the left, the angles with conforming vertical geometric bands and the rear engraved after Hans Sebald Beham with Christ standing on a globe and holding the standard of the crucifixion beneath dove emblematic of the Holy Spirit, the lower margin with small panel decorated with a reclining female, the plinth base with complex moulded dado over foliate engraved panels centred with roundels featuring four profile busts to the sides and indistinct armorial crest to the front incorporating the stamped initials M L , on conforming moulded skirt incorporating leaf engraved ogee moulded foot, (alarm mechanism removed), 22cm (8.625ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. The current lot can be compared to an example illustrated in Tardy LA PENDULE FRANCAIS, 3'me Partie: Provinces et Etranger on page 314. The hexagonal form echoes that of contemporary French examples however differs in the that trains are laid out with the strike behind the going rather than the usual French system of having one above the other. The use of iron for the wheelwork would indicate a date prior to 1580 although the inclusion of brass for the walls of the spring barrels would suggest that the clock was made closer to 1580 than 1550. The strike train also incorporates twin-arbor warning which although is known to have been in use by around 1480 (see Leopold, J. H. The Almanus Manuscript ) seems to have been rarely adopted until the introduction of the English lantern clock in its fully developed form in around 1600. The rear of the clock incorporates an engraved view of Christ standing on a globe holding the standard of crucifixion with a dove emblematic of the Holy Spirit above. Typically such decoration was often copied from a contemporary engraved source - in this case an engraving executed by Hans Sebald Beham in 1546. The panels to the sides of the case are probably also copied from similar sources however these have yet to be identified. The base also incorporates an armorial crest to the front panel, unfortunately wear and degradation to the surface now renders this crest indistinct however closer examination and specialist research may result in the family for whom the clock was made to be identified.
* GWEN HARDIE, FACE 09.17.05 oil on canvas 64cm x 58.5cm (25 x 23 inches) Framed Provenance: The artist. Private London collection. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.
VICTOR WESTERHOLM (FINNISH 1860 - 1919), THE FIRST ICE OF WINTER ON THE SVARTÅN RIVER, ÅMINNEFORS oil on canvas, signed, titled 'Åminnefors' and dated 1911 69.5cm x 75cm Framed Note: This painting was gifted to the present vendors Finnish grandfather by the artist and has been in the same family ever since. It has never been publically viewed or offered on the open market before. Victor Westerholm lived in Turku, but both of his parents came from Nauvo, a parish in the archipelago, which may explain why water was such an important element in Westerholm's art and a recurring theme during the forty years of his artistic career. Already in the 1880s, Victor Westerholm had travelled to Åland, where later he would have a summer home, in order to experience the close vicinity of the sea. At the turn of the century the artist was fascinated by the majestic allure of the River Kymijoki. Later in his career Westerholm went in search of inspiration in the western Uusimaa area of South-West Finland. He almost always painted his own interpretation of an inhabited landscape which set him apart from those of his contemporary artist colleagues who preferred to paint wilderness. However, nature and the feeling that emanates from nature alway play a central part in Westerholm's work. Although summer landscapes held a strong appeal for Victor Westerholm, he was also fascinated by winter views. Many of his most striking works focus on the breaking of the seasons with the onset and retreat of ice through the landscape. In time Westerholm became a principled and dedicated plein-air painter who even worked outdoors during even the most bitterly cold winter days. Several similar scenes have appeared on the market in recent years, including a slightly smaller oil on canvas of a view of the River Svarta at Mustio, dated 1917 (Bukowskis F159 Lot 201) which sold for 58 627 EUR (incl. buyer's premium) in 2011. This piece is likely of the same river in the same season as the present work.
GERHARD VAN DEN HEEVER; a large smoked terracotta bulbous vase, incised marks, height 33cm. (D) Provenance: Purchased from Courcoux & Courcoux Contemporary Art, Stockbridge. CONDITION REPORT: Appears good with no obvious signs of faults, damage or restoration. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
The following six lots have been removed for sale from Titley Court, HerefordshireElizabeth ('Eliza') Brown Greenly was the only child of William and Elizabeth Greenly of Titley Court, Herefordshire. In 1811 she married Admiral Sir Isaac Coffin. She was a noted diarist and a talented amateur artist. She was a pupil of Abraham Pether and her work also shows the influence of Richard Wilson, RA. Grant recorded that an example of her work on canvas A Mill on the Clun at Downton (1801) "shows her as a painter as accomplished as most professionals, her sylvan greens, delicate foliage and aerial sky ranking her high in rural art".Extracts from Eliza's diaries were published in the Woolhope Transactions XXXIII (1951). Eliza was acquainted with Lord Byron and also said to have moved in the close circle of King George III and his family. A contemporary source described her as being 'a person of so much real merit, and of such superior and general cultivation of mind, that her superiority to the contemporary and surrounding society was too self-evident not to create astonishment'. Eliza, according to another contemporary commentator was 'considered clever, of a religious nature and inclined to literary pursuits'. The diary shows that Eliza counted among her friends the daughters of Sir George Cornwell of Moccas Court, Sir John Geers Cotterell of Garnons and Lord and Lady Oxford of Eywood. Richard Payne Knight of Downton Castle was also a member of this circle. Between 1790 and 1820 each of these families were actively engaged in landscape improvement, caught up in the early stages of the Picturesque Movement which is arguably Herefordshire's unique contribution to English landscape aestheticsELIZABETH BROWN GREENLY (1771-1839)View towards Bredwardine Bridge, Herefordshirewith old inscription on the stretcher 'View of Bredwardine Bridge on the river Wye, Herefordshire taken in 1795 by E.B. Greenley'oil on canvas36 x 48 in (91.4 x 121.9cm)Probably the work exhibited at the Royal Academy in 1796 (no. 104) The bridge depicted in this painting was built in the 1770s. It is recorded that it needed significant repair after a particularly bad flood in early 1795
James Scouler (Scottish, 1741-1812) Portrait miniature of a Lady, wearing blue robes held with a jewelled clasp over a white lace chemise, a black cap over her powdered hair watercolour on ivory, in a gold frame, the reverse glazed with blue glass and with plaited hair border 4½cm (2in) James Scouler was born in Scotland. His father was a harpsichord maker in their native Edinburgh. He probably learned the art of miniature painting alongside his cousin, John Brown (1749-1787), under the tutorship of William Delacour. Moving to London in 1769, Scouler exhibited a variety of works at the Royal Academy (1769-1784). Alongside portrait miniatures, he showed drawings in chalks and crayons and he also collected works by the great pastellists, including Rosalba Carriera and Hugh Douglas Hamilton. This portrait of a lady, housed in a beautiful contemporary locket frame with hair border, possibly portrays the sitter in mourning. Condition in general is good. A little dirt under the glass. The paint surface is sound and stable.. A few minor, shallow scratches to the paint surface in some areas visible when examined closely. There is some minor scuffing to the upper left edge of the support, which is sat slightly away from the frame, and there is a curved scratch to the centre of the very left hand edge of the support, following the line of the frame. Frame is in generally good condition. An area of dirt trapped between the glass and the gold mount at the bottom edge, above the line of hair.
A NOTTINGHAM SALTGLAZED BROWN STONEWARE MUG, MORLEY'S BECK BARNS POTTERY, DATED 1725 incised with two bands of scrolling foliage, 11cm h This newly discovered mug is one of a series of dated examples, four of which were shown in the Nottingham City Museum and Art Gallery's exhibition Nottingham Salt-Glazed Stoneware 1690-1800, 2010, Catalogue nos 38-41. They are dated 1720, 1722, 1723 and 1727. The same characteristic small petalled flowers and slightly offset handle also appears on contemporary Morley loving cups. The products of the Beck Barns Pottery during the 1720s are especially well potted, unusually light and decorated in a particularly pleasing, free style. ++In very good condition with only a few small rim chips. No restoration
JOHN PIPER (1903-1992); a signed limited edition lithograph "Scotney Castle, Kent", signed in pencil lower right, numbered 68/120 lower left and bearing blind stamp, 44 x 57cm, framed and glazed. Provenance: purchased from Christie's Contemporary Art and sold with certificate of authenticity. (D) CONDITION REPORT: Has been laid down on a card backing and shows roughness to the top margin of the lithograph, but there is still approx 1 inch from the image to this roughness, the image itself is in good condition and of good colour. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
DERRICK GREAVES (British, b.1927); a signed limited edition print "Begonia", signed and dated lower right, 1979, limited edition 184/200, with Christies Contemporary Art certificate verso, 50.5 x 38cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Hayley (William). The Life of George Romney, Chichester: printed by W. Mason, for T. Payne, 1809, black and white engraved frontsipiece, few black and white plates, some light dust-soiling, bookplate for James Charles Arkwright to upper pastedown, contemporary diced calf, rebacked, 4to, together with Bewick (Thomas), A General History of Quadrupeds, 3rd edition, Newcastle upon Tyne: S. Hodgson et al, 1792, numerous black and white wood-engraved illustrations to text by Bewick, minor scattered spotting contemporary calf, rebacked, 8vo, plus Adams (John), An Analysis of Horsemanship, teaching the whole Art of Riding in the Manege, Military, Hunting, Racing, and Travelling System..., 3 volumes, James Cundee, 1805, black and white frontispiece to each volume, few black and white plates (including moving plate), plates toned, minor scattered spotting, contemporary half calf, rubbed and scuffed, 8vo, plus four other Bewick and Romney related volumes (9)
Heraldry. Der Durchlauchtigen Welt zum sieben und zwantzigstenmahl neu vermehrter und verbesserter Geschichts - Geschlechts- und Wappen - Calender auf das Jahr nach der Heilbringenden Geburth Jesu Christi 1749, Nurenberg: Christoph Weigels, [1749], engraved frontispiece, title in red & black, numerous full-page engraved armorials, 20th century calf gilt, spine faded, 8vo, together with Osborn (J., Publisher), The Art of Heraldry..., Interspers'd with the Natural History of the several species of Birds, Beasts, Fishes, Vegetables, etc. comprehended therein..., London: J. Osborn, 1730, numerous engraved plates of armorial bearings, contemporary calf, rebacked, 8vo (2)
Brookes (Richard). The Art of Angling, in Two Parts... , the Whole Forming a Sportsman's Magazine, and Comprizing all that is Curious and Valuable in the Art of Angling, 4th edition, 1774, engraved frontispiece, numerous woodcuts of fish to text, old ink marginalia to foremargin of leaf D6 and contemporary ownership name of J. Hosken to title, some offsetting and browning to title, old dampstain to upper margins of some leaves, later gilt and blind-stamped tan morocco by Bickers and Son, Leicester, spine slightly darkened and light rubbing and stain to upper cover, 12mo (1)
Burnet (Gilbert). Some Letters Containing an Account of what Seemed most Remarkable in Switzerland, Italy &c., 1st ed., 1687, bound with Three Letters Concerning the Present State of Italy, Written in the Year 1687... Being a Supplement to Dr. Burnet's Letters, 1688, some light spotting, title pasted to front pastedown at gutter, previous owner signature of William Greenly to title, bookplate of E.H. Greenly, near-contemporary calf, a little rubbed, 8vo, together with The Art of Catechising: Or, the Compleat Catechist. In Four Parts, 3rd ed., 1699, engraved frontispiece of the Crucifixian, small wormholes to final leaf, occasional small dampstains, previous owner signature to title, E.H. Greenly bookplate, contemporary sheep, joints cracking, spine ends chipped, 8vo, with two others: Winter-Evening Conference Between Neighbours, 2nd ed., Corrected, 1684, and Memoirs of What Past in Christendom, from the War Begun in 1672 to the Peace Concluded 1679, 2nd ed., 1692 (4)
Strutt (Joseph). A Biographical Dictionary; Containing an Historical Account of all the Engravers, from the Earliest Period of the Art of Engraving to the Present Time, 2 vols. in one, 1785-86, 16 engraved plates, one or two close-trimmed, a few light spots, previous owner signature of E.B. Greenly, 1792, bookplate of E.H. Greenly, contemporary calf-backed boards, spine rubbed, 4to, together with The Private Correspondence of David Garrick with the most Celebrated Persons of his Time, 2 vols., 2nd erd., 1835, half titles, engraved portrait frontispiece to volume I, scattered spotting, E.H. Greenly bookplates, contemporary olive half calf, spines with black labels and gilt decoration, a little rubbed and scuffed, 4to, plus Memoirs of Sir Joshua Reynolds... by James Northcote, 1813, engraved portrait frontispiece, engraved plate, facsimile letter, some light waterstains, contemporary half calf, joints and edges rubbed, 4to, with others including Dizionario Italiano, Latino e Francese/Dicionnaire Francois, Latin et Italien, 2 vols., 1770, M. Pilkington's The Gentleman's and Connoisseur's Dictionary of Painters, new ed., 1797 and Graecum Lexicon Manuale, Primuma Benjamine Hederico Institutum, editio nova, 1810 (13)
CROKER (T. H.) and others. The Complete Dictionary of Arts and Sciences, London 1764, 3 vols., folio, maps and plates, lacking a few plates, worn contemporary calf; and others later, art reference, illustrated, historical etc, including: SCOTT (Sir Giles G.) An Essay on the History of English Church Architecture, 1881, 4to, illustrated, worn cloth; ALMACK (E) Eikon Basilike, De La More Press 1903, folio, uncut, boards;
6th-early 5th century BC. A carved amber head, possibly representing a deity, show in profile, wearing a tall, elaborate headdress, with rear triangular protrusion; the face with finely modeled features showing the influence of archaic Greek portrait sculpture, including large almond-shaped eyes and an enigmatic smile; the headdress is a more elaborate version of the tall hats seen on both male and female portraits and sculptures of the time. The amber with the typical dark spotted patina of ancient amber. Property of London collector, by descent 1950s. See Causey, F. Amber and the Ancient World, p.40, fig.17 for a similar, smaller carving from the late 5th century BC (held in the Museo Archaeologico Nazionale, Ferrara, accession no. 44877), and p.81, fig. 38 for a good example of the contemporary tall hat or headdress (J. Paul Getty Museum, 77.AO.84"). This is a garment that Larissa Bonfante identifies as ‘a new fashion [which] was adopted in real life as well as in art and evidently came from the Ionian cities as a result of direct contact’ (Bonfante L. Etruscan Dress), and which is also attested on a wall painting from the Tomb of Hunting and Fishing, circa 510 BC (Causey, p.86, fig.41"). The Etruscans produced a number of high-quality carvings in amber; the majority of the raw material used originated on the Baltic coast and was brought to Italy via the European trade network that stretched through present-day Germany and Austria, and across the Alps. Amber’s naturally occurring electromagnetic qualities gave rise to the word ‘electricity’, from the Greek word for amber, elektron. 29 grams, 70mm (2 3/4"). Fine condition. This lot displays the characteristic dark patina of ancient amber, a result of millennia of oxidation.
* GWEN HARDIE, FACE 09.17.05 oil on canvas 64cm x 58.5cm (25 x 23 inches) Framed Provenance: The artist. Private London collection. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.
Jessica Dismorr (1885 - 1939), tempera on board - Composition signed, bearing Birmingham Exhibition 1936 label verso, in silvered frame, 51cm x 61cm. Provenance: Alexander Poston Fine Art. Gillian Jason Modern & Contemporary Art where purchased by the vendor October 2000 CONDITION REPORT Excellent condition overall
*Jacob Epstein (1880 - 1959), watercolour and gouache - Poppies, signed, in glazed gilt frame, 55cm x 41cm. Provenance: Gillian Jason Modern & Contemporary Art where purchased early 1990s CONDITION REPORT Where the gouache is thicker the paint is cracking but not loose. There is a crack/fold in the paper that appears to have been present since the work was painted
Selection of miscellaneous Edwardian and later silver including two-handled dish with Art Nouveau-style floral decoration (London 1904), Carrington & Co., late Edwardian novelty inkwell or mustard in the form of a saucepan (Birmingham 1910), 1930s silver snuff box with engine-turned decoration (Birmingham 1933), pair contemporary silver bell candlesticks (Birmingham 1957) and a contemporary square silver photograph frame (Birmingham 1957), approximately 8ozs weighable silver, two-handled bowl 16cm across handles (6)
Blanche A Thomas (19th/20th century), a collection of oil paintings, and paint palettes from the artist, a pupil of the Forbes School of art c.1909, and a contemporary and friend of Dame Laura Knight. The lot includes a facsimile letter from Dame Laura to the family upon hearing of the death of Blanche, also includes four Penguin copies of Laura Knight’s autobiography (parcel)
A CALVERT & LOVATT LANGLEY ART POTTERY SLIPWARE BOTTLE SHAPED VASE, A LONGPARK SLIPWARE FOUR NECKED VASE PAINTED WITH A KINGFISHER, A CONTEMPORARY NORTH DEVON GREEN GLAZED OWL JUG AND A SALTGLAZED BROWN STONEWARE RUSTIC TOBACCO JAR AND COVER WITH ACORN KNOP, PROBABLY YORKSHIRE, MID 19TH CENTURY, OWL JUG 22CM H
Rawstone, Lawrence. Gamonia: or, The Art of Preserving Game; and an Improved Method of Making Plantations and Covers, explained and illustrated, first edition, half-title, 15 hand-coloured aquatint plates, tissue guards, errata slip at end, some spotting and staining, contemporary full morocco gilt, spine cracked and chipped with loss, all edges gilt, 8vo, London: Rudolph Ackermann, 1837
Owen, Hugh. Two Centuries of Ceramic Art in Bristol, plates, contemporary half morocco, spine repaired, 8vo, London: Bell and Daldy, 1873; Lees-Milne, James and David Ford. Images of Bath, signed by the authors, plates, original cloth, dust-jacket, 4to, Richmond: Saint-Helena Press, 1982; and 35 others on Bristol and Bath, v.s. (37)
Rajabi (Mohammad Ali). Masterpieces of Persian Painting, Tehran Museum of Contemporary Art, 2005, contained within original publisher's slipcase, original cellophane wrap, folio, together with 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 (35)
Berenson (Bernard). Italian Pictures of the Renaissance, a list of the principal artists and their works with an index of places, Florentine School, volumes 1 & 2, 1963, Central Italian and North Italian Schools, volumes 1-3, 1968, numerous colour and black and white illustrations, original cloth in dust jackets, covers slightly toned, large 8vo, plus one further volume by the author, together with Cescinsky (Herbert), The Old-World House, its Furniture & Decoration, volumes 1 & 2, 1924, numerous black and white illustrations, contemporary gilt-decorated morocco spines to red cloth, boards slightly marked, 4to, and other modern art reference and related, mostly hardback publications, some original cloth in dust jackets, G/VG, 8vo/4to (3 shelves)
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 (30)
Laing (Malcolm). The Poems of Ossian, &c. Containing the poetical works of James Macpherson, Esq. ..., volumes 1 & 2, Edinburgh, 1805, bookplates to front endpapers, some pencil annotations, inscriptions to title-pages, uniform contemporary gilt-decorated calf, boards and spines slightly rubbed, hinges split with minor loss, 8vo, together with Ward (Herbert), Mr. Poilu, notes and sketches with the fighting French, 191, limited deluxe edition 117/150, signed by the author to limitation page, 46 colour and black and white tipped-in illustrations, bookplate to front pastedown, some light spotting, original gilt-decorated white cloth, boards toned and marked, spine rubbed to head and foot, 4to, plus (Prescott, William H.), History of the Conquest of Peru... , new edition, 1878, bookplate to front pastedown, pencil marks to front endpapers, inscription to title-page, some light toning, contemporary gilt-decorated calf prize binding, boards and spine slightly rubbed, 8vo, plus other 19th and 20th-century art and historical reference, some leather bindings, many original cloth in dust jackets, G/VG, 8vo/4to (3 shelves)
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