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Click here to subscribeMODERN MASTERPIECES OF BRITISH ART, 200 coloured plates, contemporary two-toned cloth, spine rubbed and faded, 4to, n.d. {1930s}--DRAWINGS BY MERVYN PEAKE, 1st ed, dustwr, 4to, The Grey Walls Press, 1949--and 26 others on art, which belonged to the portrait painter Juliet Pannett (28) LOCATION J
Property from the Estate of Peter Cochrane Victor Pasmore, 1908-1998 Garden with weeping ash Signed with initials Pen and ink 18x24cm.; 7x9.5in. To be offered across Contemporary Art Evening, Day and Olympia sales in 2006, the collection of the late Peter Cochrane Documents the progressive and adventurous taste of an influential dealer and inspired collector. At Arthur Tooth & Sons in Mayfair, Cochrane was instrumental in introducing new European and American artists to a British audience. The champion of an emerging generation of post-war artists, Cochrane's collection comprises masterworks by Howard Hodgkin, Karel Appel, Jean Dubuffet and Asger Jorn among others and documents his special passion for new modes of abstract painting. Provenance The Redfern Gallery, London, whence purchased by Peter Cochrane, December 1947
ROBERT SUMMERS (American b. 1940)End of the Day 1970Oil on masonite20in. x 30in.Signed and dated lower rightA contemporary Texas artist Robert Summers is known for his representational sculptures and paintings of genre and landscape scenes. He has been commissioned for many public art projects including the world's largest bronze sculpture group for Pioneer Plaza at the Dallas Convention Center which depicts a historic cattle drive with forty longhorns and three cowboys on horseback. In 1976 he was named official Texas Bicentennial Artist. Depicting a couple of cowboys in a vast Texas canyon End of the Day is a superb example of Summers' realistic painting style.Provenance: Mr. and Mrs. Mike Smith Houston TXDavid Dike Dallas TXacquired from the above by the present owner
TOM RYAN (American b. 1922)Pioneer HomeOil on canvas16in. x 20in.Signed lower rightA contemporary Texas artist Tom Ryan began his career as an illustrator and is today known for his realistic paintings of western genre subjects. He studied at the Art Students' League in New York with Frank Reilly visiting other notable artists' studios such as Andrew Wyeth in the early 1950s. Settling in Lubbock in 1967 Ryan would frequently travel to the 6666 Ranch in Guthrie to make drawings and take photographs for his paintings. He was given a Lifetime Achievement Award from the National Cowboy and Western Heritage Museum in 1996. In excellent original condition this painting demonstrates Ryan's ability to realistically render western scenes.Provenance: Berbar Collection (label on reverse)Altermann Galleries Dallas TXacquired from the above by the present ownerExhibited: CAA Museum Kerrville TX "Texas Sesquicentennial Show" April 25-July 13 1986National Cowboy and Western Heritage Museum Oklahoma City OK "The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch" October13-December 31 2001Literature: Susan Hallsten McGarry The Brotherhood of Man: Tom Ryan and the Cowboys of the 6666 Ranch (Oklahoma City 2001) p. 45 illus
OSCAR EDMUND BERNINGHAUS (American 1874-1952)Winter Evening (Taos) c. 1918Oil on canvas25in. x 30in.Signed lower right : O.E. BERNINGHAUSThis quiet painting of the horses huddled together outside the warm tavern on a cold snowy night shows Berninghaus' mastery of the western nocturne a genre first brought to prominence by Frederic Remington and continued by Berninghaus' contemporary Frank Tenney Johnson. While Remington utilized a greenish palatte and Johnson cast his scenes in blue tones Berninghaus may have created the perfect nighttime painting with contrasting warm and cool grays that lend to the sense of cold reality that the cowboys endured. This large-scale painting is a rare fine example in the artist's oeuvre of the nocturne genre in addition to being a superb example of Berninghaus' talent for rendering horses in the rural settings of New Mexico.This painting by one of the founders of the Taos Art Society occupies an important place in the artist's oeuvre. The painting comes directly from the Berninghaus family of Taos. There is a letter of authentication signed by the artist's granddaughter Barbara Brenner that accompanies the lot. The present work is being offered for public sale for the first time.Provenance: Berninghaus Family Taos NM; Fenn Galleries Santa Fe NMExhibited: Parsons Fine Art Taos NM (referred to as Moonlight Taos)
*MICHAEL HESELTINE (b. 1961) 'H.M.Y. Britannia' in dry dock signed and dated 'Michael Heseltine 1987' (lower left) watercolour 17 ½ x 25in (44.4 x 63.5 cm) 'Britannia' was built by the Clyde Shipbuilders Messrs John Brown and Co to replace her 50 year old predecessor Victoria and Albert III. Britannia was named and launched by the Queen in April 1953 and commissioned in January 1954. Designed to be used as a Royal Yacht in peacetime and as hospital ship in time of war (the hospital role was formally ended in 1992)Britannia served for 44 years as an official and private residence for the Queen and other members of The Royal Family. The artist studied at Maidenhead School, of Art, leaving in 1983. He has exhibited at the New Academy Gallery, Cadogan Contemporary and the Medici Gallery. He has undertaken corporate commissions for a number of firms including Ocean Transport and Trading, and Drinkwater and Sabey..
Ramsey (Allan) The gentle shepherd. Glasgow: A Foulis 1770 4to pp. iv 111 17 leaves b1-4 absent portrait frontispiece 12 aquatint plates (1 sepia) by David Allan 18 pages of engraved music contemporary blind stamped and gilt calf hinges worn water staining to corner of one plate - [Brookes (Richard)] The art of angling rock and sea-fishing: with natural history of river pond and sea-fish... London 1740 first edition 12mo woodcuts contemporary calf rubbed upper board loose p. 107-108 absent - Lessius (Leonard) Sir Walter Rawleigh's ghost; or his appartition to an intimate friend willing him to translate into English this learned book ... entituled De providentia numinis & animi immortalitate written against the atheists and polititians of these days ... London: Tho. Newcomb for John Holden 1651 12mo pp. A2 & A3 absent [xxiv] 384 later calf boards detached paper slightly discoloured throughout. Sold not subject to return (3)
Prince Ralph de Fauligny-Lucinge- arcadian vista; reverse painting on glass, signed and dated 7/52 in pencil on the mount, 49.5x45cm: together with a pair of handpainted art Nouveau style pictures on silk of fairies, three contemporary Chinese paintings of flowers on silk, and a pair of reproduction prints of botanical subjects, (8)
Peter Doig, b. 1959, UNTITLED, signed and dated 2000 on the reverse, gouache on card, 15x10cm.; 6x4in. The depiction of the bearded man in the canoe has become a seminal image in the work of Peter Doig. This example, which dates from 2000, relates most closely to one of Doig's first large scale paintings of the same year and subject, entitled 100 Years Ago. The painting combines the depiction of a timeless, romantic wilderness with elements of magical realism. The figure stares out from his orange canoe, vascillating between a figure of pre-history and a contemporary icon of modernity. Provenance: Royal College of Art, London. Acquired from the above by the present owner in 2000
Mike Kelley & Paul McCarthy, b. 1954 & b. 1945, FRESH ACCONCI, signed by both, dated 1995 and numbered 5/30 on the video box, fifteen colour photographs and one video tape, each photograph: 33.5x29cm.; 13.25x11.25in. (16) Provenance: Galerie Krinzinger, Vienna. Literature: Ralph Rugoff, Kristine Stiles, Giacinto Di Pietrantonio & Jean-Paul Sartre, Paul McCarthy, London 1996, pp. 138-141, illustration in colour of another example. In Fresh Acconci the artists re-stage classic 1970s performance works by Vito Acconci with a deliberate ironic Californian sensibility. Responding to a resurgence in body-art in the mid-90s, the video and production stills portray how Kelley and McCarthy intentionally misrepresented Acconci's performances through contemporary art direction and the inclusion of a cast of nude Hollywood actors which substitute the artist. The overall product contains strong references to Hollywood 8 movies and soft-core pornography, with subtle wit and sophistication.
Nisbet Alexander. A system of heraldry speculative and practical with the true art of blazon. Edinburgh: J. MackEuen 1722 [volume 2 by R. Fleming 1742]. First edition 2 volumes folio title-pages in red and black 45 engraved armorial plates modern half calf cloth boards endpapers renewed some marginal annotations in a contemporary hand tears to the margins of p. 140 in volume 1 and p. 219 in volume 2 neither with loss of text. Note: Moule 464. The second volume issued in 1742 by the Edinburgh printer R. Fleming contains only mutilated extracts from Nisbet's manuscripts. According to Professor Walker (Legal history of Scotland volume 5 p. 27) it is "still an authoritative work.".
Watts (Isaac). The Improvement of the Mind: Or, a Supplement to the Art of Logic: Containing a Variety of Remarks and Rules for the Attainment and Communication of Useful Knowledge, in Religion, in the Sciences, and in Common Life, 2 vols., 1781-83, a matched set, contemp. sprinkled calf gilt, contrasting lettering pieces to spines, a little chipped at head, 8vo, together with Locke (John), An Abridgment of Mr. Locke's Essay Concerning Human Understanding. A New Edition, with Additions. Carefully Revised and Corrected, Edinburgh, 1770, spotting and old dampstaining throughout, some browning at front and rear, contemporary ownership inscription of Joseph Haydock Boardman to front free endpaper, contemporary calf, neatly rebacked with gilt-decorated spine relaid and new leather label, a little wear to corners, tall 12mo, plus five other antiquarian (8)
Gibson, John. The History of Glasgow... to the present time. Glasgow, 1777, first edition, 8vo, folding engraved plan (laid down), contemporary tree calf, spine gilt, some spotting, head of spine slightly rubbedSmith, John. The Cochrane Correspondence regarding the Affairs of Glasgow MDCCXLV-VI. Glasgow, The Maitland Club, 1836, 4to, 6 lithographed plates, brown half morocco gilt; Glasgow Archaeological Society. Transactions [1857-1883], 1868-83, 2 volumes; Transactions, New Series. Glasgow, 1890-1916, volumes 1-6 and Reports volume, uniform brown half morocco gilt, t.e.g.; Mackenzie, Peter. Reminiscences of Glasgow and the West of Scotland. Glasgow, 1865-68, first edition, 3 volumes, 8vo, plates, contemporary calf, spines gilt; Paton, James. Catalogue... of the Pictures and Sculpture in the Glasgow Art Gallery and Museum, 1902, 8vo, plates, red morocco gilt; The Glasgow University Album for MDCCCXL, 1840, 4to, brown morocco gilt by Walker of Glasgow with their ticket, g.e.; Wilson, H., publisher. Parliamentary & Municipal Franchise Map of the City of Glsgow, divided into 16 statutory wards, 1846, hand-coloured engraved map dissected and backed on linen, folding into cloth covers (17)
Keltie, John S. History of the Scottish Highlands, Highland Clans and Highland Regiments. Edinburgh: T.C. Jack, 1887, 2 volumes, 8vo, 71 plates (42 coloured plates of tartans), and 1 map, contemporary red half morocco, slightly rubbed; Stewart, David. Sketches of the Character, Manners, and Present State of the Highlanders of Scotland. Edinburgh: A. Constable, 1822, second edition, 2 volumes, 8vo, 1 folding printed table, contemporary blue calf, sides tooled in blind and gilt, spines gilt, bookplates of Sir Alfred Sherlock Gooch, somewhat spotted; Reid, John T. Art Rambles in the Highlands and Islands of Scotland. London: G. Routledge, 1878, 8vo, illustrations by Dalziel Brothers, brown morocco gilt by Bickers and Sons, gilt stamp of The College of Preceptors on sides, spine gilt, g.e., slipcase; Quigley, Hugh The Highlands of Scotland. London, 1949, 8vo, tree calf gilt, spine gilt; Pennecuik, Alexander. The Works of Alexander Pennecuik of New-Hall, containing the Description of Tweeddale. Leith, 1815, 8vo, folding map, modern calf-backed boards, slightly spotted, map split at one fold (7)
St John, Charles. Wild Sports & Natural History of the Highlands. Edinburgh, 1919, large 8vo, modern green half calf, spine gilt, t.e.g., others uncut;Knox, John. Voyage dans les montagnes de l’Ecosse. Paris, 1790, first French edition, 2 volumes, 8vo, contemporary calf ; Scott, Jock. The Art of Salmon Fishing, 1933, 8vo, modern half calf, rather spotted; Colquhoun, John. The Moor and the Loch, 1840, 8vo, half calf, rather spotted; and 1 other (6)
Thornton, Col. Thomas. A Sporting Tour through the Northern Parts of England and great part of the Highlands of Scotland. London, 1804, first edition, 4to, 16 engraved plates, green half morocco by Bayntun, emblematically tooled on spine, some light spotting, spine faded; Clark, R., printer. The Royal Caledonian Hunt, instituted 1777, 1871, 4to, green half morocco gilt; Scrope, William. The Art of Deer Stalking, 1838, first edition, 8vo, additional engraved title and 11 lithographed or engraved plates, contemporary green morocco gilt by W. Nutt, g.e.; Stoddart, John. Remarks on Local Scenery & Manners in Scotland during the years 1799 and 1800, 1801, first edition, 2 volumes, 8vo, engraved titles, double-page map and 32 sepia aquatint plates, contemporary tree calf; [Abbey, Scenery 483] and 2 others by Speedy and Bickerdyke (7)
Peter Sedgley (b.1930) Untitled abstract Screenprint Signed and dated 1965 Limited edition 5/30 27cm x 35.5cm; John Loveless (b.1943) Untitled abstract Acrylic on card 21.5cm x 44cm; Guyther Urwin ‘Red Flush’ Screenprint Signed Limited edition 2/40 49cm x 75cm. (3) P Sedgley - Brixton Technical School 1944-6. A painter and used audio-visual and special lighting in his work. Exhibited worldwide and became a predominant member of the contemporary art world in the 1960s and 70s. His work is highly collectable today. See Buckman, D. p.1087. Loveless - Painter and printmaker, born in Bristol. Royal West of England College of Art 1963-5. Exhibited mainly in London and the West Country. See Buckman D. p.766.
Manner of Jonathan Richardson (18th century) Lady Mary Wortley Montagu in Far Eastern costume and wearing a pearl choker oil on copper 13.25 x 11.5cm., in a contemporary carved wood Florentine-style frame; together with six companion paintings (7) * Lady Wortley Montagu (1689-1762) was the eldest daughter of Evelyn Pierrepoint later Duke of Kingston and her mother was the daughter of William Fielding, 1st Earl of Denbigh. She formed a close relationship with Anne Wortley Montagu and through her met her brother Edward with whom she eloped and married. In 1716 Montagu was appointed ambassador at Constantinople where they remained until 1718. It was during this time Lady Mary wrote some “lively” letters full of graphic observations of her travels to and her life in the East. They were known as the TURKISH EMBASSY LETTERS and on publication became an inspiration for subsequent female travellers and writers as well as for much Oriental Art. Lady Mary had a number of close relationships which included “a declaration of love” from Alexander Pope. She had a daughter Mary, Countess of Bute, whose husband became Prime Minister and a son Edward who alo became an author and traveller. * References include The Encyclopaedia Britannica and Wikipedia.
Louis de Moni Breda 1698-1771 Leiden A game seller holding a mallard drake at a window together with a basket and other ducks and rabbits on a stone ledge signed lower centre: L: De Moni F oil on panel stamped on the reverse with the inventory number: 247 34 by 25.5 cm.; 13.375 by 10 in. Louis de Moni was born in Breda and studied under Charles de Biset and then under Jan Thomas van Kessel before moving to the Hague where he enrolled with the Academy in the Hague in 1721. Between 1724-5 he held the position of teeknaar under Phillip van Dyck and with whom he worked in Kassel until 1750 when he returned to Leiden and where he settled until his death. De Moni was active as an artist but he is also recorded as an art dealer and a restorer. The subject matter of this charming picture also works as a sexual pun the Dutch verb vogelen meaning to hunt birds was also much used in common parlance as a synonym for sexual intercourse. The motif of comely young women set within niches selling poultry is common theme within the Leiden school of fijnschilders and the double entendre would not have been lost on its contemporary audience. This lot is sold with a copy of a certificate from Dr. Walter Bernt dated Munich November 1974 confirming the attribution to de Moni.
A PLAIN CONICAL ART DECO PERIOD TEAPOT with a swept ebony handle and acorn finial to the stepped and domed cover, apparently un-marked but the base with Contemporary engraved inscription 'Solid SIlver - Made By Catherine Banks at The Kendal Art School, 1930 - Art Master Mr M Bracken', 16cm high, 19.25ozs.
Scheja, Georg, & Bert Koch, The Isenheim Altarpiece, New York, Harry N. Abrams, 1969, small folio (290mm x 250mm.), half title, colour frontispiece, colour plates, and illustrations, original black cloth, spine and front cover lettered in gilt, pictorial dust-jacket With a number of other works including, Roseline Bacou Great Drawings of the Louvre Museum (New York, 1968), Gert Schiff 9introduction by) The Amorous Illustrations of Thomas Rowlandson (USA, 1969), George Heard Hamilton 19th and 20th century Art... (New York, n.d.), Antonin Matejcek & Zdenek Wirth Modern and Contemporary Czech Art (London, 1924), and Alec Clifton-Taylor, John Julius Norwich, Roy Strong (and others) Spirit of the Age... (London, 1975),
A Nieuwe Kunst carpet, circa 1920, in 'Dutch Batik' style, together with a matching mat, Rug approximately 310 by 215cm.,. Mat approximately 80 by 45cm Nieuwe Kunst was the Dutch school contemporary with Art Nouveau.. Carpet design during this period was influenced by fabrics and textiles from the former Dutch colony of Indonesia, and is referred to as 'Dutch batik'.. Batik is identifiable by strong geometric patterns, primary colours and repeating motifs.. Jaap Gidding (1887- 1955) was a predominant designer and producer of carpets during the twenties, the Tuschinski Theatre in Amsterdam exemplifying his work: 'his design for the walls and carpets of the theatre are in the Batik style, but also recollect Caucasian dragon carpets of the 18th century', (Day, Susan, Art Deco and Modernist Carpets, Thames and Hudson, London 2002 p75).. The current lot recollects the work of Gidding, with its bold use of clour and symmetrical design. W.
Bohn Henry G. A Guide to the knowledge of Pottery Porcelain and other objects of vertu comprising An Illustrated Catalogue of the Bernal Collection of Works of Art. London H. G. Bohn 1857 8vo (180mm x 110mm) hand-coloured plates advetisements leaves endpapers also advertisements title and preface damp-stained contemporary ownership signature on title original blue cloth rebacked spine lettered in gilt
Carter Susan The Frugal Housewife; or Complete Woman Cook. Wherein the Art of Dressing all Sortsof Viands . is Explained in Five Hundred Approved Receipts . together with the Best Methods of . Making English Wines London Printed by J. Swan for J. Harris (and others) 1805 12mo (130mm x 80mm) 12pp. publishers catalogue at end twelve table settings in letterpress lacking folding frontispiece contemporary calf lower margin worn
Garrett Theodore Francis The Encyclopaedia of Practical Cookery; A Complete Dictionary of all Pertaining to the Art of Cookery and Table Service London L. Upcott Gill 1892 large 8vo (280mm x 210mm) frontispiece portrait of the author half title illustrations contemporary half red morocco spines lettered in gilt extremities rubbed
[Glasse Hannah] The Art of Cookery made Plain and Easy; Which far exceds any Thing of the Kind ever yet published. London Printed for the Author and sold at Mrs Whartons Toy-Shop (and others) 1748 8vo (200mm x 120mm) frontispiece laid down and chipped a few leaves torn and or laid down with loss a few contemporary annotations some brwoning modern green cloth spine lettered in gilt Third Edition sold subject not to return cf. Bitting p. 190. With two other later editions of the same work
Hobbs Samuel The Kitchen Oracle of Modern Culinary Art containing Good Dinners and How to Dress them for every month in the year. London Dean and Son ca. 1860 8vo (205. x125mm) double-sided plates advertisement leaf at end contemporary half black morocco spine lettered in gilt extremities rubbed With three other works a three volume set of The Dictionary of Daily Wants (London n.d) a fifth edition of Charles Elme Francatelli The Royal Confectioner; English and Foreign. (London 1887) and Margaret Dobs The Cook and Housewifes Manual. (Edinburgh n.d.)
[Kitchiner William] The Cooks Oracle: containing receipts for plain cookery on the most economical plan for private families: also the art of composing the most simple and most highly finished Broths Gravies Soups Sauces Store Sauces and flavouring essences . the whole being th result of actual experiments instituted in the kitchen of a Physician London printed for A. Constable & Co (and others) 1821 12mo (175mm x 110mm) advertisement leaf some spotting contemporary calf rebacked red morocco lettering piece extremities rubbed Third Edition Bitting 262 and Oxford 1817.
The Young Womans Companion or Frugal Housewife Containing the most approved Methods of PIckling Preserving Potting Collaring Confectionary Managing and Colouring Foreign Wines and Spirts making English Wines . also The Art of Cookery Manchester printed by Russell and Allen 1811 4to (210mm x 130mm) 2. plates contemporary ownership signature on upper title margin new endpapers modern half calf black morocco lettering piece Oxford p. 140. With A New System of Domestic Cookery. (London 1810) with facsimile title and additional title
Catalogue of The Collection of Pictures, Works of Art, and Decorative Objects, The Property of his Grace The Duke of Hamilton, Which will be Sold at Auction by Messrs Christie, Manson, & Woods ... June 19, 1882, London, by William Clowes & Sons, 1882, tall 8vo, five parts in one volume, plates, illustrations, contemporary red cloth, spine and front cover lettered in gilt
Gwilym Pritchard (1931 - ), "Anglesey", signed, oil on board, 60 x 106cm.; 23. 5 x 41. 75in. * Studied at Normal, Bangor and Birmingham College of Art, 1960 -64. Held several teaching posts, settling at Anglesey, an area of key importance to his painting. Decided to become a full time artist in 1973, commissioned work including some for the British Army in Belfast. Pritchard was a member of the Royal Cambrian Academy, also exhibiting with the Royal Eisteddfod, Welsh Arts Council, Society for Education in Art and North Wales Group. Had regular solo shows, starting with Howard Roberts Gallery, Cardiff in 1961, other venues including New Art Centre and Heal's Mansard Gallery. St. Michael's Church, Ruabon, Clwyd has a mosaic by Pritchard, whose work is in many public collections, including University College of Wales, Aberystwyth, Welsh Arts Council and Contemporary Art Society for Wales.
Brian Rawling (20th century contemporary) Two Stags Standing on a Hillside Beside a Rocky Outcrop Signed and dated "84" (1984), pencil and watercolour, circular, 20cm (8in) diameter *Provenance. With the Clifford Gallery, Fine Art Dealers, Sporting and Wildlife Pictures, (S.S.W. Limited), 11 Market Place, Woburn, Bedfordshire MK17 9PZ
Brian Rawling (20th century contemporary) "Did I Hear Something?" Signed and dated "72" (1972), also extensively inscribed on an exhibition label verso, pencil, watercolour and gouache on tinted paper, 30cm by 39.5cm (11 3/4in by 15 1/2in) *Provenance. With the David McDonald Booth Gallery, 164 Walton Street, London SW3. Exhibition "The Art of Deer Stalking 8th-18th November 1972"
Paul Jones (fl.1856-1888) Ghillie with the Day's Bag, a Young Boy wearing a Kilt and Tamashanta, Holding Two Sporting Dogs, with a Pony and a Dead Stag strapped to its Back Bearing a false signature "E. Landseer" and dated "1861", oil on panel, 14.5cm by 19.5cm (5 3/4in by 7 3/4in) # 400-600 437. E...Boeuyes (20th century contemporary) Two Deer in a Winter Landscape beside a Silver Birch Tree Signed and dated "70" (1970), oil on canvas board, 46cm by 61cm (18in by 24in) *Provenance. With A Cronshaw, The Fine Art Shop, 62 Darwen Street, Blackburn
G. Ashley Hunter (20th century contemporary) Stags in a Highland Landscape Signed, also extensively inscribed on a later label with biographical details on the artist, together with the date "23 March 1998" and the original purchase price of # 130, oil on board, 11cm by 22.5cm (4 1/4in by 9in) *Provenance. With Barron Fine Art, Chester
HRH The Prince of Wales (20th century contemporary) "Wensleydale", Signed in pencil "C", and dated "92" (1992), with the blindstamp for Anna Hunter Fine Art, together with the embossed mark of the Prince of Wales feathers badge, a limited edition print 55/295, a coloured lithograph, 30.5cm by 42cm (12in by 16 1/2in) *The picture is accompanied with its original blue folio with the Prince of Wales Feathers badge containing details of the print together with booklet entitled "His Royal Highness The Prince of Wales Signed Lithographs" giving details of the Prince with further details of the Prince of Wales Charitable Foundation, illustrated with the Prince seated at the edge of woodland, painting in watercolours, together with further illustrations showing the full range of the lithographs produced
Briton Riviere, R.A., 1840-1920, all that was left of the homeward bound, signed and dated 1873; signed and inscribed with the title on an old label pasted to the backboard, watercolour heightened with bodycolour , 49.5x70cm.; 19 3/4x27.5in. The present picture is a contemporary watercolour version of All That was Left of the Homeward Bound, Riviere's Royal Academy exhibit of 1873. Provenance. Armitage Esq.; Thomas Agnews & Sons; London, The British Galleries; William Sampson, 16 January 1928; Private collection. Literature. Briton Riviere, R.A., in Art Journal, 1891, pg. 15.
Carl Abrahams (1913 - 2005), Jamaican village scene, signed, oil on canvas, 44 x 54cm.; 17.25 x 21.25in. * Jamaican painter. He began his career as a cartoonist for various local periodicals. In 1937 Augustus John, then working in Jamaica, encouraged him to begin painting. Unlike the majority of his contemporaries, he eschewed the 'official' classes of the Institute of Jamaica and virtually taught himself to paint through self-study courses and manuals and by copying masterpieces from art books. His cartoonist's wit and a sardonic humour became the most important ingredients in work that drew on numerous stylistic sources, from Renaissance painting to Cubism. He was a devout Christian, and produced a host of religious works of an undeniable sincerity, although he transformed many traditional Christian themes into witty contemporary parables. His Last Supper (1955; Kingston, N.G.) is the best known of these. Some of his finest work consists of ironic transformations of the great mythological themes of the past and intensely personal fantasies based on contemporary events. He was also one of the few painters to treat successfully historical Jamaican subjects, for example in paintings of the imagined daily lives of the extinct Arawaks, the landing of Columbus, and a series depicting the riotous living of 17th-century buccaneers in Port Royal. His Destruction of Port Royal (c. 1970; Kingston, N.G.) is a dramatic portrayal of that cataclysmic event. In 1985 he won a competition to create two murals for the Norman Manley Airport in Kingston. The murals successfully combine many of his thematic interests into a montage celebrating Jamaican life and history.
Rye, Walter, A History of Norfolk, London, Elliot Stock, 1885, 8vo (230 x 140mm.), half title, head-pieces, intials, contemporary blue cloth backed spine, spine lettered in gilt, upper hinges worn. With a number of other works including a second edition of 'Roman Catholic Fidelity to Protestants Ascertained; or, an Answer to Mr W. A. D.'s Letter to G. H.' (London, 1779), Rachel L. Carson's 'Under the Sea-Wind' (London, 1952), 'Landscapes & Letters A Series of Twenty Pictures from The Times' (London, n.d.), a proof copy of Golo Mann's Wallenstein...' (London, 1976), Derek Clifford and Timothy Clifford's 'John Crome' (London, 1968), Westwood's 'The Art of Illuminated Manuscripts' (London, 1988), and a number of volumes of 'Royal Academy Pictures' and 'The Magazine of Art' .
Turpin de Crisse, Lancelot, Count An Essay on the Art of War, translated from the French of Count Turpin, by Captain Joseph Otway, 2 volumes, first English edition, 25 folding engraved plans, contemporary calf, spines gilt, 4to, London, W. Johnson, 1761, a little light offsetting, neatly rebacked, head of one spine nicked Provenance: Bookplate of W. Askew
Rubin (William S.). Dada and Surrealist Art, New York, Abrams, 1968, num. tipped-in col. plts., b&w illusts., orig. cloth in d.j., thick 4to, together with Rheims (Maurice), The Age of Art Nouveau, 1st English ed., Thames and Hudson, 1966, some col. plts., num. b&w illusts., orig. cloth in d.j., 4to, plus Greenough (Sarah), Snyder (Joel), Travis (David) and Westerbeck (Colin), On the Art of Fixing a Shadow, One Hundred and Fifty Years of Photography, National Gallery of Art etc., 1989, num. col., sepia and b&w illusts., orig. cloth in d.j., oblong 4to, and others on modern and contemporary art, many in d.j's, all 4to or similar, generally VG. (approx. 50)
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