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Lot 158
Three engravings, drawn and engraved by W. Grainger for the 'Royal Encyclopedia', each headed An exact representation of the Manual Exercise, according to modern Military Discipline, See Treatise on Military Affairs and another ensuite headed An exact representation of the three Rank Firings with officers Fusee and Sword Salute, according to the last new regulation. See the Treatise on Military Affairs William Grainger, engraver; Charles Cooke, bookseller, Paternoster Row, 1790, 36.5cm x 22cm; and two additional engravings headed Offensive and Defensive Positions See the Art of Fencing and Various positions of Disarms -- See the Art of Fencing William Grainger, engraver; Charles Cooke, bookseller, Paternoster Row, 1789, 36.5cm x 22cm
Lot 53
Matthieu Mategot, (Hungarian ~ French, 1910 ~ 2001), Cap d'Ail 1951 model, a white painted wrought metal garden or conservatory table, the circular glass top supported on a circlet with coiled edging, on fourteen rods rising from from a perforated undertier, with conforming coiled edging and spreading base, 77.5cm high, 90.5cm diameter CATALOGUE NOTES: Mathieu Matégot studied art and design at the School of Fine Arts and Architecture in Budapest. After World War II, he established a workshop, producing handcrafted furniture out of materials such as formica, sheet metal, and rattan. His famous Nagasaki chair design is held in the Musée des Arts Décoratifs in Paris. In the 1960s, Matégot dedicated himself solely to tapestry work and became one of the leaders of modern French tapestry design Cf Sotheby's London, PRUSKIN: DECORATIVE ART 1880-1960, 2nd April 2008, lot 335 Also Azur Enchères, Cannes, XXÈME SIÈCLE, 27th April 2018 lot 138
Lot 170
Brassington (W. Salt). A History of the Art of Bookbinding, with some Account of the Books of the Ancients, Elliot Stock, 1894, 10 colour plates and numerous illustrations, occasional scattered spotting, top edge gilt, remainder untrimmed, modern dark green half morocco gilt, 4to, contained in purpose-made slipcase with original gilt blocked cloth book covers relaid, (unnumbered limited edition of 50 large paper copies, signed by the Publisher), together with Hobson (G.D.), Thirty Bindings... selected from the First Edition Club's Seventh Exhibition, held at 25 Park Lane, by permission of Sir Philip Sassoon, Bart., London: The First Edition Club, 1926, 30 photogravure & chromolithograph plates, bookplate of Irene K. Buckler to upper pastedown, top edge gilt, remainder untrimmed, original gilt decorated cloth, spine discoloured and some fraying to extremities, 4to, (limited edition 3/600), with Larsen (Sofus, & Kyster, Anker), Danish Eighteenth Century Bindings 1730-1780, Copenhagen: Levin & Munksgaard, 1930, colour and black & white plates, original cloth backed paste-paper covered boards, worm trail at foot of spine, dust jacket frayed and torn to edges, 4to, and Hobson (G.D.), Maioli, Canevari and Others, London: Ernest Benn Ltd., 1926, black & white plates, occasional spotting, original cloth gilt, light dust-soiling to spine and two worm holes to upper joint, 4to, plus other bookbinding and binding history related (25)
Lot 61
Nersessian (Sirarpie der) The Chester Beatty Library: a Catalogue of the Armenian Manuscripts, 2 vol., Dublin, 1958; Armenian Manuscripts in the Freer Gallery of Art, Washington, 1963; Armenian Manuscripts in the Walters Art Gallery, Baltimore, 1973; Manuscrits Arméniens Illustrés des XIIe, XIIIe et XIVe Siècles de la Bibliothèque des Pères Mekhitharistes de Venise, 2 vol. including plate vol., text modern cloth, original wrappers bound in, plates loose as issued in original cloth-backed board folder with ties, Paris, 1936-37, plates and illustrations, some colour, all but the last original cloth; and 6 others on Armenian manuscripts, folio & 4to (12)
Lot 70
Warner (Sir George F.) & Julius P.Gilson. British Museum. Catalogue of Western Manuscripts in the Old Royal and King's Collections, 4 vol., 1921 § Pächt (Otto) & J.J.G.Alexander. Illuminated Manuscripts in the Bodleian Library Oxford, 3 vol., vol.1 reprint, Oxford, 1969-73 § Parkes (M.B.) The Medieval Manuscripts of Keble College Oxford, 1979 § Randall (L.M.C.) Medieval and Renaissance Manuscripts in the Walters Art Gallery, 3 vol. in 5 (France 875-1540; Belgium 1250-1530), Baltimore & London, 1989-97 § Gaspar (C.) & F.Lyna. Les Principaux Manuscrits a Peintures de la Bibliothèque Royale de Belgique, 2 vol. in 3, modern cloth, Paris, 1937-45, plates and illustrations, all but the last original cloth, the second and third with dust-jackets; and 13 others, manuscript collections, v.s. (29)
Lot 75
Islamic Art.- Egypt.- Creswell (K.A.C.) The Muslim Architecture of Egypt, 2 vol., reprint, original decorated cloth, gilt, New York, 1978; The Evolution of the Minaret with special reference to Egypt, offprint reprinted from 'The Burlington Magazine', original wrappers, 1926 § Flury (S.) Die Ornamente der Hakim- und Ashar-Moschee, signed and inscribed by the author at head of title, modern cloth-backed boards with original wrappers mounted on boards, Heidelberg, 1912 § Lane-Poole (Stanley) The Art of the Saracens in Egypt, large paper copy initialled by the author, original buckram, browned, for the author, 1886 § Garcin (J.-C.) & others. Palais et Maisons du Caire, vol.I: Époque Mamelouke (XIIIe-XVIe siècles), original rexine, Paris, 1982, plates and illustrations; and 3 others, 4to & 8vo (8)
Lot 85
Islamic Art.- Painting & Manuscripts.- Stchoukine (Ivan) La Peinture Iranienne sous les Derniers Abbasides et les Il-Khans, Bruges, 1936; Les Peintures des Manuscrits Timurides, 1954; Les Peintures des Manuscrits Safavis de 1502 a 1587, 1959; Les Peintures des Manuscrits de Shah 'Abbas Ier a la Fin des Safavis, 1964; La Peinture Turque d'après les Manuscrits Illustres, 2 vol., 1966-71; Les Peintures des Manuscrits de la "Khamseh" de Nizami au Topkapi Sarayi Muzesi d'Istanbul, 1977, illustrations, modern cloth, most with original printed wrappers bound in, 4to, all but the first Paris (7)
Lot 599
M. W. Crawshaw ARMS SLM (British, 20th century): a group of three modern miniature paintings on circular plaques, depicting Edwardian ladies and children at the seaside, signed and titled on the mounts, 'Sandcastles', 'Taking the Air', and 'Jeux d'enfants', each measuring 3.8cm, in brass mounts, mounted, glazed and framed, 19.5 by 19.5cm, with original purchase receipt for £315 from Spencer Coleman Fine Art, Stamford, dated 29/06/2000. (3)
Lot 3095
Pair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and loss to one side).
Lot 223
Various die-cast vehicles, etc., W Britian Trooping The Colour modern set, Kernel Lifeguards mounted, boxed, 5cm H, two centurion Corgi tanks, another centurion Corgi tank 901 and various figures of Hussars, Comical Doggie People, Royal Hampshire Fine Art Sculpture, other figures of soldiers, etc. (a quantity, some boxed)
Lot 183
A cranberry glass table lamp base with faceted body set on a metal base with four feet, 32.5cm high including fitting, a Minton brown and treacle glaze basket with reticulated rim and rope twist handle, a pair of cranberry glass bon bon dishes, a similar vase, a modern cranberry bud vase, a pair of Art Deco frosted glass vases, a pair of mid-19th century English porcelain tapered vases tapered with purple flowers and a Rhenish salt-glazed jug, etc (damages throughout)
Lot 183
Four Susie Cooper plates, floral decoration within a green flow border, a decorative gin bottle in the form of a light bulb, a Varres France large ornamental bird bowl, an Art Deco brush holder in the form of a dog in a kennel, four vintage and vintage-style table lighters to include a Japanese example, an Art Deco style match holder and an Art Deco style modern clock.
Lot 106
Ma de Proverbis - Joan MiroOriginal lithograph in colors on Arches paper 68 x 76.5cmSigned bottom right in plate,The title of this work translates as "handmade proverbs". The lot was created by Miró in honour of Shuzo Takiguchi, a Japanese poet and art critic. Takiguchi introduced Surrealism in Japan in the late 1920s. He is known for his collaboration with important poets and painters such as André Breton, Marcel Duchamp, Sam Francis and Antoni Tàpies.In 1940 he wrote a monograph on Joan Miró, whilst in 1970 he published "Handmade Proverbs to Joan Miró".Joan Miró, (born April 20, 1893, Barcelona, Spain-died December 25, 1983, Palma, Majorca), Catalan painter who combined abstract art with Surrealist fantasy.His mature style evolved from the tension between his fanciful, poetic impulse and his vision of the harshness of modern life. He worked extensively in lithography and produced numerous murals, tapestries, and sculptures for public spaces.
Lot 107
Sara, titanium white, buff titanium, Oil on Canvas, Roni Stretch (British, 1964) 60” x 44”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 108
Red Tomahawk, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 109
Red Dog, paynes grey, Vandyke brown, Oil on Canvas, Roni Stretch (British, 1964) 45” x 53”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 110
Lila, titanium white, salt white, Oil on Canvas, Roni Stretch (British, 1964) 60” x 42”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 111
Roma 33, titanium white, first snow, Oil on Canvas, Roni Stretch (British, 1964) 24” x 30”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 112
Roma 127, titanium white, first snow, Oil on Canvas, Roni Stretch (British, 1964) 24” x 30”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 113
1930 football, Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 114
Study ii 1910 boots , Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 115
1953 Adidas Argentina, Oil on Canvas, Roni Stretch (British, 1964) 26” x 32”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 116
1959 Steiff Bear-blue, Oil on Canvas, Roni Stretch (British, 1964) 36” x 48”British artist Roni Stretch was born in England in 1964. He currently lives and works in Los Angeles, California.His work has been shown extensively in California since the 1990’s, including shows at the Los Angeles County Museum of Art, the Museum of Contemporary Art at the Geffen Contemporary Museum, the Westmont Museum of Art in Santa Barbara, the Santa Monica Museum of Art and the Cooperstown Museum in New York.“My first response to Roni Stretch’s paintings was how extraordinarily exquisite and how original. I know of nothing quite like them in the history of modern, let alone traditional art- an ingenious, convincing integration of color field painting, minimalist structure, and photorealist portraiture,” writes Donald Kuspit. Kuspit, New York based art critic and author of numerous books, including the controversial “The End of Art.” Kuspit also remarks that “Stretch’s paintings are subtle, eloquent masterpieces, carrying forward the tradition of pure painting while acknowledging the inevitability of human presence and vision.”Stretch remains one of the most sophisticated painters of his generation. He has pioneered the Dichromatic Process, exploring photorealistic under-paintings that emerge ghost-like from a void of color. His Dichromatic oil paintings are meticulously created by executing a layering process where by two different colors are alternately applied and built up over many weeks. The subjects play against a sharply lined border intended to ground each painting in the physical and force a visual meditation. The image is not so much painted over as optically embedded within the multiple layers of the alternating colors. Stretch’s work is a lesson in contradictions: photorealism and abstraction, light and dark, reality and altered states, smooth and rough textures all ultimately leading to an emotional experience.Stretch’s works are held in numerous prestigious private, corporate and museum collections worldwide. He has recently been included in the permanent collections of the Pasadena Museum of California Art, the Museum of California Design, the Cooperstown Museum in New York and the Museum of Contemporary Art, San Diego.Stretch had his first solo museum show January 2016 at the MOAH, Museum of Art and History, Lancaster,California followed by a solo museum show in March 2017 at the W.Keith & Janet Kellog University Art Gallery, California State Polytechnic University, Pomona
Lot 40
The View Paul Powis Limited Edition 85/295 Silkscreen cert. - Mounted and Framed 81x70cmPaul began his art training at the Birmingham College of Art and Design, studying for a Foundation in Art and Design between 1968-69. He then went on to study at Portsmouth Polytechnic, gaining a BA Hons in Fine Art in 1973. Principally training as an abstract artist Paul became interested in landscape when he moved from London to Worcestershire.He has exhibited extensively and has built up an enviable international reputation as a landscape painter. Exhibiting across the country at prestigious venues including the Mall Galleries, The Royal College of Art, and the Royal Festival Hall, London.Paul's work has also appeared at municipal museums and art galleries throughout the UK as well as America. His painting, Rape, appeared in an advert for VW, achieving worldwide recognition and being exhibited in the Museum of Modern Illustration in New York. His work has also been shown in the Best Of British Illustration exhibition for the last ten years.A collection of his original acrylics was also recently displayed at the Halcyon Gallery's Art In Miniature exhibition. His paintings have been published in over twenty books in the last five years and he is a regular contributor to magazines such as Artist & Illustrator. Paul's work is predominantly about subjective colour and vibrant mark-making, which are used in both an abstract and representational way.Paul lives in Worcester with his artist wife Sara Hayward. Artist Statement This exhibition features paintings based on views of the landscape of Worcestershire and Herefordshire painted in the early morning and late afternoon in order to capture long shadows raking over fields and hills. Although the paintings are representational they lean towards abstraction using constructional spatial devices and subjective colour to describe space.
Lot 41
Three Fields - Paul Powis Limited Edition 25/295 Silkscreen cert. - Mounted and Framed 81x70cmPaul began his art training at the Birmingham College of Art and Design, studying for a Foundation in Art and Design between 1968-69. He then went on to study at Portsmouth Polytechnic, gaining a BA Hons in Fine Art in 1973. Principally training as an abstract artistPaul became interested in landscape when he moved from London to Worcestershire. He has exhibited extensively and has built up an enviable international reputation as a landscape painter. Exhibiting across the country at prestigious venues including the Mall Galleries, The Royal College of Art, and the Royal Festival Hall, London. Paul's work has also appeared at municipal museums and art galleries throughout the UK as well as America. His painting, Rape, appeared in an advert for VW, achieving worldwide recognition and being exhibited in the Museum of Modern Illustration in New York.His work has also been shown in the Best Of British Illustration exhibition for the last ten years. A collection of his original acrylics was also recently displayed at the Halcyon Gallery's Art In Miniature exhibition. His paintings have been published in over twenty books in the last five years and he is a regular contributor to magazines such as Artist & Illustrator. Paul's work is predominantly about subjective colour and vibrant mark-making, which are used in both an abstract and representational way.Paul lives in Worcester with his artist wife Sara Hayward. Artist Statement This exhibition features paintings based on views of the landscape of Worcestershire and Herefordshire painted in the early morning and late afternoon in order to capture long shadows raking over fields and hills.Although the paintings are representational they lean towards abstraction using constructional spatial devices and subjective colour to describe space.
Lot 77
Chambre Violette - Itzachak TarkayLimited Edition 38/350 58x65cmItzchak Tarkay (1935 – June 3, 2012) was an Israeli artist. Tarkay was born in 1935 in Subotica, on the Yugoslav-Hungarian border. In 1944, Tarkay and his family were sent to the Mauthausen Concentration Camp, until Allied liberation freed them a year later. In 1949, his family emigrated to Israel, living in a kibbutz for several years. Tarkay attended the Bezalel Academy of Art and Design from 1951, and graduated from the Avni Institute of Art and Design in 1956. His art is influenced by French Impressionism, and Post-Impressionism, particularly Matisse and Toulouse-Lautrec.His work was exhibited at the International Art Expo in New York City in 1986 and 1987. He has been the subject of three books, published by Dr. Israel Perry. Perry Art Gallery And Park West Gallery, his dealer. His art is focussed on almost dream images of elegant women in classical scenes which draw you into an imaginary world. Itzchak Tarkay is considered to be a key figure in the modern figurative movement.Artworks by the Israeli artist are instantly recognizable—perceptive studies on people and places in a timeless world, captured in image by female socialites, parlors, terraces, and quiet cafés. His art has been featured in more than 50 exhibitions around the world. Tarkay passed away in 2012, leaving behind a legacy that not only represents a great artist, but a great man.
Lot 79
Untitled - Marcel Mouly Limited Edition 290/300 From the 'Amsterdam' collection. Black lacquer frame. Image size 45x35 cm. - Mounted and Framed 73x63cmMarcel Mouly (February 6, 1918 – January 7, 2008) was a French artist who painted in an abstract style Mouly was born in Paris, France on February 6, 1918His interest in art developed in grade school. Mouly was first sent to drawing class as a form of punishment. At age 13 he left school to work, first as a beach vendor, then as an apprentice to a local dentist and later for a wine merchant delivering heavy baskets of wine. In 1935, while still employed by the wine merchant,Mouly began taking night classes in the arts at French Academies, the Cours Montparnasse 80, where he remained until he served in military duty during the Second World War beginning in 1938. After France fell to Germany in June 1940, Mouly became a civilian again, and earned a living working odd jobs. Mouly befriended an artist named Bernard la Fourcade, and the two established a studio in Auteuil. During a trip to Normandy in 1942, they were stopped by German officials and questioned for their lack of travel documentation, which was then required by the Vichy government. Mouly and la Fourcade were arrested shortly after their return to Paris, and mistakenly imprisoned as spies.During his solitary confinement, Mouly solidified his plans to become an artist. Marcel Mouly's work has been exhibited all over the world, including in the permanent collections of more than 20 museums, such as the Museum of Modern Art in Paris, the Museum of Modern Art in Japan, the Museum of Geneva, the Museum of Modern Art in Helsinki, and Paris' Bibliotheque Nationale. He has also been the subject of numerous books, and recognized by such honors as the Chevalier de L'Orde des Arts et Lettres (1957) and the Premier Prix de Lithographie (1973).Marcel Mouly died on January 7, 2008, a month before his 90th birthday. "His art is pure and direct in its message," said art historian and writer Joseph Jacobs. "It is an art about beauty and life, and art roots firmly planted in the School of Paris. Picasso, Braque, Matisse, Rouault, Vlaminck, Chagall, Vuillard and Dufy are his patrimony, and he has carried their mantel with unflagging dedication.
Lot 1006
Pair Compton Potters Art Guild Celtic terracotta jardinieres with stands, designed by Mary Seton Watts, cast in low relief with scroll motif, impressed circular wheel stamp mark, Reg. No 409999 58cm. diam. Literature: Veronica Franklin Gould Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, page 29 for a contemporary photograph illustrating this design, circa 1899 (One with repair and loss to one side).
Lot 410
"Antinous Æ Hemidrachm of Alexandria, Egypt. Dated year 21 = AD 136/7. ANTINOOV HPѠOC, draped bust left, wearing hem-hem crown / Antinous (as Hermes) on horseback to right, wearing chlamys, holding caduceus with his right hand; L below horse, [KA] (date) before. Köln 1278 var. (placement of date); Dattari (Savio) 2090 & 8015; K&G 34a.6; RPC III 6235; Emmett 1347.21. 13.01g, 27mm, 11h.Near Very Fine. Rare. Antinous' death by accidental drowning in the Nile in October AD 130 was a severe blow to Hadrian, for the youth had been his close companion and confidant for nearly five years, and had accompanied the emperor throughout his great tour of the empire beginning in March 127. Hadrian's marriage to Sabina was an unhappy one, and Antinous has been described as the one person who seems to have connected most profoundly with Hadrian"" throughout the latter's life (see R. Lambert, Beloved and God: The Story of Hadrian and Antinous, 1984, p.30). It is unsurprising therefore that Hadrian decreed that Antinous should be elevated to the Roman pantheon as a god, and that a city should be built at the site of his death. What was most unexpected however was that he deified the young man without consulting the Senate, and that he ordered Antinous' image to be placed on coinage across the empire. The coinage in the name of the deified Antinous was substantial. In all, over thirty cities issued bronzes bearing his image, though none as prolifically as Alexandria in Egypt, where his cult, associated with Osiris, was particularly strong. Hadrian himself, we are told, preferred to associate Antinous with Mercury/Hermes, but across the Empire he was far more widely syncretised with the god Dionysus. A great many busts and statues of his were set up in cities across the Roman world, of which numerous examples survive including the iconic 'Braschi Antinous', now in the sala rotonda of the Vatican Museums. That statue, on whose head modern restorers placed a sort of pine cone, would have originally been topped with a lotus flower or hem-hem crown, as on the present coin type. To create the myriad busts, statues and engraved images Hadrian turned to Greek sculptors to perpetuate the melancholic beauty and diffident manner of Antinous, in the process creating what Caroline Vout (Power and Eroticism in Imperial Rome, 2007) described as ""the last independent creation of Greco-Roman art"". All of his images share certain distinct features, including tousled curls, a perfect Hellenic nasion, and a downcast gaze – that allow him to be instantly recognized."""
Lot 52
"Sicily, Syracuse AR Dekadrachm. Time of Dionysios I, circa 405-370 BC. Unsigned dies in the style of Euainetos. Charioteer driving galloping quadriga to left, holding kentron in right hand, reins in left; above, Nike flies to right, a wreath in her outstretched arms to crown the charioteer; in the exergue, a panoply of arms is set on two steps: a cuirass, two greaves, and a Phrygian helmet / Head of the nymph Arethusa to left, wearing a reed wreath, triple-pendant earring, and a pearl necklace; [ΣΥΡΑΚΟΣΙΩΝ] behind, pellet below chin, star of four points behind neck, and four dolphins around. Gallatin XXII-JVIIA; Dewing 923. 40.90g, 34mm, 11h.Good Very Fine. Some minor roughness on surfaces. An attractive specimen struck in high relief from dies in the style of the master engraver Euainetos. The dekadrachms of Syracuse have been called 'the admiration of the ancient and modern world', and 'perhaps the most famous of all ancient coins'; rightly so, for by virtue of not only their impressive size and weight, but more importantly the incredibly detailed artistry of exquisite style which they bear, they represent the zenith of cultural and numismatic technological achievement at ancient Syracuse, and are among the most beautiful coins ever struck for circulation.Produced at the apex of Syracuse's power and glory, the dekadrachm issue began circa 405 BC, following the election of Dionysios as supreme military commander of Syracuse for his achievements in the war against Carthage, and his subsequent seizure of total power. Syracuse had only recently defeated an Athenian invasion of Sicily that resulted in the utter destruction of Athens' expeditionary force and ultimately contributed significantly to their defeat at the hands of Sparta in the Peloponnesian War. Then under Dionysios in 405, despite the ruin of great cities such as Akragas and Gela, Syracuse repulsed a Carthaginian invasion that might have resulted in a complete conquest of the island. Such glory was short-lived however, as the rule of Dionysios' son and successor was to bring only civil strife that would weaken the power of Syracuse. Never again would the city issue coinage on such a grand scale, and with the cessation of tetradrachm production in c. 400 BC, the dekadrachms represent the last great flourishing of classical numismatic art at Syracuse before two centuries of steady decline and eventual conquest at the hands of the Romans. "
Lot 315
Baldinucci (Filippo). Notizie de' professori del disegno da Cimabue, 1st edition, Florence: Santi Franchi, 1681, and: Notizie de professori del disegno da Cimabue in qua, parte seconda del secolo quarto che contiene tre decennali, dal 1550-1580, 1st edition, Florence: Piero Martini, 1688, volumes 1 and 4 (of 6), volume 1 with woodcut arms to title, tipped-in privilege leaf with woodcut arms of Charles II of Spain (see note), folding genealogical plate, closed tear in signature D3; volume 4 with engraved title arms, slip cancel pasted to signature F verso; both volumes with numerous historiated or floral woodcut initials, spotting and toning, a few other minor marks, uniform contemporary vellum, manuscript spine titles, yapp edges, 4to (27 x 20 cm), together with: Paciaudi (Paolo), Diatribe qua Graece anagylphi interpretatio traditur, 1st edition, Rome: ex typographia Palladis, 1751, half-title, engraved title vignette, woodcut and engraved vignettes to text, mild spotting to title page, modern half vellum, 4to; [Negri, Anton Maria], Solenni esequie nel duomo di Firenze per la morte dell' Augustissimo Imperatore Francesco Primo, Duca di Lorena, 1st edition, Florence: S. A. R, 1765, 2 parts in 1 volume, engraved headpiece and initial to each, contemporary patterned paper wrappers, section of loss to spine, 4to; Zabeo (Giovanni Prosdocimo), Elogio di Paolo Caliari, 1st edition, Venice: Parolari, 1813, 25 pp., mild spotting and soiling, edges untrimmed, sewn in original plain paper wrappers (held by top 2 cords only), 4to Cicognara 2195 (Baldinucci), 2690 (Paciaudi), 2407 (Zabeo). First editions of the first and fourth volumes in Baldinucci's six-volume biographical dictionary of Italian art and architecture; of the remaining volumes Baldinucci was himself only responsible for the second, as volumes three, five and six were completed by his son. This copy of the first volume is complete with the privilege leaf bearing the arms of Charles II of Spain, which is 'missing in a great many copies' (Cicognara). (5)
Lot 379
Weaver, John. An Essay Towards an History of Dancing, In which the Whole Art and its Various Excellencies are in some Measure Explain'd, Containing the Several Sorts of Dancing, Antique and Modern, Serious, Scenical, Grotesque, &c. with the Use of it as an Exercise, Qualification, Diversion, &c., 1st edition, printed for Jacob Tonson, 1712, woodcut initials and head-pieces, front endpaper detached, contemporary panelled calf, rebacked and with morocco title label to spine, 8vo (1)
Lot 383
Fletcher (W.Y. & others). Bibliographica: Papers on Books, their History and Art, 12 parts in 3 volumes, 1895-97, 65 plates including some coloured, woodcut illustrations to text, top edges gilt, modern brown half morocco by Bayntun, original printed wrappers retained at rear of each volume, small folio, together with Besterman (Theodore), A World Bibliography of Bibliographies and of Bibliographical Catalogues, Calendars, Abstracts, Digests, Indexes, and the like, 3 volumes, 2nd edition, 1947, ink library stamps to front flyleaves and title versos, original buckram gilt, rubbed and soiled, spines faded, small folio (6)
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