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Click here to subscribeCulpeper (Nicholas) Culpeper`s school physick or the experimental practice of the whole art third edition engraved frontispiece portrait worm track affecting lower fore-corner up to E8 without loss contemporary calf [Wing C7546] 8vo for R.Bently [&c.] 1696; and a defective copy of Boyle`s Medicinal Experiments 1693 8vo(2)
Gwen Hardie, Scottish b.1962- "Body Map 3"; watercolour and gouache and collage, 13x20cm. Exhibited: Contemporary Art Society Market, 1990. Provenance: with Abbott & Holder, London according to labels attached to the reverse of the frame: Nick Snelling, late 20th/early 21st century- "Piano", 1988; oil on cardboard, 21x21cm: Brian Walsh, mid-late 20th century- "Still Life on Red"; pencil and gouache on red paper, 25x17cm., (3) (may be subject to Droit de Suite)
Clive Garland b.1949- "Stones Placed in the Floor"; Whirling Words II"; mixed media, each bearing labels for the Contemporary Art Society attached verso, 23x26cm, ea., (2) matching frames, Note: studied at Camberwell College of Art (1969-1973). In 1974 he received an Italian Government Scholarship to Accademia Di Belle Arti, Perugia. From 1974 -5 he studied at Goldsmiths College, University of London, and later in 1975 received an Arts Council of Great Britain Minor Award. In 1992 he received The Mark Rothko Fellowship. From 2001 - 2006 he was Course Leader BA (Hons) Drawing at Camberwell College and is currently Head of Art at Frewen College. (may be subject to Droit de Suite)
William Tillyer b.1938- Flowers in a vase; woodcut printed in colours, signed and numbered 60/100 in red crayon on the mount, 77.5x62cm: together with one other similar colour woodcut by the same hand, signed and numbered 6/100 in blue crayon on the mount, 79x62cm., (2) Provenance: with Joan E Kaplan, Fine Contemporary Art, New York USA according to label attached to the reverse of the frame (may be subject to Droit de Suite)
Aristotle`s New Book of Problems 1725 Shewing the Secrets of Nature and Art. The Sixth Edition engraved frontispiece of Aristotle studying advertisement leaf at end cropped with slight loss to a few leaves contemporary sprinkled sheep a little rubbed and stained rebacked for J. Marshall 1725 § Taylor (Thomas translator) The History of Animals of Aristotle and his Treatise on Physiognomy slight spotting and soiling at beginning and end bookplate of Sidney Edward Bouverie Bouverie-Pusey contemporary calf rubbed and a little scratched for the translator 1809 12mo & 4to(2)
Masson.Mainz Psalters and Canon Missae original cloth-backed boards 1954 § Dahl (Svend) Haandbog I Bibliothekskundskab 2 vol. contemporary half morocco Copenhagen 1924 § Seventh Annual of Advertising Art New York 1928 § Arnott (J.F.) and John William Robinson. English Theatrical Literarure 1559-1900: A Bibliography 1970 § Anthony (Gordon) Massine: Camera Studies 1939 plates and illustrations all but the first two original cloth the last with dust-jacket all a little rubbed; and c.20 others bibliography performing arts etc. v.s.(c.25)
Hope (Thomas) Costume of the Ancients... A New Edition Enlarged 2 vol. half-titles 300 engraved plates contemporary half morocco g.e. spines gilt and a little faded rubbed 1812 § Buckman (Prof.) and C.H.Newmarch. Illustrations of the Remains of Roman Art in Cirencester... list of subscribers 11 plates and map some hand-coloured a little soiled original cloth rather worn 1850 8vo & 4to(3)
Jackson.Illustrated History of English Plate 2 vol. contemporary half morocco 1911 § Cripps (W.J.) Old English Plate original half parchment 1901 § Marryat (J.) A History of Pottery and Porcelain contemporary morocco gilt 1857 § Binns (W.M.) The First Century of English Porcelain 1906 § Myer (R.) Chats on Old English Tobacco Jars n.d. § Man (Felix H.) Eight European Artists n.d. plates and illustrations the last three original cloth all a little rubbed; and c.60 others art reference 4to & 8vo(c.65)
* MURIEL BARCLAY The Dancers oil on canvas, signed Exhibition quality frame 86cm x 76 cm (33 3/4 x 30 inches) At the first Scottish Contemporary Art Auction staged by McTears on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for what is widely believed to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Collections include : Ernie Els, Sir Arnold Clark, Lord Harris, Sultan of Brunei, Alex McLeish, Sir Jack Harvey, H.B.O.S., Biggart Baillie, Arisaig Partners,and numerous prestigious corporate and private collections worldwide. Provenance : Notable private collection (Edinburgh).
Collection of books on English coins, tokens and medals including Lane Pool, Stanley Coins and Medals, their place in History and Art, London 1885 Mudie, James "An Historical and Critical Account of a Grand Series of National Medals" London, Henry Colburn 1820, illustrations, foxing, book plates, contemporary marble boards, spine rebound, and Shembri, Canon H. Calleja "Coins and Medals of the Knights of Malta" Aire & Spotiswood 1908, illustrations, library stamps, full leather, library plates worn and six other volumes (9)
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..
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)
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 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)
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