Emery.Nouveau Recueil de Curiositez...,1685 des plus Admirables Effets de la Nature & de l`Art, 2 parts in 1, engraved additional pictorial title depicting a kitchen, gardening, an artist`s studio and an alchemist`s laboratory, 8 engraved plates, engraved book-label of Arthur Benomi Evans on front pastedown, contemporary sprinkled calf, spine gilt, rubbed, spine a little worn at head, [Bitting p.144; Caillet 3552 (as Nicolas Lémery); Duveen p.192, 1697 edition; Vicaire 327], 12mo, suivant la Copie de Paris, Leiden, P. Van der Aa, 1685. *** First published in Paris in 1684 and often attributed to Nicolas Lémery (1645-1715), author of Recueil des plus beaux secrets de medecine... comme aussi plusieurs secrets curieux sur d`admirables effets de la nature & de l`art, 1694. There are chapters of recipes, on wine, vinegars and conserving flowers, fruits etc.; the many other subjects include medical cures (a substantial section), fireworks, perfume and cosmetics. Arthur Benomi Evans (1781-1854, "The Bold Arthur"), miscellaneous writer, poet, composer & musician, linguist, and collector of coins. He was appointed professor of classics and history to the Royal Military College in 1805..
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Droz (Joseph) Essai sur l`Art d`Etre Heureux third edition, 1815 ; De la Philosophie Morale, first edition, 1823, name on fly-leaves, bookplates, contemporary marbled boards, Paris, A.A. Renouard § Weiss (Major) Principes Philosophiques, Politiques & Moraux, 3 vol., third edition, original wrappers, uncut, Geneva, Barde, Manget, 1789, 8vo(5)
* Randall-Page (Peter, 1954-). Untitled (sixteen images), 1985, charcoal on paper, signed with monogram, and dated lower right, sheet size 77 x 56.5cm (30.25 x 32.25ins), framed and glazed, with Contemporary Art Society Market label to verso. A major exhibition of the work of Peter Randall-Page is currently on show at the Yorkshire Sculpture Park until 11 April 2010. (1)
Newcastle (William Cavendish, Duke of). Neu-eroffnete Reit-Bahn, Nouvelle Methode pour Dresser les Chevaux, en Suivant la Nature & meme la Perfectionnant par la Subtilite de L’Art, Nuremberg, 1700, text in German and French, half title, additional folding, engraved title, 81 mostly double-page engraved plates (complete), first folding plate torn with loss to right-hand side, one or two plates with closed tears, some close-trimmed, Dd3 with marginal loss, a couple of minor repairs, occasional light spotting and browning, contemporary vellum, a little bowed and stained, folio. German/French edition based on William Cavendish’s A New Method and Extraordinary Invention to Dress Horses, 1667, the second of his works on horses, the first books in English on formal horsemanship. William Cavendish, 1st Duke of Newcastle (1592-1676) established a riding school in Antwerp during his exile from the Civil War and influenced one of the greatest French riding masters Francois Robichon de la Guerniere. (1)
Josephus (Flavius). The Famous and Memorable Workes of Josephus, a Man of Much Honour and Learning Among the Jewes, 1632, title with woodcut printer’s device, repairs, final leaf laid down with loss, occasional light soiling, recent morocco-backed boards, folio, together with The Works of the Late Reverend and Learned William Bates, D.D., 2nd ed, 1723, engraved portrait frontispiece, title printed in red and black, occasional light spotting, contemporary panelled calf, covers stamped with gilt armorial of The Society of Writers to the Signet, a little rubbed and stained, folio, plus Memoirs of the Right Honourable Edmund Burke, by Charles M’Cormick, 2nd ed., 1798, mezzotint portrait frontispiece, a few light spots, previous owner signature, contemporary calf, joints splitting, rubbed, 4to, with four others including Relation of the Conference Between William Laud... and Mr. Fisher the Jesuit, 4th ed., 1686, The History of the Life and Reign of Her Late Majesty Queen Anne, 1740 and An Historical Sketch of the Art of Caricaturing. With Graphic Illustrations, 1813 (7)
Polke (Sigmar). The Three Lies of Painting, pub. Cantz Verlag, 1997, num. col. and b & w illusts., orig. cloth in d.j., 4to, together with Gimenez (Carmen), Tapies, Guggenheim Museum, 1995, num. col. and b & w illusts., orig. cloth in d.j., square 4to, plus Miquel Navarro en la coleccion del IVAM, 2006, num. col. plts. and illusts., orig. cloth in d.j., 4to, plus others on contemporary European art, including Claes Oldenburg, Coosje van Bruggen, ed. Germano Celant, 1999, Zero to Infinity: Arte Povera 1962-1972, Tate Modern/Walker Art Center, 2001-2002, Eva Hesse: A Retrospective, Yale University Art Gallery, 1992, etc., 4to/8vo, many in d.j.s, mainly VG (approx. 50)
Currie (Ken" b.1960) After Life (from the death ma oil on canvas 1220 x 920mm. (48 x 36 ins) signed titled dated and inscribed No.336 in black ink verso 1996-97. ***Provenance: Boukamel Contemporary Art London.. IMPORTANT: This lot is sold subject to Artists Resale Rights " details of which can be found in our Terms and Conditions.
Currie (Ken" b.1960) punishment hand oil on canvas 1997 signed titled dated and inscribed No.342 in black ink verso 1220 x 920mm. ***Provenance: Boukamel Contemporary Art London.. IMPORTANT: This lot is sold subject to Artists Resale Rights " details of which can be found in our Terms and Conditions.
Ruskin (John) The Elements of Drawing illustrations by the author" 1857; Unto this Last 1862; The Ethics of the Dust 1866; The Crown of Wild Olive 1866; Lectures on Art Oxford 1870; Guide to the Principal Pictures in the Academy of Fine Arts at Venice original wrappers Venice 1877; Our Fathers Have Told Us 4 plates and double-page plan contemporary blue panelled calf g.e. Orpington 1884; Studies in Both Arts 10 plates reproducing drawings and watercolours by the author large folio Orpington1895 first editions all but the sixth and seventh in original cloth; and 19 others by or about John Ruskin" 8vo and folio(26)
Layard.Discoveries..Nineveh and Babylon first edition" 16 plates and maps some folding some tinted lithographs illustrations foxed 1 map loose and frayed at edges upper hinge broken contemporary calf spine gilt rubbed 1853 § Petrasch (E.) and others. Die Karlsruher Türkenbeute Munich 1991 § Godrej (P.) and Pauline Rohatgi. Scenic Splendours: India through the Printed Image 1989 § Matheson (S.A.) and Roloff Beny. Rajasthan: Land of Kings 1984 § Jullian (P.) The Orientalists Oxford1977 illustrations some colour all but the first original cloth or boards the last three with dust-jackets most rubbed; and a quantity of others on Near and Far Eastern art" 8vo & 4to(3 boxes)
Mitford (John), A Treatise on the Pleadings in Suits in the Court of Chancery, by English Bill, 1789, Dublin, contemporary calf (rubbed); Mair (John), Book-keeping Methodiz`d: or A Methodical Treatise of Merchant-Accompts, According to the Italian Form, 1752, annotation to title page, contemporary sheep (wear to edges); Holmes (John), The Art of Rhetoric .., 1807, later calf; with three others (6)
Art Reference--Dolmetsch, H. The historic styles of ornament. 1898. 4to, 99 (of 100) plates, mostly chromolithographed, contents loose, original cloth, worn; Dupont-Auberville, M. Art industriel. L`ornament des tissus. Paris, 1877. Folio, 75 (of 100) chromolithographed plates, contents loose, binding defective; Bunyan, J. The Pilgrim`s progress. 1844. Oblong folio, etched plates, maroon morocco gilt, slightly rubbed; Hamerton, P.G. Landscape. 1885. Folio, one of 500 large paper copies, plates, original parchment, very soiled; Milton, J. Paradise Lost. Cassell, [n.d.]. Large 4to, plates by G. Doré, contemporary half calf; Scott, William B. William Blake, etchings from his works. 1878. Folio, 10 etched plates, original cloth-backed boards, spotted, rubbed; and 1 other. Sold not subject to return (7)
![[Glasse, Hannah] The art of cookery, made plain and easy. London: printed for W. Strahan, 1778. New edition, 8vo, folding cha](http://lot-images.atgmedia.com/SR/10121/2784342/114.JPG)
![Barry, Rev. George The history of the Orkney Islands. Edinburgh: Archibald Constable and Company, 1805. 4to, [viii, 509], fol](http://lot-images.atgmedia.com/SR/10121/2784342/221.JPG)
Barry, Rev. George The history of the Orkney Islands. Edinburgh: Archibald Constable and Company, 1805. 4to, [viii, 509], folding map [torn and stained], 9 [of 11] plates, contemporary calf gilt, Northern Light Board gilt stamp on backstrip, Northern Light Board ink stamp to reverse of title, boards rubbed, upper board loose, foxing and staining thoughout; Reid, John T. Art rambles in Shetland. Edinburgh, 1869. 8vo, plates, original blue decorative cloth gilt, Northern Lighthouse inscription on front endpaper, some pages loose; Garnett, T. Observations on a tour through the Highlands and part of the Western Isles of Scotland. London: printed for John Stockdale, 1811. 4to, 2 volumes in 1, 52 plates, lacking folding map of Scotland, 19th century half calf gilt, Northern Lighthouse stamp on backstrip, bookplate of James Nairne, foxing [mainly to text leaves]; and 7 others (10)
Burn, Richard Ecclesiastical Law 2 vol., first edition, armorial bookplate, later inscription endpaper vol. 1, front endpaper vol. 2 torn with loss, contemporary full calf, morocco labels (two lacking), joints cracking, H.Woodfall and W.Strahan, sold by A.Millar, 1763 § Nichols (John) Biographical and Literary Anecdotes, engraved portrait contemporary half calf, rubbed at head of spine with loss, for the Author, 1782 § Ogilvie (John) Rona, A Poem, first edition, illustrations, for J.Murray, 1777 bound with Mason (William) The Art of Painting of Charles Alphonse Du Fresnoy, first edition, for A.Ward, York, 1783 bound with [Huddesford (George) Salmagundi; A Miscellaneous Combination of Original Poetry, 1791, contemporary half calf joints cracked, worn with loss to head of spine, 4to(4)
Langhorne (John and William) Plutarch`s Lives 6 vol., engraved portrait frontispiece, offsetting, occasional spotting or damp-staining, ex-library copy with markings and labels, contemporary half calf, spine gilt, worn, but holding firm, 1823 § Newman (W.L.) The Politics of Aristotle, 2 vol., original cloth, spines gilt, vol.2 upper joint splitting, spine ends frayed, Oxford, 1887 § Haigh (A.E.) The Tragic Drama of the Greeks, illustrations, some underlining in biro, Oxford, 1896 § Verrall (A.W.) Euripides The Rationalist: A Study in the History of Art and Religion, original pictorial cloth, gilt, Cambridge, 1895 § Blum (Alan F.) Socrates the Original and its Images, original boards, dust-jacket, 1978 § Huby (Pamela) Plato and Modern Morality, original boards, dust-jacket, rubbed, 1972 § O`Brien (D.) Thories of Weight in the Ancient World, 2 vol., original printed wrappers, slightly creased, Paris & Leiden, 1981; and a quantity of others, Classics, v.s.
[Fitzgibbon (Edward)], "Ephemera" third edition, engraved frontispiece, illustrations in text, 16ff. advertisements at end, original blind-stamped green cloth, rubbed and marked, rebacked, [W. & S. pp.85-86], 8vo, 1853 § Salter (T.F.) The Angler`s Guide, second edition, engraved frontispiece, 25 plates (13 wood-engraved, 12 engraved) and illustrations, some slight foxing, new endpapers, original boards, slightly rubbed, rebacked with the original printed paper label on spine, edges uncut, for the Author, 1815 § North (The) Country Angler; or the Art of Angling: as Practised in the Northern Counties of England, fourth edition, 1p. advertisements at end, bookplates of Thomas Wolryche Stansfeld and H.W. Stansfeld on front pastedown, original printed boards, rubbed, vellum spine, edges uncut, [W&S p. 131], 1817 § Turton (John) The Angler`s Manual; or, Fly-Fisher`s Oracle, first edition, engraved frontispiece, list of 77 artificial flies described in the work at end, half-title, title slightly offset, ink signature of "J.D. Clayton dated 1836 on half-title, ink stamp of Alfred Wallis on front pastedown, ring marks on covers, remains of original printed paper label on spine, [W&S p. 211], London & Sheffield, 1836 § Wallwork (James) The Modern Angler, first edition, engraved frontispiece and 4 plates, title slight finger soiling at edges, Q3 & 4 very slightly creased, browned, contemporary cloth by T. Parr of Manchester with bookticket on front pastedown, [W&S p. 217], Manchester, 1847, plates and illustrations, all but the second and third original cloth, some rubbing; and c. 15 others, mostly Angling, v.s., v.d.(c. 20)
Fletcher (Phineas) Piscatory Eclogues second edition, engraved title vignette, half-title, Q3 paper flaw slightly affecting printing, a little browned, hinges splitting, contemporary calf, gilt, edges slightly rubbed, [W&S p.95], Edinburgh, for A. Kincaid and others, 1771 § [Shirley (Thomas)] The Angler`s Museum; or, the Whole Art of Float and Fly Fishing, third edition, engraved portrait frontispiece, new endpapers, original card, slightly rubbed and browned, rebacked, edges uncut, [W&S p. 194], John Fielding, n.d. [c. 1784] § March (J.)] The Jolly Angler, first edition, wood-engraved frontispiece, illustrations, frontispiece and title foxed, original cloth-backed boards, corners bumped, remains of label on spine, [1833] § Dryden (Adam) Hints to Anglers, 5 folding lithographed maps, original cloth, Edinburgh, Adam and Charles Black, 1862 § Cholmondeley-Pennell (H.) Spinning-Tackle, first edition, half-title, 3pp. of advertisements at end, margins browned, original pictorial boards, slightly soiled, corners and edges rubbed, lacks spine, [W&S p. 168], 1862, illustrations; and c. 15 others, mostly Angling, v.s.(17)
Aldrich (H) Elements of Civil Architecture... translated by Rev. Philip Smyth, second edition, lacking half-title, mezzotint portrait after Kneller, 55 engraved plates at end, portrait offset on title, some light foxing to plates, modern calf-backed marbled boards, spine faded, new endpapers, [Harris 18], Oxford, 1818 § Gilpin (William S.) Practical Hints upon Landscape Gardening, second edition, lithographed plates, some browning to margins and endpapers, bookplate of J.B. Bury on front pastedown, original cloth, rebacked, faded, edges rubbed, 1835 § Reynolds (Sir Joshua) The Art of Painting of Charles Alphonse du Fresnoy, half-title, bookplates on pastedowns, contemporary calf, rebacked, Dublin, 1783, 8vo(3)
Art Journal (The) Illustrated Catalogue: The Indus marginal damp-staining at beginning, contemporary half morocco, gilt, 1851 § André (J.L.) Chests, Chairs, Cabinets, and Old English Woodwork, presentation copy from the author, old cloth, original wrappers bound in, Horsham, 1879 § Talbert (B.J) Gothic Forms Applied to Furniture..., title lightly stained, contemporary half morocco, 1867, plates and illustrations, all rubbed; and others, similar, v.s.(21)
Engravings from the Works of Henry Liverseege vignette title, portrait and 35 plates, with memoir by Charles Swain and list of plates, mezzotints, some spotting throughout, contemporary gilt-tooled green morocco, worn, later cloth spine, [1835]; with another copy, lacking all text, portrait and title coloured § Gems of Art, title, list of plates and 30 mezzotint plates after Gainsborough, Girtin, Poussin, Cuyp, Reynolds and others, surface dust, half-calf, worn, 1823 § [Specimens of Art], 48 mezzotints after Rembrandt, Ostade, Claude, Reynolds and others, surface dirt, a few marginal tears, boards worn, 1830; with an album of engravings by Robert Graves A.R.A., including many proofs, folio & 4to(5)
A FINE PAIR OF 18 BORE SPANISH MADRID-LOCK PISTOLS BY DIEGO VENTURA, MADRID, CIRCA 1745. with bright barrels formed in two stages, moulded at the muzzle and the median, octagonal breeches stamped with gold-lined barrelsmith`s stamps (Neue Støckel 8398 and 1118), gold-lined vents, the barrels retained by a slender pierced band released by a spring-catch, tangs chiselled with border-ornament and foliage against a punched ground, stepped bevelled locks signed `Diego Bentura` beneath the pans, engraved with a resting sportsman with a hound at his feet and with trophies-of-hunting on the tails, the cocks and steels chiselled with strapwork and foliage against a punched ground, highly figured walnut full-stocks moulded over the fore-ends, carved with acanthus behind the rear ramrod-pipe and the tangs, engraved, chiselled and parcel-gilt steel mounts comprising pierced scrolling foliate side-plates with grotesque monster terminals and central oval medallions engraved with male and female classical portrait profiles respectively, trigger-guards with moulded strapwork on the bows and anthemion terminals, spurred trigger-guards engraved with a Turkish warrior and a European huntsman each in contemporary costume amidst a spray of trophies and foliage, the pommel caps finely chiselled on a gilt fishroe ground with a classical warrior bust and a nobleman respectively, ramrod-pipes en suite with the trigger-guards, horn-tipped wooden ramrods, perhaps the original, and remaining in fine condition throughout . 43.7cm; 17 1/4in . (2). Diego Ventura is recorded in Madrid circa 1722 and 1762. He was the disciple of Alonso Martinez and became gunmaker to King Carlos III in 1760, dying two years later, as described by his near contemporary Isidro Soler. Another lock also signed Diego Bentura and dated 1730 is preserved in the Musée d`Art et d`Industrie Saint-Étienne, cat no. 150. See A. S. del Campo, p. 397 and J. Lavin 1965, p. 109.
Freeman (Strickland). The Art of Horsemanship, Altered and Abbreviated, According to the Principles of the Late Sir Sidney Medows, 1st ed., 1806, sixteen engraved plates, of which two folding (one splitting along fold), occasional light spotting and dampstaining, Duke of Gloucester bookplate, contemporary calf, neat old repairs to spine, lightly rubbed, 4to (1)
Johnson (Samuel). The Lives of the Most Eminent English Poets. With Critical Observations on their Works, 4 vols., new ed., 1794, engraved portrait frontispiece, scattered light spots & small wormholes, bookplates, contemporary sprinkled calf, a little rubbed, 8vo, together with Prescott (William H.), History of the Reign of Philip the Second, King of Spain, 3 vols., 1855-59, engraved portraits, a few light spots, bookplates, contemporary half calf, vol. I joints splitting, some fading, 8vo, with others including Dionysius Lardner`s The Musuem of Science & Art, 6 vols., 1854-56, The New Punch Library, 20 vols., 1930`s (with oak shelf) and Stories from the Arabian Nights, 1907, illustrated by Edmund Dulac (2 cartons)
A portfolio of engravings, titled `The Imperial Gallery of British Art` (distressed), five prints of the year, an annual review of contemporary etching and engraving, 1924, a portfolio of pictures of views of Venice, 350 views of London and a reproduction portfolio of 18th century Venetian drawings
HARLAMOFF, ALEXEI 1840-1922 Girl with a Pearl Necklace signed and dated 1881 Oil on canvas, 66 by 51 cm. In the 1870s, alongside works of the domestic genre and portraits, Harlamoff began working on his so-called “heads” and their related genre compositions, which became predominant and now represent the bulk of the artist’s creative legacy. This proved to be an astonishingly lucrative enterprise for the artist, which to a large extent explains why he painted so many of these compositions. It is true that Harlamoff struggled financially during the first few years of his sabbatical. The funds sent to him by the Academy were scarcely enough to support even the most modest lifestyle. Ilya Repin wrote that “The Academy’s scholarships were sufficient to enable the recipients to get to some town or other and then sit there doing nothing in some cheap cramped room”, barely making ends meet. So Harlamoff, to quote Repin, “for two or more years could only afford to dine in cheap eating houses; then, after he received fifteen hundred roubles for a copy, he started painting items for sale for the first time and is now selling little heads ...”. Among the buyers of these “little heads” were members of Russian and European nobility and royals, including Empress Maria Fedorovna and Queen Victoria. Harlamoff ’s early “heads” included his Head of a Gypsy Boy, which was painted before the artist’s trip to Belgium. Subsequently, in the 1870s, after returning to France, he created his Mordovian Girl (the Radishchev Saratov Museum), Little Italian Girl and Gypsy Girl (both held by the State Russian Museum), A Head (Penza Picture Gallery), and Portrait of a Girl (Perm Museum of Art), amongst others. These seem to have been painted by Harlamoff so as to invoke associations with the works of Italian artists of the 17th century. What distinguished Harlamoff ’s “heads” genre from the multitude of other portraits of the same period? One of the artist’s contemporaries wrote that “the head and the study [for the head] are nothing other than ‘uncommissioned’ portraits, portraits under which not only do the first name and surname of the original artist not appear, but we do not have even the inevitable X., N. or Z. The artist executes his head and the study from life in exactly the same way as that in which he paints a portrait from life. However, his choices are not diffident ones, and that is the reason all his heads are beautiful ...” To put it succinctly, this approach provided the artist with a rare opportunity to freely juxtapose his ideal of beauty against real life. The unrivalled master of this genre was considered to be Leon Bonnard, Harlamoff ’s teacher in Paris. However, despite the fact that such works were integral elements of the works of the Paris Salon, only a few artists managed to reach the standard of the master’s work. Harlamoff, who in his works provided his own unique interpretations of the achievements of Russian artists of the first half of the 19th century – most notably Bryullov, Kiprenskiy, and Moller, amongst others – was one such artist. Girl with a Pearl Necklace is one of the artist’s best “heads”. In his delicate, thoughtful image of a young girl, Harlamoff attempts to express certain psychological characteristics. The canvas as a whole contains a brownish “museum-like” colour spectrum; at the same time, however, Harlamoff is not afraid of providing a combination of resonant, “pure” white and red colours in the model’s clothing, and this was characteristic of his work in the late 1870s through early 1880s. The style of her simple dress – a blouse and a sarafan [Russian peasant tunic dress] – creates the impression that there is something Russian about the portrait, despite the fact that the painting was executed in France. The model for Girl with a Pearl Necklace was possibly one of the many female pupils of Pauline Viardot, with whom Harlamoff was very friendly in Paris. In any case, she can by no means be described as incidental to the artist’s work, as we certainly know of a number of works which had as their subject the same model as Girl with a Pearl Necklace. Moreover, one of them – The Girl with Brown Eyes – is virtually an exact copy of the composition of Girl with a Pearl Necklace, with the same angle of the head, the same cloak, and the same hands crossed on the chest. Diverse stylistic trends are interwoven in both of these canvases. Here, as in many of Harlamoff ’s other portraits, we have romantic or even sentimental reminiscences (it was not for nothing that his contemporaries remarked upon their “daydream” origins), features of realism, and, finally, allusions to the paintings of the “old masters”. After all, in the majority of his works Harlamoff continues to be a good colourist and a master who has a marvellous command of painting techniques. According to the recollections of the artist E.K. Liphart, who was one of Harlamoff ’s and Bogoliubov’s friends amongst the community of Russian artists in Paris, “everyone considered it to be an honour to pose for Harlamoff. In his strikingly similar portraits, what was important to him was the overall effect of the painting, and the details did not interest him – for example, if – as a result of being lit from above – an eye appeared to be sunken into the deep shadow of the eye socket, Harlamoff would satisfy himself with a half shadow, which would allow the pupil to be seen together with the vivid expression of the model’s gaze”. It was precisely this intense interweaving of light and shadow, as a contemporary artist noted, that created a certain sense of intrigue and mystery in Girl with a Pearl Necklace.
* FILONOV, PAVEL 1883-1941 Girl in Oriental Clothes signed, inscribed in Cyrillic and dated "1905 May" Oil on canvas, 89 by 58 cm. Provenance: Studio of Lev Dmitriev-Kavkazsky. Acquired from the above by Georgy Dolukhanov in 1916. Thence by descent. Private collection, Switzerland. Related literature: For similar works, see Yulian Khalturin, Early Works of Filonov, Experiment, Institute of Contemporary Russian Culture, Los Angeles, USA, No. 11 2005, pp. 56–71. Yulian Khalturin, Antiquities and Art Items and Collection, Artchronika, No. 10(9) 2003, and No. 5 2004, pp. 106–115.
* SITNIKOV, VASILY 1915-1987 Proezd Parashi Kultyapkinoi signed, also titled and inscribed in Cyrillic "S pechat`u" on the reverse Oil on canvas, 50.5 by 112 cm. Provenance: Acquired directly from the artist by the present owner in Moscow, c. 1975. Private collection, USA. Authenticity certificate from the artist. Literature: A. Brusilovsky, A Pantheon of Russian Underground, State Russian Museum, Palace Editions, 2005, p. 19, illustrated. A. Brusilovsky, Vasya Sitnikov and his Malaya Lubyanka/Time of the Artists, Moscow, 1999. Z. Plavinskaya, Vasily Sitnikov, Moscow, 1998. The Other Art. Moscow 1956–1988, Edited by I. Alpatova, Moscow, 2005. A. Glezer, Contemporary Russian Art, Paris–Moscow–New York, 1993.
Modern Traveller (The); being a collection of travels, 6 vol., half-titles in vol.1, 3 & 4, engraved maps and plates, some folding, lightly browned, bookplate of Colonel Innes, contemporary sheep, a little rubbed, spines chipped at head and foot, T.Lowndes, 1776-77 - Piles (Roger de) The Art of Painting, third edition, contemporary calf, spine gilt, n.d.; and c.40 others, miscellaneous, v.s. Visit www.dnfa.com for condition reports
![[Allard]L`Art de Batir les Vaisseaux 1719-18 2 vol. in 1 vol. 1 in 2 parts titles in red and black with engraved portrait vig](http://lot-images.atgmedia.com/SR/1574/2779821/2_468x382.jpg)
[Allard]L`Art de Batir les Vaisseaux 1719-18 2 vol. in 1 vol. 1 in 2 parts titles in red and black with engraved portrait vignettes of Erasmus (title to vol.2 misbound before vol.1 part 2) 22 engraved plates and 34 illustrations in text of ship-building (most plates folding) vol.2 with additional title dated 1718 and with engraved illustration &90 plates of flags without the 6 leaves of Table at end (but no catchword on verso of final plate) some light browning old ink library stamps on verso of first title contemporary half calf rubbed corners a little worn 4to Amsterdam D.Mortier 1719.
[Allard]L`Art de Batir les Vaisseaux 1719-18 2 vol. in 1 vol. 1 in 2 parts titles in red and black with engraved portrait vignettes of Erasmus 22 engraved plates and 34 illustrations in text of ship-building (some plates folding or double-page) vol.2 with additional title dated 1718 and with engraved illustration &90 plates of flags with 6 leaves of Table at end (often lacking) with catchword on verso of final plate near contemporary ink signature at foot of first title title trimmed at head some light foxing or browning contemporary vellum spine labelled in manuscript rubbed and slightly warped lower cover a little stained and worn 4to Amsterdam D.Mortier 1719.
Martelli.Naval Officer`s Guide 1834 original boards uncut worn spine defective 1834 § Steel (David) The Ship-Master`s Assistant and Owner`s Manual ninth edition engraved frontispiece and plate with Steel`s Tables of 1799 bound at end together in contemporary sprinkled calf rebacked with gilt spine a little rubbed 1801 § Art of Sail-making (The) as practised in the Royal Navy fourth edition engraved frontispiece illustrations browned original pictorial cloth gilt rubbed and faded spine worn and defective 1843; and 3 others maritime 8vo(6)
Michelot.Portulan de la Mer Mediterranée title in red and black with woodcut device Amsterdam P.Mortier 1709 bound after [Allard (C.) &others. L`Art de Batir les Vaisseaux...] 2 vol. in 1 vol. 1 in 2 parts lacking red &black titles but vol.2 with additional title dated 1718 with 22 engraved plates and 34 illustrations in text of ship-building (most plates folding) vol.2 with engraved illustration and 88 plates of flags only (of 90 lacking plates 89 &90) without the 6 leaves of Table at end (but no catchword on verso of final plate) but with additional unnumbered folding plate of compass (to form volvelle) one or two folding plates torn and repaired Amsterdam D.Mortier [1719]-18 together 2 works in 1 vol. browned (particularly the first item) contemporary calf rather worn rebacked preserving most of old gilt spine preserved in board slip-case 4to Amsterdam D.Mortier 1719-18.
Saverien.L`Art de Mesurer sur Mer le Sillage du Va half-title 4 folding engraved plates 1 a little soiled and frayed at fore-edge otherwise a good copy engraved bookplate of Hon. G.K.Elphinstone contemporary calf spine gilt in compartments with red morocco label a little rubbed 8vo Paris Jombert 1750.
Berrettini (Pietro) Tabulae Anatomicae first edition title in red and black with engraved vignette woodcut decorations and initials 27 engraved plates by Luca Ciamberlano some spotting and soiling mostly to margins light water-stain to lower edge contemporary French mottled calf spine gilt in compartments with raised bands a little rubbed but overall a very good copy [Garrison-Morton 395.2; Heirs of Hippocrates 470] folio Rome Antonius de Rubeis for Faustus Amideus 1741. ***Superb engravings by this enormously important and infuential Italian artist who according to the World Encyclopaedia of Art “...among Italian painters [Berrettini] must be considered the most influential personality of his generation...” Twenty of the anatomical studies (plates I -XIX males and XXVII female) were originally drawn by Berrettini in about 1618 and depict their subjects in a variety of dramatic poses amongst columns plinths and arches derived from classical architecture. The remaining 7 plates show figures copied from Vesalius Vesling Casserio and others along with commentary supplied by Petrioli who published the work in 1741. Petrioli also had the plates embellished with numerous smaller anatomical figures taken from Vesalius Valverde and others “engraved in an incongruous manner wherever there was sufficient space on the plate” (Roberts &Tomlinson). It is these embellishments which were removed from the plates of the 1788 edition (see following lot)..
GEORGE WALTON. BREAKFRONT LIBRARY BOOKCASE, CIRCA 1900. oak with stained and leaded glass panels inset with copper and brass, the serpentine ledge back above an overhanging shelf with curved brackets to the sides, over six doors, each with stained, opalescent and leaded glass panels depicting stylised plant forms and embellished with copper and brass, enclosing adjustable shelves, the whole raised on square tapering legs with spade feet, bears makers circular ivorine label to the rear inscribed `George Walton & Co Ltd/ Designers, Manufacturers and Decorators/ 150 & 152 Wellington St, Glasgow/ Also at London and York/ Design no.`. 218cm wide, 154.5cm high, 38.5cm deep. Literature; Karen Moon `George Walton: Designer and Architect`, Oxford 1993, P. 82, pl. 106 Note: This fine oak cabinet with its distinctive stained glass doors was designed by the architect and designer George Walton in 1900. Walton was born in Glasgow on 3 June 1867, the youngest of twelve children. The painter Edward Arthur Walton, born in 1860, was his elder brother and the flower painter Constance Walton his sister. His father died in 1873 leaving the family in reduced circumstances and Walton had to leave school aged thirteen to become a clerk with the British Linen Bank, but while working there he also studied at Glasgow School of Art (as the School of Design had become in 1869).In 1888 Miss Catherine Cranston commissioned Walton to re-design the interiors of the tea rooms at 114 Argyle Street, Glasgow. Walton gave up banking and opened showrooms entitled George Walton & Co, Ecclesiastical and House Decorators, at 152 Wellington Street. The Walton firm quickly expanded into woodwork, furniture making and stained glass. In 1896 Walton received a further commission from Miss Cranston, to decorate the Buchanan Street premises. His collaborator was C. R. Mackintosh, for whom Walton made some early pieces of furniture. In 1897 Walton moved to London and, as well as retaining his Glasgow showroom, opened a branch in York. The catalyst appears to have been the commission to design the Photographic Salon in the Dudley Gallery which came to him through his friendship with the Glasgow photographer James Craig Annan. It led to a further commission from George Davison for the Eastman Exhibition in the New Gallery in Regent Street in the same year, and in turn to a series of Eastman Kodak showrooms in London, Glasgow, Brussels, Milan, Vienna and Moscow which brought him international fame.The bookcase offered here comes from this period and may have been made for a Kodak showroom. A contemporary photograph from 1900 shows a very similar bookcase in the interior of the Kodak showroom at 72-74 Buchanan Street Glasgow. From the opening of the first showroom in Clerkenwell Road London in 1898 the success of Walton`s designs meant that showrooms began to open at the rate of two a year. By the time the Buchanan Street branch had opened circa 1900 his showroom designs were following a familiar pattern. Delicate stencilled friezes in the `Glasgow Style` ran aroud the rooms above the picture rail and below were specially fitted cabinets in mahogany or oak. The cabinets had stained glass detailing derived from plant forms, with copper and brass detailing, relating to designs being produced by Charles Rennie Mackintosh at the same time (although without the carved details). It may be that the present cabinet was infact a domestic piece produced around the same time although it is compelling to imagine that it may have formed part of the interiors of this remarkable series of shops. The extraordinary innovation which Walton brought to retailing was the domestic nature of his designs which created a relaxed and unthreatening atmosphere in which to shop and which was to be much copied.
Mouton-Fontenille (J.P.). L`Art D`Empailler les Oiseaux. Contenant des Principes de Theorie Nouveaux, et des Procedes de Pratique Avantageux pour Conserver a Chaque Famille ses Formes et ses Attitudes Naturelles, Lyon, 1811, five folding engraved plates, unopened, scattered light spotting, original wrappers, a little rubbed and chipped, 8vo, together with Traite Elementaire D`Ornithologie, 2 vols., Lyon, 1811, five folding engraved plates, partly unopened, some light spotting, original wrappers, rubbed and chipped, 8vo, plus Temminck (C.J.), Observations sur la Classification Methodique des Oiseaux, et Remarques sur L`Analyse d`une Nouvelle Ornithologie Elementaire. Par L.P. Vieillot, Amsterdam, 1817, library stamp, light dampstain, contemporary boards, light soiling, 8vo (4)
Picasso (Pablo). Picasso. The Blue and Rose Periods. A Catalogue Raisonne of the Paintings, 1900-1906, by Pierre Daix and Georges Boudaille, with the collaboration of Joan Rosselet, pub. New York Graphic Society Ltd., 1967, together with Picasso: Women. Cannes and Mougins, 1954-63, text by Helene Parmelin, pub. Weidenfeld & Nicolson, 1965, num. tipped in col. plts., both orig. cloth, a little rubbed and faded, 4to, with other art reference, mostly contemporary art, including catalogues and softback publications (3 shelves)
After Joseph Mallord William Turner RA 1775-1851- "The Fighting Temeraire tugged to her last Berth to be broken up"; mid-late 19th century, appears to be a near contemporary copy of the original, oil on canvas, 91x122cm. Note: When Turner painted this picture he was at the height of his career, having exhibited at the Royal Academy, for forty years. He was renowned for his highly atmospheric paintings, exploring the subjects of the weather, the sea and effects of light. Turner spent a lot of his time by the Thames making sketches and then working them into finished paintings in the studio. He was present when this ship was being towed and made sketches of it. As with most of Turners finished paintings he uses considerable licence with the scene. Each generation seems to identify with the powerful symbolic meaning of the painting, Temeraire, taken from the French word meaning rash or reckless, had a glorious Trafalgar and had become a symbol of heroism; Turner appears to become more relevant as the decades pass, his influence is evident in all aspects and genres of British art from the early 19th century working with his great friend Tom Girtin and more than any other British artist he has taken his place as the ideal, a national treasurer, representing British painting then as now at the highest levels. In 2005, The Fighting Temeraire was voted the greatest painting in a British art gallery, In second place was John Constable`s The Hay Wain. Turner and Constable studied together at the Royal Academy and completed their paintings within eighteen years of each other. The pictures now hang only forty-feet apart at the National Gallery, London. (LP) The painting depicts one of the last second-rate ships of the line, which played a distinguished role in the Battle of Trafalgar in 1805, the 98-gun ship HMS Temeraire, being towed towards its final berth in East London 1838 to be broken up for scrap. It was the second ship in the line in the battle and drew fire from Nelson`s HMS Victory. Badly raked by fire, it later went to Victory`s help and went on to capture two French ships. Actually known to her crew as "Saucy Temeraire". John Ruskin called it Turner`s last great painting. And the artist himself was so fond of it that he refused to sell it and called it "My darling".
Armour.Songs of Love and Death" 1896 frontispiece decorative title plates and decorations in Art Nouveau style by W.B.Macdougall a little spotted at beginning and end contemporary brown morocco by Bumpus upper cover with climbing plants in blind and small stars and dots in gilt spine gilt t.e.g. others uncut slight wear to upper joint and spine ends 1896 § Mark (Amy) The Sea King`s Daughter and other poems wood-engraved illustrations and decorations by L.A.Talbot after Bernard Sleigh lightly offset original cloth uncut a little rubbed printed at the Birmingham Guild of Handicraft 1895 " 8vo & 4to(2)
Morris.Tale.Emperor Coustans" b`ing K`scott one of 525 copies printed in red and black wood-engraved titles borders and initials designed by Morris contemporary green morocco by Chiswick Art Guild central red morocco panel lettered in gilt and with floral sprays similar gilt sprays comprising the border within double and triple fillets lower cover undecorated apart from the gilt fillets spine repeating the design and lettering of upper cover t.e.g. others uncut marbled endpapers with remains of bookseller`s description on front pastedown a little scuffed upper joint cracked nick to lower [Peterson A26] 16mo Kelmscott Press 1894. ***Rare example of a binding from the Chiswick Art Workers` Guild one of several groups which made up the Guild of Women-Binders founded by Frank Karslake in 1898. Other groups included the Edinburgh Social Union the Kirkby Lonsdale Handicraft Class and Miss Bassett`s Leighton Buzzard Handicraft Class for crippled girls. According to Tidcombe Women Bookbinders 1880-1920 p.161 "The Chiswick Art Workers Guild of the Chiswick School of Arts and Crafts was best known for modelled niger bindings highlighted with gold-tooled dots (see Chapter III). However Miss Hewitt a pupil of Bernard Collier the Art Master and Director of the School also designed some gold-tooled bindings although the actual binding (and some of the designing) was done by others at the School. These outline designs are generally floral or pictorial " and are signed CHISWICK ART GUILD..Miss Hewitt later went on to teach at the Falmouth School of Art.".
Mathews`s Gallery of Theatrical Portraits a large album (the spine titled as above)" with c.375 engraved etched mezzotint and lithographed portraits including Charles and John Bannister Master Betty Colley Cibber Mrs Clive Robert Elliston Miss Farren David Garrick John Henderson Edmund Kean John Kemble John Liston Charles Macklin Charles Mathews John Moody Mrs Oldfield Mrs Siddons Henry Woodward Mrs Yates and many others after Dighton De Wilde Zoffany (a group of large mezzotints most trimmed close and with other defects) Opie Lawrence Romney Gainsborough Hudson Northcote and others a few hand-coloured or printed in colours various sizes up to 440 x 580mm. (c.17 x 23in.) corner-mounted on album leaves with contemporary manuscript notes and printed cuttings from Charles Mathews` Gallery a few items removed first few leaves working loose last few leaves with light marginal water-staining engraved bookplate of Sir John Saunders Sebright contemporary half roan edges rubbed upper cover detached large folio (600 x 460mm.) the majority published 1770-1820 compiled c.1825. ***Exhibited: Dramatic Art: Theatrical Paintings from the Garrick Club (ex-catalogue private collection) Dulwich Picture Gallery 1997. Illustrated: [James Gillray] Mrs Siddons as Melpomene sepia aquatint 1784. Despite the absence of conclusive internal evidence this is quite possibly Mathews` own collection of theatrical portrait prints; his collection of paintings and drawings was acquired by the Garrick Club in 1835. Whatever the original provenance " the present collection provides a comprehensive picture gallery of the principal actors of the Georgian stage.
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