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Lot 3605
Equine Interest - Miles (W.J.), Modern Practical Farriery, A Complete System of the Veterinary Art, William MacKenzie, London [1880], large 4to, vi + 538 + 96 + vii pp, nineteen chromolithographic plates, others b/w, period half leather; The Horse: Its Treatment in Health and Diesease, With a Complete Guide to Breeding, Training and Management, edited by Prof. J. Wortley Axe, The Gresham Publishing Company, London 1908, 4to, volumes I and II, xxii + 512pp, xii + 491pp, period half leather
Lot 2341
* GWEN HARDIE, FACE 09.17.05 oil on canvas 64cm x 58.5cm (25 x 23 inches) Framed Provenance: The artist. Private London collection. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.
Lot 367
VARIOUS AUTHORS. Relating to Art and Artists mainly modern publications includes Phaidon. The Art Book, 1994. Complete Works of William Shakespeare - Illustrated edition by Flame Tree Publishing 2011 and Omega Books 'Le Morte D' Arthur. Illustrated by Aubrey Beardsley 1985 etc... approx 21 vols (contents of two boxes)
Lot 438
A deep blue glass perfume bottle with trailed flambe Art Nouveau style patterning, signed "Okra, 1983 No.53", a modern glass paperweight signed" Monsoon 318/800 1987", and another indistinctly signed "Jacy C Beauville" (?) "95/100", together with three Doulton miniature character jugs," 'arry" and two unnamed.
Lot 1483
All world collection in five albums and loose, mostly u/m modern issues incl Germany, Great Britain with NPM cards, Greenland 1938-46 set, 1945 set, 1956 surcharged pair, United Nations, United States, Vatican u/m from 1985 to 2009 and Yugoslavia etc, thematic with Art incl sets and miniature sheets, Omnibus with 1945-46 Victory and 1953 Coronation sets, mostly fine (Thousands)
Lot 2084
KONSTANTIN YAKOVLEVICH KRYZHITSKY (UKRAINIAN, 1858-1911), OIL ON CANVAS, 1886, H 17", W 27", "ICE CUTTING"A man lying on a horse-drawn travois; signed and dated lower left; gilt frame with linen liner. Provenance: exhibited 1967, Gallery of Modern Art, NYC, "A Survey of Russian Painting from the 15th to the 20th Century" (label on verso); Birmingham Gallery, Inc. (John McKinney), Birmingham, MI label on verso as well.Under UV light: large patch in UL of sky with overpainting on the recto; possibly 2 smaller restorations in center right; not lined; original stretchers; gilt period frame with many losses and having water damage to its verso. Rf- For High Resolution Photos visit Dumouchelles website.
Lot 2025
NORMAN LUNDIN (AMERICAN, B. 1938), OIL ON CANVAS, 1987, H 42", W 78"Depicting a table set with a blue cloth and six glass jars. Signed and dated on reverse 1987. See artist's web site. Norman Lundin, American, born 1938. Norman Lundin, Professor of Art Emeritus at the University of Washington. His work is included in the collections of the Museum of Modern Art in New York, The Art Institute of Chicago among many others.Good condition. Title on reverse: "Studio still life, Bottles and blue table cloth".- For High Resolution Photos visit Dumouchelles website.
Lot 189
JAMES POWELL WHITEFRIARS; a "Minerbi" goblet designed by Harry Powell, with flared bowl set with melted glass threads and knopped wrythen twisted stem to plain foot, height 20.5cm. The "Minerbi" service was commissioned by Count Lionel de Minerbi of Venice, who ordered a full service of around 400 items produced in 1906 when seeing the items at the 1902 International Exhibition of Modern Decorative Art in Turin. The pattern for this glass is referenced in EVANS, ROSS & WERNER; WHITEFRIARS GLASS, JAMES POWELL & SONS OF LONDON page 279.
Lot 686
MICHAEL SEWARD SNOW (1930-2012); watercolour on paper, dated November 1958, signed and dated lower right, 26cm x 35cm, framed and glazed, Malcolm Bishop Gallery label verso. (D) From the early 1950s, Snow was intimately associated with the modern art movement in St Ives, Cornwall. CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
Lot 190
JAMES POWELL WHITEFRIARS; a "Minerbi" goblet designed by Harry Powell with rounded funnel bowl, set with melted glass threads above knopped baluster stem and plain foot, height 17cm. The "Minerbi" service was commissioned by Count Lionel de Minerbi of Venice, who ordered a full service of around 400 items produced in 1906 when seeing the items at the 1902 International Exhibition of Modern Decorative Art in Turin.
Lot 533
WINIFRED M. McKENZIE (1905-2001)Valley of the Dee, Kirkudbrightpencil signed and inscribed in the lower marginoriginal colour woodblock8 3/4 x 8 3/4 in (22.3 x 22.3cm) The artist studied at the Glasgow School of Art and in 1932-33 studied wood engraving at The Grosvenor School of Modern Art under iain Macnab. During the Second World War she taught wood engraving to service men and women at St. Andrews University, and was part of the St. Andrews Group of wood engravers
![[AMERICAN ART] a modern miscellany; sold with some modern photographic books.](https://cdn.globalauctionplatform.com/cb3fcf89-3a62-4267-af31-a5bb00e7ae01/b34acf96-6f24-4d05-b051-384195d47671/468x382.jpg)
Lot 393
AZBUKA V RISUNKAH V. L. KONASHEVICHA, 1918KONASHEVICH, VLADIMIR MIKHAILOVICH (1888-1963). Azbuka v risunkakh [An Alphabet in Pictures]. Petrograd: R. Golike and A. Vilborg, 1918. 4to. 39 pp. With full page color lithographs for each Cyrillic letter. Original decorated wrappers. Minor internal soiling. In presentation case.V. M. Konashevich was one of the greatest modern Russian children`s book illustrators. He illustrated works by S. Marshak, K. Chukovsky, Alexandre Pushkin, Charles Perrault, Hans Christian Andersen and many others. His first masterpiece, Azbuka v Kartinkah, was his affectionate homage to Alexandre Benois` 1904 picture book of the same name. It demonstrates the artist`s mastery of line and color in the in the tradition of the Mir Iskusstva, [World of Art] group of artists whom he joined in their twilight years.
Lot 712
An Art Deco mirror stand, with marble base and painted metal nude female figure and with later circular mirror. Width 23.5 cm. CONDITION REPORT: The stand itself is in generally good condition with only minor surface scuffs and scratches. The female figure has been repainted at some point. There are some scuffs around the proud parts of the figure on the nose, elbow and arm. In our opinion the mirror is a later modern replacement.
Lot 630
AN ALBUM OF POSTCARDS, C1907-50 Ireland including street scenes, churches, monuments and villages, Dublin, Galway, England including Taplow and the south coast, resorts, real photographic Haddenham and Carshalton, foreign including Burma and Mauritius, art, greetings, Great Central Railway advert and comic, postally used and unused, in modern album (155 approx) ++++
Lot 17
Mainie Jellett 1897-1944 COMPOSITION, TWO ELEMENTS Oil on canvas, 36” X 24” (91.5 x 61cm), signed Jellett 1925 verso. Provenance: The Neptune Gallery, Dublin; these rooms 2000; Private Collection. Exhibited: 1974, Neptune Gallery, No.30 (illustrated) Literature: Mainie Jellett, Irish Museum of Modern Art Dublin 1991, page 70, No. 78
Lot 206
A diamond and coral plaque ring Art Deco style, the central round brilliant-cut diamond to a coral panel, set to a single-cut diamond border, of square form with canted corners, to white metal, central diamond weight approximately 0.13ct, ring size M CONDITION REPORT: the inside of the shank is stamped '750' central stone approx:- Colour I-K Clarity SI1 Diamonds are natural, coral appears to be natural it is a repro Art Deco style ring, probably modern 1990's approx.
Lot 58
A collection of Art Nouveau style brooches Varying in design, to include; an blue and purple enamel and silver brooch/ pendant, of almost crescent form, two modern silver brooches by Ola Gorie, the first a silver brooch/ pendant, of pierced circular form, depicting two peacocks, the second in form of a stalk curled up, a Danecraft cast silver brooch, with multi blossoms, leaves and berries set within an oval framework (7)
Lot 410
'Scientific experiments ought not to have to be done under such a fierce light, but in quiet, & largely in secret' WALLIS BARNES: (1887-1979) English Scientist & Inventor of the bouncing bomb used in Operation Chastise (The Dambusters Raid), 16th May 1943. A good, lengthy War date A.L.S., with his initials B. N. W., six pages, folio, White Hill House, Effingham, Surrey, 14th & 15th December 1944, to Leo D'Erlanger ('My dear Leo'). Wallis thanks his correspondent for their letter and constant support and encouragement, remarking 'It perhaps does not occur to you how intensely valuable it is to have someone who believes in one? None of the things we have ever done together has been a certainty, although they look so obvious & so easy after the event; and it is during the nerve wracking anticipatory period that your support is an essential stimulus to face the anxiety and risk for a damaging failure'. The scientist further writes 'It seems inevitable that one cannot do anything big & new without attracting attention & opposition. Scientific experiments ought not to have to be done under such a fierce light, but in quiet, & largely in secret. Perhaps I am unduly sensitive, but my unfortunate position has made the risk of failure a perfect nightmare to me during the past 3 or 4 years. Why should one be expected to be invariably successful. Even the greatest of painters is allowed to work in the privacy of his studio & it is only post hoc that the world will hail a masterpiece. If he doesn't like it he can paint it out in a few minutes & no one the wiser except himself. Scientific research is an art, depending on inspiration, just as much as any of the fine arts do. The major difference between us is that we alas, having no money of our own have to spend other people's. To that extent I agree that we must be under some external control; but to what heights might we not rise, if that control consisted solely of say 3 or 4 friendly & encouraging persons; who, having agreed on one's line of research, merely had to some public body, such as the Public Accounts Committee, once a year, that they were satisfied' and continues to reflect, 'The pure mathematician, and the physicist have an immense advantage, in that they can practise their art with relatively inexpensive apparatus. All scientists & all real engineers must be practitioners too; but alas, their 'apparatus' is anything but cheap. That is why all Professors of Physics or Mathematics, or Astronomy….are always brilliant & distinguished; they are practitioners as well as teachers. What would become of a Kubelik….if he were condemned never to play the violin, but only to teach at the Royal Academy of Music; or of a Sargent if he must never paint a single portrait but only teach, at the Slade? But that is just what our professors of Engineering Science do, because they could only practise on so large & so expensive a scale, that under our present system they can never practice at all; & so, as far as engineering of all kinds is concerned we have developed the second class academic hack; while the men who might do brilliant research drift, under the intense urge to do something, into industry, where the one thing they are not allowed to undertake is long term, & possibly unprofitable, research', also commenting 'The Royal Society, and the Royal Institution find it within their means to appoint men who have distinguished themselves as practitioners in Physics or Chemistry to professorships, which are entirely "go as you please"; men who are given the freedom of the world, to do as they please; but only because their most expensive research is really very cheap, & can be done in almost any well equipped laboratory'. Wallis also informs his correspondent about a current project concerning the design of bridges, made possible by light alloy, remarking 'And the objection to structures that are very light in relation to the moving loads that roll across them, is the feeling of give, and vibration, & the consequential sensation of springiness & insecurity. But why should not a structure be a living thing. You would not expect for instance an athlete about to perform some feat of strength, always to maintain himself in that attitude of braced rigidity which he must adopt as the great effort - is actually put forth. I could design a small bridge, almost without any research whatever; which when you stepped upon it, actually rose, instead of sagging, giving an impression of strength & uplift, however slender & light its members might be. By extension I should be able to do the same thing for a single span, over 2000 feet long. By comparison, go & look at the much vaunted modern Waterloo bridge which replaced Rennie's real masterpiece. And weep!' Wallis resumes his letter the following day, apologising for it having been written 'a propos de bottes' so far as he can see and concludes by remarking 'My paper has made no progress, altho' I have been ruminating to some purpose'. Autograph letters of Wallis are rare, and particularly so from this date and with interesting content, making the present example very desirable. One slight paperclip rust stain only very slightly affects one word of text to the final page, and not the signature, otherwise VG Sir Gerard John Regis Leo D'Erlanger (1906-1962) Airline Company Director & Financier. Chairman of BOAC 1956-60.
Lot 317
ASSORTED COLLECTABLES comprising a Great War Soldier's Pay Book, in the name of 14679 Corporal Richard Harris, 5th South Wales Borderers (Pioneers), with puncture damage possibly caused by shrapnel (entries begin on 2nd June 1916 and cease on 30th June 1916, immediately before the Battle of the Somme); approximately sixty-five mainly modern postcards, most of art interest; an album of cricket autographs, circa 1940s-50s; and three diecast models, including Corgi Classics No.9001, 1927 Bentley, green, near mint, unboxed; and Corgi Classics No.9021, 1910 Daimler, dark orange, excellent condition, unboxed.
Lot 671
A collection of ephemera including a copy of the Illustrated London News for 19 June 1937, a copy of the Sphere for 4 July 1936, the Joyous Book of Singing Games, collected and edited with pianoforte accompaniments, a small quantity of loose postcards including dogs, birds, art collections, modern Moscow, royal interest, etc, also three other books.
Lot 526
Diehl (Charles). Manuel D'art Byzantin, volumes 1 & 2, 1910, numerous black and white illustrations, some slight toning, facsimile title to volume 2, rebound in modern green cloth, 8vo, together with Hardie (Martin), Water-colour Painting in Britain, volumes 1-3 (complete), reprint editions, 1969-71, numerous colour and black and white illustrations, original grey cloth in dust jackets, covers toned and rubbed with some loss, large 4to, plus Bickerton (L.M.), Eighteenth Century English Drinking Glasses, An Illustrated Guide, reprint edition, 1991, numerous black and white illustrations, original blue cloth in dust jacket, 8vo, plus other modern art, antique and architectural reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folio (6 shelves)
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19749 item(s)/page