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Click here to subscribeHans Iten RHA (1874-1930) STILL LIFE WITH FRUIT, CUP AND SAUCER oil on board signed lower right Collection of George and Maura McClelland The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.120 (illustrated) 10.25 by 13.25in. (26 by 33.7cm)
Louis le Brocquy HRHA (1916-2012) ADAM AND EVE IN THE GARDEN, 1951-1952 Aubusson Tapestry, Atelier Tabard Frères et Soeurs, France; (from an edition of 9) signed with initials and dated in the weave lower left; signed on weaver's label on reverse Collection of George and Maura McClelland Taylor Galleries, Dublin, Louis le Brocquy, Tapestries, exhibition catalogue, 2000 (illustrated); The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004, p.90 (illustrated) Few artists anywhere have had as much experience in tapestry design. Along with his well-known predecessor Jean Lurçat, Louis le Brocquy has proved to be a master of the medium and a landmark figure in the revitalisation of this art form. His experience began in 1948, when Edinburgh Tapestry Weavers invited a number of painters working in London to design a first tapestry. His association with the medium further developed in the 1950s, in his collaboration with the great firm Tabard Frères & Soeurs, founded in the 17th century in Aubusson, France. Later the artist's tapestries were woven in the same historic region by the Atelier René Duché, Meilleur Ouvrier de France. The early tapestry designs include Travellers (1948), Garlanded Goat (1949-50), Allegory (1950), and the Eden Series (1951-52); the latter series, includes Adam And Eve In The Garden. Later there was the Inverted Series (1948-99), the Tain Series (1969-00), the Cúchulainn Series (1973-1999) and the Garden Series (2000). Large-scale tapestry commissions include Brendan the Navigator (1963-64, UCD, Michael Smurfit School of Business, Dublin), The Hosting of the Táin (1969; Irish Museum of Modern Art), the Massing of the Armies (RTÉ, Dublin) and the monumental Triumph of Cúchulainn (National Gallery of Ireland, Millennium Wing). In 1951, Mrs. S.H. Stead-Ellis, whose art collection already included le Brocquy tapestries, commissioned three related tapestries, adaptable as screen, rug and firescreen, on the theme of the Garden of Eden - Adam and Eve in the Garden, Eden and Cherub. He treated the theme with archetypal imagery in a Classical, even traditional manner, the sun and the moon appearing respectively in the male and female spheres. The Tree of Knowledge of Good and Evil appears as in traditional French Medieval tapestry with the birds and butterflies among its leaves, but he adds a Surrealist aspect with eyes as well as leaves (as befits a tree of knowledge) and fish swimming in its branches. Eden remains one of le Brocquy's most interesting works; the vibrant colourful design is based on a series of subdivisions of the classical Golden Section, yet the design bleeds off the tapestry in a most unclassical manner. The leaves of the Tree mingle with the tears of Adam and Eve while the fatal apple is discarded, bitten and segmented. The artist, in an interview with Harriet Cooke published in The Irish Times on May 1973, describes his involvement with tapestry as something he had "rather stumbled into by accident". But after that first commission from Edinburgh Weavers, the medium took on its own distinct fascination: "I always found it a kind of recreation, involving completely different problems, it is refreshing in the sense that one is exhausted in a different way. There is also another aspect of it which is very exciting to the painter, who has this struggle with the angle, and that is the same aspect which is so exciting, say, to the Japanese Satsuma potter, when he puts his jar in the oven and waits on tenterhooks for it to come out. It always comes out a little different from what he had imagined and sometimes he has wonderful surprises. The method I use is a system of notation, a linear design which is numbered in the colours of a range of wools. Although one can visualise what one is doing, to a certain extent, when the tapestry is palpably there this causes an independent birth of something, and that is so contrary to the whole involved process of painting that it is rather refreshing." Dorothy Walker (1929-2002) Published on www.anne-madden.com 55 by 108.25in. (139.7 by 275cm)
Tony O'Malley HRHA (1913-2003) ANCIENT FACE, 1972 oil on board signed with initials and dated lower right; inscribed with title, signed with initials and dated on reverse; with label inscribed [Collection Irish Museum Modern Art] Collection of George and Maura McClelland 11.50 by 11.50in. (29.2 by 29.2cm)
Edith Lawrence (1890-1973) ''The Mill, Langholm, Scotland'' Signed, inscribed and dated 1930 verso, pencil and watercolour, together with four further watercolours by the same hand including a view from an aeroplane window, a study of a congregation of people, possibly depicting the open air assembly ''Landsgemeinde at Glarus, Switzerland'' and a study of cattle at a gate, 50.5cm by 35cm, 23cm by 30cm, 48.5cm by 34cm, 35cm by 50cm respectively (4) (unframed) Provenance: From the Estate of Edith Lawrence Born in Surrey in 1890. Lawrence was a painter, designer, printmaker and teacher. She attended the Slade School of Art from 1910-14, where she was a prizewinning student. She went on the spend a period of time in St. Ives and returned to the Slade in 1916 where she studied under the Canadian born artist Percyval Tudor Hart and also began exhibiting at the Royal Academy and New English Art Club. In 1917 she took up a teaching position at Runston Hill School and in 1920 she met Claude Flight, the founder of the Grosvenor School of Modern Art. In 1925 she moved into Claude Flight's studio and the two shared an exhibition of textiles and linocuts at the Redfern Gallery in 1926. In 1927 they set up an interior decorating business trying out different methods of linocut, wallpaper, wall hangings and textiles. Edith spent many summers with Claude at his Neolithic chalk cave in the banks of the Seine at Chantemesle, that he had purchased for 300 francs after his time in France during WW1. Here he taught the art of the linocut at informal summer schools. During WWII Claude and Edith lived in London working from their studio off Baker Street. Later fleeing from the blitz they moved to a cottage in Donhead St Andrew. She spent much of her later life at Worth Matravers, the surrounding area becoming a source of inspiration for many of her paintings. In 1973, the year of her death Edith held a solo exhibition at the University of Hull, which was later followed by a memorial exhibition in the same year at the Parkin Gallery dedicated to both Edith and Claude.
Rawstorne (Lawrence) Gamonia: or, The Art of Preserving Game, 15 superb hand-coloured plates, lacking errata slip, original cloth covers bound in at end with some offsetting onto final text leaf, modern green morocco, gilt, a.e.g., [Abbey, Life 392], 8vo, 1837. ⁂ The plates are heightened with gum arabic making them particularly fresh and vibrant in this copy.
*Salvador Dalí (Spanish, 1904-1989)NAPHTALI (M.& L.630)Etching, drypoint with pochoir in colours, 1973, signed and numbered 10/195 in pencil, from 'The Twelve Tribes of Israel' (portfolio of 26), published on the occasion of the 25th Anniversary of the Founding of Modern Israel by Transworld Art Corporation, New York, on wove paper, with full marginsplate 50.5 x 36.5cm, framed*Artist's Resale Right may apply to this lot.
ART DECO OAK TABLE PART CANTEEN OF ELECTROPLATED CUTLERY FOR SIX PERSONS by Frank Cobb and Co., Sheffield, 70 pieces including TWO PIECE CARVING SET, (the steel missing) and fish eaters, in hinged table, TOGETHER WITH A MODERN EASTERN SERVICE OF BRASS CUTLERY with hardwood handles, in a three drawer mahogany chest with crossbanded top, a BOXED BREAD KNIFE with carved ivory handle and TWO CASED/BOXED SETS OF ELECTROPLATED CUTLERY
A Wedgwood Jasperware oval portrait plaque of John Flaxman late 18th/early 19th century, modelled as a self-portrait of himself aged 14, facing left in profile, impressed 'FLAXMAN' beneath, impressed mark to the underside, framed and glazed, the plaque 7cm. Cf. John Flaxman, ed. David Bindman, p.50 for a modern replica in the City Museum and Art Gallery, Birmingham.
5th-3rd century AD. A restrung necklace of facetted biconical and tubular rock crystal beads with hollow-formed gold spherical and biconvex spacer beads; modern clasp. See Marshall, F.H. Catalogue of the Jewellery, Greek, Etruscan and Roman, in the Department of Antiquities, Br Fine condition.itish Museum, London, 1911 item 1188 for type. 35 grams, 41cm (16").Acquired on the London art market prior to 1980.
Mainly Late Period, 664-332 BC. A restrung necklace of tubular and discoid glazed composition beads with wedjat 'eye of Horus' beads flanking an amulet of a kneeling Shu with arms raised; modern clasp. 5.38 grams, 49cm (19 1/4"). Fine condition. Property of an English gentleman; acquired on the UK art market. [No Reserve]
Mainly Late Period, 664-332 BC. A restrung necklace of tubular and discoid glazed composition beads with wedjat 'eye of Horus' beads flanking an amulet of a kneeling Shu with arms raised; modern clasp. 5.85 grams, 51cm (20"). Fine condition.Property of an English gentleman; acquired on the UK art market. [No Reserve]
New Kingdom, 1550-1070 BC. A group of two restrung necklaces comprising of discoid beads in shades of ochre, grey and black; modern clasps. 20 grams total, 50cm (19 3/4"). Very fine condition.Ex Steinberg collection; acquired London art market, 1960s-1970s.The late Walter Steinberg was a well-known figure at fairs, sales and events for many years. Born in 1922 in Philadelphia, Walter had a life-long passion for collecting. A long-time resident in London, he retired to New York and decided to pass on the antiquities and coins he had collected over his lifetime. Walter acquired coins and artefacts that interested him, so his collection, although containing some lovely examples, also contained many affordable specimens. Much of the material has been unavailable to the market for 30 to 50 years. Walter sadly passed away in 2015 he hoped that the items he collected would find new homes with the next generation of collectors. [2 No Reserve]
4th century AD.A silver spoon with long thin handle ending in a point to one end; to the other end a curved 'swan neck' below attached to the tear drop shaped shallow bowl. For a similar spoon see The Metropolitan Museum of Art, accession number 17.191.211 11 grams, 17cm (6 3/4"). Fair condition, some loss to bowl.Property of a South African collector; acquired in the UK between 1988-1990.Roman spoons are divided in the two groups of ligulae and cochlearia. The first are recognizable with a large oval spoon bowl and a blunted grip. Most likely they were used to perpare and serve the dishes. The smaller cochlearia had a smaller spoon bowl and a thin, pointed grip, an ancient substitute of the modern fork. They were used as the common tablespoons and are found everywhere in the Roman Empire [No Reserve]
14th-15th century AD.A ceramic lidded jar with dark grey pigment, radiating lines to lid and body. 112 grams total, 65mm (2 1/2"). Fine condition.Acquired on the London art market prior to 1980. Annamese Hoi An pottery was made in what is now modern day Vietnam, in the kilns at Chu Dou, being the largest and most important kilns in the fourteenth to fifteenth century in kingdom of Annam. [2]
6th-7th century AD. A silver-gilt square-headed bow brooch with rectangular headplate, shallow carinated bow and lozengiform footplate; the headplate with a panel of scrolls within a border of offset triangular niello-filled stamps, outer border with raised lozenges and piercings; the bow with addorsed helmetted masks to the ends; the shoulders with three-line Style I masks above bird-heads; the footplate lozengiform with punched border similar to the headplate, enclosing a hooked cross or 'swastika' with scrolled arms; bird motifs to the lower edges and inverted mask to the terminal; to the reverse, a reinforcing plate to the footplate with integral catchplate and scar where the pin-lugs were attached; ferrous residue to the upper edge of the headplate. Cf. similar examples from Barrington, Cambridgeshire published in MacGregor, A. & Bolick, E. A Summary Catalogue of the Anglo-Saxon Collections (Non-Ferrous Metals), Oxford, 1993 p.121 item 14.1 sharing the hooked cross motif on the footplate and openwork border to the headplate. 25 grams, 82mm (3 1/4"). Extremely rare. Very fine condition. Acquired on the London art market in the 1990s; previously in a German collection. Square-headed brooches are not a common type in England, found mainly in Kent but with outliers in Oxfordshire and Cambridgeshire; they also occur in Scandinavia, where the type originated. They are always finely made and gilded; some bear inset garnet cloisons. They occur in pairs in women's graves, worn at the shoulders to pin a tubular dress or shawl in place. The swastika is an ancient sun-symbol that is found in many parts of the world from prehistory to the modern day, such as in Hinduism and Buddhism where it is still a potent symbol of good fortune. In the Iron Age and Roman period it was mostly associated with sky deities, such as Jupiter and Taranis. For the Germanic people it came to be associated with Thor, god of thunder and fertility, as well as protector of mankind.
William Scott CBE RA, 1913-1989STILL LIFE WITH EIGHT FORMSOil on canvas, 48" x 78", (123 x 198cm) signed, inscribed and dated 1970 verso.Provenance: Falchi Arte Moderna, Milan; Private Collection; New Art Centre, LondonBernard Jacobson Gallery, London; Private Collection.Exhibition: Milan, Falchi Arte Moderna, William Scott, October 1972, cat. no.3, illustrated in the catalogue;Dublin, Kerlin Gallery, William Scott, 11 October - 9 November 1996, cat. no.7.Literature: Bernard Jacobson Gallery, William Scott, Modern British Masters Vol.1, 1990, no.16, illustrated in colour; Norbert Lynton, William Scott, Thames and Hudson, London, 2004, illustrated plate 216, p.340
Jean Picart Le Doux (1902-1982) FrenchBRUMESOriginal wool tapestry woven by Aubusson, 59" x 78 3/4" ( 150 x 200cm), signed , edition 3/6; also signed and titled on label verso In 1945 Jean Lurcat, with artists Marc Saint-Saens and Jean Picart Le Doux founded the association of tapestry cartoon painters which pioneered the Aubusson revival of tapestry as modern architectural decor and revived the Aubusson weaving ateliers after the devastation of World War II. Louis Le Brocquy was introduced to the art of tapestry by Lurcat.
A Scottish silver caddy spoon in the Art Deco taste with planished bowl below stylised leaf and berry terminal, Edinburgh 1974 R E Stone with facsimile signature, another flattened shovel bowl example London 1995, Edward Victor Stanley and another modern example London 2010, Lucian Taylor (3)
An Edwardian inlaid Napoleon hat mantel clock, the circular dial set with Roman numerals, a further Art Deco style example, a Schatz eight day four glass carriage clock, a modern electrified clock, a steering wheel barometer and a brass perpetual calendar for 100 years from 1963 to 2062 (6).
Grouping of Two (2) 20th Century French Style Art Deco Lamps. Includes: brass chrome and stacked glass lamp along with modern glass and chrome mirrored lamp. Both need to be rewired, Rubbing to brass and metal, oxidation to mirror. Tallest measures 17" H x 8-1/2" Dia. Shipping: Third party. (estimate $300-$400)
[Decorative Art] - Modern Ornament & The Art of Graining, 2 volumes, comprising Sutherland, W. & W. The Art of Graining & Imitating Woods. 1892. Folio, 20 plates in pocket at end, adhesions to a couple of plates, later cloth; [Rogerson, H. Summerfield] [Modern Ornament]. Decorative Art Journal Co., Manchester, [c.1900]. Folio, 12 plates in pocket at end, later cloth, lacks title (as did the previous copy sold in this room), first leaf torn without loss (2)
MIXED, complete and part sets, inc. Comic Images, Fleer, Topps, collectors cards; chrome, glamour, art, Casper the Friendly Ghost holograms, Disney, Mickey Mouse, Donald Duck, Minnie Mouse, Goofy, Pluto, scenes from Disney films; Fantasy Football, Topps cartoons, horror, trucks, Sonic the Hedgehog, Tekworld etc., in four modern albums, G to MT, Qty.
Rafiee Abdul Ghani,a coloured etching of an abstract, coastal landscape; with pencil signature at bottom right and inscribed 'AP II/'Remembered Landscape'; margins apparently uncut; overall dimensions 55 x 37cm; the reverse of the picture stating: Rafiee Abdul Ghani/Age 22/Address: Fine Arts Department School of Art and Design/Mara Institute of Technology/Shah Alam/Selangor/Malaysia.Provenance: The Property of a Lady. Given to the vendor's family by the organiser of a Winchester, global art Competition held in about 1984.Rafiee Ghani studied at the Mara Institute of Technology, circa 1981-85. His more contemporary work, generally oil on canvas, appears regularly at auction. See for instance, Klos Art Auction/Malaysian Modern and Contemporary Art/15-1-2017 Lot 1 where the catalogue entry states that Ghani is 'one of Malaysia's most prominent fine artists'. Compare also Sotheby's Hong Kong 'Modern and Contemporary South East Asian Art'/3-4-2017 Lot 216 for Ghani's 'The Beginning of the Red Sea'. Condition Report Please note that the damage includes some areas of wear or deterioration.
§ Martin Bradley (British, b.1931) Totem signed lower right "Martin Bradley" poster paint on hand-made and hand-blocked paper, unframed 93 x 63cm (36 x 25in) Provenance: Victor Musgrave, Gallery One Victor Musgrave (1919–1984) was a British poet, art dealer and curator. Described by David Sylvester as a 'true pioneer', Musgrave was the first gallerist to show Bridget Riley's work and he was a champion of Art Brut. Musgrave ran 'Gallery One' between 1953 and 1963 - first in Litchfield Street, then moving to D'Arblay Street in Soho. The gallery gave Yves Klein his first solo exhibition in London and also presented work by Fluxus artists. In the 1950s, he had several exhibitions of work by Francis Newton Souza. Other Notes: Martin Bradley was born in London. He attended St Paul's School, but ran away to sea aged 14, serving as a cabin boy. He held his first solo exhibition in 1954 at Gimpel Fils, subsequently exhibiting at Gallery One, owned by Victor Musgrave, and the Redfern Gallery in London. In the early 1960s he exhibited at the Rive Gauche Gallery in Paris. Bradley is known for abstract and symbolic artworks influenced by the calligraphy of China and Japan, as well as Buddhism, to which he converted. Bradley's works are held in the Tate Gallery collections, London, and the Museum of Modern Art in New York. His works have been collected by Dame Barbara Hepworth, Sir Roland Penrose and Sir Herbert Read, and he has exhibited at the Paisnel Gallery in London. Unframed and needs flattening.
§ Antony Donaldson (British, b.1939) Girl in Shade, 2010 signed and dated on the reverse "Antony Donaldson 2010" oil on shaped panel 38 x 30cm (15 x 12in) Provenance: Purchased directly from the artist's studio Other Notes: Antony Donaldson studied at the Slade School of Art, London. His friendship with artists such as Allen Jones, Peter Philips and Patrick Caulfield closely connected him to his contemporaries at the Royal College of Art, who came to establish Pop Art as a movement at the 1961 Young Contemporaries Exhibition in London. In 1962, Donaldson developed his archetypal simplified treatment of the female figure, in striking and confident poses with generalised facial features. These women convey the impression of fantasy images rather than individual portraits. Donaldson currently works between France and London. His work is widely collected and exhibited, examples of which can be found in collections across the globe, notably in the British Museum, the Tate and the Museum of Modern Art, New York. His work has been included in all international overview exhibitions on Pop Art and in all publications on the movement. Paint starting to crack where the cresting meets the frame. Minor paint flaking to the left side of the frame.
§ Gwen Hardie (Scottish, b.1962) Being, 1999 oil on canvas, shaped, unframed 88 x 89cm (34 x 35in) Gwen Hardie, born in Scotland, lived and worked in London and Berlin before settling in New York in 2000. Hardie’s work was recently represented in the British exhibition; “Reality: Modern and Contemporary British Painting” at The Walker Art Gallery, Liverpool, July- November 2015 (previously at The Sainsbury Centre in Norwich) with Lucian Freud, Jenny Savile and others. Other recent shows include; “Skin Deep” a solo show at The Smoyer Gallery, Roanoke College, US in April/May 2014, “Borderline; Depictions of Skin” at Garis & Hahn, New York, and “Skin; An Artistic Atlas” with John Coplans, Marlene Dumas and others at The Royal Hibernian Academy in Dublin, Ireland. Her solo show “Boundaries”, was in the Hebrides, Scotland, at An Lanntair and Taigh Chearsabhagh in 2012 / 2013 . Unframed and fine.
§ Jean Dubuffet (French, 1901-1985) Red, blue, white, lithograph on card, 81 x 57 cm (31.9 x 22.4in) (2); together with two Brutalist sketches of Buildings, watercolour, 40 x 56 cm (21.2 x 21.6in); and of Waves, watercolour, 54 x 55 cm (21.2 x 21.6in) (4) Provenance: From the collection of Victor Musgrave, Gallery One, LondonOther Notes: Art Brut is a French term that translates as 'raw art'. It was invented by the French artist, Jean Dubuffet, to describe art such as graffiti or naïve art which is made outside the academic tradition of fine art.Dubuffet made a large collection of Art Brut, and in 1948 founded the Compagnie de l’Art Brut to promote its study. His collection is now housed in a museum - La Collection de l’Art Brut in Lausanne, Switzerland. Another major collection, using the term Outsider Art, is the Musgrave Kinley Outsider Art Collection, now on loan to the Irish Museum of Modern Art, Dublin, Ireland.Condition report: All unframed and with a little discolouration and dirt. All are unsigned. (Two are the same image - red, white and blue). The Brutalist two are watercolours. Four in the lot.
§ John Bellany, CBE, RA, HRSA (Scottish, 1942-2013) The Artist as Puffin signed upper right "Bellany" and "John Bellany" below centre oil on canvas 50 x 60cm (20 x 23in) Provenance: A gift from the artist to the vendor Other Notes: Bellany's work is in the Museum of Modern Art, New York, the Metropolitan Museum, New York, the Yale Center for British Art, New Haven, Connecticut and Tate Britain, London. Additionally, some of his work is held in Scotland by the National Galleries of Scotland and also by East Lothian Council - reflecting his generosity to the local communities he lived in. The National Gallery of Scotland held a major exhibition of his work, "John Bellany: A Passion for Life", November 2012 - January 2013, shortly after his death. Condition is fine.
General Motoring. A good selection of mainly modern 4to volumes, chiefly hardbacks in their dust jackets, including The Illustrated Encyclopedia of Automobiles by David Burgess Wise; Cars of the Thirties and Forties by Michael Sedgwick; Toy Autos 1890-1939: The Peter Ottenheimer Collection; The Motor Car in Art by John J. Zolomij; two children's titles in rubbed pictorial boards, entitled The Wonder Book of Motors: The Romance of the Road, and The Modern World Book of Motors by Lawrence H. Cade; and 16 other titles. Most in very good condition (22)
Birmingham School of Art. The Torch, A journal produced by students of the city of Birmingham School of Printing, Nos. 1, 2 & 3, 1933, 1938 & 1950, numerous colour and monochrome and illustrations, typographic examples, etc, advertising and layout, etc., including woodcut illustrations by Bernard Sleigh, R. Thornton and others, all original cloth gilt, very slight rubbed, last volume faded to spine and with some spotting, folio/4to, together with a collection of approximately 70 other fine printed books and pamphlets, all printed by the Birmingham School of Printing, under the direction of Leonard Jay, circa 1930-50, including The Song of Songs, translated by Havelock Ellis, decorated by Bernard Sleigh, 1937, Fourteen Addresses delivered to students of the Birmingham Municipal School of Art, 1892-1924, 1942, Hero & Leander by Christopher Marlowe, illustrated by Rose Thornton and Ivy Ellis, 1932, Modern Linotype Typography & Of Making Many Books There Is No End, by Leonard Jay, both 1931, Speculations on the Contemporary Painter by John Minton, 1952, etc., all cloth-bound or in printed wrappers, stitched as issued, various sizes (many slim 8vo) Provenance: Ex libris F.G. Moseley. A full list of the contents of this lot is available from the Auction Office. (75)
Leroux-Dhuys (Jean-Francois). Cistercian Abbeys, History and Architecture, 1998, numerous colour illustrations, original green cloth in dust jacket, covers slightly rubbed, large 4to, together with Carola (Leslie Conran, editor), The Irish, A Treasury of Art and Literature, 1993, numerous colour and monochrome illustrations, original boards in dust jacket, spine slightly faded, large 8vo, and Brasey (Edouard), Dragons, Little People, Fairies, Trolls and Elves, 2002, numerous colour illustrations, original blue cloth in dust jacket, spine slightly rubbed to head and foot, large 8vo, plus other modern Celtic and mythology reference, all original cloth, mostly in dust jackets, G/VG, 8vo/4to (2 cartons)
Teriade (E.). Verve. The French Review of Art, Nos. 5-6, France, July-October 1939, numerous colour and monochrome illustrations, illuminations and lithographs including Henri Matisse and Paul Klee, some light marks, partially disbound, spine missing and front cover detached with loss, folio, together with Pr‚vert (Jacques & Ribemont-Dessaignes, G.), Joan Miro, Paris, 1956, 119 colour and monochrome illustrations, including folding plates, original boards in dust jackets, covers slightly rubbed to head and foot, 4to, and other modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (a carton)
Blomfield (Reginald). A History of French Architecture, from the death of Mazarin till the death of Louis XV 1661-1774, volumes 1 & 2, 1921, numerous black and white illustrations, some minor marks, uniform original brown cloth, 8vo, together with Hitchcock (Henry Russell), Rococo Architecture in Southern Germany, 1st edition, 1968, numerous black and white illustrations, original black cloth in dust jacket, spine slightly rubbed to head and foot, large 4to, and Clark (Willene B.), The Stained Glass Art of William Jay Boton, Syracuse University Press, 1992, numerous black and white illustrations, original red cloth in dust jacket, 8vo, plus other modern architecture reference, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio (3 shelves)
ART AND ANTIQUES: 1. ILLUSTRATED EXHIBITOR: Industry of All Nations, 1851. Cassell, nd, c1851; xliv, 556p, folding views & ill. half leather; rubbed; inner hinges cracked; title page almost detached; 2. Art Journal (3 titles): Industry of All Nations 1851. pp:xxvi, 328, xvi, viii, viii, viii, xxii. Half leather; worn and lacking part of spine; International Exhibition 1862. pp:xii,324. Half leather, rubbed; and Universal Exhibition for 1867. ppxii, 331, (i) adv. Half leather, rubbed; 3. Studio Special Numbers, Edited by Charles Holme (all 1st edn. in original wrappers): Art in Photography, 1905; 4. Art at the Royal Academy: Works bound in 1 volume, 1897, bound in pictorial cloth; Paris Past and Present; 1915; Sketching Grounds; 1909 (wrappers torn and detached); Royal institute of Painters; 1906; Modern Pen Drawings: European & American, 1901; The Brothers MARIS, 1907, (2 copies). Gardens of England, 1907; Old Water-Colour Society, 1905; The Studio Painting Series, 1931. (1
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