Clarke (S.W.) The Miracle Play in England frontispiece original cloth 8vo [1897] § Ball (W. Rouse) Récréations Mathématiques et Problèmes des Temps Anciens et Modernes 3 vol. second French edition diagrams contemporary vellum original wrappers bound in the author`s own copies with his signature and bookplate in each vol. 8vo Paris 1907-1909 § Barton (Margaret) and Osbert Sitwell. Victoriana coloured frontispiece Bayard Grimshaw`s copy with his signature and bookplate original cloth soiled 8vo 1931 § Plimpton (George) Fireworkas a History and a Celebration coloured plates illustrations original cloth dust jacket 8vo New York 1984 § Ziethen (Karl-Heinz) and Andrew Allen. Juggling: the Art and its Artists numerous illustrations original boards folio Berlin 1985 § Sifakis (Carl) Hoaxes and Scams illustrations original pictorial boards dust jacket 4to 1994; and 14 others various sizes (22)
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(Elizabeth) On Mrs Henerita Skipp manuscript 2pp (Elizabeth) On Mrs Henerita Skipp manuscript 2pp. on front endpapers and 3pp. poem on lower endpapers: “Friendship in Absence” by Abraham Cowley also signed by Elizabeth Skipp and George Skipp later ink signature of J.P. Power (1844) in a copy of Allestree`s “The Art of Contentment” third impression Oxford browned contemporary calf rubbed corners worn 8vo 1691 [book dated 1675].
CHRISTOPHER RICHARD WYNNE NEVINSON (1889-1946) "Bravo!", 1913, signed, oils on canvas, 17 ½" x 23 ¼", Ernest, Brown & Phillips gallery label verso. `You have a very good picture in "Bravo!", it is impressionism "rather squared-up"` reported Vogue magazine in October 1916. Last recorded in public in Christopher R. W. Nevinson`s inaugural solo show at the Leicester Galleries in 1916, "Bravo!" was part of the exhibition that made Nevinson a celebrity. The exhibition represented all the work Nevinson had produced upon a military theme, up to that date and as Michael Walsh has stated it was a `microcosm of the works of art that had led to his `coming of age``. (Walsh, 2001) The majority of work in the exhibition was representative and symbolic of the harshness and tragedy of a world at war - affording a glimpse to the viewer of one of the bloodiest pages in human history. The mechanical brutality of his painting set his work aside from his contemporaries and led critics to declare his work `one of the most notable contributions` to the art of his time. (Cambridge Magazine, 1917) "Bravo!", an early work from Nevinson`s career, might indeed as Michael Walsh has proposed be said to be his first war work. It represents a change of direction away from Impressionism towards structural as opposed to tonal importance, in his work. (Walsh 2001) In terms of the 1916 exhibition "Bravo!" should be seen as a counterpoint to other works in the exhibition representing a spirit of war - where the men march gaily on in perfect union to the cheers of the onlooking women and children. The foreword to the 1916 exhibition catalogue claimed that even the Pacifist would be compelled to cry "Bravo!" on seeing the French battalion on the march hinting at the significance of patriotism and participation in war. The catalogue continues `Force in full cry after Adventure; energy can be carried no further. And so we come away feeling that the Cup of War is filled, not only with blood and tears, but also with the elixir of life.` (Leicester Galleries Exhibition Catalogue, 1916, p.5) With many artists retreating to a sentimental and provincial reaction against the horror of war, "Bravo!" is part of what Nevinson called `Vital Art` in England overcoming `the insipid & sentimental`. His aim was to bring the viewer `closer to the heart of his experiences than his own eyes could have carried him`. (Exh. Cat., 1916) According to the Studio magazine in 1916 Nevinson`s employment of cubist geometric convention `has undoubtedly been a factor in conveying that the dynamic impression which it was the artist`s aim to give - especially in the pictures of troops in motion, such as "Bravo", `Road to Ypres`, and `A Column on the March` succeeded. It is we think subjects like these that the artist`s geometric method is seen at its best`. Exhibited: Ernest, Brown & Phillips at The Leicester Galleries, Exhibition of Paintings and Drawings of War by Christopher R. W. Nevinson, Exhibition No. 232. September-October 1916, No. 3 Literature and Reviews: Konody, P. G., Modern War Paintings by C. R. W. Nevinson, London: Grants Richards Limited, 1917, illustrated p. 73 Nevinson, Christopher R. W., Catalogue of an Exhibition of Paintings and Drawings of War by C. R. W. Nevinson, September-October 1916, No. 232 Rutherston, Albert (ed.), Contemporary British Artists: C. R. W. Nevinson, New York: Charles Scribner`s Sons, 1925, plate 3 Walsh, Michael, The Career and Work of C. R. W. Nevinson to 1924, PhD Dissertation, University of York, 1998-2001 Cambridge Magazine, Three Half Guineas, 3 February 1917 The Ploughshare, December 1916 Studio, November 1916 Vogue, October 1916 The Westminster Gazette, Mr. Nevinson`s War Pictures, 2 October 1916 Provenance: Bought by a friend of Vera Waddington and by family descent thereafter.
Europe.- A mixed album including 2 bullfighting scenes at Algeciras (pale) views of Gibraltar Germany France Norway Venice Edinburgh 2 large woodland scenes blindstamped Royal Engineers School of Photography at Chatham cdv views of Devon Wellington College and France with a large group of Italian sculptures and other works of art mounted albumen prints various sizes some leaves detached contemporary boards very worn folio 1860s-1880s
The Journal of Decorative Art: An Illustrated Technical Journal for the House Painter, Decorator, and all Art Workmen, vols. 1-9 & 11-19 in 13, 1881-1900, numerous chromolithographed plates, some folding, illustrations, a few plates close-trimmed, scattered spotting, contemporary cloth, one or two a little rubbed and dampstained, folio. Contains numerous articles and illustrations on the techniques of decorative art, including lectures, reviews of wallpaper companies, art schools and exhibitions. (13)
Lacroix (Paul). XVIIme Siecle Lettres Sciences et Arts, France 1500-1700, pub. Firmin-Didot, Paris, 1882, 17 chromolithographed plates, illustrations, t.e.g., contemporary black half morocco by Smeers, spine with raised bands and gilt decoration, 4to, limited edition, 10/100 copies, with publisher’s presentation inscription, together with Les Manuscrits et L’Art de les Orner, by Alphonse Labitte, Paris, 1893, b & w illustrations, t.e.g., original wrapper bound in contemporary red half morocco by Bretault, 4to, limited edition, 13/15 copies, with six others including Paul Lacroix’s Manners, Cutoms and Dress of the Middle Ages, and During the Renaissance Period, 1874, and Military and Religious Life in the Middle Ages and at the Period of the Renaissance, c. 1874. (8)
Charles Plumier; L`Art de Tourner, Ou De Faire En Perection Toutes Sortes D`Ouvrages Au Tour, 1st ed. in 2 vols. Text (xxxvi, 187pp with 72 plates. The 1701 ed.was published with 71 plates, this copy has an additional plate (probably the two page plate tipped-in at the end.) Like the two Bodleian copies (an industries bookseller has examined them for us - see the copy on the internet) it lacks plate 66, which is listed on the ordre des planches, but has two numbered plates 73 & 82 and is therefore, complete. 14" and bound in contemporary green vellum, pages in remarkably good order, a few tears to spine G
By Walter James Steggles (1910-1997) - `Willows near Chippenham`, landscape scene, signed, oil on board, 9.75" x 13.25" *Walter Steggles was born in London, brother of the artist Harold Steggles. He was taught by William Coldstream, Rodrigo Moynihan and Gerald Ososki. Studied further at the Central School of Arts & Crafts under Kirkland Jamieson, F J Porter and Bernard Meninsky in 1939-48. Shared a show with his brother at Lefevre in 1938. His work was included in many shows in Whitechapel Art Gallery, Tate, Redfern, Agnew, Tooth and Mayor Galleries. His work is represented at the Contemporary Art Society and Manchester City Art Gallery. After retirement in 1967, Steggles painted full-time. He and his mother moved frequently, spending periods in Cookham, Winsley near Bath, Scole in Norfolk and Bradford-on-Avon, Wiltshire*
A pair of silver plated candle sticks in the form of fluted Corinthian columns with beaded capitols and square plinth (20cms high), a pair of contemporary style Italian candle holders, an Art Deco style composition and white metal pen and ink stand, a glass 2 division stamp holder with hinged plated lid and a caster
*Dianne E Flynn (Contemporary), Lottie with kitten, signed, watercolour, 27.5cm x 22cm *Artist`s resale rights may apply to this lot. Born in Huddersfield, Dianne Flynn studied at Huddersfield School of Art and Manchester School of Art. Since 1989, she has lived in Normandy. From 1982-1995, her work was sold exclusively through MacConnal-Mason in Duke Street, London.
THOMPSON (ISAAC) A COLLECTION OF POEMS OCCASIONALLY WRIT ON SEVERAL SUBJECTS WITH AN ESSAY UPON THE ART OF POETRY WRITTEN AN. DOM. 1728 numerous woodcut ornaments, initials and tailpieces, contemporary calf, boards detached, Newcastle upon Tyne: 1731 [Jane West] - The Loyalists an historical novel, three volumes, London: 1812, A ritual and illustrations of freemasonry..., Shebbear, Devon 1851, and about thirty others, various (aproximately 35)
![BINDINGS. MISCELLANEOUS LATE 17TH AND 18TH CENTURY LEATHER BOUND BOOKS including Elzevir press (3) and [erotica] Nouvelle eco](http://lot-images.atgmedia.com/SR/10086/2800032/474-201082615381_468x382.jpg)
BINDINGS. MISCELLANEOUS LATE 17TH AND 18TH CENTURY LEATHER BOUND BOOKS including Elzevir press (3) and [erotica] Nouvelle ecole publique des finances our l`art de voler sans ailes..., two parts in one, contemporary speckled calf, Paris: `Robert le Turc`, 1707, several with 18th engraved rococo bookplate of Sir John Eden, Bart (46)
William James Blacklock (1816-1858), an oil on canvas, "Blea Tarn and The Langdale Pikes". 17.5 ins x 23.25 ins, signed and dated 1854. . William James Blacklock 1816-1858THE LANGDALE PIKES ABOVE BLEA TARN1854It is no exaggeration to say that William James Blacklock is one of the great landscape painters of the nineteenth century, and perhaps the most remarkable of all of those who devoted themselves to the representation of the Lake District. He is less well known than he should be – the modern ‘rediscovery’ of the artist commenced in 1974 with an insightful article in Country Life by the late Geoffrey Grigson (‘A Painter of the Real Lakeland’, 4 July 1974, pp. 24-26), and was carried forward in a ground-breaking exhibition at Abbott Hall in Kendal, organised by Mary Burkett in 1981 – but on other occasions he has been omitted from landscape surveys, perhaps because of the very individuality of his work which makes them difficult immediately to characterise or readily to place in conjunction with those of his contemporaries. Nonetheless, Blacklock is a most fascinating and rewarding artist, who in the last half-decade or so of his tragically short life painted a small handful of masterpieces which serve as a testament to his deep love and knowledge of Cumberland and the English Lakes.The Blacklock family had been long established in the neighbourhood of Cumwhitton, to the south west of Carlisle, farming there at least since the 1500s. W.J. Blacklock’s father was in fact living in London, where he made his living as a bookseller and publisher, at the time of the painter’s birth, but returned to Cumberland in 1818. The younger Blacklock’s career as an artist commenced when he was apprenticed to the Carlisle engraver and lithographer Charles Thurnham, with whom he later collaborated on a series of prints showing the railway line between Newcastle and Carlisle. W.J. Blacklock enrolled for a period at the Carlisle Academy of Arts, prior to its closure in 1833, working under Matthew Ellis Nutter. In 1836 he returned to London, then aged twenty, living there for the following fourteen years. How he occupied himself at this stage is not known, nor is it clear whether he could rely on the sale of works for a livelihood. Works by him – generally showing north-country landscapes – were exhibited at the Royal Academy and British Institution. Clearly he gained some reputation on the metropolitan artistic scene, as his landscape paintings were commented upon enthusiastically by J.M.W. Turner, David Roberts and John Ruskin. Much concerning Blacklock’s career, and especially the question of his contact with other artists, is a matter of speculation. His name is largely absent from the diaries, correspondence and memoirs of the Pre-Raphaelite circle, the members of which were in any case much younger than him, but Blacklock would certainly have seen early works exhibited by members of the group and their associates. We know that he was in contact with William Bell Scott, headmaster of the Government School of Design in Newcastle, and who was in turn a close friend of Dante Gabriel Rossetti. It was almost certainly by Scott’s introduction or recommendation that Blacklock built up a circle of patrons in the North East. Scott and Rossetti may have hoped to meet Blacklock on the occasion of a walking tour they made together from Newcastle to Carlisle in June 1853. Scott, who like Rossetti was a poet as well as a painter, seems to have recorded a vain attempt to visit the painter in a poem entitled ‘An Artist’s Birthplace’, published in 1854. The verse describes the arrival of two men at the cottage home of a painter who may clearly be recognised as Blacklock: A fit place for an artist to be reared;Not a great Master whose vast unshared toils,Add to the riches of the world, rebuildGod’s house, and clothe with Prophets walls and roof,Defending cities as a pastime – suchWe have not! but the homelier heartier handThat gives us English landscapes year by year.There is his small ancestral home, so gay,With rosery and green wicket. We last metIn London: I’ve heard since he had returnedHomeward less sound in health than when he reached That athlete’s theatre, well termed the graveOf little reputations. Fresh againLet’s hope to find him.The verse corroborates what sparse biographical information we have for the painter (and which derives principally from an article in the Glasgow Evening News, 25 July 1900, entitled ‘An Artist’s Career’ and contributed by Edward Pennington presumably on the basis of information received from the artist’s family, despite forty-two years having passed since his death): the painter had returned to Cumberland because his health was deteriorating, probably as a result of syphilis, but also – according to Scott’s account – because of the professional frustrations and commercial pressures that went with trying to work as an artist in London. In 1850 Blacklock seems to have engaged in a last determined bout of activity as a landscape artist, perhaps fearing that he had not many years remaining to him and wanting to put together a group of works in which his particular artistic principles were to be defined. This small corpus – consisting of views in the Lakes and countryside around Cumwhitton, and all made in a period of about four years – serve as his lasting memorial. Paintings such as Devock Water (Abbott Hall, Kendal), of 1853, and Catsbells and Causey Pike (Tullie House Art Gallery, Carlisle), of 1854, represent timeless images of particular places which speak of the painter’s love for the landscape that he was representing. The present view is of the Langdale Pikes, seen beyond Blea Tarn, and therefore from a vantage-point looking towards the north west, and with the direction of afternoon light from behind the artist’s left shoulder. A shoreline of purple heather and strewn boulders forms the foreground, with a brown-coated fisherman on the left side. E. Lynn Linton, in his book The Lake Country (1864), used an engraving of the same view by W.J. Linton to head his chapter ‘Langdale and the Stake’, describing in his text the mountains seen from this vantage-point at ‘the back of Blea Tarn’: ‘the highest to the right is Harrison Stickle, that to the left Pike o’ Stickle, and the long sweep to the right of Harrison Stickle is Pavey Ark, in the cup or lip of which lies Stickle Tarn’. Harriet Martineau in her 1855 Complete Guide to the English Lakes invoked the place as the scene of one of Wordsworth’s Excursions to dwell upon the Solitary, and also described the remoteness of the location and the ‘very rough road [that] scrambles up from Langdale, by Wall End, to the upland vale where the single farmhouse is, and the tarn’.The atmospheric effect of the painting is beautifully observed, with the forms of the mountain partly suffused in shadow but with other areas brightly lit as cloud shadows sweep over, and with clefts and exposed rock faces recorded with painstaking attention. Blacklock’s particular mastery in the treatment of mountain landscapes depended in great part on his understanding of the constantly fluctuating quality of light, and here especially the scale and structure of the distant ranges are given volumetric expression by the graduated fall of light. Thus the mountain range seems both massive and distant, but at the same times almost tangible and lending itself to close and detailed scrutiny. Martineau commented on a similar optical ambiguity whereby ‘the Langdale Pikes, and their surrounding mountains seem, in some states of the atmosphere, to approach and overshadow the waters [of Windermere]; and in others to retire, and shroud themselves in cloud land’.Blacklock did not work directly from the motif but instead drew landscape sketches in watercolour which later formed the basis of his studio compositions, or perhaps worked largely from memory. He may in addition have used photographs – probably daguerreotypes which in the 1850s were beginning to be made available by commercial photographers – to remind himself of the broad outlines of his chosen subjects (as may be suggested by the way he treats shadows in his paintings, which sometimes seems reminiscent of photographic images). He did not seek the kind of literal transcription of the forms of the landscape that artists influenced by Ruskin attempted in the period, but sought a quintessential representation of topographical type which might be recognised as a timeless record of a hallowed place, treated with an extraordinary intensity of vision. The Langdale Pikes seem to have had a particular hold on the artist’s imagination, as he painted the range on a number of occasions and from different vantage-points. An earlier work showing Blea Tarn and the Langdale Pikes of 1852 is in the collection of a descendant of the artist, while a painting entitled Esthwaite Water and the Langdale Pikes (although in fact showing Elter Water) was commissioned by William Armstrong [later Lord Armstrong, the Newcastle industrialist and arms manufacturer whose house Cragside near Rothbury was built by the architect Richard Norman Shaw] in 1855. Clearly the Lakeland landscape was enormously important to Blacklock. All his exhibited works were of northern settings, and we may be sure that even during the years that he spent in London he will have made frequent visits to Cumberland, and that he believed himself to have as his essential purpose the representation of a beloved North. Analogy may be made between Blacklock and other European artists who like him felt it was their mission to explore and describe a landscape setting which they had known from earliest childhood, feeling such close personal identity with those places as to amount to obsession. His near contemporary Gustave Courbet (1819-1877) never tired of painting landscape and country life subjects set in Ornans in the Jura Mountains of eastern France, and created an extraordinary and indelible imagery of that region. Likewise, Paul Cézanne (1839-1906) painted series of views of the Mont Sainte-Victoire in his native Provence so as to capture the essential identity of a topography that was to him living and imbued with vital and personal associations. These were all painters for whom the intimate knowledge and long contemplation of a specific locality was a vital requirement for an art to be vital and true, and who found themselves in the representation of places with which they had long association, as if the landscape forms, light and air, which were the object of their art, retained some kind of subliminal resonance of the pattern of their own lives.Blacklock’s last extraordinary surge of creativity was sadly short lived. By the time the present work was painted, he was seriously afflicted by symptoms of the disease that would kill him. In the first place, he suffered from an inflammation of the eyes that would in due course make him partially blind. In November 1855, having become increasingly erratic in his patterns of behaviour, he was placed in the Crichton Royal Mental Institution in Dumfries, and where he died on 12 March 1858 as a result of ‘monomania of ambition and general paralysis’. Interestingly, the Crichton hospital, under the direction of Dr William Browne, had recently introduced therapies to attempt to aid their deranged inmates including drawing, as happened also at the Royal Bethlehem Hospital for the Insane in London during the time that Richard Dadd was incarcerated there, so Blacklock was able intermittently to continue at least to draw to the end of his life. A number of landscape sketches made at the Crichton are reproduced in Maureen Park’s book Art in Madness – Dr W.A.F. Browne’s Collection of Patient Art at Crichton Royal Institution, Dumfries, Dumfries, 2010.The Langdale Pikes above Blea Tarn was painted for the artists’ colourman Charles Roberson, probably to a commission and as a pendant to another work of 1854, The Miller’s Homestead (private collection). Whatever professional difficulties Blacklock may have faced in the years that he lived in London, in the 1850s, after his return to Cumwhitton he began to find himself sought after by a small but discriminating circle of patrons. Roberson himself was a significant figure in the establishment of a progressive school of painting in the middle years of the century, because he supplied artists with a range of new and stronger pigments, often derived in their manufacture from industrial processes, and thus aided the move towards more brightly coloured works which was a characteristic of English painting in the period. A degree of rivalry seems to have come about between Blacklock’s would-be patrons, chronicled in the letters that the artist wrote to the Gateshead metallurgist James Leathart (now held as part of the Leathart Papers, University of British Columbia). Roberson’s two paintings are referred to in a letter to Leathart of 2 June 1854, ‘one the same lake as I am going to do for Mr Armstrong – the other a Millers Homestead – the mill looking over a moor & distant hills they are for Mr Roberson the artists colourman’. In September 1855, just weeks before his final incarceration, Blacklock sent off the Lakeland views that he had made for Armstrong and Leathart, and in doing effectively concluded his professional career.Blacklock is an important and intriguing figure who may be regarded both as a pivot between the early nineteenth-century landscape school and the achievements of Romanticism, and the earnest and obsessive innovations of the Pre-Raphaelite landscape school. Perhaps a vital factor in our understanding and appreciation of the particular character of Blacklock’s art is his knowledge of historic schools of painting. Living in London in the late 1830s and 40s he would have had the opportunity to study the works in the National Gallery. It has been suggested that it was the unveiling of works long concealed under layers of discoloured varnish as a result of Charles Eastlake’s cleaning programme of in the mid-1840s that prompted Blacklock to adopt brighter and more luminous colours. A further possibility is that he made a European tour at some point, seeing for himself works of the sixteenth and seventeenth centuries, and also perhaps making contact with working artists in France or Italy. Only the slightest indication survives of Blacklock’s interest in the work of the Old Masters – in a letter to Leathart of 20 September 1854 he looks forward to hearing about the works of art that the latter had seen in the course of a Continental tour. Nonetheless, broad stylistic analogies may be drawn between the landscape paintings of Blacklock and those of other British artists who had visited Europe in their formative years. William Dyce, for example, who had visited Italy in 1825-26 and there made contact with the German Nazarene painters in Rome. Something of the clarity of light and simplicity of expression, along with a particular feeling for colour effects which are peaceful and never strident, that characterises Dyce’s pure landscapes, is also infused into the less well known works of Blacklock, and may perhaps likewise be indebted to a knowledge of European schools of painting.Christopher Newall
Scrope, William The art of deer-stalking. London, 1839. New edition, 8vo, engraved title, frontispiece, engraved plates, original cloth gilt, some rubbing, inner hinges split, offsetting, and a later edition in boards; St John, Charles Natural history & sport in Moray. Edinburgh, 1882. 8vo, half title, frontispiece, vignette title, plates, contemporary cloth gilt, fading to backstrip; Thornton, Colonel T. A sporting tour. London, 1896. 8vo, plates, original boards, hinges split; Harvie-Brown. J. A. A fauna of the Tay basin & Strathmore. Edinburgh, 1906. 8vo, original green cloth gilt (5)
Angling - Brookes, R. The art of angling. London: printed for T. Lowndes, 1766. 8vo, frontispiece, engravings in the text, contemporary calf gilt, rubbing to backstrip, some cracking to hinges; [North, Roger] A discourse of fish and fish-ponds. London, 1715. Second edition, 12mo, vi 94 ii, later half morocco gilt (2) Note: Westwood & Satchell p. 42 & p.157
Scrope, William The art of deer-stalking. London, 1897. New edition, 8vo, plates, frontispiece, contemporary vellum, rubbed, foxing, bookplates, Hawker, Lt. Col. Instructions to young sportsmen in all that relates to guns and shooting. London, 1844. Ninth edition, 8vo, frontispiece, contemporary cloth gilt, contemporary ink inscription on title; Parker, Eric The Lonsdale anthology of sporting prose and verse. London, 1932. 8vo, plates, original cloth gilt; [Idem] Shooting by moor, field and shore. London, [no date]. 8vo, plates, original cloth gilt; Chalmers, Patrick Mine eyes to the hills. London, 1931. 8vo, illustrated by V.R. Balfour-Browne, frontispiece, original cloth gilt; Maxwell, Captain Aymer Partridges and partridge manners. London, 1911. 8vo, frontispiece, illustrated by George Rankin, original cloth gilt; Leslie, A.S. The grouse in health and disease. London, 1912. Popular edition, 8vo, frontispiece, plates, original cloth gilt; and 18 others (25)
Fernando Guibert, Argentinean b.1957- "Rape of The Sabine Women", 2003; etching with aquatint, signed, titled, inscribed `A/P`, numbered 2/20, 19.5x24.5cm., (unframed). Note: Fernando Guibert was born in Buenos Aires, Argentina in 1957. Following degrees in both Fine Art and Modern and Contemporary Art in Buenos Aires he taught and lectured in Argentina before arriving in London in 1989 to do an exhibition of his drawings. Since then he has lived and worked in London as an artist and lecturer in the History of Art and painting. He has also worked as screen print designer and set designer in England and Spain. He has also exhibited his work in Argentina, Brazil, Great Britain and Malaysia.
Wightwick The Palace of Architecture 1840 frontispiece engraved plates finger soiling ink presentation inscription and bookplate of Eamonn O`Higgins to paste-down contemporary half calf cloth renewed on boards rubbed 1840; Moore (Thomas) Poetical Works portrait frontispiece and additional engraved title spotted original cloth gilt g.e. rubbed 1875; and 10 others literature and art 4to and 8vo(12)
Dresser (Christopher). Japan. Its Architecture, Art and Art Manufactures, 1882, title printed in red and black, b & w illustrations, one or two light spots, contemporary presentation inscription and owner stamp, t.e.g., original decorative cloth, spine a little stained with splits along lower joint and wear at foot, small dampstain, 8vo (1)
Gollancz (Victor, 1893-1957). The Notebooks of Leonardo da Vinci, ed. Edward Maccurdy, 2 vols., 2nd imp., 1938, b&w plts., initialled presentation inscription from Victor Gollancz to his wife Ruth to front free endpaper of vol. 1, written in green ink and with doodled cartoons, ‘For my darling & beautiful Ruth, who justifies, even in 1938, the existence of mankind, VG’, and beneath this in the same holograph, ‘Very humbly, I wish to associate myself with the above statement’, a doodle sketch of himself as Lieutenant Colonel [Moses, the Gollancz family’s familiar] heading towards a castle, and beneath this the words ‘Me, too’ and a thumbnail sketch of a stoat-like creature on its hindlegs, t.e.g., orig. cloth gilt, sl. rubbed and spines darkened, 4to, together with Raine (Kathleen), Blake and Tradition, 2 vols., Princeton University Press, 1968, col. frontis., b&w illusts., orig. cloth in sl. faded and soiled slipcase, 4to, plus three further art books (one with pencil signature of Gollancz’s daughter Vita), plus 33 vols. from Ernest Benn’s Contemporary British Dramatists series [published by Gollancz when he worked for Benn] plus 38 Plays published Gollancz, all orig. cloth with printed paper labels, a little rubbed and soiled, 8vo, plus 17 Gollancz novels, etc., all orig. cloth without d.j.s, 8vo. Provenance: Vita Gollancz, daughter of Sir Victor Gollancz, the publisher. (95)
Best (Thomas). A Concise Treatise on the Art of Angling. Confirmed by Actual Experience, and Minute Observations..., To Which is Added the Compleat Fly-Fisher..., 2nd ed., [1789], engraved frontispiece, single-leaf advert. at end, scattered spotting, bookplate, contemporary calf, joints splitting, a little rubbed, 8vo (1)
Paul Musurus Bey (c.1840-c.1927). An album of sketches and studies. Over 250 drawings, most after old masters or contemporary artists, a few original compositions, with a signed carte de visite photograph of the artist mounted as frontispiece. Almost all in pen and ink, many with monochrome wash, a few others in pencil, watercolour and gouache. All mounted on album leaves, with several Als between a previous owner and several museums in the 1930s, including A.M Hind at the British Museum, these loosely inserted, cloth-backed marbled boards, folio, mid 19th century. Paul (Paulaki) Musurus Bey was the son of Constantine (Kostaki) Musurus Pasha, long-serving Turkish ambassador to the court of St James, from 1851 to 1885. Paul Musurus moved to London with his father as a youth and, apart from occasional light, and very junior, diplomatic duties, seems to have lived the life of a dilettante artist and poet. But the undoubted quality and significance of the drawings, reflecting as they do much of the pervading influences of the day in French and British art, are testified to by the enthusiastic reception of several drawings donated in the 1930s to the Department of Prints an Drawings at the British Museum, the Ashmolean Museum and the Birmingham City Museum and Art Gallery.
* Hooker (Charlie, 20th c.). Shooting stars, 1996, mixed media including a book with two meteor-shaped piercings, two mixed media meteor stars to be placed on the slate base in front of the standing book, base signed and dated in chalk by the artist and with Contemporary Art Society label, approx. 30 x 30 x 30cm (12 x 12 x 12ins), preserved on a white wooden base with a perspex cube lid. The book is titled ‘The Golden Picture Book of our Sun and the Worlds Around it’. Originally glued along the lower book edge, the adhesive has now broken but the book stands open perfectly well. (1)
* Garland (Clive, 20th c.). Sono nel Vento, 1990, mixed media on paper, 33 x 41cm (13 x 16ins), framed and glazed, with Contemporary Art Society label to verso. Clive Garland studied at Camberwell College of Art from 1969 to 1973, and Goldsmith’s College in 1974/75. He was awarded the Mark Rothko Fellowship in 1992. (1)
Annette Smith Thirteen frosted glass wood drops Annette Smith is currently one of Edinburgh`s leading artists, with exhibitions in England, Ireland, America and Scotland. She has over ten years experience working and studying within stained glass, both on traditional and contemporary work. She received a BA, in glass from Edinburgh Art College in 2004 and an MA in Glass from Sutherland University in 2006, along with numerous awards and exhibitions. She has been employed and trained by a variety of masters within this field in the UK and USA. Originally working within the Animation Industry in Ireland over 10 years ago, Annette began dabbling with the effects of light on glass and soon realized that this was where her work was at its most effective. She is still greatly influenced by her early career, using light and glass to animate her subjects and create living stories in her windows. the contemporary glass hangings are all hand cut and sandblasted. First created for an exhibition in Tyneside called `A Winter Garden`. They are ideal for hanging in windows and in gardens. For more work by the artist please go to: amsglass.wordpress.com www.churchart.co.uk/findanartist/searchArtist email: amsglass76@hotmail.com
AN ENGLISH ART NOUVEAU EARLY ELECTRIC BRASS CHANDELIER BY THE GENERAL ELECTRIC COMPANY with whiplash struts and five lights hanging on wires from C scrolls, with a near contemporary set of Japanese pink shaded and straw opalescent frilled lampshads, 68cm h, c1915 Re-wired and in fine ready to hang condition
Art Journal (The) The Industry of All Nations light foxing at beginning contemporary half green morocco spine gilt g.e. a little rubbed spine slightly faded [1851] § Jackson (C. J.) An Illustrated History of English Plate 2 vol. contemporary half morocco 1911 § Baillie (G. H.) and others editors. Britten`s Old Clocks and Watches and their Makers seventh edition 1956 § Reilly (D. R.) Portrait Waxes 1953 § Nott (S. C.) Chinese Jade throughout the Ages 1936 § Hardwick (Paula) Discovering Horn 1981 plates and illustrations the last four original cloth with dust-jackets most spotted and frayed; and c.20 others decorative arts 4to & 8vo(c.25)
Palmer (S) A General History of Printing... title in red and black Middle Hill shelf-mark on front pastedown contemporary calf spine gilt rubbed upper cover detached spine worn at head and foot for A.Bettesworth... 1733 § Humphreys (Henry Noel) The History of the Art of Printing first issue number 259 of 300 copies 106 lithographed or chromolithographed plates plus 2 duplicates 2 double-page foxed with the green limitation slip bound in contemporary half morocco gilt t.e.g. signed “Ducie” on title and at foot of spine spine a little stained slightly rubbed Bernard Quaritch 1867 4to(2)
Huish (Robert) George the Third engraved portrait frontispiece additional pictorial title plates and portraits some offsetting and spotting contemporary diced calf rebacked corners worn 1821 § Authentic Records of the Court of England for the Last Seventy Years hand-coloured engraved frontispiece offsetting occasional spotting and finger-soiling modern buckram 1832 § Jacquemart (Albert) History of the Cermaic Art second edition plates and illustrations original pictorial cloth gilt spine ends and corners frayed 1877 § Reclus (Éliseé) The Ocean Atmosphere and Life 2 vol. chromolithographed plates illustrations vol.1 ocean/water-stained later calf-backed marbled boards spines faded 1873; and a small quantity of others miscellaneous v.s.
Adams (Roberts). The Narrative of Robert Adams ... who was wrecked on the Western Coast of Africa ... and resided several months in the City of Tombuctoo, Beckford’s copy with his ms. notes in pencil on the free endpaper, contemporary half roan, ;gilt, a.e.g., 4to, 1816 A manuscript note from ‘Book Merchant, George Gregory’, dated 1828 describing Beckford’s copy of ‘The Art of Embalming’ is loosely inserted
Giustiniani Galleria Giustiniani 1631 2 vol. 2 engraved armorial titles 2 portraits of Giustiniani and 326 plates some damp-staining to lower margins of plates of vol.2 heavier to first few ff. causing a little fraying attractive contemporary mottled calf spines in compartments richly gilt and with double morocco labels [Brunet II 1453; Cicognara 3397] folio Rome [1631]. ***Giustiniani (1564 -1637) was an aristocratic Italian banker art collector and the patron of Caravaggio. The family art collection one of the best of its time contained over 300 paintings (15 by Caravaggio) and more than 1200 pieces of sculpture..
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