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Lot 606
EDWARD BAWDEN. (1903-1989). Watercolour and ink, stylised figure of a jester on a black cartouche, signed in monogram, 11.5cm x 7.5cm, framed; an edition of “Edward Bawden” The Penguin Modern Painters, 1946, sixteen colour and sixteen black and white plates; a handwritten letter from Bawden’s mother discussing the issuing of the accompanying book, Bawden’s appointment as an Associate of the Royal Academy on 28th October 1947 and his receiving a CBE from the King for his war services, letter dated 19.12.47 from the artist’s parental home in Felsted, Essex. (3). The vendor’s family were close friends with the both the artist and his family. The vendor believes this work was executed early in Bawden’s career prior to 1928. As a student at the Royal College of Art Bawden studied heraldry and manuscripts and developed a strong interest in calligraphy and illumination. For his final diploma in book illustration he produced designs which were likened to playing card motifs.
Lot 228
Buckham, Captain Alfred Aerial view of Edinburgh, c. 1920, silver gelatine print, 45.5 by 37cm, pencil signature on mount, framed and glazed Note: Captain Alfred Buckham [1879 - 1956] began to produce aerial photographs in 1906. The premier aerial photographer of the period his work was exhibited across Europe and the United States throughout the early decades of the 20th century. Buckham would fly day after day. At the outset of the First World War he joined the Royal Naval Air Service and was placed in charge of aerial photography with the Grand Fleet. After nine crach landings Buckham was left with a throat injury resulting in the permanent insertion of a breathing tube. Ever the dare devil, Buckham ignored his doctor's advice and continued to fly, preferring to work out of an open cockpit, standing straight up, "one cannot get succesful photographs whilst sitting in the cockpit for one's arms would almost certainly come into contact with the vibrating side of the airplane." The particularly rough weather sought after by Buckham to achieve the required cloud formations made flying especially unstable, "it is an alarming experience to find yourself lolling over the side of an airplane while the landscape climbs up to the sky and the horizon loses its horizontality and endeavours to become vertical." Buckham's photographs are a marriage of art and technology, reflecting his passions for flying and nature. Expressive skies and brooding cloud formations add an atmospheric tension to Buckham's images, enlivened further by the addition, in the dark room, of modern engineering including bridges and aeroplanes. Aerial view of Edinburgh is a stunning example of Buckham's work. The expressive, voluminous clouds roll over a small, but still imposing, Edinburgh castle with a bi-plane hanging in the air like a toy. Exhibited: Views from above. NMS Museum of Flight, 2000.
Lot 286
Magic rare late 19th c handbill issued by Dr Frank H Lind, ‘in his sensational entertainment of high class magic, mystery and illusions’ together with an als of Lind agreeing to a performance and a printed sheet of testimonials. Lind’s stage career as an illusionist was at its height during the late-nineteenth century. He performed as a magician under the pseudonym Henri Garenne, and it was under this name that he published 'The Art of Modern Conjuring' in 1886. He was soon attacked by a fellow magician, Professor Hoffman, who claimed Lind had stolen some of his tricks and published them in the book. The present handbill lists many of the illusions that formed his act, many of which were described in his book.
Lot 181
FRANCOIS DAULTE: ALFRED SISLEY, Trans S Thorne, 1988, 1st edn, 4to, orig cl, d/w + MARY ANNE STEVENS (ED): ALFRED SISLEY, 1992, 1st edn, 4to, orig pict wraps + MERVYN LEVY (ED): THE PAINTINGS OF L S LOWRY, 1978, 4to, orig cl, d/w + EDWARD LUCIE-SMITH: LIVES OF THE GREAT TWENTIETH CENTURY ARTISTS, Guild Publishing 1986, 4to, orig cl, d/w + R DORMENT AND M F MACDONALD: JAMES McNEILL WHISTLER, Tate Gallery 1994, 1st edn, 4to, orig pict wraps + WILLIAM S LIEBERMAN (ED): TWENTIETH-CENTURY MODERN MASTERS THE JAQUES AND NATASHA GELMAN COLLECTION, Metropolitan Museum of Art, NY 1989, 1st edn, 4to, orig pict wraps (6)
Lot 27
Seven vols including: Wenham E., Old Silver for Modern Settings 1950, Taylor G., Silver - Through the Ages 1964, Stone J., English Silver of the Eighteenth Century, Curran, M., Collecting English Silver, McNab, Dennis J., English Silver, Cassells styles in Art - English Silver and Collecting Antique Silver by Judith Banister. (7)
Lot 178
Victor Pasmore, CH, CBE, RA (British, 1908-1998) Variation of Points of Contact all signed lower right "Victor Pasmore" and one signed "Victor Pasmore '51" lithograph 57 x 444cm five (5) Victor Pasmore was perhaps the most influential abstract artist in Britain and became one of the leading abstract painters of our time. His work can be found in many Public Collections around the world including: Tate Britain, Royal Academy of Arts - London, Museum of Modern Art - New York, The British Council, Yale Center for British Art and numerous regional British galleries
Lot 419
An Art Deco style silver gilt panel necklace, to collet set single stone central panel, together with a large oval polished moss agate oval brooch, two modern abstract tiger's-eye brooches, a Christian Dior ropetwist style neck chain, a stylish Grosse German brooch and necklace with tassel drop, filigree brooches etc
Lot 10
John Bowes R.Cam.A. (1899-1974), “The Sunlit Avenue", signed, artist's label inscribed on verso, oil on board, 55 x 64.5cm.; 21.5 x 25.5in. * Educated at Manchester Grammar School and attended the Royal Military Academy, Sandhurst in World War I. Was professional singer, while also painting, for 20 years until 1943, then when became deaf took up painting full-time. Was made a member of the RCamA in 1965, also joining Manchester and Liverpool Academies, Manchester Society of Modern Painters and Lancashire Group of Artists. Had solo shows starting with 1946 at Salford Art Gallery, including retrospective at Atkinson Art Gallery, Southport, 1971. Public galleries in Derby, Liverpool, Salford, Southport and Newcastle upon Tyne hold his work. Illustrated
Lot 74
Cliff Holden (1919-), Portrait of Gerda, signed, oil on canvas, 59.5 x 49.5cm.; 23.5 x 19.5in. Footnote: Gerda was a German Jewish girl who was a friend of Cliff Holden and George Orwell. * In 1944-5 Holden and Bomberg conceived the Borough Group, established 1946, the first of seven shows taking place in 1947. Tate Gallery, Arts Council, Victoria & Albert Museum, Scottish National Gallery of Modern Art in Edinburgh, Manchester City Art Gallery and a series of Swedish collections hold examples. Illustrated
Lot 194
A Liberty & Co Siegfried terracotta jardinere and stand designed by Archibald Knox, probably by Compton Pottery, cast in low relief with Celtic Knot, impressed Liberty mark 108cm. high. Literature: Stephen A Martin Archibald Knox ARTMEDIA Press page 275 for this design illustrated Veronica Franklin Gould Archibald Knox & Mary Seton Watts Modern Celtic Art page 26 for a copy of Liberty's Book of Garden Ornaments catalogue displaying this design, retailed at £770.
Lot 440
FREDERICK NUTT: THE COMPLETE CONFECTIONER OR THE WHOLE ART OF CONFECTIONARY MADE EASY ALSO RECEIPTS FOR HOME MADE WINES CORDIALS FRENCH AND ITALIAN LIQUEURS ETC, L 1815, 7th edn, enlarged and improved by J J Machet, engrd frontis, 10 plts including 3 fdg, old hf cf + ALEXIS SOYER: THE MODERN HOUSEWIFE, circa 1850, lacks ptd ttl, old hf cf worn (2)
Lot 49
FRANCOIS GARSAULT, ART DU PAUMIER-RAQUETIER, ET DE LA PAUME, Paris: 1767, 2¼ First Edition, collation: fly title, forward pp. iii-iv, text pp. 1-34 and 5 numbered engraved plates in good condition (some browning of text), modern red half morocco gilt by MacDonald of Connecticut, U.S.A [Mars Historical Notes, 1977, p.1] Besides edition various sections of the Dictionnaire des Arts et Metiers, from which this work on Real Tennis is extracted, Francois Alexandre Pierre de Garsault, published various books from 1733 onwards on horses, carriages, geography, plants, animals and medicine, and was captain "des haras de France" Although not of great length, his Art du Paumier-Raquetier was the first account of Real Tennis to follow the publication of the laws by C. Hulpeau in Le Jey Royal de la Paume, 1632, (reprinted in 1659 in La Maison Rustique). It is described by Noel & Clark as "one of the most important links between past and modern tennis," and by Mars as "one of the most valuable works available on the early history of tennis. At the time of its publication this book contained the most detailed descriptions available on every aspect of the game. The French first edition contains five excellent folio plates which have appeared in many later works on tennis. Provenance: Christie's South Kensington: Tennis and Racket Sports, 16 June 1995, Lot 11
Lot 800
By H. G. Murphy: A modern art deco sugar caster, of waisted conical form with a low conical cover and a turned knop finial, the whole decorated with incised linear work, zig-zagging spirally around the body, London 1935 (with the 'Falcon' mark and commemorative Jubilee marks), 4.75in (12cm) high, 6oz.
Lot 1152
miss Winifred Marie Louise Austen R.I., R.E. (Mrs Frick) (1876-1964) "Hole in the Ice" signed artist's proof, also inscribed on an old label verso, black and white drypoint etching, 16cm by 27.5cm (pl); together with miss Eileen Alice Soper (1905-1990) "The Squirrel" signed artist's proof, also inscribed on an old label verso, black and white drypoint etching, 12.5cm by 18.5cm (pl) (2) Provenance: With Taylor & Brown Fine Art Experts, the Modern Gallery, 121a George Street, Edinburgh
Lot 184
JOSEF HOFMANN FOR JACOB ET JOSEF KOHN BENTWOOD DESK, CIRCA 1900 the curved ledge panelled back extending to the lower stretcher, with central bevelled mirror plate, above inset writing surface and three drawers with drop handles, on curved and bracketed square open supports 113.5cm wide, 73cm high, 43cm deep Note; A similar desk was exhibited at the J & J Kohn stand at the International Exhibition of Modern Decorative Art, Turin, 1902. This suite was also available painted white and was sold either as part of a suite for the drawing room or bedroom. Literature; Derek E. Ostergard 'Bentwood and Metal Furniture 1850-1946' New York 1987, p. 109, fig. 4-29 Charles Holme 'The Art Revival in Austria, The Studio, Special Summer Number', London 1906, ill. no. C17
Lot 32
townsend (W.G.P.) Modern Decorative Art in England, n.d., [c1922], lg. 4to., dw.; Ashpitel (A.) and Pyne (G.) The Carpenter's New Guide with Practical Rules On Drawing, n.d., 4to., engd. plts., orig. cl.; Rickards (E.A.), Bennett (A.) et al. The Art of E.A. Rickards, 1920, lg. 4to., orig. cl. gt.; Williamson (G.C.) Richard Cosway, R.A. and his Wife and Pupils, Miniaturists of the Eighteenth Century, 1897, 4to., ltd. ed., orig. cl.; with A Quantity of Volumes on art, architecture and antiques (qty.)
Lot 529
The Companion of Honour group of three awarded to Harold Arthur, Viscount Dillon, first Curator of the Tower of London Armouries, Chairman of the Trustees of the National Portrait Gallery, President of the Royal Archaeological Institute and of the Society of Antiquaries, Trustee of the British Museum and of the Wallace Collection, a leading authority on the history of arms and armour and medieval costume the Order of the Companions of Honour, G.V.R., neck badge, silver-gilt and enamel, the reverse inscribed ‘Harold Arthur Viscount Dillon 1921’, with length of neck ribbon; Jubilee 1897 (Harold Arthur Viscount Dillon PSA, PRIA); Coronation 1911, unnamed as issued, good very fine (3) £2500-3000 Ex Hayward’s Gazette, December 1975. harold Arthur Lee Dillon was born on 24 January 1844, and was educated at a private school at Eltham, Kent, and at Bonn University. He joined the Rifle Brigade in 1862, was promoted to Lieutenant in 1866, and served in India and Canada during the Fenian troubles of 1868-71. He left the regular army in 1874, but was promoted to Captain in the Oxfordshire Militia and eventually retired with the rank of Major in 1891. In the following year he succeeded his father as the 17th Viscount Dillon of Costello-Gallen. on leaving the army Dillon became interested in modern military subjects such as equipment and dress, which eventually led him to the history of arms and armour and medieval costume. Dillon traced hundreds of illuminated manuscripts and illustrated works and made a series of brass rubbings. When he would enter a gallery he would focus only on those paintings with military themes, concentrating on sword hilts, armour and horse trappings, and skillfully copied them. his first works were published shortly after he left the army. These articles related to his home, Ditchley in Oxfordshire and described flint tools excavated from the area and objects from the collections in the house. He published many articles on the subjects of arms and armour and military history which appeared in academic journals such as the Archaeological Journal and Archaeologia as well as journals of popular and military general interest such as Antiquary and Colburne's United Service Magazine. He would also write on the subjects of arms and armour in pictures, on monuments and in Shakespeare, on tournaments, military equipment, soldier's arms, equipment and life. His first major undertaking was a revised edition of F. W. Fairholt's two volume Costume in England, published in 1885. Three years later he published a paper on the sections of the great 1547 Inventory of the possessions of Henry VIII. In his writings Dillon focused on the defensive and offensive characters of armour rather than as a work of art. many of his articles appeared under his own name, but he would sometimes use the pseudonym 'Armadillo.' The animal was so closely linked with Lord Dillon that the designer of a commemorative medal produced for the National Portrait Gallery used an image of an armadillo for the reverse of a medal bearing the portrait of Lord Dillon. although Dillon was associated with the Tower of London Armouries from 1892, serving as the consultant scientific expert, he was not officially appointed curator of the Armoury until 1895. He was tasked with producing an accurate and up to date catalogue of the collection. As curator he was able to reduce historic inaccuracies that had built up over the previous years. In 1827 Samuel Meyrick had brought expert knowledge to the collection, but it had then fallen into the hands of the War Office storekeepers and unfortunately most his work was lost. Labels were misplaced, and suits wrongly mounted and erroneous traditions had been established for public amusement. his research led him through the State Papers, especially those of Henry VIII and Elizabeth I, in which he discovered interesting and valuable details about the making and issue of arms and armour. Dillon dismantled nearly every piece of armour in the collection to see how it was worn and the reason for certain constructional details. Most of the pieces were those of Henry VIII. Dillon even tried them on himself to see how the rivets and the joints of the harness worked and discovered that many of the suits had been wrongly assembled This exercise enabled him to rectify countless inaccuracies. He also examined the internal mechanisms of the crossbow, pistol and gunlocks. in 1910 Dillon's Illustrated Guide to the Armouries was published, being a summary catalogue of the arms and armour as he had arranged and exhibited them, and the various manuscript inventories of the collection. Dillon carried out a complete reorganisation of the collection in preparation for the new catalogue, and made a detailed examination of all the major pieces as well as identifying a number of those with important historical associations, and corrected inaccuracies. The catalogue was more in the format of a guided tour rather than a systematic catalogue. dillon considered his task to be one of preserving and studying a closed collection rather than expanding it and spreading knowledge of it outside the Tower. His two significant acquisitions for the collection were a pistol of Prince Charles, purchased in 1898 and a part visor of King Henry VII found in St James' Palace in 1906. One of his most valuable contributions was the Armourer's Album which appeared for sale in Paris and by Dillon's efforts was purchased and preserved in the Victoria & Albert Museum. The album contained a number of watercolour drawings of suits of armour of the Elizabethan period that were made at Greenwich, many of which were in the Tower, together with the names of the owners, which proved invaluable for establishing provenance and for identifying pieces in the Tower, Windsor and other private collections. lord Dillon contemplated retiring in 1909, but finally retired from his post of Curator in 1912, and handed the Armouries over to Charles Foulkes. Dillon left the Armouries on its way to becoming a modern museum. A catalogue had been completed, a programme of inspections of loans had been established, and regular inventory checks were carried out. Armour and weapons were displayed according to the techniques of the day, with labels and a guidebook describing the displays. he received an honourary degree of Doctor of Civil Law from the University of Oxford and the Order of Companion of Honour by the King in 1921. Dillon served as a trustee to the British Museum, secretary to the Royal Commission on Westminster Abbey, President of the Royal Archaeological Institute of the Wallace Collection, Trustee and Chairman of the Board of the National Portrait Gallery, Honourary Member of the Armourers and Brasier's Company of London, Fellow of the British Academy and Antiquary of the Royal Academy. Harold Arthur Lee Dillon died on 18 December 1932. The group is sold with a ‘Souvenir Album of the Tower of London, with Historical and Descriptive Notes by The Viscount Dillon P.S.A.’ £2500-£3000
Lot 1312
Hawkesworth (John) ALMORAN AND HAMET, half-titles, 2 vol. contemporary calf, rubbed, spines gilt, morocco spine lables, top board vol. 1 detached, others loose, for H. Payne and W. Cropley, 1761; [Bramston (James)] THE ART OF POLITICKS IN IMITATION OF HORACE'S ART OF POETRY, FIRST EDITION, engraved frontispiece, engraved vignette on title, modern sheep-backed boards, for L. Gilliver, 1729; Manuscript.- ?J[acobi]. C[ruci].- MISCELLANIES IN PROSE AND VERSE ORIGINAL AND SELECTED BY J. C., title with vignette painting, contemporary ink throughout, bookplate on front pastedown, contemporary half calf over patterned boards, rubbed, [c.1828]; and 22 others, similar, 8vo.
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19749 item(s)/page