We found 534325 price guide item(s) matching your search
There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534325 item(s)/page
Lot 370
ALDIN (Cecil) Time I was Dead, 1934, 8vo, author's inscription, light foxing, dust jacket chipped; Handley Cross, 2 vols., no date, thick 8vo, numbered edition of 250, vellum backed cloth, uncut; Cathedrals and Abbey Churches of England, no date, no.85/375 copies, 4to, tipped in plates, captioned guards, vellum backed (4)
Lot 181
LYSONS (Rev Daniel and Samuel) Magna Britannia, Buckinghamshire, 3 vols., 1813, 4to, with added titles dated 1824, 13 plates including map as called for, and extra-illustrated with 106 portraits and 53 details of architecture etc, with some stubs evident from previously removed plates, some offsetting and light foxing, fine later 19th century dark red half morocco gilt spines, armorial bookplate of Frank Shuttleworth
Lot 189
Architecture and design including PUGIN MICHAELIS (A) Der Parthenon, 2 vols., 8vo (text vol.) and folio plate vol., Leipzig 1871, 15 double page plates as called for, some light foxing, half morocco, rubbed, ex Repton School Library, with stamps; PUGIN (A W N) Gothic Furniture, Ackermann & Co 1835, 4to, etched title and 24 plates, bound without text, cloth, rubbed; Details of Antient Timber Houses, 1836, 4to, etched title and 21 plates, tape repairs to hinge, cloth, rubbed; [PARKER (John H)] A Glossary of Terms used in... Gothic Architecture, 3 vols., 5th edition 1850, 8vo, circa 264 plates and frontispieces, tile plates in colour, scattered light foxing, quarter morocco; SPIERS (R P) The Orders of Architecture, Batsford 1902, 4to, cloth (8)
![GAMBADO (Geoffrey) [pseud. of Henry Bunbury] An Academy for Grown Horsemen, 3rd edition 1808, 4to, 12 etched plates; bound w](https://cdn.globalauctionplatform.com/7b0936b9-2115-44c3-af8a-b08c00c385e1/deae99f6-cb8a-4c6d-8541-b09900a8c946/468x382.jpg)
Lot 249
GAMBADO (Geoffrey) [pseud. of Henry Bunbury] An Academy for Grown Horsemen, 3rd edition 1808, 4to, 12 etched plates; bound with - Annals of Horsemanship, 1808, 17 plates, some tears and stains, half morocco, rubbed; CALDECOTT (R) Graphic Pictures, 4 vols. 1883-89, oblong folio, colour printed, some light foxing, pictorial boards; A'BECKETT (G A) The Comic History of England, 2 vols., no date, 20 coloured plates, illustrations, half red morocco (7)
Lot 154
PARDOE (J) Beauties of the Bosphorus, illustrated by W H Bartlett, 1839, 4to, added engraved title, some light spotting, map and 79 plates, all edges gilt, original cloth gilt; TURNER (J M W ) & T GIRTIN. Picturesque Views of English, Scotch and Welsh Scenery, 1873, 4to, portrait frontis and 30 plates, bright cloth gilt (2)
Lot 257
Country pursuits and natural history ANDERSSON (Charles J) The Okavango River: a River of Travel, Exploration, and Adventure, 1861, 8vo, frontispiece and portrait to title, 15 plates, light spotting to first leaves, half calf, tears to spine; TREGELLAS W H) Tourists' Guide to Cornwall, 5th edition 1887, 12mo, folding coloured map by Stanford, cloth; BUCKLEY (A B) Life and Her Children, 1922; Winners in Life's Race 1923, both in cloth gilt; SWALES (F) Driving as I found it, 1891, 8vo; various others, mainly later 19th century
Lot 212
CRUIKSHANK (George) Illustrations of Time, 1827, oblong folio, etched title and 6 plates, 4pp. publisher's catalogue (8vo) at beginning, some dust staining and light foxing, chipped paper wraps; ROWLANDSON (T) Caricature Etchings illustrating Boswell's Tour to the Hebrides, circa 1850, folio, 18 loose plates (of 20) including frontis after the originals of 1786, original cloth boards (2)
Lot 87
BOYLE (Robert) An Essay of the Great Effects of even Languid and Unheeded Motion. Whereunto is Annexed an Experimental Discourse of some little observed Causes of the Insalubrity and Salubrity of the Air and its Effects, 2 parts in one, London: Sam. Smith, 1690, small 8vo, cancel title pages, first part title with small nick to margin, bound without blanks I7 & I8 in first part but with final blank to second part, H6 with closed tear at head with loss of a couple of letters, a little light spotting, front endpaper with small losses, armorial bookplate of P. Starkie, near contemporary calf, spine with red label, a little rubbed.Fulton p. 107; Krivatsy 1716; Wing B3950. Reissue of the 1685 expanded edition and an important early work on thermodynamism.
Lot 141
OVID Les Metamorphoses D'Ovide, en Latin et Francois, in 4 vols., Paris: chez Delalain / Panckoucke, 1767-71, small 4to, translated by Abbe Banier, plates after various hands numbered 1 to 140, (pl.1 the engraved title, but lacking plate no.9), with half titles, 3pp. engraved dedication and final imprint plate, engraved vignettes, some uniform light marginal spotting and toning throughout, fine full red morocco gilt spines, all edges gilt
Lot 89
MONTAGU (Richard) Diatribae upon the First Part of the Late History of Tithes, 1st edition, London: Felix Kyngston for Matthew Lownes, 1621, 8vo, lacks engraved title before printed title, woodcut initials and ornaments, Y1 with marginal repair, B1 reinforced at gutter, and at front and rear, a little light soiling, early ownership signature of Matthias Swallow, later signature of Ed. Grove dated 1723, contemporary limp vellum, spine with manuscript title, lacking ties, some soiling; FELIX (M. Minucius) Octavius & Caecilii Cypriani De Idolore. Paris 1643, small 4to, title in red and black, stained limp vellum (2)
![TOLSTOY (Count Leo) War and Peace, in 4 vols. London: Walter Scott, [c.1889], 8vo, light foxing, original blue cloth gilt](https://cdn.globalauctionplatform.com/7b0936b9-2115-44c3-af8a-b08c00c385e1/570cc141-73cc-4936-94b7-b09900a90c7d/468x382.jpg)
Lot 707
A Small Selection of High Value Egypt Stamps, including SG460 unmounted mint (with dealer's stamps on reverse), SG 185/SG 2186 fine used (with clear 'Graf Zeppelin'CDS, SG 188 unmounted mint (light toning on reverse), SF 1669 (light mounted mint - misperf), SG 456 (unmounted mint block of 6 with inverted overprint), interesting lot.
Lot 258
SELECTION OF MILITARY BADGES AND MEDALSincluding a WWI victory medal, The 1934-1945 Star, various ribbons, two brass RAF cap badges, Royal Scots Fusilliers badge, Royal Engineers badge, Light Infantry badge, Air Raid Precautions badge boxed, Prisoner Of War Help badge and two card WWI RAF identity tags for 981919 A.C.Gibson
Lot 6206
Five parts of antique Dutch pottery. Miscellaneous. 1x Jug, light floral decor, Gouda, painter MB, restoration of foot edge. 1x Amphora polychrome, floral/grape decor, Gouda Regina, WB MDB, one ear glued. 1x Flowerpot, polychrome, Arnhem, good. 1x Milk jug, Carel Schoonhoven, chips. 1x Ear vase, Schoonhoven, chip. Size: 15 - 37 cm. In fair/good condition.
Lot 1162
(Combe,W.).: The English Dance of Death. 2 Bde. (Und:) The Dance of Life. Zus. 3 Bde. London, Ackermann 1815-17. Mit 2 gest. Titelbl. mit kolor. Vign., 2 gest. kolor. Front. u. zus. 93 (von 96) kolor. Aquatinta-Taf. v. T. Rowlandson. VII, 293 (von 295) S., 2 Bl.; 1 Bl., 295 (von 299) S., 2 Bl.; 2 Bl., 285 S., 2 Bl. Spät. Hldrbde. mit Rsch. Tooley 410 f. Erste Buchausgaben. - I. In Bd. 1 fehlen die Texts. 85-86 und die Tafel The Quack Doctor, in Bd. 2 die Texts. 1-4 u. die Tafeln The Toastmaster und The Law Overthrown. - Tls. leicht fleckig u. Tafeln mit etw. Abklatsch, 1 Index-Bl. unterl., Titel u. Front. zu I. etw. gebräunt, Vors. erneuert. - First book editions. - Missing: In vol. 1, text pp. 85-8 and the plate The Quack Doctor; in vol. 2 the text pages 1-4 and the plates "The Toastmaster" and "The Law Overthrown." - Some light spotting and plates with some rubbing, 1 index-page underlaid, title u. Front. to I. somewhat browned, endpapers renewed.
Lot 344
JAMES WHITELAW HAMILTON RSA RSW (SCOTTISH 1860 - 1932), WESTMORLAND oil on canvas, signed, titled label versoframedimage size 56cm x 69cm, overall size 78cm x 92cm Labels verso: T. &. R. Annan & Sons, Ltd., Glasgow.Note: James Whitelaw Hamilton was born on 26 November 1860, the eldest child to wood turner James Hamilton and his wife Mary Stevenson of 1 Morris Place Glasgow. His parents moved the family to Helensburgh and lived at Thornton Lodge, 107 Sinclair Street, Helensburgh. Whitelaw Hamilton displayed an aptitude for painting at an early age, and after studying in Glasgow, he moved to Paris and studied at the studios of Pascal-Adolphe-Jean Dagnan-Bouveret and Aimé Morot, both considered leading lights of the 19th Century French Movement - specialising in landscapes and portraiture. Whitelaw Hamilton's landscapes have a rugged and raw quality but he did not limit his work to one medium being equally successful using oils, pastels and watercolours. Not surprisingly, given Helensburgh's reputation as a centre for artists, Whitelaw Hamilton became friends with the Glasgow Boys. In 1884, he joined Guthrie, Henry, Crawhall and Melville at Cockburnspath. EA Walton, who spent his winters at Thornton Lodge, and James Guthrie were to remain friends with Whitelaw Hamilton throughout their lives. They shared similar ideals and spent many years in Helensburgh recording the urban lifestyle of the wealthy residents in the town. Whitelaw Hamilton married Lillian Millar Shaw of 12 Lynedoch Place, Glasgow at St Mary's Episcopal Church on 9 September 1891. He and Lillian took residence in the Grange, 23 Suffolk Street, Helensburgh, the home that he was to remain in for the rest of his life. Whitelaw Hamilton exhibited abroad as often as he did at home. He became a member of the Munich Secession and won a gold medal at the Munich International Exhibition in 1897. He became a member of the New English Art Club in 1887, a member of the Royal Scottish Academy in 1922 and a member of the Royal Scottish Society of Painters in Watercolours in 1895. He also held the position of Hon. Secretary, Royal Glasgow Institute of the Fine Arts. He suffered personal loss in 1918, when his son Lt. Arthur Leslie Hamilton was killed in action in Mesopotamia on 25 October, serving with the 1st Highland Light Infantry. A portrait of his son was completed by James Guthrie and is held within the collection of the Glasgow Art Gallery. James Whitelaw Hamilton died in Helensburgh on 16 September 1932 aged 71. His work is represented in Glasgow Art Gallery, Perth Art Gallery, City of Edinburgh Collection, Lillie Art Gallery, The Hunterian, Perth & Kinross Council, Kirkcaldy Museums & Galleries, Paisley Museum & Art Galleries, Dundee Art Gallery, Kelvingrove, The Royal Scottish Academy, Walker Art Gallery, Weimar Art Gallery in Germany and other public collections.
Lot 293
BESSIE ELLEN DAVIDSON (AUSTRALIAN 1879 - 1965), ROSES BLANCHES oil on board, signed, titled versoframedimage size 33cm x 40cm, overall size 41cm x 48cm Note: Bessie Ellen Davidson was born in 1879, in Adelaide, Australia, to a family of Scottish and English origin. She was the second child of David Davidson, who was in the mining industry, and Ellen Johnson Davidson. Her great-grandfather, William Gowan was a sculptor, and her grandmother Frances Gowan was a painter. She was educated at the Advanced School for Girls, studied art with the painter Rose McPherson (better known as Margaret Preston) and began exhibiting with the South Australian Society of Arts in 1901. In 1904, after her mother's death, she went to Europe to study art with Preston. They spent the first few months in Munich, where Davidson studied briefly at the Künstlerinner Verein, before moving to Paris. There she studied at the Académie de la Grande Chaumière, where she met and began a lifelong friendship with Philippe Besnard's future wife, Germaine Desgranges. A year after her arrival in France, she was exhibiting at the Salon de la Société des Artistes Français and the year after that at the Société Nationale des Beaux-Arts. In 1922 she would become the first Australian woman elected a member of the Société Nationale des Beaux-Arts. She was also a founding member of the Salon des Tuileries at which she would exhibit almost every year between 1923 and 1951. Returning to Australia in 1907, Davidson rented a studio with Preston and continued painting and exhibiting. In 1910 she returned to Paris and set-up a workshop in Monparnasse in the same street as Raymond Legueult and the Dutch painter Conrad Kickert. She made many other friends in Parisian art circles, including the painter Anders Osterlind. Davidson travelled to Australia in 1914 and was there when World War I began. She returned to France immediately, where she joined the French Red Cross and served in various military hospitals. During the war, she met the woman who would become her companion for the next two decades, Marguerite Leroy (d.1938), whose nickname was Dauphine. The postwar period to 1920 saw Davidson producing quiet, intimate, loosely impressionistic paintings - mostly interiors, still lives, and portraits - in muted tones. Her style evolved in a more vigorous direction in the 1920s and 1930s, with vibrant, dramatic colours laid on with a palette knife. She travelled around Europe, Russia, and Morocco making outdoor sketches that she used as the basis for later studio works. Her landscapes are notable for their quality of light and sense of atmosphere. In 1930 Davidson was a founding vice-president of La Société Femmes Artistes Modernes. She was also a founding member of the Société Nationale Indépendentes and a member of the Salon d'Automne. In 1931 she was the first Australian woman appointed to the French Legion of Honor. She exhibited widely with such artists as Mary Cassatt, Tamara de Lempicka, Camille Claudel, and Suzanne Valadon. Although still a citizen of the British Commonwealth, Davidson decided to stay in France during World War II. She lived with friends in Grenoble and some sources say that she was a member of the French Resistance. Her paintings from this period are strong, bright, and lively. In 1945, she returned to her old studio in Paris, occasionally spending time at a farm she bought near Rouen. In the postwar period she painted mostly outdoors on small wood panels. She died at Montparnasse in France in 1965 and was buried in Saint-Saëns.
Lot 208
AFTER GIOVANNI BATTISTA PIAZETTA (ITALIAN 1682-1754) ABBATI ANGELO MARIAE LABIA; COMMITI ANTONIO ABBATI CONTI - A PAIReach: etching by Joannes Cattirisome light staining both: 42 x 32cm; 16 1/2 x 12 1/2in49.5 x 39cm; 19 1/2 x 15 1/2in (framed)(2)Property of a European Collector ProvenanceChristopher Gibbs, London*offered for sale without reserve
Lot 292
KEITH BROCKIE (BRITISH B.1955) KITTIWAKESsigned Keith Brockie lower right; numbered 51 lower left; inscribed Kittiwakes, drawn as they were resting on their nest ledgers, 5th & 6th April 1983./They spent most of their time sleeping, occasionally waking up for bouts/ of frenzied display. The above birds were drawn in the shade compared to/ the lower birds with the lovely interplay of light and shadow lower centrepencil, crayon and watercolour29 x 20.5cm/ 11 1/2 x 8in 44.5 x 36cm/ 17 1/2 x 14 1/4in (framed)Property of a Lady*offered for sale without reserve ARR may apply
Lot 53
John Maclauchlan Milne RSA (British, 1885-1957)Corrie, Arran oil on canvas72 x 89cm (28 3/8 x 35 1/16in).Footnotes:ProvenanceThe artist's wife (according to the Duncan R. Miller label on the reverse).With Duncan R. Miller Fine Arts, London.Anon. sale, Sotheby's, Gleneagles, 1 September 1992, lot 1049.John Maclauchlan Milne moved from Dundee to the Isle of Arran in 1940. He had favourite views that he painted several times, most of these near his home at High Corrie. As Maurice Millar stated 'he does not seem to have ventured far in looking for landscapes of Arran to paint.' (M.N. Millar, The Missing Colourist: the search for John Maclauchlan Milne, RSA, 2022, p. 103).He applied his skills that were honed during his time in France and mastered his use of light. The paintings nearly always show bright days and beautiful blue water. His work from this period is free and often experimental in structure, with definite hints of Van Gogh in his brushwork and compositions, who was an artist he greatly admired.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 48
John Duncan Fergusson RBA (British, 1874-1961)Yachts, 1927 signed and dated 'J.D.FERGUSSON/1927' (verso)oil on canvas56 x 61.5cm (22 1/16 x 24 3/16in).Footnotes:ProvenanceWith Alexander Reid & Lefevre, Ltd., London.Anon. sale, Sotheby's, Edinburgh, 23 March 1993, lot 278.Of the Scottish Colourists, Fergusson had the most intense and enduring connection with France. From Paris, Fergusson journeyed to the South of France in 1913, where the colour and subject matter he found there informed his painting and sculpture for the rest of his career. Fergusson's work grew bolder, livelier and encapsulated the exuberant enjoyment of life that was found there.Fergusson settled on the Cap d'Antibes, then a quiet backwater, deserted in summer. He had met the dancer Margaret Morris in Paris. In one of his first letters to her he wrote:'...the place here has given me a new start, a different feeling altogether about painting, or rather it has given me what I've been trying to make out of nothing – the colour, the shapes, everything that I was developing by sheer sweat and labour is here. The light that one snatched with excitement when it happened once in a blue moon, is here even in winter.' (Margaret Morris, The Art of J.D. Fergusson: A Biased Biography, Glasgow, 1974, 2010 edition, p. 76)The outbreak of the Great War in 1914 forced Fergusson to return to Britain. As soon as the war was over, in 1918, Fergusson resumed his visits to the South of France which continued to provide the main subject matter for his paintings.This reintroduction to the South of France inspired Fergusson's work and he embarked on a series of female nudes and dazzling coastal landscapes, both major themes which encapsulated the joie de vivre of the period. By 1927, Fergusson was arguably at the peak of his career, producing some of his finest work that would go on to support no fewer than four solo exhibitions in 1928 - Chicago at the Chester Johnson Gallery, London at Reid & Lefevre, Glasgow at Reid & Lefevre and New York at C.W. Kraushaar Galleries.Moving away from his earlier, more overtly Impressionist-inspired landscapes, Fergusson explored a bolder, new style where line and form played a more dominant role alongside colour. He approached the landscape by using a precision of pattern and design, focusing on geometric values and strong spatial divisions. Although his carefully constructed composition and energetically applied paint (using small, repetitive and vibrant brushstrokes to build complex fields of colour) have obvious hints of Van Gogh's or Cézanne's style, the hand of Fergusson remains pure and authentic.The present work is an outstanding example of Fergusson's ability to create movement at the same time as serenity, through a masterful use of shape and colour. It demonstrates a unique combination of the latest artistic techniques emanating from France at the time, combined with Fergusson's Scottish heritage, resulting in a bold and exciting modernism, up until that point had not been seen in Britain.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 93
Samuel John Peploe RSA (British, 1871-1935)Eilean Annraidh from the North End, Iona signed 'Peploe' (lower right)oil on board37 x 44.5cm (14 9/16 x 17 1/2in).Footnotes:The island of Iona was a hugely significant location within Peploe's painting life. Having visited for the first time in 1920, he returned almost every summer until his death in 1935, often accompanied by his friend and fellow painter, F. C. B. Cadell. The island is a place of great spiritual resonance and beauty, and it is this, paired with its rapidly changeable light and weather, which charged the landscape with an energy the artists were keen to capture in paint. In this place, the sand, sea, rocks, and distant coastlines provide an endless subject matter which Peploe clearly delighted in trying to bring to life in his work.The present lot shows a view from the North End with the small island of Eilean Annraidh and its stretch of beach visible. In the foreground Peploe has focussed on a particularly prominent rocky feature which he has captured through spontaneous lines to give both form and weight. In the distance one can see the Isle of Mull and the entrance to Loch Na Kiel. In Peploe's still lifes the palette is often dominated by bright bold colours and there is a clear desire from him to reach a degree of compositional perfection. In contrast to this, his Iona views feel refreshingly spontaneous in their composition, and they highlight his ability to work in a cool palette of blues, greens, and pinks. The present lot showcases these aspects of Peploe's work, whilst celebrating all those features of Iona which he loved so much.For further information on this lot please visit Bonhams.com
Lot 118
Pierre Molinier (1900-1976)Grande Poupée - Sculpture-modelage, 1957-1958 Poupée de 112 cm de hauteur comprenant 3 parties :- Tête de poupée : 28 cm de hauteur.- Tronc et jambes coupées à mi-cuisses : 84 cm de hauteurModelage sur une armature de bois, plâtre enduit et peint couleur chair. Visage maquillé, yeux provenant d'un taxidermiste.- Main droite empruntée à un mannequin de vitrine, avec bague au doigt et ongles postiches, jarretière au poignet et gants.La poupée porte une perruque, une voilette, un corsage de dentelle, foulard, culotte, porte-jarretelles, boucle d'oreille, veste de velours cousue par Molinier.On Joint : trousseau de la poupée contenu dans une mallette à fermeture-éclair, intérieur rouge : deux perruques en cheveux, une claire et une foncée ; un collant noir ; trois paires de bas ; une tunique noire transparente, une culotte noire ; un bandeau en tulle, etcDoll of 112 cm in height including 3 parts :- Doll head: 28 cm high.- Trunk and legs cut to mid-thighs: 84 cm highModeling on a wooden frame, plaster coated and painted flesh-colored. Face made up, eyes from a taxidermist.- Right hand borrowed from a shop window mannequin, with ring on the finger and hairpiece nails, garter on the wrist and gloves.The doll wears a wig, a veil, a lace bodice, scarf, panties, garter belt, earring, velvet jacket sewn by Molinier.We attach: the doll's keychain contained in a zipper case, red interior: two hair wigs, one light and one dark; black tights; three pairs of stockings; a transparent black tunic, black panties; a tulle headband, etcFootnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 62
Pierre Molinier (1900-1976)Chambre photographique et châssis-presse de Pierre Molinier avec tirage de 'Hanel 2', planche 51 du 'Chaman et ses Créatures'. 1. Chambre photographique à soufflet en acajou, serrures et poignée en métal, verre dépoli, objectif Copal 210 mm, trépied en bois.2. Châssis-presseLe châssis-presse est resté « chargé » tel que trouvé dans l'atelier à la mort de Molinier. - passe-partout noir 24 x 30 qui permet la marge blanche sur épreuve,- filtre (feuille de rhodoïd) destiné à adoucir la lumière,- négatif entièrement retouché à la mine de plomb (véritable dessin à même le négatif),- photomontage original de Hanel 2 (1968), épreuve de référence couverte d'annotations au dos.1. Photographic chamber with bellows in mahogany, metal locks and handle, frosted glass, 210 mm Copal lens, wooden tripod.2. Frame-pressThe press-chassis remained 'loaded' as found in the workshop at Molinier's death.- 24 x 30 black passe-partout which allows the white margin on the proof,- filter (rhodoïd sheet) intended to soften the light,- negative completely retouched in pencil (real drawing directly from the negative),- original photomontage of Hanel 2 (1968), reference proof covered with annotations on verso.Footnotes:ProvenanceCollection particulière, France« À notre connaissance, à la fin de la Grande Guerre, Molinier, alors âgé de dix-huit ans, n'avait aucun matériel à sa disposition et ne pratiquait pas la photographie. Il est possible cependant que la chambre à bouchon, qu'il modifiera par adjonction d'un objectif Copal, ait appartenu à son père, voire à son grand-père (...).À l'aide de manuels (...) Molinier s'initie seul à la prise de vue, au développement, au tirage. Il utilise la chambre en bois 18 x 24 à soufflet avec des intermédiaires 13 x 18 et 9 x 13. Il met au point et cadre sur le verre dépoli qui coulisse grâce à une molette. Une fois l'objectif fermé, il ouvre le volet du chargeur, va se mettre en place et déclenche à distance avec une poire. Jusqu'à la fin des années cinquante, il utilise des plaques de verre....Comme il n'a pas d'agrandisseur, il s'est fabriqué un châssis-presse. C'est un cadre grossier en bois brut, de 36 x 30 cm, muni d'une vitre et d'un fond amovible doublé de velours qu'on referme en faisant pivoter une règle dont les extrémités se bloquent dans des encoches. Molinier le charge en disposant contre la vitre un passe-partout de papier noir (de façon à obtenir une marge blanche au tirage), puis une feuille translucide - papier coloré ou rhodoïd couvrant toute la surface interne du cadre et servant de filtre -, puis tel ou tel cache découpé selon la forme recherchée, puis le négatif - qui coïncide avec l'ouverture du passe-partout - et enfin le papier sensible (18 x 24). Le « sandwich » terminé, on referme le châssis et on aborde la phase suivante, sous l'ampoule du couloir. Les temps d'exposition dépendront de la force de l'ampoule (75 ou 100 W) et de la distance entre elle et le châssis-presse. Pour s'y retrouver, Molinier recourt à des repères morphologiques. Le châssis peut être placé sur la tête ou tenu à hauteur de la poitrine, du ventre, des genoux, voire carrément posé au sol.' J-L Mercié 'Pierre Molinier', éd. Kamel Mennour.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1
SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945) Sir William Rothenstein (lots 1-13) and Albert Rutherston (lots 14-23)IntroductionRaised in Bradford as two of six children of Jewish immigrants, William and Albert both achieved considerable influence at the very heart of the British art establishment. Amongst their many and remarkable strengths they were painters, printmakers, illustrators, teachers, administrators, gallerists and, in William’s case, an accomplished and prolific writer. William was the first to move south to study under Alphonse Legros at the Slade (1888-89) before attending the Académie Julian in Paris (1889-1893) (lots 1-8), where he was encouraged by Whistler, Degas and Toulouse-Lautrec and befriended Rodin. Albert followed him a decade later to the Slade, where by then Fred Brown was professor, assisted by Henry Tonks, Philip Wilson Steer and Walter Russell. The youngest student by far, Albert fell in with a gilded set of like-minded spirits, in particular Augustus John and William Orpen. The young trio was dubbed by William ‘The Three Musketeers’. Albert went on to win separate prizes for both drawing and painting and was awarded a Slade scholarship. On his return from France William established himself as a talented portraitist illustrating Oxford Characters in 1896 with twenty-four lithographs. It was one of several collections of portraits depicting men and women of distinction that William would produce. In 1900 William’s painting The Dolls House (after Ibsen’s eponymous play), won a silver medal at the Exposition Universelle in Paris, the same year as his book on Goya was published. Such foreboding influences, however, contrasted with the many happy and light-filled works he produced following his marriage to Alice Knewstub in 1899. (lots 9 & 10). For Albert and his fellow ‘Musketeers’ the new century heralded trips to France. There he met Walter Sickert and shared holidays with William, Spencer Gore and Slade teacher Walter Russell. In London Albert thrived on Fitzroy Street and exhibited with William, Sickert, Gore, Russell and Harold Gilman. Sickert recalled their efforts ‘to create a Salon d’automne milieu in London’. Towards the end of the 1910s Albert turned increasingly to decorative designs. In 1911 he collaborated with Roger Fry on large scale murals for Borough Polytechnic (lot 20) and worked on a number of designs for the ballet and theatre (lots 14-16). He changed his name to Rutherston in 1916. After the War he married Marjory Holman, taught at Camberwell School of Art, and the Oxford School of Drawing, Painting and Design, and was appointed Master of the Ruskin School of Art (1929-49). A late but important influence in his life was the young model Patricia Koring whom he met in 1938. From the First World War on William’s work revolved around painting, teaching and writing. During 1917-18 he spent six months as an official War artist at the Front (lot 12), and was briefly visiting Professor of Civic Art at Sheffield University. In 1920 he became Principal of the Royal College of Art in London and was knighted in 1931. As well as Goya, among William’s publications were three fascinating volumes of memoirs. William’s sons carved out their own influential paths in the Arts. John (1901-92) his eldest, became director of the Tate Gallery (1938-1964), wrote Modern British Painters (1956) and was knighted in 1952. Michael (1908-1993) became a highly accomplished painter and print maker (lots 24-30).SIR WILLIAM ROTHENSTEIN (BRITISH 1872-1945)PROFILE OF PAUL GERVAISinscribed P Gervais lower right charcoal with white chalk36.5 x 23cm; 14 1/4 x 9in41.5 x 34cm; 16 1/4 x 13 1/4in (framed)Executed in Paris circa 1890. The painter Paul Gervais (1859-1944) was a teacher at the Académie Julian where Rothenstein studied from 1889-1893. A pupil of Jean Léon Gérôme, Gervais was known, and occasionally rebuked, for his depictions of sensuous nudes. Prominent commissions included Les Graces Florentines for La Salle Blanche in the Casino de Monte-Carlo and the Salle Empire in the Hôtel de Paris, Monte-Carlo.
Lot 40
HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) Hans Feibusch (lots 40-65)IntroductionTo stand before an empty wall as in a trance… to let shapes cloudily emerge, to draw scenes and figures, to let light and dark rush out of the surface, to make them move outward or recede into the depths, this was bliss. The son of a Frankfurt dentist, Feibusch had fought for the Kaiser in the First World War, emerged alive from the Russian Front, and had studied with Carl Hofer in Berlin and with fauve painter Emil Othon Friesz and cubist André Lhote in Paris. Come the 1930s he had a dealer in Berlin, had exhibited widely, and been awarded the German Grand State Prize for painting by the Prussian Academy of Arts. But Hitler’s rise to power threatened it all. In a meeting of the Frankfurter Künstlerbund which he attended in 1933, a new member appeared in Nazi uniform, jumped on a table and pointing at the Jews with his riding crop said: ‘You’ll never show again’. It was the moment Feibusch determined to emigrate. Arriving in London Feibusch had his first one-man exhibition at the Lefevre Gallery, and was soon a member of the London Group. Further exhibitions with Lefevre followed; then in 1938 he completed his first large scale mural: Footwashing in the Methodist Chapel, Colliers Wood. It was a commission that would result in Feibusch becoming the leading muralist in Britain. Working both for the Church of England and local municipalities, over the next thirty-five years he decorated some forty plus churches and a range of civic buildings and private houses across England and Wales. His work contributed hugely to the re-generation of public buildings after the War and the debate on art in public places. But it also took him away from the Mayfair-centric contemporary art world and its critics, and thus to a large extent out of the public eye. After his last exhibition at the Lefevre Gallery in 1951 he didn’t have another commercial gallery show until the late 1970s. Instead Feibusch threw himself into large scale mural projects, designing the decorations for the tea room at the Victoria & Albert Museum in 1946 (lots 52-54), and championed by George Bell, Bishop of Chichester, embarked on a series of commissions to decorate bomb-damaged churches that were being restored and re-built. These included painting the Ascension above the altar at All Saints, Plumstead (lot 62); Angels with Children for the baptistry of Christ Church and St Stephen’s, Battersea (lot 60) and the Baptism of Christ for Old Saint George’s Baptist Church, Plymouth (lots 61). Feibusch also wrote Mural Painting a treatise on the history, theory and technique of the art in 1946, and wrote the foreward for the catalogue of the first exhibition of the Society of Mural Painters held in 1950. A consummate draughtsman, Feibusch evoked bomb-damaged London with a keen eye and in unnerving detail (lots 49 & 50); a natural colourist, he responded to the light of his surroundings on his travels with a breathtaking freshness and immediacy (lots 57 & 58); and he applied visual humour to his commercial designs (lot 55). But above all it is the manner in which he places the human form at the heart of his work with such innate fluidity that leaves an abiding impression on the viewer and makes his work so compelling today. Exhibition Reference: The full details of the travelling exhibition abbreviated in lots 40-65 is: Chichester, Pallant House Gallery; London, Ben Uri Art Gallery; Northampton, Museum and Art Gallery; Eastbourne, Towner Art Gallery; Newport, Museum & Art Gallery, Hans Feibusch, The Heat of Vision, 1995-96HANS FEIBUSCH (GERMAN-BRITISH 1898-1998)PORTRAIT OF LUTZ FEIBUSCHsigned and dated H Feibusch / 1917 lower rightred chalk41 x 31cm; 16 x 12 1/4in46.5 x 36.5cm; 18 1/4 x 14 1/4in (framed) Lutz Feibusch, the artist's brother, was tragically killed in an avalanche while skiing in 1929. ARR may apply
Lot 967
VELVET UNDERGROUND - CONCERT FLYER, OCTOBER 23-25, VULCAN GAS COMPANY, AUSTIN WITH OTHERS art by Jim Franklin, another design printed verso: Infamous Oat Willie's Made a Big Move [...] with stylised border and map, framed and behind perspexvisible dimensions 26cm x 20.3cmAppears good, some very light creasing and waviness, please note the map printed to the reverse
Lot 965
VELVET UNDERGROUND - WHITE LIGHT/WHITE HEAT HANDBILL, JANUARY 30 1968 ISSUED BY VERVE RECORDS framed and behind perspexvisible dimensions 26.5cm x 20cmNumerous creases, loss to upper right corner visible from reverse, small fold to another corner, surface marks and scuffs, paper somewhat wavy, images available but do hear in mind nitedbissues are difficult to demonstrate on camera
Lot 962
VELVET UNDERGROUND - CONCERT FLYER, AUGUST 11-12 1967, BOSTON TEA PARTY, BOSTON WITH THE FREEBORN art copyright Lightship Prod., framed and behind perspexvisible dimensions 26.5cm x 20.5cmSome light creasing, some light browning to lighter areas, some surface imprints lower section, particularly lower left and lower right where the surface is uneven and looks to have been pressed or pushed at some point, some creasing to these areas also, sporadic surface marks or spots, slight waviness to paper, otherwise no major issues to note, images available
Lot 954
(ANDY WARHOL'S) VELVET UNDERGROUND - CONCERT POSTER, 1967, THE TRAUMA, PHILADELPHIA WITH OTHERS psychedelic art by Karen Fritz, on textured paper, framed and behind perspexvisible poster 40.5cm x 31cmAdditional images available.From careful assessment and comparison we believe these items to be original; additional images have been provided and we are happy to assist further as best we can to aid the process through verbal correspondence, additional images and video if needed.some wear to corners and edges, visible crease to lower left, some further light creasing and slight surface indents, paper somewhat wavy, mostly visible from reverse
Lot 953
VELVET UNDERGROUND - CONCERT POSTER, JULY 12-13 1968, SHRINE EXPOSITION HALL, LOS ANGELES WITH BUTTERFIELD BLUES BAND, SLY & FAMILY STONE, ROCKETS art by Neon Park, framed and behind perspexvisible poster 65.5cm x 39.7cmThere are creases and some surface imprints, please note these are difficult to capture in images, some either surface scuffs or printing inconsistencies, this includes some spitting and inclusions, some light surface scratches also, paper slightly wavy, images available
Lot 61
COLLECTION OF JEWELLERY, 19TH CENTURY1st: Hardstone cameo pendant/brooch depicting the bust of a woman facing left, with glazed compartment to reverse, 2nd: Double-sided cufflinks set with turquoise cabochons and seed pearls of silver tint, 3rd: A textured leaf brooch set with oval-cut garnets and light yellow gemstone, 4th: Cushion, pear and oval-cut garnets and seed pearl brooch of cruciform design, pearls untested, later pin fittings, lengths: 4.2cm - 5.3cm, cufflink plaque 1.5cm (4)For further information on this lot please visit Bonhams.com
Lot 285
COLOURED DIAMOND AND DIAMOND RINGCushion-shaped diamond, weighing 4.24 carats, between trapezoid-cut diamonds, mounted in platinum, remaining diamonds approx. 0.65cts total, UK hallmark, European convention mark, ring size approx. KFootnotes:IGI: U-V Light Yellow colour, VVS2 clarity, report number 520203695, 1st April 2022.For further information on this lot please visit Bonhams.com
Lot 330
15x WW2 Canadian Printed Regimental Shoulder Titles, including 2x Regiment de Maisonneuve, Essex Scottish, 2x South Saskatchewan regiment, Queens Own Cameron Highlanders of Canada, 2x Black Watch Royal Highland Regiment of Canada, The Royal Regiment of Canada, 2x Fusiliers Mont-Royal, Royal Hamilton Light Infantry, Lorne Scots, Canadian Infantry Corps and The Elgin regiment. Various conditions. (15 items)
Lot 325
10x WW2 British Printed Regimental Shoulder Titles, all being white on red for Somerset LI, South Staffordshire regiment, Herefordshire regiment, Welch regiment, KSLI, Durham LI, Dorset regiment, Duke of Cornwall’s Light Infantry, Border regiment and Kings Own Scottish Borderers. All being uniform removed examples.
Loading...-
534325 item(s)/page