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Click here to subscribe* Magic set. Neuer Taschenspieler Apparat. Nouvel apparat d”escamoteur. New Jugglings-tricks. Nuevo apparato de jugador de cubitetesco de manos, [Germany], c.1850s, containing turned wood tricks and paperboard tube tricks etc., orig. embossed paper covered wooden box with sliding lid, chromo label to lid, approx. 160 x 160 x 70mm (1)
Nister (Ernest, pub.). Magic Moments, Verses by Clifton Bingham, Pen and Ink Illustrations by Florence Hardy, c.1890s, seven chromo. circular revolving transformations, each operated with a silk ribbon, and in working order, sepia text and letterpress vigns., patterned endpapers, free endpapers partially browned, orig. cloth-backed pictorial glazed boards, in bright condition, in printed d.j., torn and frayed, with some loss, front panel with two small stains, 4to. An unusually well-preserved copy in the extremely rare dust-jacket. (1)
Hoffmann (Professor). More Magic, 1st ed., 1890, wood-eng. illusts. to text, orig. pict. cloth gilt, rubbed and sl. marked, 8vo, together with Tissandier (Gaston), Popular Scientific Recreations in Natural Philosophy, Astronomy, Geology, Chemistry, n.d., c. 1890, some spotting, contemp. pict. cloth gilt, spine evenly faded, large 8vo, plus Disher (M. Willson), Clowns & Pantomimes, 1st ed., 1925, col. frontis. and b & w plts., occ. spotting, t.e.g., orig. cloth gilt, a little rubbed, 4to, plus other mostly 20th-c. magic and games interest, including a few paperbacks (25)
Jennings (Oscar). Early Woodcut Initials, Containing over Thirteen Hundred Reproductions of Ornamental Letters of the Fifteenth and Sixteenth Centuries, 1st ed., 1908, num. b & w illusts., ex-lib. copy with circular blind stamp to upper margins, t.e.g., remainder untrimmed, orig. cloth, gilt-dec. spine, rubbed, 4to, together with Wood (Christopher), Victorian Painting, Bullfinch Press, Boston, New York & London, 1999, num. col. illusts., orig. cloth in d.j., square 4to, plus Finch (Christopher), The Art of Walt Disney, from Mickey Mouse to the Magic Kingdoms, pub. Harry N. Abrams, New York, 1973, num. col. and b & w illusts., some folding, orig. white cloth with figure of Mickey Mouse on upper cover, orig. printed glassine d.j., chipped and torn, 4to, and other art reference, mostly G/VG (3 shelves)
Sir William Fettes Douglas PRSA, Scottish 1822-1891- Portrait of a young man, bust-length wearing and a scarlet and gold embroidered smoking cap and similar smoking jacket, traditionally held to be the artist`s son; oil on canvas, feigned oval, 54x34.5cm. Note: William Fettes Douglas a keen antiquarian and collector, and his interests in those fields influenced his choice of subject-matter which sometimes included alchemy, astrology and magic. he was appointed Director of the National Gallery of Scotland in 1877 and five years later, President of the Royal Scottish Academy.
* PURYGIN, LEONID 1951-1996 Sun, Peace, Love... signed and inscribed in Cyrillic "Lenya Purygin from Nara", aslo further signed and inscribed in Cyrillic "Seasons" on the reverse, c. 1980s Oil on canvas, 79.5 by 100 cm. Provenance: Eduard Nakhamkin collection. Private collection, USA. The artist’s cosmogonical myth is represented in the picture by three contiguous spaces: worldly, celestial and middle, which, together, form a harmonic unity. The work contains symbolic images of wintery decay, contrasted with nature’s rebirth, characteristic of springtime; multi-coloured anthropomorphic creatures abound, people dart in and out of flowers; earthly, bodily food, and ambrosia from the magic flower all proliferate, nourishing the souls which soar above. Each element is afforded equal significance. The apparent alogism of Purygin’s surrealist style is simultaneously imbued with Lubok mysticism and Jungian archetypes of the unconscious. The composition of the painting is perceived as a living part of the universe, containing each and every one of its features and attributes. There is the Garden of Eden, which Purygin sometimes humorously calls, in a Soviet style, a “Park of Culture”. This garden is filled with ludicrous plaster sculptures, people are brought into the world by the “Flower of Life”, they flutter out from between its petals like butterflies. In this heavenly garden nothing is forbidden, the artist’s parents await him and love holds sway. We also find the Crucifixion motif – a central feature of Purygin’s signature works, which is personified here through the artist himself, and substantiated by the inclusion of the Lethean stream, with a crocodile and a timid little goat drinking side by side, and an immense “Flower of Life”, which brings all the levels of the composition together. Very shortly, the genius artist Lenya Purygin from Nara will rise up into the magical garden; after shaking off the dust he will have undergone his suffering, thereby completing the circle and returning to his primordial state, he will quench his thirst at the spring of immortality.
KHARITONOV, ALEKSANDR 1932-1993 The White King signed with initials and dated 1963, also titled in Cyrillic on the reverse Oil on canvas, 63.5 by 46.5 cm. Provenance: Acquired directly from the artist by the father of the present owner. Thence by descent. Private collection, Germany. Authenticity has been confirmed by Tatiana Sokolova-Kharitonova, the widow of the artist. Exhibited: GorKom of Graphic Artists, Malaya Gruzinskaya Street, Moscow, 1970s. The White King, which was painted in 1963, is one of Kharitonov’s few early works. It is hard to say exactly what evokes the grotesque image of the distant romantic country. Does it reflect numerous literary references or was it influenced by the War of Roses? Is it the enthusiasm for Symbolist poets, or perhaps the famous 1963 match between the chess kings Fischer and Benko? The world on the canvas, made up of the most delicate brush strokes, flickering with light, which became a distinctive feature of Kharitonov’s artistic technique, is not simply bright and festive. It verges on a fairytale fantasy. The inhabitants of a magical country stroll around an enchanted park, amidst minute houses, immense trees and statues of knights; there are maidens, both semi-naked and clad in 19th-century costume, a girl with a little flag, and a pensive gentleman. This magical world exists, uninterrupted: in one house, a wise man is reading a book, while his female neighbour is busily doing her laundry. Is this reality or simply the dream of the young king seated in the armchair beneath a canopy? On this canvas, everything seems to be a blissful dream; both The White King, with his eyes closed and his golden hair gleaming, and his enchanted land, are seemingly bewitched by the prick of a magic spindle. The picture does not merely record the bright, romantic attitude of the artist, who had, at that point, already reached his artistic maturity, but it also gives glimpses as to the future direction of Kharitonov’s search for forms and subjects. The White King represents, in a sense, the credo of the young artist, whose nonconformism has, by that moment, become his existential position, connected to the category of the spiritual, and to the tradition of the so-called “metaphysical” underground, rather than to any politicised dissident movements. The redeeming feature of Kharitonov’s artistic metaphysics, despite their apparent simplicity, is a contemplative sincerity. The refinement of the alien characters and the conventionality exuded by the magical land conceal both the conscious artistic escapism of one of the most important figures in Moscow’s “unofficial art” and an interest – typical of the period of the “Thaw” – in religious philosophy and the legacy of the Symbolists of the beginning of the 20th century. This canvas reveals to the fullest possible extent the tendency which Tatiana Sokolova-Kharitonova, the artist’s widow and renowned expert on Kharitonov, refers to as “the mysterious world of philosophical pictures”.
Agrippa Three Books of Occult Philosophy first English edition engraved portrait frontispiece woodcut illustrations A3 and folding table in facsimile lightly browned some soiling and staining sewn into early calf modern label to spine rubbed [Duveen 7] 4to R.W. for Gregory Moule 1651. ***Agrippa seeks to explain the universe in terms of cabalistic analyses of Hebrew letters and their relations to natural phenomena and divine understanding. This work played a major role in Renaissance magic and cabalistic studies. Provenance: Edward Elisha 17th century signature to lower margin of Q2r..
A large collection of magic lantern slides, topographical, nursery, and other, including real photographic views of a Hawaiian harbour, and a British submarine; with ecclesiastical and architectural details, standing stones, views of Bristol interest, and others; together with a magic lantern. Visit www.dnfa.com for condition reports.
Chrystel Lebas (b.1966) blue hour 3" 2005 C-type print printed 2008 flush mounted on dibond and box framed edition 3 of 5 and 2 APs signed and editioned in ink on frame verso certificate of authenticity provided 2000x860cm (787x338in.). Literature: Azure Publishing `Between Dog and Wolf` 2006. Exhibitions: V&A London `Twilight Photography in the Magic Hour` 10 Oct-17 Dec 2006 & Art Pavilion Zagreb Croatia `Seeking A Place For Oblivion` 17 June-6 July 2008.
A VICTORIAN MAGIC LANTERN by W. F Snell of Marsh Farm, Yeovil, the lantern with four wick burner and adjustable lens, complete with carrying case, the end of which has a screw adjustment for use as a stand for the lantern so it may be raised up and down to suit, 18" long. (See Illustration).
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