Mandeville (Bernard de). A Treatise of the Hypochondriack and Hysterick Passions, Vulgarly call'd the Hypo in Men and Vapours in Women; in which the Symptoms, Causes, and Cure of those Diseases are set forth after a method intirely new. The whole interspers'd, with instructive discourses on the Real Art of Physick it self; and Entertaining Remarks on the modern practice of Physicians and Apothecaries: Very useful to all, that have the Misfortune to stand in need of either. In three dialogues, 1st edition, 1711, some light spotting and browning, contemporary panelled calf, rebacked, a little rubbed, 8vo Hunter-Macalpine p. 296; Norman 1432: "Possibly the first psychiatric slef-help book. Hunter and Macalpine consider Mandeville's work "the first book on minor mental maladies 'writ by way of Information to Patients' rather than 'to teach other Practitioners'" (Hunter-Macalpine). Mandeville is best known for his The Fable of the Bees, a controversial satiric poem maintaining the essential vileness of human nature." (1)
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Yorkshire. Greenwood (C.), Map of the County of York, made on the Basis of Triangles in the County, determined by Lieut. Col. Wm. Mudge, Royal Art. F.R.S. and Captn. Thos. Colby, Royal Eng. in the Trigonometrical Survey of England by order of the Honourable Board of Ordnance and Surveyed in the Years 1815, 1816 & 1817, published Robinson Son & Holdsworth, Leeds [and] John Hurst & C.Greenwood, Wakefield, June 4th 1817, large scale engraved map with bright contemporary hand colouring, sectionalised and laid on linen on nine sheets, calligraphic title and dedication, table of the altitudes of the principal mountains, compass rose and table of explanation, very slight dust soiling, each sheet approximately 615 x 720, all edged in green silk, contained in a modern calf book box with gilt decorated spine (1)
Vercoutter (Jean, et al). The Image of the Black in Western Art, volumes 1 & 2, Harvard University Press, 1976-79, numerous colour and black and white illustrations, original brown cloth in dust jackets, covers lightly toned, large 4to, together with Hooper (Steven, editor), Robert and Lisa Sainsbury Collection, volumes 2 & 3 only, 1997, numerous colour and black and white illustrations, original cream cloth in dust jackets, covers lightly rubbed to head and foot, large 8vo, and Phipps (Elena, et al), The Colonial Andes, Tapestries and Silverwork 1530-1830, New York, 2004, numerous colour and black and white illustrations, original red cloth in dust jacket, large 8vo, plus other modern tribal art reference and related, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4to (approx. 70)
Hayward (Helena & Kirkham, Pat). William and John Linnell, Eighteenth Century London Furniture Makers, Studio Vista, 1980, limited edition 13/100, signed by the authors to limitation page, colour and black and white illustrations, original gilt decorated blue morocco in slipcase, 4to, together with Bain (Iain), The Watercolours and Drawings of Thomas Bewick and His Workshop Apprentices, volumes 1 & 2, 1981, numerous black and white illustrations, uniform original grey cloth in slipcase, oblong 4to, and Wilson (Richard), An Italian Sketchbook, drawings made by the artist in Rome and its environs in the year 1754, volumes 1 & 2, 1968, numerous full page black and white facsimiles, uniform original blue cloth in slipcase, spines slightly faded, 4to, plus other modern art reference, including publications by Antique Collectors' Club, Penguin, mostly original cloth in dust jackets, paperback editions, G/VG, 4to/folio (3 shelves & a carton)
Tanner (Heather, and Robin). A Country Alphabet, The Old Stile Press, 1984, limited edition 154/160, signed by the authors to half title, 26 black and white illustrations, ex BBC library copy with associated stamps, original brown quarter morocco in slipcase, 8vo, together with Tunnicliffe (Charles, illustrator), Both Sides of the Road, A Book About Farming, by Sidney Rogerson, Country Book Club, 1951, numerous colour plates and black and white illustrations, some light spotting to endpapers, original green cloth in price clipped dust jacket, covers toned, lightly spotted and slight loss to head and foot of spine, 4to, plus other mostly modern topographical art and miscellaneous reference, mostly original cloth in dust jackets, some leather bindings, G/VG, 8vo/folio (6 shelves + a carton)
Peters (Harry T.). Currier & Ives, Printmakers to the American People, volumes 1 & 2, reprint edition, 1976, numerous black and white illustrations, uniform orignial cream cloth, boards and spines slightly marked, large 8vo, together with Hulten (Pontus & Celant, Jermano), Arte Italiana Presenze 1900-1945, Italy, 1989, numerous colour and black and white illustrations, original black cloth in dust jacket, covers slightly marked and rubbed to head, large 8vo, and Crane (Walter), The Bases of Design, 1998, numerous black and white illustrations, bookplate to front pastedown, some minor spotting, original gilt decorated blue cloth, spine slightly faded and rubbed to head and foot, 8vo, plus other late 19th century and modern art, antique and photography reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)
Abbey (J.R.). Travel in Aquatint and Lithography 1770-1860 From The Library Of..., volumes 1 & 2, Alan Wofsy Fine Art, San Francisco, 1991, numerous colour and black and white illustrations, uniform original red faux leather in dust jackets, spines lightly faded, large 8vo, together with Thomas (Dylan), Letter to Loren, The Salibrious Press, Swansea, 1993, limited edition 152/200, black and white illustrations and facsimiles, original blue cloth, 4to, and Gatch (Milton, M.C.), The Yeats Family And The Book Circa 1900, Catalogue of an Exhibition at The Grolier Club, 26 January - 13 March 2000, New York, 2000, limited edition 80/250, signed by the author to the rear limitation page, 14 colour and black and white illustrations, original cream cloth spine to blue boards, 8vo, plus other modern bibliographical and literary reference, mostly original cloth, some in dust jackets, G/VG, 8vo/4to (3 shelves)
Weski (Ellen & Frosien-Leinz, Heike). Das Antiquarium Der Mncher Residenz, Katalog der Skulpturen, volumes 1 & 2, Germany, 1987, numerous black and white illustrations, uniform original cloth in slipcase, spines slightly rubbed to head and foot, large 8vo, together with Frink (Elisabeth), Sculpture, Catalogue Raisonn‚, Salisbury, 1984, signed by the author to the title page, numerous colour and black and white illustrations, original cloth in dust jacket and slipcase, large 4to, and Love (Richard H.), Carl W. Peters, American Scene Painter from Rochester to Rockport, University of Rochester Press, USA, 1999, numerous colour and black and white illustrations, original blue cloth in dust jacket, covers slightly rubbed to head and foot, oblong 4to, plus other mostly modern art and sculpture reference, mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)
Bernt (Walter). Die Niederl„ndeschen Maler des 17 Jahrhunderts, volumes 1-3, Germany, 1969, numerous black and white illustrations, uniform original blue cloth, large 4to, together with Peters (Harry T.), America On Stone, The Other Printmakers To The American People, 1976, 18 colour and 136 black and white plates, plus numerous illustrations, original cream cloth, boards and spine slightly marked, large 4to, and other modern art and print reference and related, mostly original cloth in dust jackets, G/VG, 8vo/folio (6 shelves)
A MIXED LOT:- A "Manchester Dog Show" prize dessert spoon, a dessert fork, a three-prong dessert fork, a Dutch "windmill" tea spoon, an Exeter mustard spoon, an Exeter tea spoon, a modern picture-back tea spoon (Prince of Wales' feathers), six Victorian tea spoons, crested, a set of six tea spoons with golf clubs on the terminals, a Scottish mustard spoon and a set of five Art-Deco coffee spoons; 14 oz (lot)
Pierre Kjellberg, Art déco, les maîtres du mobilier, les éditions de l'amateur, Paris, 1981.Maurice Besset, Le Corbusier, Editions d'art Albert Skira, 1968. In-folio, bel état.Livres, Photographies et Manuscrits Booksmoderne - modern - moderne Bücher;Livres - Books - Bücher ;Meubles - Furniture - Möbel
Marius-Ernest Sabino (Italian, 1878-1961) L’IDOLE (PAIR) c.1928 opalescent glass; (2) each titled at base lower centre; with 'Sabino France' atbase on reverse 6½ x 5 x 4in. (16.51 x 12.70 x 10.16cm) 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.145 (one of pair, illustrated) Ernest-Marius Sabino was born in Sicily in 1878 and moved to France with his family when he was young. He attended the Ecole Nationale des Arts Decoratifs and the Ecole des Beaux-Arts in Paris. After World War I, Sabino founded a factory that manufactured traditional light fixtures of wood or bronze, and later switched to glass fixtures. A contemporary of Rene Lalique, Sabino designed his glassware and lighting himself until 1930, when he hired a production manager named Grivois, whose objective was to make lighting transcend banality. Sabino used pressed and moulded pattern glass in bas-relief. His commissions included lighting for hotels and restaurants, as well as for the 1935 oceanliner Normandie. Sabino's work was shown at the 1925 Exposition Internationale des Arts Decoratifs et Industriels Modernes, as well as at the 1925 Salon d'Automne, for which he had designed the general illumination of the halls, passageways, and antechambers.
Kelmscott Press.- Morris (William) A Note by William Morris on his Aims in Founding the Kelmscott Press, Together with a Short Description of the Press by S.C.Cockerell, & An Annotated List of the Books Printed Thereat, one of 525 copies on Flower paper, printed in red and black in Golden type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, erratum slip tipped in at beginning, with book-label 'From the Library of John Charrington,The Grange, Shenley' inscribed in ink "To Margaret Lenox February 1917" at foot of front pastedown, pencilled initials of Tom Handford Parker on front free endpaper and A.L.s. from him dated 1949 on notepaper from a house called Kelmscott presenting the book to Judge Batt and with annotated newspaper cutting loosely inserted, original holland-backed boards, upper cover titled in black, uncut, upper cover slightly faded, [Peterson A53], 8vo, Kelmscott Press, 1898. £400 - £600 ⁂ The last book printed at the press. Morris's essay had previously appeared in Modern Art No.4, Winter 1896, and Burne Jones's frontispiece was originally designed in the 1860s for an aborted edition of The Earthly Paradise. Handford Parker's newspaper cutting concerns the sale of his Kelmscott Chaucer on vellum in 1928 for "the enormous price of £4000 paid by Quaritch". His annotation reads "This copy was in my private collection from June 1917 to Oct. 1922 T.H.P. Bought from May Morris Sold to Maggs Bros." John Charrington, Honorary Keeper of Prints at the Fitzwilliam Museum, Cambridge from 1909 until his death in 1939. He had a large collection of prints and a significant library including an important collection of private press books.
Jack Butler Yeats RHA (1871-1957)Kerry Landscape (1913)Oil on panel, 23 x 35.5cm (9 x 14)SignedProvenance: Sold through Leo Smith, The Dawson Gallery, Dublin to Senator Joseph Brennan, a well known collector of Jack B. Yeats work and thence by descent to the current owner.Yeats painted several oil landscapes of Tralee Bay and Castlegregory on a visit to Kerry in 1913. It is likely that his work dates to this period and may depict the coast from the Maharees or Derrymore Island. The work was part of the collection of the prominent collector and champion of modern Irish art, Senator Joseph Brennan. Yeats’s landscapes explored the Western coastline in all its drama and diversity, a theme that he found endlessly fascinating. In this work, as in many of his later more fanciful depictions of the Atlantic coast, the horizon line provides the pivotal midpoint of the composition, adding to the immense sense of space and calm that the view imparts. Rich impasto paint is used to convey the swirling sands of the bay as they intersect with the tide. Rich rosy tints introduce an element of warmth to the palette. The tone is subtly complimented by the pale blue of the seawater. Dr Roisin Kennedy
Norah McGuinness HRHA (1901-1980)The Startled Bird (1961) Oil on canvas, 68.5 x 81.25cm (27 x 32'') Signed and dated 1961 Provenance: Acquired directly from the artist in 1961 by a friend (as it was his daughter depicted in the woods); and thence by descent to the current owner. The location of the wood is the south side of Carrickgollogan, Co. Dublin, near the artist's home. Exhibited: RHA Annual Exhibition 1961, Dublin, Cat. No. 41 (NFS); Exposition de la Peinture Contemporaine Irlandaise, Monaco, February/March 1962; Twelve Irish Painters - An Exhibition of Irish Modern Art, New York, 1963, Cat. No. 32; Norah McGuinness Retrospective, Trinity College Dublin, 1968, Cat. No. 63.Norah McGuinness's work went through a great resurgence in the early 1960s when she produced some of her most accomplished paintings. In 1961 she had a very successful show at the Dawson Gallery. James White reviewing it in the Irish Times described it as 'undoubtedly her finest exhibition'. (1). The Startled Bird, exhibited that year at the RHA, can clearly be related to the works in this show. Its inclusion in international exhibitions of modern Irish art organised by the Arts Council indicate the regard in which it was held by the art establishment at the time. Inspired by her frequent sojourns in the countryside, the work evokes through its patterning of rich colours and stark forms, the physical sensation of woodland. The figure of the young girl and the blackbird in the foreground add a note of drama to the painting while celebrating the poetic aspects of nature. Both suggest the simplicity of rural life. McGuinness makes these familiar motifs contemporary through the strong flattened patterning of the forms which is ultimately derived from cubism, a style which she had learnt in Paris in the studio of André Lhote at the end of 1920s and which continued to resonate in her work into the 1960s. Cubism enabled her to simplify the subject and to create decorative and almost abstract responses to the subject. The subtle delineation of foliage, berries and branches and the use of strong blocks of colour are typical of the artist's unmistakable style. They reveal an acute awareness of the natural world, the product of a passionate interest in gardening and more significantly a long career spent developing a keen appreciation of landscape. She avoids any of the clichés of traditional touristic imagery in her representation of Ireland. This made McGuinness's work attractive to the Arts Council and to collectors in the 1960s. The Startled Bird is an excellent example of her late work at its most expressive. 1. James White, Irish Times, 10 November 1961Dr Roisin Kennedy
Nano Reid (1900-1981)The StruggleOil on board, 61 x 50.5cm (24 x 20'')SignedTitle inscribed on artist's label versoExhibited: ‘Nano Reid' Exhibition The Dawson Gallery, October, 1962, Cat No. 10Born in Drogheda, Nano Reid was the daughter of publican, Thomas Reid. Winning a Scholarship in 1920 to the Dublin Metropolitan School of Art, Reid later remarked on stained glass artist, Harry Clarke’s ‘forceful influence’ on her. In 1950, she was chosen to represent Ireland at the Venice Biennale with Norah McGuinness, where Italian critics expressed surprise that she was a woman, such was the vigor of her brushwork. Her unique style of painting was largely influenced by artists she knew and admired. These included the Argentinian painter Antonio Berni (1905-1972), Belgian artist, Marie Howet (1913-1978), and Belfast artist, Gerard Dillon (1916-1971). Visiting historic monuments together in the Boyne Valley from the 1940s, Dillon and Reid’s approach to their subject matter was often childlike and imagery was depicted with a modern flatness to retain a narrative similar to the illuminated manuscripts and scenes from the panels on the High Crosses in north Leinster. Described by her friend, Patricia Hutchins, as ‘slight, wiry and determined’, Reid was known in the 1960s to sit for periods of time around Louth, Meath and Drogheda absorbing the landscape as she searched backwards in time for subject matter for her oil paintings.Although exhibiting since 1934, Reid’s paintings in the 1960s were largely misunderstood by the public. This wasn’t helped by Reid’s reluctance to explain her paintings, and she too readily accepted that local people in her native town of Drogheda were puzzled by her work. A clue to the narrative of this painting lies in the other titles in the 1962 exhibition catalogue, ‘The King’, ‘Rath and Standing Stones,’ and ‘Pagan and Christian’ which all allude to tales from ancient Ireland. A figure wrestling with a bull may refer to the Irish heroic tale in mythology of Táin Bó Cúailnege also known as The Cattle Raid of Cooley, the cause of which was a battle over bulls. Bulls epitomized masculinity and were a symbol of dominance, strength and power. Comparing their wealth, Queen Medb wanted to equal her husband, Ailill’s prosperity by owning a stud bull and thus began a battle to get a bull from an Ulsterman. Adopting a bird’s eye view, flattened shapes appear with bold colour. Framed in egg yolk yellow a large brown bull and a figure are outlined in prominent lines while above the action, looser swirling strokes of subdued tones suggest a ford, hills and fields. Childlike in simplicity, colour is economical and detail is not important here. In the heroic tale in literature, the arduous battle about bulls lasted months but by employing pictorial intelligence, Reid shares her enjoyment in the tale with the viewer but illustrating the story in her own distinctive authorial voice. Despite living in Dublin in the 1940s and 50s Nano Reid’s subject matter by the late 1950s was directed towards the area around her native Drogheda. In 1958 when the Butter Gate, a 13th century structure in the town of Drogheda was being demolished, Nano Reid became involved in a campaign to save it. Teasing Reid over her actions, Dillon christened her ‘Butter Gate Reid’. A few years later in 1962, she returned to live in Drogheda with her two unmarried sisters, Molly and Jenny, who were running the family bar in James’s Street. Although she continued to hold solo exhibitions at the Dawson Gallery in Dublin and exhibited in group shows in Belfast, Dundalk, Wexford, Cork and Kilkenny, she rarely saw people outside her family circle and spent an increasing amount of time engrossed in the Boyne Valley which enriched her imagination and her life. Karen ReihillFebruary, 2017
1947 Bentley MK VI Vanden Plas Drophead Coupe - Supplied new to Sir John William Maxwell "Max" Aitken, 2nd Baronet, DSO, DFC - 1 of just 6 Bentley MK VI chassis to be clothed by Vanden Plas with this particular design of Drophead Coupe coachwork - Factory chalk marks still visible on the chassis side rails and much of the original red leather upholstery retained - Discovered in a farm outbuilding during 2010 and extensively restored over the next five years Introduced in 1946, the MKVI was Bentley's first post-war model. Aimed at the emerging 'owner-driver' luxury car market, the newcomer was closely based on the 1939 MKV (of which only fifteen were produced). Built around a massive cruciform-braced chassis with independent front suspension and a leaf-sprung 'live' rear axle, it was fitted with a freshly developed 4257cc OISE (overhead inlet side exhaust valve) straight-six engine mated to a four-speed manual gearbox. Capable of over 100mph when clad in the factory's understated 'standard steel saloon' coachwork, the MKVI quickly developed a reputation for being a refined yet responsive drive. However, despite the excellence of the 'basic' car, there remained a core of marque enthusiasts who found its styling too anonymous. Conscious of this demand Bentley invited various firms to submit Drophead Coupe proposals for its newcomer's chassis. Vanden Plas' rendering was altogether sleeker and handsomer than that of the factory's in-house coachbuilder Park Ward. However, it was also costlier and more labour intensive to produce. Hence, Vanden Plas are understood to have fitted this particular design of Drophead Coupe coachwork to just six Bentley MKVI chassis. One of the illustrious sextet, chassis B245AJ wears the renowned London cochabuilder's body number 4043 and was supplied new via Jack Barclay Ltd of Hanover Square W1 to Group Captain Hon. Max Aitken DSO, DFC, MP of 39 Albert Court, SW7 on 11th December 1947. A director of the Express Group and later Chairman of Beaverbrook Newspapers, he kept the Bentley until 1950 (the same year he lost his seat in the House of Commons due to an unfavourable boundary change) when it was bought by W.J. Norton Esq. of Sir James Farmer Norton & Co Ltd, Adelphi Iron Works, Salford, Manchester. Acquired by its previous keeper during the early 1970s as a means of making the 'right impression' with wealthy clients, the MKVI was subsequently dry stored in a farm outbuilding for decades. Rescued by the vendor in 2010, the Drophead Coupe was found to be surprisingly sound and sported a sticker for marque specialist Frank Dale & Stepson. It is pure supposition but the seller thinks that Frank Dale & Stepson may well have mechanically overhauled the Bentley because he soon had it running sweetly and even as a professional restorer only found it necessary to replace the brake hoses and seals plus one top front suspension bush! Principally fabricated from aluminium, the elegant coachwork was refurbished as necessary and repainted in Garnet over Silver; a combination which makes the most of its refinished chrome detailing. Pleasingly almost all the original Red leather upholstery proved usable once fed, while other signs that the car had led something of a charmed life included the retention of most of its tools and the original factory chalk marks on its chassis side rails (now varnished over for posterity). The interior woodwork was rejuvenated and the Red mohair hood renewed. Running and driving upon inspection, the Bentley rides on radial tyres which are said to give it notably more positive roadholding. It is not inconceivable that the 26,000 miles currently shown by the odometer represent either the total covered from new or the distance travelled since a major mechanical rejuvenation. The wiring has been checked and repaired and details such as the rear interior lights are in working order as are the more modern stereo and sat-nav power feed. A wonderful example of the coachbuilder's art, this notably stylish and decidedly rare Drophead Coupe still sports its original London registration number 'JLO 942' and factory-fitted engine (number B252A). Worthy of close inspection, it is offered for sale with RREC copy Construction and Test Records and current MOT certificate valid until Valentine's Day 2018.
Modern Garden Sculpture: ▲ John Ravera: A bronze griffin signed John Ravera and dated 1981 and with Meridian, London bronze foundry stamp, mounted on later limestone plinth, variegated green/brown patination 180cm.; 71ins high John Ravera was born in Surrey in 1941. He trained at Camberwell School of Art, working mainly in clay to be cast in bronze. Past President of the Royal Society of British Sculptors. He has public monuments scattered over London and the home counties including the much admired "Family Group" near Battersea Bridge as well as works in Hong Kong and Tokyo. He died in 2006.
Natural History: † A Shagreen veneered box by Glyn Lockett outlined in bone and with silvered brass sharks head tail and fins, with maker’s silver monogram 24cm.; 9½ins longThis lot is subject to VAT ON HAMMERGlynn Lockett studied Art and Sculpture, before setting up his own restoration studio where he started to make his own objects using rare and precious materials. Influenced by the great 16th century collectors of ethnographic and natural history artefacts originally displayed in cabinets of curiosities or Kunsthammer, his pieces all using natural and often precious materials, have a both historical and modern twist exploring the symbiosis between the finished artwork and the materials used.
A number of books and catalogues on Japanese and Asian Art, including: 'Joly's List of Names and Kakihan' (1963); Two Christie's catalogues of the Dr. Walter A Compton collection of Japanese Swords and Sword Fittings (1992); 'One Hundred Masterpieces from the Collection of Dr.Walter A.Compton' with Essays by William Tilley and Walter Compton II; Catalogue of Collection J.Jacques Reubell (Paris 1934); 'Das Kunstgewerbe in Japan Von Otto Kummel' (Berlin 1911); 'Netsuke/A Guide for Collectors' by Mary Louise O'Brien; 'Japanische Schwertzieraten' von Gustav Jacoby (Leipzig 1904); 'Japanese Eroticism' presented by Bernard Soulie (1981); Netsuke' by Richard Barker and Lawrence Smith; 'Japanese Inro and Lacquer' (Spinks 1984); Two Eskenazi catalogues of 'Eighteenth to Twentieth Century Netsuke' (1978); 'Tamba Pottery' by Daniel Rhodes; 'The Art of Modern Japan' by Hugo Munsterberg; 'Tansu' by Ty & Kiyoko Heineken; 'Dictionary of Chinese and Japanese Art' by Hugo Munsterberg (1981); and two volumes of 'Art Treasures of Japan' edited by Yashiro Yukio (1960) (28) Condition Report Please note that this is a group lot where condition may vary from book to book; areas of damage include wear, deterioration, loss and/or soiling.
Gregoire Johannes Boonzaier (South African 1909-2005) BLUE ORCHIDS signed and dated 1981; signed and titled on the reverse oil on board 44,5 by 34cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.
Gregoire Johannes Boonzaier (South African 1909-2005) PINK HIBISCUS signed and dated 1980 oil on canvas laid down on board 35 by 25cm Gregoire Boonzaier was born in 1909 in Cape Town and passed away in 2005. The flower studies PINK HIBISCUS and BLUE ORCHIDS bears the characteristic style of Boonzaier’s use of tremulous outlines used to accent the forms of trees, houses and flowers that is reminiscent of Pieter Wenning’s structural devices. He was influenced by Wenning and the Dutch painters he encountered during his time at The Hague School. According to Scott (1965: 15) Boonzaier was also influenced by European artists such as Braque, Utrillo and Cezanne. The pure browns and greys of Braque appealed to Boonzaier’s own colour sense, whereas his approach to still-life themes occasionally varies with strong tones, pure and romantic with a modern approach. By adopting a wide colour range Boonzaier accomplishes a more romantic expression of mood with a distinctive reality and exuberance. Although he exhibited exceeding talent from an early age and enjoyed a career of outstanding artistic popularity, his most valuable contribution to South African art was undoubtedly his driving effort as chairman of the New Group. Boonzaier has been a valuable influence on a large number of Cape painters, almost singlehandedly establishing a secure market for Cape Impressionism, not only in South Africa, but on an international scale. CS Reference: • Scott, F. P. 1964. Gregoire Boonzaier. Tafelberg-Uitgewers, Cape Town.
A small free blown organic bowl by Andre Thuret circa 1930 of oval section with integral loop handles to the heavy cased clear crystal body, internally decorated with powder pink and silver mica around the bowl, engraved signature, width 16cm. Andre Thuret was one of the first modern French studio glass artists and a contemporary of Maurice Marinot. He was born on November 3, 1898 in Paris. He worked in a traditional glass blowing technique exhibiting at the Salon d'Automne in 1928 and 1932 and obtained his first plate of the Company of Encouragement to Art. He was invited to exhibit in the United States in 1929-1930. Andre Thuret received his Chevalier of the Legion of Honor in 1947.
A lot of two books, dating: 20th Century, provenance: France, dating: 20th Century, provenance: France, 'Contribution a L'Etude des Armes Orientales Inde et Archipel Malais', P. Holstein, Vol. I, Paris, modern reprint, 317 pages e 36 plates. Cloth, hard cover. Together with 'Das Schatzhaus Kuwait - Islamic Art & Patronage',Al-Sabah Collection, Frankfurt/Main 1996; 316, b/w and colored pages. Paperback., height 30 - 30.5 cm.
Superman DC comics nos 161 (VG), 184 (VG), 185 (VG), 11 (80 page giant VG+), Action Comics #283 (FN), 286 (FN), 287 (VG), Superboy #111 (VG), 119 (VG), 122 (GD), 123 (GD), 128 (FN), 130 (GD), 152 (FN) plus 12 modern era Action comics, 9 modern era Superboy and Superman comics, Superman #254 - Neil Adams art (FN), #238 (FN) plus 32 modern era Superman comics (VF). All UK versions (68 comics)
Edward William Godwin (1833-1886) - a rare ebonised mahogany display cabinet, c.1872-75, probably manufactured by Collinson & Lock,the upper section with 'floating' counter-balanced glazed door above a pair of glazed doors with reeded glazing bars, flanked by asymmetric shelving with lattice cresting rail, on eight legs with six square tapered brass sabots, width 6ft 1.5in., height 4ft 11.5in., 13in. deepProvenance:The vendor's mother acquired this cabinet from the auction of the contents of Caldecote, Hurtis Hill, Crowborough. The 1930 Kellys Directory of Crowborough lists John Glynn as the owner of Caldecote.Literature:This rare Anglo-Japanese ebonised mahogany cabinet was designed by the important architect and designer Edward William Godwin (1833-1886). Godwin’s influence on modern furniture design should not be under-estimated. He sought to design furniture which was functional and appropriate to modern living, and experimented with modular and fitted furniture decades before it became popular in the mid 20th century. His designs were popular with leading artists and writers of the Victorian era including James McNeill Whistler and Oscar Wilde. Godwin exhibited his furniture at some of the great international exhibitions of the late 19th century including Vienna in 1873, Philadelphia in 1876 and Paris in 1878.He worked in a number of different styles, and like the cabinet offered for sale by Gorringes, it is the pieces which he designed in the Anglo-Japanese style which demonstrate that he was a forerunner of the Modern Movement.This ebonised mahogany cabinet was probably made by the leading London art furniture manufacturer Collinson and Lock around 1872-75. A similar mahogany cabinet stamped by Collinson and Lock is illustrated by in Susan Weber Soros’ comprehensive book ‘The Secular Furniture of E.W. Godwin’, illus. 323 on p. 202. The cabinet shows the influence on Godwin of Japanese designs such as the use of stepped shelving and the ebonised finish in imitation of black lacquer. The curved lattice-work back rail is reminiscent of fretwork on Chinese classical furniture and the brass sabots are a signature of Godwin’s Anglo-Japanese designs.
ATTRIBUTED TO VLADIMIR LUKICH BOROVIKOVSKY (RUSSIAN 1757-1825)Diana, based on the same composition of the goddess by Borovikovsky`s teacher, Johann Baptist Lampi, oil on canvas47.5 x 38 cm. (18 5/8 x 15 in.)LITERATUREThe nearly identical version of the work by Johann Baptist Lampi is illustrated in "Un ritrattista nell`Europa dell corti" by Fernando Mazzocca, Roberto Pancheri and Alessandro Casagrande, Giovanni Battista Lampi 1751 – 1830, (Trento 2001), p. 232, n. 31Please see Lot Notes below LOT NOTESVladimir Borovikovsky received his earliest art instruction from his father, a limner icon painter, before catching the eye of Empress Catherine II and being engaged by the Empress as a court painter and student under Johann Baptist Lampi. It appears that while Borovikovsky was still Lampi`s student that he painted the figure of Diana forming the present lot. Borovikovsky met the Empress while she was visiting the newly conquered Crimea and staying with Borovikovsky`s friend, Vasyl Kapnist, the Marshal of Nobility of the Kiev Gubernia. To please the Empress, Kapnist commissioned Borovikovsky to paint pair of allegorical works featuring the monarch for her chamber. The paintings had left a great impression on Catherine, and she requested that the artist move to St. Petersburg. Borovikovsky accepted the offer and after establishing himself in the capital in 1787, made the city his permanent residence. Although still a young man by modern standards, at thirty years old Borovikovsky was beyond the acceptable age range for formal academy training, and was set up to study privately under Johann Baptist Lampi in 1792, one of the most fashionable portrait painters of the day. Lampi had exerted an unquestionable influence over the development of Borovikovsky`s style, particularly noticeable in the young artist`s soft palette and compositional devices. It was common practice of the day for students to copy the works of their masters, and given the existence of a strikingly similar work to the present lot by Lampi (now in the Museo Castello del Buonconsiglio in Trento, Italy) it appears likely that the work by Lampi served as a basis for this painting of Diana. The authors of the monograph Giovanni Battista Lampi 1751 - 1830 believe Lampi completed his painting of the goddess (pictured here in the ``additional images``) somewhere between 1789 and 1791, shortly before he took on Borovikovsky as a pupil, making this work a prime candidate for study and copying by the aspiring artist. Although the pose and subject of the two paintings is nearly identical, one cannot help but notice where Borovikovsky deviated from his master`s approach and imbued the subject with his own vision. Stronger, cleaner lines replace his master`s sfumato and cooler mother-of-pearl shade pastels replace the warmer hues. The beauty of the face and figure remain paramount, however, with the folds of the robes, the position of the hands, and other scenic devices primarily used to enhance the allure of the subject, as would become a hallmark of Borovikovsky`s oeuvre. Although unsigned, given the work`s close connection to the painting of Diana by Johann Baptist Lampi, created shortly before Borovikovsky was taken on as a student, and given the slight but notable variations between the two works clearly done by different masters, it is quite likely that the present lot is an early work by Vladimir Borovikovsky, while the artists was still on the cusp of greatness.
Collection of cigarette cards sets in a modern album, including Wills Old Furniture 1st and 2nd series; Phillips A Selection of BDV Wonderful Gifts; Carreras Old Staffordshire Figures; BDV Ceramic Art silks (set of 47); Ogdens Modern British Pottery; Milhoff Antique Pottery; Wills Old Pottery & Porcelain; Lea Old English Pottery and Porcelain (all 5 different Series) (qty)
* NEIL DALLAS BROWN (SCOTTISH 1938 - 2003),LOVERS AND SKY THREAT, 1967oil on canvas, signed127cm x 127cmFramed.Note: Neil Dallas Brown was born in Elgin, Moray and studied at Dundee College of Art, Patrick Allan Fraser School of Art in Arbroath and the Royal Academy Schools. He won a travelling scholarship to the continent and a number of notable awards and prizes. In 1967 he visited New York with a Scottish Arts Council bursary; in 1970 took part in the Arts Council of Northern Ireland Open winning a major prize; and in 1981 won a bursary to the Scottish Arts Council studio in Amsterdam. From 1968-78 he was visiting lecturer at Dundee's Duncan of Jordanstone College of Art, then joined Glasgow School of Art where he taught for some 20 years. He lived in Fife until his death in 2003. Dallas Brown participated in dozens of group shows but also had a series of prestigious solo shows, notably at Compass Gallery in Glasgow, a series in the late 1960s at Piccadilly Gallery in London, a touring retrospective in 1975 from Stirling University, Perth Art Gallery 1987, Thakeray Gallery London in 1989 and Glasgow School of Art 1998. Birds and humans featured in Dallas Brown's pictures, which are tinged with mystery, menace and surrealism. He said ''Painting is love. Painting is an affectionate devotion''. More than 50 of Neil Dallas Brown's paintings are held in major public collections in the UK including at Glasgow Museums & Galleries, Fife Council, Hospitalfield, The Glasgow School of Art, Edinburgh City Collection, Nottingham Art Gallery, The Walker Art Gallery (Liverpool), Aberdeen Musems & Galleries, Dundee Museums & Galleries, The Fleming Collection (London), Paisley Museums & Galleries and The Scottish National Gallery of Modern Art.
Roman, the Levant, late Imperial Period, ca. 3rd to 5th century CE. Composed of tiny stone tiles (tesserae/tessellae), including marble, slate, and mica, this mosaic panel shows a scene of two women interacting at a bathhouse. Both wear bracelets and necklaces; one is draped with a cloth that falls around her bare buttocks, while the other stands nude, with a cloth falling behind her. The nude woman has her visible arm raised, as if gesticulating in conversation. The small remaining fragment of the other woman's face reveals that it is turned back, as if listening. The colors of the women's bodies are warm, mostly pinks and darker reds with some white stones to highlight shadow and light. Mounted on frame with honeycomb backing. Size: 29" W x 44.25" H (73.7 cm x 112.4 cm); size on frame: 30.8" W x 46.5" H (78.2 cm x 118.1 cm)The women are in a room with clean, pale yellow walls, standing on a glossy grey floor, dappled with sparing areas of pale brown that make it appear to be glistening with water. The women's clothing is red, grey, and pale yellow, outlined in black to give the impression of folds. One area that shows particularly skillful artistic execution is where the partially clothed woman's knee bends, catching the fabric and bunching it. Mosaics (opus tesellatum) are some of our enduring images from the Roman world. They reveal everyday life, social interactions, and even things like clothing styles, personal ornament, and the interior of buildings in ways other styles of Roman art generally do not. A scene like this would have taken place in a bathhouse, an informal public space where women could mingle and speak with one another in a close social setting. This mosaic may have graced the wall or floor of a bathhouse, and was probably originally set into a large, ornate border, as many of the mosaics from the Roman Levant are. In the Roman province of Syria, which encompassed most of the ancient Near East/Levant, mosaics seem to have developed as a common art form relatively late, with most finds coming from the 3rd century CE or later. Syria was one of Rome's wealthiest provinces, but it was also far removed from Rome itself and Roman culture was overlaid on enduring cultural traditions from Hellenistic Greece and the great civilizations that came before it. Antioch-on-the-Orontes (modern day Antakya, Turkey), was the capital of northern Roman Syria, and its excavations in the 1930s revealed more than three hundred mosaic pavements - of which many embellished public baths. Often the known mosaics from this region are mythological or religious scenes, but sometimes we see one like this, showing a touchingly human scene from upper class life.We cannot find a perfectly comparable example with this type of subject matter and size. To give you an idea of what is available, see for example this larger mosaic with mythological subject matter: http://www.christies.com/lotfinder/Lot/a-roman-marble-mosaic-panel-circa-3rd-5321865-details.aspx that sold for $30000 in 2010; this pair of smaller panels with less sophisticated subject matter: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-2034792-details.aspx that sold in 2001 for roughly $6000, and this similar-sized but more colorful example: http://www.christies.com/lotfinder/Lot/a-late-roman-mosaic-panel-circa-4th-5th-5509263-details.aspx that sold for $25000 in 2011. Provenance: Ex-Private New York City Collection Condition: No restoration; mounted on frame with honeycomb backing. Losses to edges as shown. Some of the tesserae have small flaws All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #121211
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