Key‘Melanin’Acrylic paint with mosaic tileMeasures: 229 x 50 x 209cmApprox weight: 57kgMelanin the living spectrum.It’s much more deeper than the colour in our skin, it’s what connects us to everything from the outside and within, It is a biochemical polymer that drives our physical, mental, emotional and spiritual life. It takes on diverse forms throughout nature, from soil to plants, animals and the atmosphere.Within and outside us, it allows us to absorb energy, like how we process the suns energy into nourishment for our bodies, in plants this is called chlorophyll.From sound to light and much more, melanin transforms this energy into vitality for us to thrive. Melanin is our connection to life.Melanin has spent the summer welcoming people outside of the SS Great Britain and now enters the auction in pristine condition. Please note that Melanin is unvarnished due to the matte finish of the paint and the look the artist wanted to achieve.
We found 534297 price guide item(s) matching your search
There are 534297 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534297 item(s)/page
Bo Lanyon‘The Golden Unicorn’Gold leafMeasures: 229 x 50 x 209cmApprox weight: 57kgThe Golden Unicorn: from hoof to horn, a completely golden Unicorn that will catch the light like gleaming treasure. This Unicorn echoes the one on the roof of City Hall, joining us on the ground where we can properly enjoy it up close. Using genuine metal, the Golden Unicorn will be highly polished and semi-reflective, glinting and shimmering in the sun.The Golden Unicorn spent the summer living at Welsh Back before being returned to auction in pristine condition, finished in a hard varnish. Bo Lanyon’s work explores an entangled landscape of experience. Across sculpture & painting, interconnected navigations of materiality & sensation explore questions around our core human desire to connect. The hand is a recurrent motif in the work, being used as a recognisable symbol for the human in a non-specific way, often speaking to motions, movements & feelings of connection across or through a space. UK Delivery Charges by postcode can be found here: unicorndelivery.tiiny.site
Attributed to Luis González. 17th - 18th centuries."The Immaculate Conception in the Light of the Holy Spirit, surrounded by Saint Francis Xavier and Saint John the Baptist, surrounded by a choir of angels."Magnificent relief in sculpted, polychromed, and gilded Huamanga stone. Saint John of Huamanga (Ayacucho), Viceroyalty of Peru.24 x 18 cm. This magnificent relief bears similarities to works created in Huamanga stone by Luis González, as evidenced by the facial features of the characters and the polychrome. It's worth pointing out that the relief has retained all of its original polychrome. The sculptural treatment is the work of a great master, as demonstrated by the multitude of small and intricate folds that form Mary's mantle and the various physiognomies and expressions of the characters. Huamanga stone is a type of white alabaster with delicate transparencies, and sculptures made from it are named after their place of origin, Huamanga, which is in the Ayacucho region currently. This region gave rise to interesting production of sculptures and reliefs, typically dedicated to the Virgin, Christ, and the Saints.A true sculptural school emerged between the 16th and 17th centuries, influenced by artists from Navarre and Aragon, who were involved in the creation of altarpieces and church altars.A composition very similar to this one, with the Immaculate Conception on an identical crescent moon, surrounded by the symbolism of the litanies, and with the same floral garlands, is kept in the Colonial Art Museum of Bogota. Similar examples can also be found in the Pedro de Osma Museum in Lima. With exquisite craftsmanship, beautiful polychroming, and masterful carving, we contemplate the Virgin as "electa ut sol, clara ut luna," the contemplative and devotional vision of the two Saints. Saint Francis Xavier, who continuously repeated this prayer asking for chastity: "Oh Lady, I commend myself to you and to all the saints now and at the hour of my death, that you may guard me from the devil, from the world, and from the flesh, which are my enemies..." (Document 15, No. 27. Goa, May 1542). He carries the lily of virginity, an iconographic symbol by which he was recognised before his canonisation in 1622. Since then, he has been depicted with the apostle's cross, and the lily became the attribute of another younger Jesuit, Saint Aloysius Gonzaga.Interestingly, Saint John the Baptist appears with a lion emerging from the moon under Mary's feet, a symbol often used to represent Saint Mark. But it makes sense, as he is the first evangelist who speaks of the Precursor and places him at the beginning of his Gospel, "when John the Baptist speaks of a roar in the desert that some relate to the roar of a mighty lion." The artist, it seems, had biblical knowledge in addition to powerful skills in carving and painting.Reference bibliography.: MAJLUF, Natalia y WUFFARDEN, Luis Eduardo: “La piedra de Huamanga: lo sagrado y lo profano” Lima: 1998.
Fleming (Ian) Chitty Chitty Bang Bang, 3 vol., first edition, illustrations by John Burningham, the odd light spot but generally clean internally, original pictorial boards, vol. 1 with light damp-stain to head, light bumping to spine ends and corners, dust-jackets, vol. 1 price-clipped, vol. 2 with closed tears to foot of upper panel, spine ends and corners a little chipped, light creasing to head and foot, rubbing to extremities, 8vo, 1964-65.
George (Waldemar) Picasso. Avec 32 Reproductions en Phototypie, signed presentation inscription from Pablo Picasso "Pour mon bon ami Straboni" to front free endpaper, dated 21.12.72, 32 full-page illustrations, illegible pencil ownership inscription and doodles to front pastedown and free endpaper, lightly toned, the odd spot or light finger-soiling, upper hinge with remains of glue repair, original pictorial wrappers, light browning and surface soiling, spine ends a little chipped, joints rubbed, Rome, 1924 § [Zervos (Christian) and others]. Picasso 1930-1935, plates and illustrations, one in colour, mounted photographic portrait of Picasso by Man Ray with signature stamp in red ink below, portrait with small chip to lower corner without loss, light toning, original printed wrappers, a few chips to spine (one repaired), spine creased and lightly browned, light surface soiling, a few light stains, Éditions Cahiers d'Art, [1936], first editions, 4to (2)
![Greenaway (Kate) Almanack for 1884, some very light offsetting, original pictorial wrappers, [1884]; Almanack for 1925, the o](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/48230532-33de-49d8-8c0a-b08a00e61329/468x382.jpg)
Greenaway (Kate) Almanack for 1884, some very light offsetting, original pictorial wrappers, [1884]; Almanack for 1925, the odd spot, original cloth-backed pictorial boards, some light surface soiling, [1925]; Alphabet, original pictorial wrappers, a few small chips to spine and corners, n.d., colour illustrations by Greenaway, a little rubbed; and others similar, children's or illustrated, v.s. (c.50)
Hill (Oliver) The Garden of Adonis, photographic plates, foxing, generally faint, endpapers toned, original decorative cloth, gilt, spine darkened, rubbing to corners and spine, 1923 § Park (Bertram) and Yvonne Gregory. Living Sculpture, plates, occasional very light foxing, heavier to half-title, original cloth, dust-jacket, price-clipped, repaired tear to upper panel with very small marginal loss, a few other minor nicks or very short tears, edge a little spotted, 1926, first editions, 4to (2)
King (Jessie M.).- Wilde (Oscar) A House of Pomegranates, sixth edition, 16 tipped-in colour plates by Jessie M. King, pastedown with bookseller's label to foot, scattered foxing, margins a little toned, endpapers lightly browned, original decorative cloth, spine a little faded, light rubbing to spine ends and corners, very lightly along joints, slight shelf-lean, 1915 § Arcambeau (Edme) The Book of Bridges, one of 1000 copies, 18 colour plates by Jessie M. King, captioned tissue guards, a couple marginal tears with old and browned glue repairs, including to one tissue-guard, occasional light foxing, very light toning to plates, endpapers browned, original cloth with mounted colour illustration on upper cover, spine gilt but slightly faded, light bumping to spine ends and corners, London and Glasgow, 1911, t.e.g., 4to (2)
King (Jessie M.).- Little Book of Sundial Mottoes (A), reprint, 4 colour plates by Alfred Rawlings, original pictorial wrappers by Jessie M. King, lightly toned, a few light spots or marks, very short tears to spine ends, 1919 § Rossetti (Dante Gabriel) The Blessed Damozel, title and 3 colour plates by Paul Woodroffe, original limp calf with embossed design by Jessie M. King, yapp edges, a little rubbed, [1913] § Browning (Robert) Rabbi Ben Ezra, title and 3 colour plates by W. Russell Flint, original limp red calf with embossed design by Jessie M. King, yapp edges, a little toned, some chipping to head, t.e.g., [1918], some light spotting, T.N. Foulis; and others, many published by T.N. Foulis, many with illustrations or wrappers designed by Jessie M. King, 8vo & small 4to (c.60)⁂ The latter two bound in the deluxe leather alternative to the pictorial wrappers.
King (Jessie M.).- Mummy's Bedtime Story Book, by "Marion", first edition, colour illustrations by Jessie M. King, many full-page, ink ownership inscription to front endpaper, occasional cracking at gutter, occasional very light spotting, original pictorial boards, light creasing to spine with some chipping along joints, some wear to corners, extremities rubbed, joints split but holding firm, 4to, [1929].
NO RESERVE Kipling (Rudyard) Just So Stories, first edition, half-title, illustrations by the author, some light spotting at beginning and end, occasional cracking at gutter, endpapers lightly browned, hinges a little tender, second state pictorial cloth, spine a little sunned and lightly soiled, slight fading to spine lettering and some decoration, chipping to spine ends, extremities lightly rubbed, 4to, 1902.
Lamb (Charles & Mary) Tales from Shakespeare, 10 plates by George Soper, original pictorial cloth, spine lightly faded, dust-jacket, light chips and nicks to corners and spine ends, otherwise excellent, 1929 § Andersen (Hans) Fairy-Tales, reprint, tipped-in plates by Rie-Cramer and L. A. Govey, light spotting, original pictorial cloth, spine ends and corners bumped and frayed, otherwise still bright, 1936 § Mansion (Horace) Old French Nursery Songs, illustrations by Anne Anderson, endpapers lightly spotted, original pictorial cloth, edges faded, dust-jacket, edges and corners chipped, [c.1920]; and 8 others, children's books, v.s. (11)
Leger (Fernand) Cirque, one of 300 copies on velin d'Arches (this copy out of series and unsigned), lithographed throughout by Leger including 33 illustrations in colour (all but one full-page, 3 double-page), and 42 in black and white (some double-page), some very light offsetting as usual, loose as issued in original lithographed pictorial wrappers, uncut, glacine wrapper, original board folder and slip-case, [The Artist and the Book 164; From Manet to Hockney 123], folio, Paris, Teriade, 1950.⁂ A magnificent work, produced entirely by Leger. This copy from the Margaret Winkelman collection, with bookplate (sold at Bloomsbury Auctions, June 2007 £12,000).
McKnight Kauffer (E.).- Bennett (Arnold) Elsie and the Child, one of 750 numbered copies, signed presentation inscription from the artist on limitation page, dated 1936, additional presentation inscription beneath in a different hand, dated 1951, superb pochoir plates and illustrations by E. McKnight Kauffer, bookplate of Norman H. Partridge, a few spots to fore-edge, light browning to endpapers, original cloth, some light spotting and surface soiling, uncut, 4to, Curwen Press, 1929.
Pogány (Willy).- Omar Khayyám. The Rubaiyat Of Omar Khayyam, one of 750 copies from an edition limited to 1250, illustrated by Pogány, with an original etching signed by the artist, 12 tipped-in colour plates, illustrations, ink ownership inscription to front endpaper, light spotting to half-title, otherwise a couple scattered, original crushed teal morocco, decoratively gilt, uncut, within original card box with paper title label to edge, one corner torn, 4to, 1930.
Eragny Press.- Keats (John) La Belle Dame sans Merci, one of 210 copies, printed in red and black with decorative border and initials, erratum slip at end, faint damp-stain to upper corner, pp.xxiii small chip to upper margin, endpapers browned, hinges cracked but holding firm, original floral patterned-paper boards, label on upper cover, toned, some surface soiling, spine lightly bumped at ends and with a few tiny tears without loss, uncut, Eragny Press, [1906] § Lamb (Charles) The Child Angel. A Dream, one of 500 copies, printed in red and black with decorative initials, wood-engraved title vignette and 3 illustrations by Percy J. Smith, ink name to pastedown, very light offsetting, a few faint spots, endpapers lightly browned, original buckram-backed boards, spine toned, light soiling, spine ends and corners very lightly rubbed, Chiswick Press, 1910; and 5 others published by Thomas B. Mosher, v.s. (7)⁂ The first mentioned with the date on the title-page incorrectly stated as "mcxxxxvi" instead of "mdccccvi".
Rackham (Arthur).- Ingoldsby (Thomas) The Ingoldsby Legends or Mirth & Marvels, first Rackham illustrated edition, initialled presentation inscription from the illustrator "E.J.S. from AR" to front free endpaper, dated 26/10/98, with accompanying original ink drawing of a cat's silhouette, 12 colour plates and numerous black and white illustrations by Rackham, tissue guards, inscription offset to half-title, browning to half-title and final f. of text, pictorial endpapers lightly toned, original pictorial cloth, gilt, spine ends a little bumped, very light rubbing to corners and joints, t.e.g., others uncut, 8vo, 1898.⁂ Potentially presented to British illustrator Edmund J. Sullivan (1869-1933).
Rackham (Arthur).- Grimm (Jakob Ludwig and Wilhelm Carl) Fairy Tales of the Brothers Grimm. A New Translation by Mrs Edgar Lucas, colour frontispiece, pictorial title and black and white illustrations, some full-page, by Arthur Rackham, ink ownership inscription to front endpaper, light spotting to fore-edge, spotting to final few text leaves and endpapers, original pictorial cloth, light bumping to spine ends and corners, spine a little toned, lightly rubbed, Constable & Co., [c.1907] § Stephens (James) Irish Fairy Tales, first trade edition, 16 colour plates and black and white illustrations by Arthur Rackham, captioned tissue guards, contemporary ink ownership inscription to front endpaper, some light marginal foxing to plates, endpapers lightly browned and with a few marks, lower hinge tender, original pictorial cloth, gilt, spine a touch faded, a couple small marks to lower cover, light rubbing to spine, a little heavier to corners, 1920; and others illustrated by the same, 8vo & 4to (8)⁂ Rackham's illustrations to Grimm's Fairy Tales were first published by Freemantle in 1900. The first mentioned was issued in same format, but after the sheets and binding were purchased by Constable. Rackham's contribution was expanded for the 1909 Constable edition, also included in this lot.
Rackham (Arthur).- Shakespeare (William) A Midsummer-Night's Dream, third impression, original sketch of Bottom with an imp signed by Arthur Rackham to half-title, dated 20/6/13, presentation inscription above in a different hand "Cedric Glover, with very good wish. G.E.S.", 40 tipped-in colour plates by Arthur Rackham, captioned tissue guards, bookplate of Cedric Howard Glover (offset), a few plates with light creasing to edges, endpapers lightly foxed and toned, lower hinge cracked, original pictorial cloth, gilt, spine toned and a little frayed at head with short tear, light rubbing to extremities, 4to, 1912.
Rackham (Arthur).- Phillpotts (Eden) A Dish of Apples, one of 500 copies signed by Rackham and the author, 3 tipped-in colour plates and other illustrations by Rackham, endpapers faintly browned, original cream buckram, pictorial gilt-stamped, a little light dust-soiling, corners lightly bumped, housed within drop-back cox, cloth, 4to, London & New York, 1921.
Rackham (Arthur).- Hawthorne (Nathaniel) A Wonder Book, first edition, number 141 of 600 copies signed by the illustrator, tipped in plates and illustrations by Rackham, pictorial endpapers very lightly foxed, original pictorial cloth, corners bumped, edges lightly soiled, spine faded, still overall a very bright and clean copy, 1922 § Kipling (Rudyard) A Song of the English, first trade edition, illustrations by Heath Robinson, bookplate, light toning to endpaper, original pictorial cloth, spine ends lightly creased, very light rubbing to lower cover, otherwise remarkably clean, [1909], 4to (2)
Rackham (Arthur).- Poe (Edgar Allan) Tales of Mystery & Imagination, first trade edition, 12 colour plates and black and white plates by Arthur Rackham, captioned tissue guards, pictorial endpapers with skeleton design, some minor toning to colour plates, pp.11-14 with chipping to fore-margin, original pictorial cloth, gilt, spine ends and corners very lightly rubbed, dust-jacket, price-clipped, chipping to spine ends, neat sticky tape repair to spine head to verso, light browning to joints and spine, some light spotting, edges a little rubbed and with a few tiny nicks, still a very good example, 4to, 1935.
Robinson (William Heath).- Carse (Roland) All the Monarchs of Merry England (William I to Edward VII), 40 colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to front endpaper, light foxing at beginning and end, pictorial endpapers lightly browned, original decorative crimson morocco, gilt, wear to spine ends and corners, very lightly rubbed elsewhere, lower joint starting, [c.1907] § Shakespeare (William) A Midsummer-Night's Dream, first trade edition, 12 tipped-in colour plates and black and white illustrations by W. Heath Robinson, ink gift inscription to pastedown, front endpaper with later school prize bookplate and inscription, occasional cracking at gutter, one plate with creasing to lower margin, the odd patch of soiling, endpapers toned, original pictorial cloth, gilt, a few marks, spine slightly faded and with small residue-mark to foot, spine ends and corners rubbed and a little bumped, some light rubbing to covers, 1914; and 3 others illustrated by the same, 8vo & 4to (5)⁂ The first a scarce, single-volume alternative to Carse's four volume "Monarchs of Merry England", each published with 10 plates by Heath-Robinson. Not recorded in WorldCat.
Robinson (William Heath) Bill the Minder, first trade edition, occasional light foxing, gift inscription to endpapers, original cloth with pictorial onlay, spine faded, edges lightly rubbed, 1912 § Hunter (Norman) The Incredible Adventures of Professor Branestawm, first edition, illustrations by Heath Robinson, light foxing, original pictorial cloth, spine faded, 1933 § Carse (Roland) The Monarchs of Merry England, illustrations by Heath Robinson, original cloth-backed boards, lightly rubbed and discoloured at ends, 1907, and 17 others, Heath Robinson, v.s. (20)
Robinson (William Heath).- Andersen (Hans Christian) Fairy Tales, lightly spotted, original pictorial cloth, gilt, lightly rubbed, [1927] § Arabian Nights Entertainments (The) illustrations by Heath Robinson and others, light foxing, original cloth, rubbed, 1899 § Perrault (Charles) Old Time Stories, tipped-in plates and illustrations by Robinson, original pictorial cloth, gilt, 1921; and c.40 others, most including sheet music for Forest Fantasies with Heath Robinson's art nouveau illustration on front cover, others with Heath Robinson or other illustrations, v.s. (c.40)
Shakespeare (William) The Sonnets, number 59 of 300 copies signed by Robert Graves, Edward Burrett, and Clarke Hutton, illustrations by Hutton, original calf, gilt, by Sangorski and Sutcliffe, spine very lightly faded, Swallow Press, 1975; Hamlet, tipped-in plates by W. G. Simmonds, light foxing to title, original marbled parchment with pictorial onlay to upper cover, spine lightly scuffed, Amsterdam, [c.1900]; and a set of Nonesuch Milton works, 4to & 8vo (4)
Sullivan (Edmund J.).- Tennyson (Alfred, Lord) Maud. A Monodrama, one of 520 copies signed by the artist, 8 colour plates and black and white illustrations by Edmund J. Sullivan, light offsetting, endpapers browned, original cloth-backed boards, corners lightly bumped, dust-jacket, light browning to spine and extremities, surface soiling, generally light, some chips to joints and edges, uncut, 1922 § Hutton (Edward) The Pageant of Venice, pictorial half-title and illustrations printed in orange, 20 colour plates, all by Frank Brangwyn, endpapers browned, original cloth, spine a touch sunned, dust-jacket, browned, a few small marks, lightly rubbed at extremities and with a few small nicks, 1922; and others illustrated or relating to illustration, v.s. (11)
Wilde (Oscar) The Sphinx, one of 1000 copies, illustrated by Alastair, frontispiece and 10 plates with captioned tissue guards, 2 other plates tipped in to front and rear, printed in teal and black, endpapers browned, ink ownership inscription to pastedown, occasional light offsetting to tissue guards, original pictorial buckram, gilt, marked and discoloured but still bright, lightly rubbed, The Bodley Head, 1920; Le Portrait de Dorian Gray, translated by Edmond Jaloux et Félix Frapereau, illustrations by J.-E. Laboureur, Paris, Societe d'edition "Le Livre", original wrappers, spine broken, marked, chipped and torn at edges, 1928; Salomé, illustrations by Lobel-Riche, Paris, edition d'art Devambez, loose in original wrappers as issued, glacine dust-jacket, preserved in half-morocco boards (upper board detached, rubbed), 1930, large 4to & 8vo (3)
NO RESERVE Garland (Alex) The Coma, one of 50 copies signed by the author and artist, with an original signed woodcut by Nicholas Garland (loose in portfolio), woodcut illustrations, original cloth-backed boards, housed together in original cloth drop-back box, some light surface soiling, folio, 2004.
![NO RESERVE Gill (Eric).- Pepler (H.D.C.) The Devil's Devices or Control versus Service, first edition, [one of 1500 copies],](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/e81ab668-7ccc-45ad-9ff0-b08a00e5cdcd/468x382.jpg)
NO RESERVE Gill (Eric).- Pepler (H.D.C.) The Devil's Devices or Control versus Service, first edition, [one of 1500 copies], wood-engravings by Eric Gill, advertisement leaf at end, with loosely-inserted A.Pc.s. dated 18th September 1937 from Gill to Rev. Claud Williamson "Thank your for your letter of the 17th by which I am honoured. I will consider the matter..." and a proof pull of a woodcut titled 'Education' featuring a teacher at a blackboard, original cloth-backed pictorial red boards, uncut, a little rubbed, [Gill 259], Hammersmith, Hampshire House Workshops, 1915 § Johnston (Priscilla) The Mill Book, second edition, woodcut illustrations by Ronald Seal and David Pepler after the author, light damp-staining at beginning and end, bound in contemporary cloth-backed boards with windmill in red & black, original stiff pictorial buff wrappers bound in, slightly soiled, [Taylor & Sewell A3], Hammersmith and Ditchling, Douglas Pepler, 1917, 8vo & 12mo (2)⁂ Priscilla Johnston was the 5 year old daughter of the calligrapher Edward Johnston. The Johnston family was part of the Ditchling community with Gill and Pepler.
Ashendene Press.- Francis of Assisi, Saint. I Fioretti del Glorioso Poverello di Christo, one of 240 copies, printed in red and black, 54 woodcuts by J. Swain after C.M. Gere, some browning to edges, some light creasing to leaves, original vellum, uncut, slightly browned, spine gilt, original green ties, [Hornby XXXI], 8vo, Ashendene Press, 1924.
![NO RESERVE Gill (Eric).- P[epler] (H.D.C.) Concerning Dragons: A Rhyme, eighth edition, 8pp, 6 wood-engravings by Eric Gill,](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/96071681-6ee9-40df-8d00-b08a00e61659/468x382.jpg)
NO RESERVE Gill (Eric).- P[epler] (H.D.C.) Concerning Dragons: A Rhyme, eighth edition, 8pp, 6 wood-engravings by Eric Gill, light spotting, 1923; Aspidistras and Parlers, 8pp., wood-engraved title-vignette by David Jones, others by Gill, bookplate of Philip Le Brocq loosely inserted, [?1923]; The Devil's Devices or Control versus Service, first edition, [one of 1500 copies], wood-engravings by Eric Gill, advertisement leaf at end, original cloth-backed pictorial red boards, uncut, a little rubbed, Hammersmith, Hampshire House Workshops, 1915, the first two bound in similar style russet or green morocco-backed patterned-paper boards, rubbed, the second with wormhole to foot of spine, [Gill 264, 392 & 259; Taylor & Sewell A5h & A121, first two only], 16mo, Ditchling, St Dominic's Press (3)
Gill (Eric) War Memorial, Welfare Handbook No.10, wood-engraving by David Jones on title (repeated on cover), wood-engraving 'Christ and the Money Changers' by Gill, with A.L.s. from Hilary [Douglas] Pepler tipped in at beginning, stitched in original printed pale grey wrappers, uncut, small crease to lower outer corner of upper cover, light spotting to lower cover, [Gill 9; Taylor & Sewell A107], Ditchling, St.Dominic's Press, 1923.⁂ Gill's defence of his controversial war memorial for Leeds University featuring Christ driving the Moneychangers from the Temple and attired in modern dress, implying that the merchants of Leeds had profited from the war.Pepler's letter refers to the controversy "...You may have heard of the shindy at Leeds...", comments on the poor sales of 'The Game' "its price was based upon a 200 sale & the actual was 90", and on other printing ventures "I haven't seen a 'Nonesuch' (I am horribly out of touch w. the printing world)".
Gill (Eric) Wood-Engravings..., number 93 of 150 copies, title and a couple of plates printed in red and black, woodcut or wood-engraved plates by Eric Gill, a couple jointly with David Jones, some very light offsetting, slight printer's ink smudge to lower margin of p.7, original natural linen, uncut, lightly spotted, small stain to upper cover, spine a little browned with slight wear to joints and head of spine, preserved in modern cloth drop-back box, [Gill 410; Taylor & Sewell A129b], 4to, Ditchling, S. Dominic's Press, 1924.⁂ A good copy of a scarce Gill item, compiled and printed by [Hilary] Douglas Pepler without Gill's knowledge or consent. Gill moved away from Ditchling, to Capel-y-Ffin in Wales, and wanted to take the engraved woodblocks with him as his personal property. Pepler claimed they belonged to the St.Dominic's lay order and press and so kept them, resulting in Gill's refusal to speak to Pepler again. Taylor lists two variants of the book: 50 copies numbered by hand and 150 copies with printed limitation "of which one hundred are numbered and offered for sale at two guineas each".
Gill (Eric).- Song of Songs (The) called by many the Canticle of Canticles, number 171 of 750 copies on handmade paper, printed in red and black, wood-engraved illustrations by Eric Gill, some full-page, some very light offsetting to text, endpapers browned as usual, book-label of Leon G.Fine, original cream buckram, uncut, with the dust-jacket, a little spotted and soiled, frayed at upper edge, lacking small portions at spine ends, [Chanticleer 31; Gill 275], 4to, Waltham St.Lawrence, Golden Cockerel Press, 1925.
![Golden Hind (The): A Quarterly Magazine of Art and Literature, 2 vol. containing No. 1-8 [all published], illustrations, orig](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/0e18d332-7dab-47a7-8f24-b08a00e5fc00/468x382.jpg)
Golden Hind (The): A Quarterly Magazine of Art and Literature, 2 vol. containing No. 1-8 [all published], illustrations, original upper wrappers bound in, occasional very light foxing, vol. 2 occasional cracking at gutter, with one wrapper working loose, original cloth-backed boards, spines a fraction faded and with ends lightly bumped, vol. 2 very lightly rubbed at extremities, vol. 1 with rubbing and wear to covers, 4to & folio, 1922-24.⁂ Running from October 1922 to July 1924. Contributors include writers Aldous Huxley, Alec Waugh, Laurence Housman, W.H. Davies, Rabindranath Tagore, Naomi Mitchison, Richard Church and Havelock Ellis, and artists Austin Spare, Alastair, John Austen, Robert Gibbings, John Nash, Frank Brangwyn, Jack B. Yeats and Alan Odle.
Maillol (Aristide).- Virgil. Les Géorgiques, 2 vol., one of 750 copies, woodcut illustrations throughout by Aristide Maillol, occasional faint scattered spots, loose as issued, uncut, without additional suite of plates, original printed wrappers, original vellum-backed paper-covered wraparound covers, vol. 1 spine toned, covers light dust-soiling and spotting, paper-covered slip cases, 4to, Paris, Philippe Gonin, 1937-43 [1950]
NO RESERVE Waugh (Evelyn) The Holy Places, one of 50 specially-bound copies signed by the author and artist, from an edition of 950, wood-engraved illustrations by Reynolds Stone, some very light spotting to fore-edge and peripheral ff., original red niger morocco, scattered faint spotting, dust-jacket, some toning and a few faint spots, mainly to spine and lower panel, spine with a couple small chips affecting lettering, extremities lightly rubbed, spine ends a little frayed, still a very good example, t.e.g., 4to, The Queen Anne Press, 1952.⁂ The only product of the collaboration between Waugh and the Ian Fleming-managed Queen Anne Press. The press was set up by Lord Kemsley in 1951 and Fleming was made director in 1952. Fleming's wife Ann, a long-time friend and correspondent of Waugh, contacted a number of her literary friends including Waugh to drum up support for the press. However it was not a happy collaboration for Waugh - there were a number of errors to the text and the author was not keen on Reynolds Stone's illustrations. Moreover, he was horrified to learn that a number of copies he had specially inscribed to be sent by the press to friends of his never arrived.
NO RESERVE Atkinson (Alex) and Ronald Searle. The Big City or The New Mayhew, first edition, signed by Ronald Searle on frontispiece, illustrations by Searle, many full-page, portion of light offsetting to endpapers, original cloth, gilt, extremities lightly rubbed, dust-jacket, price-clipped, light browning to spine and along joints, some light creasing and rubbing to edges, with a few small nicks and short closed tears, still an excellent example, 4to, 1958.
Austen (John).- Bickley (Francis) The Adventures of Harlequin, one of 250 copies signed by the illustrator, illustrations by John Austen, some full-page, many in colour, light even browning, original cloth-backed boards, spine a touch darkened, spine ends and corners very slightly bumped, dust-jacket, panels toned, spine lightly browned and chipped at head, some spotting, a little rubbed at edges with a few very small nicks, still a very good example, 1923; and 2 others illustrated by the same, 8vo (3)
Austen (John) Everyman and other Plays, illustrations by Austen, heightened with gilt, original pictorial cloth, spine gilt, dust-jacket, light marks and discolouration, edges frayed and chipped, 1925 § Osborne (Charles) Swansong, illustrations by Sidney Nolan, original boards, Shevnal Press, 1968; and 10 others, illustrated works, v.s. (12)⁂ The first is rare with jacket.
Maeterlinck (Maurice) La Vie des Abeilles, sixth edition, first gathering loose, contemporary crushed dark green morocco, covers and spine with decorated border comprising gilt blind-stamped insects surrounded by floral onlays in pink, gilt, spine in compartments, inner dentelles with floral corner-pieces, light fading, spine head expertly repaired, light cracking to joints, nick to spine, 1901; and another binding, 8vo & 4to (2)
Clarke (Harry).- Poe (Edgar Allan) Tales of Mystery and Imagination, first trade edition, 24 black and white plates by Harry Clarke, some very subtle toning to plate margins, light spotting to fore-edge, very light foxing to endpapers, original cloth, spine a touch sunned, spine ends and corners very lightly rubbed, dust-jacket, spine a little browned and with ends chipped, some other chips and short tears to edges, neat tape repairs to verso, overall a very good example of a rare jacket, t.e.g., 4to, 1919.
Crane (Walter).- Masque of Days (A), colour illustrations by Water Crane, occasional light spotting, endpapers spotted and lightly toned, original cloth-backed pictorial boards, faint mark to upper cover, some wear to corners, one with old glue repair, lightly rubbed at extremities, 1901 § Hacker (Lilian) Susan, full-page colour illustrations by the author, some faint foxing, endpapers toned, original pictorial boards with tie to spine, gilt, lightly spotted and toned, housed in original pictorial box, base repaired, lightly foxed and browned, some surface soiling, [1912] § Spielmann (M. H.) The Rainbow Book, colour frontispiece, black and white plates and illustrations by Arthur Rackham and others, the odd faint spot or minor finger-soiling, endpapers lightly toned, original decorative cloth, gilt, small mark to lower cover, spine sunned, lightly rubbed, slight shelf-lean, t.e.g., 1909, first editions; and others, children's, 8vo & 4to (16)
Dahl (Roald) The Witches, first edition, illustrations by Quentin Blake, very light marginal toning, some spotting to fore-edge, name erased from front free endpaper, original boards, some bumping to spine ends, dust-jacket, price-clipped, faint damp-staining to head and foot, minor chipping to head of spine, light creasing to head, 1983; and 6 other early reprints by the same, 8vo (7)
![[Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice's Adventures in Wonderland, illustrations by Arthur Rackham, some light](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/d03f37c6-3f97-4d31-aacf-b08a00e6242b/468x382.jpg)
[Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice's Adventures in Wonderland, illustrations by Arthur Rackham, some light foxing, contemporary binding in brown morocco, covers and spine with repeated floral and leaf pattern in gilt tooling, with interspersed green floral onlays, gilt, inner dentelles with gilt borders, g.e., spine very lightly faded, otherwise a very attractive example, 8vo, 1907.
![[Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice's Adventure's in Wonderland, illustrations by John Tenniel, crude but li](https://cdn.globalauctionplatform.com/4ab1b540-42ac-46d1-92da-b08a00e3fbcc/9cddb325-fd49-446f-a516-b08a00e60047/468x382.jpg)
[Dodgson (Charles Lutwidge)], "Lewis Carroll". Alice's Adventure's in Wonderland, illustrations by John Tenniel, crude but light watercolour marks to first and last illustrations, bookplate to front free endpaper, contemporary brown morocco with tooled floral corner-pieces in gilt with red onlays, spine in compartments with matching floral sprays with red and black onlays, replicated in gilt turn in on pastedowns, overall a very attractive copy, 8vo, 1915.
Dulac (Edmund).- Stawell (Mrs. Rodolph) Fairies I Have Met, colour frontispiece and 7 plates by Dulac, contemporary ink ownership inscription and embossed stamp to front endpaper, a couple plates with short closed tears, some foxing, the odd small stain, gutter cracked at points with a few gatherings working loose, one plate loose, hinges tender but holding, original pictorial cloth, spine ends frayed, wear to corners, lightly rubbed at extremities, London & New York, John Lane, [1907] § Marie, Queen of Roumania. The Stealers of Light. A Legend, 2 tipped-in colour plates by Dulac, foxing, original decorative cloth, gilt, spine lightly sunned, some light soiling to covers, lightly rubbed, 1916, first editions; and a collection of 31 tipped-in colour plates by Dulac from Quiller-Couch's The Sleeping Beauty on loose sheets (one in duplicate), without usual printed captions beneath, 4to & folio (c.34)⁂ The first scarce. The work was reprinted in 1910 by Hodder & Stoughton, later expanded in 1913 and published under the title "My Days With the Fairies".
λ  SIMON-ALBERT BUSSY (FRENCH 1869-1954) NIGHTINGALE Oil on canvas Signed with monogram and dated '48' (lower right) 23 x 16.5cm (9 x 6¼ in.) Provenance: The Leicester Galleries, London, Private Collection, Mrs Cuming Exhibited: London, The Leicester Galleries, Exhibition of Works by Simon Bussy, October 1949, no. 66 Condition Report: Surface dirt throughout. May benefit from a light clean. Otherwise no significant condition issues. Condition Report Disclaimer
λ SIMON-ALBERT BUSSY (FRENCH 1869-1954) PERCH Oil on canvas Signed with monogram and dated '47' (lower left) 22.5 x 16cm (8¾ x 6¼ in.) Condition Report: Small scratch to the left of the monogram circa. 1cm. There is a small vertical scuff to the lower right corner circa. 1.5cm. A couple of light scratches/scuffs to the upper left corner. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer
A LOUIS XVI STYLE BRASS AND TOLE FOUR LIGHT BOUILLOTTE LAMP LATE 19TH CENTURY AND LATER Green tole shade above brass base, oak plinth, now fitted for electricity 67cm high, 34cm wide Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The adjustable shade with losses to interior and exterior, base with only faint traces of gilding visible. Nozzles probably later. Oak plinth rubbed to corners ELECTRICAL GOODS. Sold with a portable appliance test (PAT) certificate July 2023 Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
T.B.W FORSTER (ENGLISH FL.1859-1886) LLANCAUT CRAGS, RIVER WYE AND SEVERN Oil on canvas Inscribed with title and artist's name and residence (to label affixed verso) 105 x 190cm (41¼ x 74¾ in.) Provenance: Christie's, South Kensington, 24 September 1998, lot 17, where purchased by Robert Kime T.B.W. Forster was a 19th century landscape painter active in Chippenham and the surrounding areas. He exhibited at the Royal Academy and the Suffolk Street Gallery from 1859 - 1886. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Light surface dirt throughout. There is a small repair to the lower right edge (approx. 6cm), with subsequent retouching, and some further retouching to the sky. All this partially visible in natural light as well under UV. UV inspection also reveals a layer of surface dirt.The frame with chips and losses to the edges. Condition Report Disclaimer
A DUTCH DELFT BLUE AND WHITE VASE SECOND HALF 18TH CENTURY Painted with birds on a field of stylized flowers, adapted for electricity with removable light fitting and Robert Kime Ltd parchment shade the vase 29cm high, 55cm high overall Condition Report: Wear, marks, knocks and scratches as per age, handling, use, and cleaning. The body will old damages and repairs throughout. Papyrus shade with some small holes. ELECTRICAL GOODS. Sold with a portable appliance test (PAT) certificate July 2023 Please see additional images for visual references to condition which form part of this condition report. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer
ATTRIBUTED TO GWEN JOHN (BRITISH 1876-1939) LANDSCAPE: LA CIME Ink and wash 18.5 x 16.5cm (7¼ x 6¼ in.)Provenance: Abbott & Holder, London Condition Report: Executed on fine cream wove paper. The edges of the sheet are uneven with the upper right tip of the sheet missing. There is light creasing throughout, notably to the lower left quadrant. Under glass and unexamined out of frame.Condition Report Disclaimer
Loading...-
534297 item(s)/page