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Lot 723
Tree, Iris Poems New York: John Lane Company/ London: John Lane The Bodley Head, 1919. First American edition, 8vo, original yellow cloth by Chris Moffat, dust- jacket not price clipped but with closed tear to lower cover; Harte, Bret Some Later Verses. London: Chatto & Windus 1898. First edition, 8vo, original green cloth gilt, dust- jacket not clipped but with a few small chips and slight dust- soiling [2] [Relisted due to non payer]
Lot 895
A Collection of Books to include first editions, titles to include: A Series of five leather bound books published by William Heinemann Ltd, The Diary of a Country Woodforde, poems of George Herbert. The Daffodil Fields by John Masefeild , The Kon Tiki Expedition second edition along with other titles.
Lot 209
A framed montage of first day cover, commemorative coins and limited edition photographic print of the Royal Union 2011 Prince William and Kate Middleton, numbered 719/2011, 37 x 48cm, together with a limited edition colour lithographic print by R. Chadwick titled 'The Engagement', signed, titled and numbered 384/2010, 43 x 33cm, both framed and glazed.Qty: 2
Lot 115
Modern and antiquarian books, to include: John Steinbeck, 'East of Eden', Viking, 1952 (first edition), George Orwell, 'The Road to Wigan Pier', Left Book Club Edition, 1937, Jean de Brunhoff 'The Story of Babar', Metheun, 1934, Edward Bulner Lytton, 'Devereux', Chapman and Hall, leather spine with marbled boards, Rudyard Kipling, 'Just So Stories', Macmillan, 1936, Walter Besant, 'Captain Cook', Macmillan, 1903, leather-bound, Bacon's Essays, William Pickering, leather-bound, Fontaine's 'Tales in Verse', Society of English Bibliophilists, 2 vols., among other twentieth-century and antiquarian volumes. (2 boxes)
Lot 384
Box of antiquarian and vintage books, to include: 'Mrs Beeton's Book of Household Management', 'The Quiver 1891', various early 19th Century editions of 'The Quarterly Review' with leather spines and marbled boards and early 19th/late 18th Century editions of the 'Annual Register, a review of the history of politics and Literature of the year', 'Practical Gardener' 1851, 'Fores's Sporting Notes and Sketches'. Together with two modern first editions; 'Violent Sunday' W L Heath and 'Untouched by Human Hands' Robert Sheckley. (B.P. 21% + VAT)Mrs Beeton's Household Management - undated, it is the 'New Edition' published by Ward, Lock & Co. Spine in poor condition, internally some foxing and used condition (some corners turned down etc). Appears complete at first glance but can't guarantee this.
Lot 114
A QUANTITY OF BOXED MODERN BUS AND COACH MODELS, all are either Corgi Classics , Corgi Original Omnibus Co or E.F.E., to include Corgi Classics Oriental Omnibus Hong Kong Citybus Dennis Trident/Alexander, No.44302, New World First Bus Dennis Trident/Duple Metsec, 100th New Bus livery, No.44505, all appear complete and in very good condition, look to have hardly ever been removed from boxes, many with limited edition certificates where appropriate, Perspex boxes in good condition but minor damage to cardboard sleeves and boxes
Lot 601
Camera Marque and Camera Collector Bookscomprising Leica The First Fifty Years by G. Rogliatti, Hove Foto Books, 2nd edition, 1977, reprinted 1982, Canon Rangefinder Cameras 1933-68 by Peter Dechert, Hove Foto Books, 1985, reprinted 1989, Collectors Guide to Rollei Cameras by Arthur G. Evans, Centennial Photo Service, 1986, Exakta Cameras 1933-1978 by Aguila and Rouah, Hove Foto Books, 1987, reprinted 1989, The Fujica SLR Book for ST 901, 801, 705, 606 and AZ-1 Users by Leonard Gaunt, Focal Press, 1978, Collecting and Using Classic Cameras by Ivor Matanle, Thames and Hudson 1986, reprinted 1992 and British Camera Makers by Channing & Dunn, Parkland Designs, 1996
Lot 2092
Bachmann Cambrian Coast Express set OO scale, limited edition 963/1000 comprises: class 43xx, 5358, Green Late Crest, and three chocolate/cream coaches, Mano class 7828, Odney Manor, and three chocolate/cream coaches, booklet and certificate, all in a wooden box and shipping carton. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)
Lot 622
Oil on board painting depicting fishing boats in port, Grimsby (including the Ross Daring) signed W L Rodgerson 1964. Rodgerson was an art tutor at King Edward’s school in Louth Lincolnshire during the 1950’s. Frame size approx 27 x 22 inches. Plus a Keith Baldock pencil signed limited edition print 78/500 entitled 'First Trip' (Grimsby Docks 1950's) Frame size approx 25 ½ x 20 ½ inches.
Lot 55
Rare Arundel Club London 1904 - Annual subscribers print collection. (Part Set 11 of 15) First Year of Publication. Included are No. 1 - Raphael, No. 2 - Gerard David, No. 4 - Francesco Da Rimini, No. 6 - Antwerp School and a further 7 x Prints which have pencil numbers in top right hand corner, but no other identification. As first edition, possibly prototype or trail run. CONDITION - Prints are generally excellent with minor foxing on some. The paper cover has wear and marks, remnants of the outer card wallet. NOTES - From 1904 The Arundel Club did an annual series of reproductions taken from Old Masters paintings. Paintings mostly from private collections. Each year they produced around fifteen to twenty. Protective paper cover, printed titles and housed in paper folder detailing contents. Distributed to it's members. The Arundel Society Notes - Founded in London in 1849 and named after the Earl of Arundel, the famous collector of the Arundel Marbles. Originally the idea of the lawyer Bellenden Ker. The society was discontinued in 1897 and it would be seven years before the 'Club' was formed. Also known as "Arundel Society for Promoting the Knowledge of Art"
Lot 127
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Veduta degli Monumento del Condotto delle Acqua Claudia" and "Avanzo del Castello dell'Aqua Claudia".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every afternoon to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 128
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio di Castore e Polluce" and "Veduta degli avanzi del tablino della Casa Aurea di Nerone".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13 x 20 cm (print); 10.5 x 27 cm (print): 57 x 43 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 129
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778)."Avanzo del Tempio della Speranza Vecchia" and "Stanza scoperta e demolita nella Vigna Casali".Two etchings.Originally published in "Le antichità Romane. Vol. I, tav. XXIII. Didot Freres, Paris, 1835-1839.Size: 13.5 x 20 cm (print c.u.): 57 x 42 cm (paper); 66 x 51 cm (frame).Piranesi first arrived in Rome in 1740, and there he found an established market for selling views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views were selling best and to listen to customers' comments. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 109
Air Combat Legends vol 1 by Nicolas Trudgian Signed by Nicolas Trudgian, Dennis David & One Other 1998 First Edition Hardback Book with 96 pages published by David & Charles Spine in Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
Lot 56
JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.
Lot 78
JOSEP ARMET PORTANELL (Barcelona, 1843 - 1911)."Landscape with figures".Oil on canvas.Signed in the lower left corner.Measurements: 61 x 100 cm; 84,5 x 124 cm (frame).An outstanding painter and lithographer, Armet cultivated landscape, genre, portrait and decorative painting. He began his training at the La Lonja School of Fine Arts in Barcelona, where his teacher was Ramón Martí Alsina. In the early 1960s he moved to Rome to further his studies, where he became friends with Mariano Fortuny. He submitted works to national and local exhibitions and was awarded an honourable mention at the National Exhibition of 1864 and a third medal at the 1866 edition. He also exhibited regularly at the Sala Parés in Barcelona from 1877 onwards. In 1872 he was awarded a prize at the Official Exhibition in Le Havre, France, and in 1878 he took part in the Universal Exhibition in Paris. In the field of lithography, in 1866 he produced a series entitled "La juventud pintada por sí misma" ("Youth Painted by Itself") along the lines of Eusebio Planas, the publication of which was banned. As a decorator, the paintings he produced for the Café del Liceu in Barcelona are particularly noteworthy. At first his language followed the style of the Olot School, a town to which he had moved in 1870 to escape the yellow fever, together with the painters Urgell, Caba and others, actively collaborating with his colleagues in the consolidation of the Centro Artístico Olotino (Olot Artistic Centre). For his landscapes he took sketches from life, which he then transferred to oil, sifting them with artificial light. His style during these years is part of Catalan realist landscape painting, with appreciable Roman influences in his technical preciosity. However, during his last years his style evolved along lines that were linked to the work of Ramon Casas and the first Picasso. He turned his gaze towards contemporary street themes, featuring ordinary people, and his brushstrokes acquired a greater looseness and gestural sense. Josep Armet is represented in the Museo del Prado and the Museo Provincial de Girona, among other public and private collections.
Lot 112
Bouncing with Bartok The Incomplete Works of Richard Twardzik by Jack Chambers 2008 First Edition Softback Book with 310 pages published by The Mercury Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
Lot 121
Oxford Studies of Composers Avro Part by Paul Hillier 1997 First Edition Softback Book with 219 pages published by Oxford University Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99
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105409 item(s)/page