Ca. 206 BC - 220 AD. A set comprising two players and a Liubo board with playing pieces. Both figures are shown in a seated position. They are dressed in long, voluminous robes and their faces display strong emotions accompanying the game. Between them, there is a liubo board with pawns placed on it. Liubo was a popular game in the Han dynasty, involving two players. Although the exact rules of the game are now lost, many scholars assume that it had some kind of astrological, fortune-telling, or other significance. For a comparable example, see The Metropolitan Museum of Art, Accession Number: 1992.165.23a, b. This set has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this object. Item comes with a professional historical report from Ancient Report Specialists. Size: L:65-345mm / W:225-315mm; 14.04kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
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Ca. 3000-2500 BC. A fine example of a monochrome Indus Valley civilization pot with a bulbous body rising from an undecorated conical-shaped base. The exterior's decoration consists of a black-painted register of running ibexes, surrounded by geometric motifs. The Indus civilization, also called the Harappan civilization, is the earliest known urban culture of the Indian subcontinent and was an important Bronze Age culture which arose around ca. 3300 BC and lasted until ca. 1300 BC. It extended from modern-day northeast Afghanistan to Pakistan and northwest India. To find out more about the Indus civilisation and its material culture, see Possehl, Gregory L., 2002. The Indus Civilization: a Contemporary Perspective. Walnut Creek, CA: AltaMira Press.Size: L:170mm / W:195mm ; 1.03kgProvenance: Property of a London gallery; formely in High Wycombe Estate collection; formerly acquired on the UK Art market.
Ca. 618-907 AD. A hollow-moulded terracotta horse modelled in a standing pose, with one foreleg lifted. The animal's neck is beautifully arched with its mouth agape as if calling to its fellows. The horse's mane is modelled in detail and is shown flowing down its neck. The trappings and musculature are equally well rendered. The tail is depicted docked and bound in the traditional fashion. The white slip remains, with additional pigments, used to pick out details of the features, such as floral details on the trappings, and the saddle blanket. The horse is placed on a rectangular base. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Item comes with a professional historical report from Ancient Report Specialists. Size: L:640mm / W:660mm ; 19.7kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 618-907 AD. A beautiful terracotta horse with a long neck artistically turned up, standing on an integral falt base. The animal has a chestnut-coloured body, short mane and docked tail. Warhorses were the pride of the Tang, a dynasty of prosperity, military expansion, and artistic achievement. For more information on the importance of horses in China, see: Cooke, B. (ed.) (2000). Imperial China - The Art of the Horse in Chinese History: Exhibition Catalogue. Kentucky Horse Park, Lexington. For more general information on the Tang Dynasty, see: Benn, C. (2002). Daily Life in Traditional China: The Tang Dynasty. Westport: Greenwood Press and Watt, J. C. Y., et al. (2004). China: Dawn of a Golden Age, 200-750 A.D. Exhibition catalogue. New York: Metropolitan Museum of Art. Cf. Christie's, Live Auction 5614, Asian Art, 15 December 2010, Lot 278. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:690mm / W:655mm ; 17.88kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 202BC - 220AD. A well-modelled, pottery standing female dancer with arms stretched out, the hands well hidden within the long, voluminous sleeves of the tight-fitting robe, the face carved with delicate features and the hair pulled back behind the ears and gathered into a long ponytail down below the shoulders. The elegant clothing comprises a flowing, long-sleeved robe decorated with red on the neckline. The figure retains most of the original white slip and there is additional decoration in pink and black to show the facial features and the hair. The potters have succeeded in imparting a vibrant sense of fluidity to the standing figure, displaying realism in the stance and adding movement and dimension by the curves of the long-draped sleeves. For a comparison piece of the standing dancers, see Christie's, Chinese and Japanese Ceramics and Works of Art, Live Auction 2624, 19 May 2004, Lot 414A. To find out more about the Han dynasty and its material culture, see Miller, A. R. (2021). Kingly Splendor: Court Art and Materiality in Han China. New York: Columbia University Press. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:550mm / W:280mm ; 6.12kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 202BC - 220AD. A large terracotta figure of a warrior, wearing decorated armour over his thigh-length robe painted in red pigment and shortened black painted trousers, his face is well defined holding a serene expression, his eyes, nose, and mouth well-articulated, a pointed moustache sits above his lip, his lips small and narrow in a red blood-like tone, his eyes rounded, eyebrows long. The warrior's right arm is bent at the elbow, his hand perforated ready to hold a spear. Cf. The Portland Art Museum, Accession Number 2004.114.10A-E. This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot.Size: L:53mm / W:18mm ; 3.42kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 202BC - 220AD. A huge pottery model of a guard dog in a seated position, facing forwards with head alert and ears pricked up. The dog wears an elaborate harness and a collar. Cf. Christie's, Asian Decorative Arts, Live Auction 9338, 14 March 2002, Lot 443. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot. Item comes with a professional historical report from Ancient Report Specialists. Size: L:495mm / W:170mm ; 6.75kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Ca. 202BC - 220AD. A hollow-formed terracotta rabbit figure with a black pelt and coral-pink pigmentation on the nose and inner ears. The rabbit is depicted sitting on its haunches with its forelegs raised as if about to groom itself. In the Chinese tradition, the rabbit is the luckiest of animals and symbolises elegance, beauty, and mercy. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with the full report will also accompany this lot.Size: L:295mm / W:190mm ; 2.78kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
Xiajiadian Culture, Ca. 2300-1600 BC. An interestingly formed vessel modelled with a cylindrical body rising from the tripod base and terminating in a broad mouth with an everted rounded rim. The exterior is enhanced with intricate polychrome designs against a dark background. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. For a similar example, see Bonhams, Asian Art, 11 September 2014, London, Lot 337.Size: L:265mm / W:175mm ; 1.43KGProvenance: Property of a London gallery, acquired on the US art market from A. P.; previously in the collection of E. Bourke, MD., Yonkers, NY.
Ca. 300 BC. An amphora-shaped pendant comprising a central shaft threaded with a large piriform coral bead secured at the bottom with a large sphere. The looped finial, serving as a suspension ring, is flanked by a pair of opposing, delicately formed dolphins. This item is in wearable condition and it comes with a modern necklace cord. The jewellery of the Hellenistic period is characterized by the use of gold and filigree work, which were expertly used to create exquisite pieces like this example.Size: L:31.2mm / W:13.5mm ; 3.64gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s.
Ca. 100-200 AD. A gold ring with a circular band, flared shoulders, and an oval bezel set with a carnelian gem depicting a scorpion. The ring is in excellent condition and it is suitable for modern wear. The scorpion was the emblem of the Praetorian Guard, the Roman emperor's personal army elite unit. The praetorian scorpion has long been recognised as a reference to Tiberius, who was born under the astrological sign of the Scorpio, and who first concentrated the praetorian guard in its own camp in Rome, thus giving it full corporate identity (Russell and Hellström 2020, 135). Hence, it is not inconceivable that this ring might have belonged to a praetorian guard. Cf. Russell, A., Hellström, M. (2020). The social dynamics of Roman imperial imagery. Cambridge: Cambridge University Press. Cf. Gisela M. A. Richter, Catalogue of Engraved Gems Greek, Etruscan, Roman; Metropolitan Museum of Art, New York, Plate LXII, 533.Size: D: 16.71mm / US: 6 1/4 / UK: M; 12gProvenance: Property of a London collector; formerly in a Japanesse collection formed in the 1990s.
Omar Khayyám. Rubaiyat, first deluxe edition, one of 100 copies, printed on Japanese paper and signed by the artist Elihu Vedder, occasional foxing, original brown morocco, gilt, decorated silk doublures and elaborately gilt dentelles, modern morocco-backed cloth drop-back box, folio, Boston, 1884.⁂ A superb copy of one of the great interpretations of the Rubaiyat. The 57 Art-Nouveau illustrations, drawn in pencil, ink, chalk, and watercolour over ten months from May 1883 to March 1884, are here printed on Japanese paper using a then-new photographic printing process which could accurately reproduce the subtle gradations of the originals. Vedder's design work is not just limited to the illustrations, but includes everything from the hand-written text to the design of the binding and endpapers.
Lucian, of Samosata. Parasitus, ubi artem esse parasiticam astruit, collation: α-β8 γ4, printed in Greek, woodcut device on title, modern black blind-stamped calf, 8vo (163 x 92mm.), Paris, Christian Wechel, 1536.⁂ Charmingly printed edition of this celebrated satire, demonstrating that sponging off others is not only an art, but the highest of all art forms. Influential on Erasmus, Rabelais, Sir Thomas More, Ben Jonson and even Shakespeare in Timon of Athens.Literature: USTC 185732, locating only 2 copies of this edition, both in libraries at Rome.
Art of translating.- Fausto (Sebastiano) Dialogo...del modo de lo Tradurre d'una in altra lingua, first edition, collation: A-G8 (complete with blank leaf G8), woodcut device on title, light water-stain to upper edge, modern boards, 8vo (146 x 102mm.), Venice, [Giovanni Griffio for Ludovico Avanzi], 1556.⁂ Important treatise in the form of a dialogue on the best way to translate from one language to another. Fausto (1502-?1565) was a professional translator, editor and author, whose works included a treatise on education, an annotated edition of Petrarch (1552) and translations of numerous works of Cicero, Erasmus, Aristotle and Piccolomini amongst others.Literature: EDIT 16 CNCE 18634.
Five publications The Nicholsons: A Story of Four People and Their Designs. York City Art Gallery 1988. Paperback.Rachel Nicholson 1997. Exhibition catalogue Montpelier Sandelson.Rachel Nicholson: Recent Paintings. Exhibition catalogue Caroline Wiseman Modern Art 2006. Softcover.Rachel Nicholson: Recent Paintings. Exhibition catalogue Montpelier Sandelson 2000. Softcover.Rachel Nicholson: Recent Paintings. Exhibition catalogue Montpelier Studio 1994. Softcover.
Hessam Abrishami (Iranian/American, b. 1951). Giclee enhanced with collage and oil on canvas painting titled "The Trumpet," depicting two individuals, one carrying a trumpet, on an abstracted background. Signed and titled along the verso.Provenance: Art Resources Gallery, Edina, MN; Private Collection, Minnesota.His use of dynamic composition, powerful expression, and vibrant colors along with great imagination create works of amazing depth and dimension to intrigue and disarm the viewer. This is but one way to describe the paintings of Persian born artist Hessam Abrishami.Considering Italy the "center of art" in Europe Hessam settled in Perugia, to complete his Master of Fine Arts Degree at the Accadmia Di Belle Arti, "Pietro Vanucci". The bright colors of Italy and the contrast of a quiet and relaxed artistic atmosphere greatly influenced Hessam. Although he concentrated on his first love of portraiture and studies of the anatomy, he also studied impressionism, surrealism, cubism and modern art.Hessam immigrated to Los Angeles in 1984. He continues to paint passionately, influenced by his dramatic life experience as the world responds.Height: 18 in x width: 24 in.
Marc Chagall (Russian/French, 1887-1985). Galerie Maeght poster depicting a Paris exhibition. Signed in yellow pen along the lower right and dated 1954/9.Lot Essay:Marc Chagall (born Moishe Shagal}) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is."Sight; height: 11 in x width: 7 in. Framed; height: 19 in x width: 14 1/2 in.
Joan Miro (Spanish (Catalan), 1893-1983). Color lithograph on paper titled "Le delire du couturier - bleu, rouge, vert (Fashion Frenzy - Blue, Red, Green)" depicting abstracted shapes in white against a three-toned gradient background, 1969. Pencil signed along the lower right; numbered 7/30 along the lower left.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Sight; height: 47 in x width: 31 1/2 in. Framed; height: 57 1/4 in x width: 41 1/2 in.
Joan Miro (Spanish (Catalan), 1893-1983). Color lithograph on paper titled "L'oeil de Faucon (The Hawk's Eye)," depicting abstract shapes of black, red, green, yellow, and blue, 1971. Pencil signed along the lower right; numbered 26/50 along the lower left.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Height: 47 in x width: 30 1/2 in.
Joan Miro (Spanish (Catalan), 1893-1983). Etching and aquatint with carborundum on paper titled "Prise a L'hamecon (Caught on the Fish Hook)," depicting abstract shapes of black, red, green, yellow, and blue, 1969. Pencil signed along the lower right; numbered 42/75 along the lower left.Literature: Dupin, 515.Spanish artist Joan Miro was one of modern art's pioneers. His search for non-objectivity led him to Fauvism, Surrealism, and Cubism, as he refused to restrict his work to one style or medium. Miro geared all of his work toward breaking with the traditional, whether in his paintings, ceramic pieces, bronze sculptures, or prints. One hallmark of Miro's paintings is the mixing of precisely rendered imaginary objects along with commonplace objects. His prints were, like his paintings, experiments in breaking the conventions of art. While many of his works had a common theme, Miro refused to limit himself in his representation of images. Rather than creating art that totally abstracted reality, Miro pointed the way toward non-representational works. Many artists can trace their inspiration back to Joan Miro paintings.Unframed; height: 42 in x width: 26 1/4 in. Framed; height: 51 1/2 in x width: 36 in.
Edward Fields, United States. Large Mid-Century Modern 100% wool pile rug depicting blue, white, green, and red flowers on a yellow field in a Pop Art style. Marked along the border along the underside and dated 1972. With a Woolmark quality certification tag affixed along the underside.Length: 12 ft x width: 9 ft.
JAUME MARTRUS RIERA (Manresa, Barcelona, 1893 - Barcelona, 1966)."Female figure".Marble sculpture.Signed on the base.Measurements: 82 x 30 x 22 cm.A sculptor trained at the School of Arts and Crafts in Manresa and at La Lonja in Barcelona, Jaume Martrus developed his career in Barcelona, where he frequented the Círculo de Sant Lluc. A versatile and restless artist, at the age of sixteen he moved to Paris, then to Switzerland, Italy, Burgundy and Olot. He took part in the Apprentice Competition of 1903, organised by Barcelona City Council, and exhibited at the Art Modern gallery and at the Salon des Humoristes in Paris, as well as at the Salon du Nude in Barcelona (1933), winning several awards. He also excelled as a caricaturist and festive cartoonist (he signed his work as "Sutram"), as well as an illustrator and in jewellery. Martrus is represented in collections in Spain, Paris, London, the United States and Japan.
RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Carnival".Ink and watercolour on paper.Signed in the lower right corner.Frame in bad condition.Measurements: 29 x 26 cm; 40,5 x 37,5 cm (frame).The street overflows with festive activity and devotion for the dance, the mask and the disguise in this composition of Ricardo Opisso, of overflowing imagination. Opisso was a painter, cartoonist and comic artist. In his youth he took part in Barcelona's modernist milieu, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his native city at the 4th Tarragona Art Fair. During his early years, in addition to his surname, Opisso also used to sign his work with an "O" for Opisso, which contains the "R" of his name. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004, entitled "Pintura catalana, del naturalisme al noucentisme" (Catalan Painting, from Naturalism to Noucentisme), was particularly noteworthy, in which his work "Carnaval" (Carnival) was exhibited. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).
BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980)."Chaparros", 1972.Oil on canvas.Signed and dated in the left lateral corner.Exhibitions: Galatheo Gallery, December 1973.Attached are photocopies of the chronicles of the newspapers of the time, which selected this piece to report on the exhibition in December 1973.Work verified by Ramón Palencia.Size: 53 x 63 cm; 65 x 87 cm (frame).After beginning his training as a self-taught artist, Palencia moved to Madrid at the age of fifteen. In the capital he entered the Julio Moisés Free Academy, where he coincided with other outstanding painters such as Salvador Dalí. In 1926 he travelled to Paris and met Picasso and Miró, and on his return to Madrid he made his individual debut at the Museum of Modern Art (1928). He then made several study trips to Italy, Berlin and New York. In 1942 he took up the experience of the Vallecas School, of which he was a founder in 1927, and in 1943 he was awarded the First Medal at the National Exhibition of Fine Arts. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and a few years later of the Academy of San Jorge in Barcelona. Palencia is represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.
RAFAEL ZABALETA FUENTES (Quesada, Jaén, 1907 - 1960).El barranco del lobo ("The Wolf's Ravine"). 1946.Oil on canvas.Signed and dated in the lower left corner.It has a label from the Ministry of National Education on the back, due to the inclusion of the painting in an anthology of the artist.Measurements: 82 x 66 cm; 100 x 83 cm (frame).Rafael Zabaleta was an extremely versatile painter, capable of developing in parallel a post-cubist work in which the image is fragmented evoking colourful stained glass windows and, at the same time, a landscape painting apparently traditional but in which the avant-garde legacy can be appreciated. The present landscape with wolf belongs to this second group. The brushstrokes here are protean: they metamorphose into circles to represent the iridescent tops of the trees, broken strokes on the rocks, etc. Cezanne's influence is also evident in the essentialist and synthetic reduction of nature.Born into a well-to-do family, Rafael Zabaleta showed a love of painting from an early age, and after completing his secondary school studies he moved to Madrid and enrolled at the San Fernando School of Fine Arts in 1925. His teachers there were Lainez Alcalá, Cecilio Pla and Ignacio Pinazo, and in 1932 he took part for the first time in a group exhibition, that of the San Fernando students. One of his works, entitled "La pareja" ("The Couple"), was selected to illustrate the critical review by Manuel Abril for the magazine "Blanco y Negro". Three years later Zabaleta made his first trip to Paris, where he studied the works of the masters of contemporary painting. In 1937 he was appointed delegate of the National Artistic Treasury, and also around this time he began a series of drawings on the Civil War. At the end of the war he was denounced and briefly spent time in the Higuera de Calatrava concentration camp and in Jaén prison, where his two albums of drawings made during the war were confiscated. Finally freed, in 1940 he settled in Madrid, where he attended the gatherings at the Café Gijón and drew and painted at the Círculo de Bellas Artes. Two years later he visited Aurelio Biosca, director of the Madrid gallery Biosca, with a letter of introduction from the sculptor Manolo Hugué. It was there that he held his first solo exhibition that same year, after being rejected from the National Exhibition of Fine Arts. However, the following year he took part in the First Salón de los Once and became a member of Eugenio d'Ors's Academia Breve de Crítica de Arte, to which Biosca also belonged. Zabaleta took part in most of his Salones de los Once and anthological exhibitions. In 1945 Zabaleta took part in the group exhibition "Floreros y bodegones" held at the National Museum of Modern Art, while he continued to exhibit individually and collectively in galleries in the capital. In 1947 he held his first personal exhibition in Barcelona, at the Argos gallery, and his first monograph was published. Two years later he travelled again to Paris, coming into contact with Picasso, Óscar Domínguez, M. Ángeles Ortiz and others. The year of his definitive consecration was 1951, when he held a solo exhibition at the Museum of Modern Art in Madrid. In 1955 he won the UNESCO Prize at the Hispano-American Biennial in Barcelona. That same year he took part in the Mediterranean Biennial held in Alexandria, and held a solo exhibition in Bilbao. During his last years Zabaleta became a fully recognised artist, invited to the most important exhibitions and salons both in Spain and in foreign cities of the importance of Paris.
RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894)."Landscape.Oil on canvas.Signed in the lower left corner.The canvas has craquelure.Measurements: 37,5 x 25 cm; 55,5 x 42,5 cm (frame).Considered today as the most important figure of Spanish realism, Martí Alsina is part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His themes include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.
JAUME MARTRUS RIERA (Manresa, Barcelona, 1893 - Barcelona, 1966)."Seated young woman".Terracotta sculpture.Signed at the bottom.Size: 35 x 14 x 19 cm.A sculptor trained at the School of Arts and Crafts in Manresa and La Lonja in Barcelona, Jaume Martrus developed his career in Barcelona, where he frequented the Círculo de Sant Lluc. A versatile and restless artist, at the age of sixteen he moved to Paris, then to Switzerland, Italy, Burgundy and Olot. He took part in the Apprentice Competition of 1903, organised by Barcelona City Council, and exhibited at the Art Modern gallery and at the Salon des Humoristes in Paris, as well as at the Salon du Nude in Barcelona (1933), winning several awards. He also excelled as a caricaturist and festive cartoonist (he signed his work as "Sutram"), as well as an illustrator and in jewellery. Martrus is represented in collections in Spain, Paris, London, the United States and Japan.
ROGER FRY (BRITISH 1866-1934) THE RAVINE, THE ALPILLES, CIRCA 1932-33 oil on canvas, signedDimensions:54cm (21 1/4in), 65cm (25 1/2in)Note: Literature: Shone, Richard E. (ed.) 'The Art of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', London 1999, repr. b/w p.13 fig.4.Note: In his 1999 essay 'The Artists of Bloomsbury: Roger Fry, Vanessa Bell and Duncan Grant', Richard Shone used this painting to illustrate the point that 'Roger Fry, seen as the arch-exponent of formal values and aesthetic decorum, was frequently drawn in his painting to the most romantic and picturesque aspects of the landscape - to the jagged profiles of unpopulated hillsides, to ravines and mountain pools.' (op.cit., p.13).Roger Fry’s appreciation of, and efforts to promote Post-Impressionist art were key to introducing Britain to recent developments in European art. Fry curated two Post-Impressionist exhibitions in London, the first in 1910 and the second in 1912, with the intention of showing the ways in which Impressionism had expanded and developed from its French origins and taken root in other countries, specifically in England. The work of French artists such as Cézanne, Bonnard and Matisse were juxtaposed with that of a new generation of British artists made in response to art made on the Continent. Fry’s intention was to show the artistic and cultural exchange between Great Britain and mainland Europe.One of Fry’s ambitions was to encourage a better appreciation of Cézanne’s achievements and he was the first British critic to champion his work. Fry’s 1927 study, Cézanne, remains the supreme introduction to a painter he regarded as the ‘greatest master of modern times’. On a trip to France in October 1919, Fry spent time in Cézanne’s hometown of Aix-en-Provence, the surrounding areas painted by the artist, and his house, the Jas de Bouffan. The magnificent countryside inspired Fry to paint, and led him to declare Cézanne a ‘pure naturalist’.Fry believed form, not subject matter, should be the primary expressive element in art. Cézanne’s aims closely aligned with Fry’s ideal, as it gave formal expression to nature. In his 1927 study, Fry asserts that Cézanne’s art is the antithesis of the abstraction of Cubism, constantly questing instead to explore the inner face of nature. He also notes the artist’s powers as a colourist as among the supreme aspects of his genius. Typical of Cézanne’s style, according to Fry, are the pulsating rhythms and constructed strokes that create geometric forms. According equal emphasis to all areas of the canvas, the entire picture surface is imbued with ‘the vibration and movement of life’. In one passage, Fry writes ‘Cézanne reduces actual objects to pure elements of space and volume. In their abstraction, the objects are then brought back into the concrete world of real things by expressing them in an incessantly varying and shifting texture. They retain their abstract intelligibility and regain that reality of actual things which is absent from all abstractions.’For all his academic influence, however, Fry primarily saw himself as an artist. His championship of Post-Impressionism was accompanied by a dramatic change in his own painting, becoming more experimental in style. His landscapes are arguably Fry’s most notable contribution to English Post-Impressionism, in which trees are ground down to the simplest geometrical shapes and clouds stalk the skies. He was interested in the capturing of light and mood of places, and his desire for clear-cut shapes and colours is expressed in sturdy geometric shapes.Fry was a regular visitor to southern France for much of his life. He had great admiration for its various landscapes, for the light and colours of the Midi, for the lifestyle and customs of its inhabitants, its broadly democratic attitude to culture, its architecture and artistic heritage. His extensive trips deepened his love of Provence, where he was eventually to buy a farmhouse. In 1931 he acquired Mas d’Angirany, on the Route d’Antiques leading out of St Remy-de-Provence, which he shared with Charles and Marie Mauron. It was surrounded by olive groves and the upper floor looked across to Les Alpilles, extraordinary geological formations that have been weathered into grotesque shapes and pitted by ravines that have cut their way through the rocks. Vincent Van Gough’s ‘Ravine’, painted shortly after his arrival at the Saint-Paul asylum in 1889, depicts a nearby ravine in Saint-Remy; a possible inspiration for Fry’s later production of a similar scene.Frances Spalding has written ‘some of Fry’s most lyrical late landscapes, with their observation of flickering light an intense responsiveness to the spirit of the place, were painted in the area in and around St Remy’. Until the end of his life, Provence would remain Fry’s favourite part of France. It was a painter’s love, ultimately visual.
§ DAVID HOCKNEY O.M., C.H., R.A. (BRITISH 1937-) KAISARION AND ALL HIS BEAUTY - 1961 Etching, signed and dated in pencil (to margin)Dimensions:plate size 49cm (19 1/4in), 27.5cm (10 3/4in)Provenance:Provenance: Mallams, Oxford, 19th May 2016, lot 462.Note: Kaisarion was standing a little forward, dressed in pink tinted silk, on his dress a garland of hyacinths, his belt a double row of sapphires and amethysts; his shoes were tied with white ribbons embroidered with rose coloured pearls… Kaisarion all grace and beauty.David Hockney first experimented with printmaking as an art student studying at the Royal College of Art in London. At one point, having run out of funds, he was unable to purchase any further art materials until he discovered that in the printing room, materials were free. In this period, Julian Trevelyan was in post as Professor of Printmaking at the College, inducting students into the process and its extensive potential for creative expression. With a painter’s perspective, Hockney brought a spontaneity to the technical process of etching and his abilities were quickly recognised when he won the prestigious Guinness Award for Etching while still a student.Kaisarion and all his Beauty dates from 1961, the year prior to Hockney’s graduation from the RCA. Hockney had recently discovered the work of contemporary Greek poet Cavafy and was captivated. Cavafy did not shy away from his gay identity and his work has been described as holding ‘the historical and the erotic in a single embrace.’ In this etching, Hockney takes inspiration from the poem which describes, in sumptuous detail, the imagined figure and dress of Julius Caesar and Cleopatra’s son, Kaisarion (Caesarion).The composition is deceptively simple at first glance, with hand-written text overlaying the image like graffiti and the figures conveyed in a sketchy and naïve style. Yet the imagery is complex; this Kaisarion stands atop a cloaked figure, possibly the artist, and his classical, regal profile is at odds with his round, patterned body and spindly limbs. To the right appears the artist’s mother, depicted as Cleopatra, with the Royal College of Art insignia a floating crown above her head. A miniature army spreads along the bottom and up the left-hand edge. The work is compelling, an entanglement of the ancient and modern as the artist interweaves his own response and experience into the imagery of the poem.
AUBREY BEARDSLEY (BRITISH 1872-1898) THE BIRTH, LIFE AND ACTS OF KING ARTHUR The Text as written by Sir Thomas Malory and imprinted by William Caxton at Westminster in the Year MCCCCLXXXV. Now spelled in Modern Style. With an Introduction by Professor Rhys and embellished with many Original Designs by Aubrey Beardsley. London: J. M. Dent, 1893-4. First edition, one of 1500 copies on ordinary paper, 2 volumes, 4to, original cream cloth, floral Art Nouveau design by Aubrey Beardsley gilt to spines and front covers, top edges gilt, others untrimmed, half-titles (each with limitation statement verso), photogravure frontispieces (on india paper, mounted as issued), 18 line-block plates (4 double-page), line-block text-illustrations, decorative borders, chapter-headings and tailpieces throughout, colophon leaf to each volume
THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART London: offices of The Studio, 1893-1917. Volumes 1-70 (volumes 5-6 bound in one), 4to, most volumes in original cloth, a few in contemporary or later cloth, volumes 1 and 4 in contemporary half morocco. Together with the volumes for 1920 and 1921 (without title-pages but dated on spines), The Studio Special Summer Numbers for 1901 (Modern British Domestic Architecture and Decoration, original wrappers) and 1906 (The Art Revival in Austria, original cloth), and The Studio Year Book of Decorative Art for 1908, 1910, 1912, 1913, 1916, 1924 and 1925 (original wrappers or cloth, rear wrapper for 1908 detached); the lot sold as a periodical, not subject to return
SIR DAVID YOUNG CAMERON R.A. (BRITISH 1865-1945) D. Y. CAMERON'S ETCHINGS With an Introductory Essay by Frank Rinder. Edinburgh: Otto Schulze and Company, 1908. First edition, deluxe issue, one of 150 copies printed on Japanese vellum and signed by the artist, 4to, original vellum, tipped-in plate (a few loose), bookplate (Frank Gordon Brown);Idem. Etchings of D. Y. Cameron [same work as the preceding, with variant title]. Edinburgh: Otto Schulze and Company, 1908. First edition, trade issue, 4to, original quarter vellum, etched bookplate of James Robertson Cameron tipped in;Idem. The Etchings of D. Y. Cameron by Arthur M. Hind. London: Halton and Truscott Smith, Ltd., 1924. 4to, original black pictorial cloth gilt;and 13 others, including: Book of Common Prayer, c.1930, with repoussé silver panel after Holman Hunt's Jesus Light of the World mounted to front cover; Katharine Cameron, The Flowers I Love, undated, original boards with Art Nouveau design gilt to front cover, tipped-in colour plates; Oscar Wilde, A House of Pomegranates, with Sixteen Illustrations by Jessie M. King, 1915; Harry Clarke, Tales of Mystery and Imagination by Edgar Allan Poe, undated, original cloth, colour plates; Clough Williams-Ellis and John Summerson, Architecture Here and Now, 1934, original cloth, dust jacket; Joseph Nicolson, The History and Antiquities of the Counties of Westmorland and Cumberland, 1777, volume 1 only, with Aubrey Beardsley-designed bookplate of one, Mr Pollitt; Maxfield Parrish, The Arabian Nights, New York, 1921, original black cloth, plates; idem, The Golden Age by Kenneth Grahame, 1899, original cloth; idem, Dream Days by Kenneth Grahame, c.1900, original cloth; J. C. Rogers, Modern English Furniture, c.1910, original cloth, photographic plates; and 3 similar works; the lot sold as seen, not subject to returnProvenance:Provenance: Dominic Winter Book Auctions, Swindon, 17th May 1996, lot 341.
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FISHING BOAT, MOROCCO, c.1899 oil on canvas, 25.5cm (10in), 33cm (13in); together with two accompanying works 'Figures by a Bridge, Morocco' and 'Berber Village, Morocco', both oil on canvas and both 25.5cm (10in), 33cm (13in)Provenance:Provenance: Christie’s Scotland, 8 June 1995, lot 919 (as 'Figures by a Grounded Fishing Boat, Tangier, circa 1897' and sold with 'two others, similar')Note: Fishing Boat, Morocco is an accomplished early work by J. D. Fergusson, which he painted during a trip to North Africa inspired by the travels of the artist Arthur Melville (1855-1904). Fergusson’s recollection of the exact date of his trip was not precise, but it is believed to have been undertaken in 1899. (1) As his biographer, Kirsten Simister, has explained: ‘From a very early stage in his career travel was to provide a crucial spur to his artistic development’ and his first trip abroad is thought to have been to Paris in 1897. (2)Melville, a forerunner of the Glasgow Boys, was an exceptional watercolourist and an intrepid traveller; he spent time in Morocco in 1890 and 1893. Forty years later, Fergusson recalled: ‘I had heard of Melville; he was my first influence. Although I never met him or even saw him, his paintings gave me my first start; his work opened up to me the way to free painting – not merely freedom in the use of paint, but freedom of outlook.’ (3) His wife, the dance pioneer Margaret Morris, continued the story: ‘Fergus, having been much impressed by the wonderful free paintings of Morocco by Arthur Melville of the Glasgow School, decided to go and see for himself the effects of intense light and shadow. He told his family he would certainly not write and had no idea how long he would stay.’ (4)Painted on an easily portable canvas measuring 10 x 13 inches, Fishing Boat, Morocco reveals an example of the bustling scenes which caught Fergusson’s eye during his explorations. His enjoyment of the application of oil paint is clear in the freely executed brushstrokes. A skilful use of highlights, especially of bright red, is combined with a muted palette in which tonal values are explored and hints at the colourist he would become.Fergusson’s pride in his Moroccan works is proven by the fact that they made up the majority of the works he exhibited with the Royal Society of British Artists in London between 1901 and 1903. Few are extant, but examples are held by The Fergusson Gallery, Perth (1992.123), University of Stirling (1968.2) and Glasgow Life: Kelvingrove Art Gallery and Museum (3163).(1) See Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p.18.(2) Simister, op.cit., p.15.(3) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, 2015 edition, p.88.(4) Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 24.
§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated versoDimensions:26cm (10 1/4in), 34cm (13 1/2in)Note: Fergusson painted Royan during the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.
Moyr Smith (J.). Ornamental Interiors Ancient & Modern, 1st edition, London: Crosby, Lockwood & Co., 1887, monochrome illustrations, a few loose, top edge gilt, original decorated cloth gilt, rubbed and some marks, large 8vo, plusGreat Exhibition. The Art Journal Illustrated Catalogue. The Industry of all Nations, 1851, numerous wood-engraved illustrations, top edge gilt, original blind-stamped and gilt-decorated blue cloth, rubbed and some light soiling, old reback, folio, and others on Victorian art, design, and illustration, including J. Moyr Smith, Studies for Pictures, A Medley, London: Edward Moxon, 1868, A. W. Kappel and W. Egmont Kirby, British and European Butterflies and Moths, circa 1890, Art-Union monthly journal, 3 volumes, 1847 and 1848 (2 copies), James Dafforne, The Albert Memorial, Hyde Park: Its history and description, circa 1860s, Mary Russell Mitford, Recollections of a Literary Life: or books, places, and people, 2 volumes, 2nd edition, 1853 (bound in contemporary dark blue gilt decorated full calf etc.QTY: (27)
Nash (John). The Wood-Engravings of John Nash, compiled by Jeremy Greenwood, Liverpool: Wood-Lea Press, 1987, colour and monochrome illustrations, original cloth0-backed illustrated boards, slipcase, folio, limited edition of 750, together with Caldecott (Randolph). The Complete Collection of Randolph Caldecott's Contributions to The "Graphic", with a preface by Arthur Locker, London: George Routledge and Sons, 1888, portrait frontispiece,colour illustrations, some light spotting, original cloth-backed boards, spine torn, upper cover toned with some edge wear, 4to, plus other illustrated and art books including 13 volumes of the Modern Masters of Etching series, 1920's-30's QTY: (24)
Thomson (David Croal). The Life and Works of Thomas Bewick..., London: The Art Journal, 1882, monochrome portrait frontispiece plus illustrations & vignettes, some minor toning, later endpapers, modern quarter red morocco, large 8vo, limited edition 189/250The Water-Colour Drawings of Thomas Bewick, London: Barbizon House, 1930, 40 tipped-in colour plates, some minor toning, original gilt decorated half morocco, boards & spine lightly rubbed, large 4to, limited edition 357/525, together with:Tattersfield (Nigel), Thomas Bewick, The Sketchbook of 1792-1799, 1st edition, London: Jarndyce, 2017, numerous colour facsimiles & monochrome illustrations, original black cloth spine to boards, oblong 4to, plus other modern Thomas Bewick reference & related, some original cloth in dust jackets, some paperbacks, 8vo/4to QTY: (Approximately 25)
Clarke (Harry, illustrator). Tales of Mystery and Imagination by Edgar Allan Poe, 1st edition, London: George G. Harrap & Co., 1919, twenty monochrome full-page plates, occasional very light spotting, top edge gilt, original decorated green cloth gilt, rubbed, 4to, together withRavilious (Eric, illustrator). The Writings of Gilbert White of Selborne, selected and edited with an introduction by H. J. Massinghan, 2 volumes, London: Nonsuch Press, 1938, wood-engraved illustrations by Eric Ravilious, top edge gilt, original grey cloth gilt, spines lightly faded, with slipcase, large 8vo, limited edition 198/850, plusDulac (Sir Edmund, illustrator). The Rubaiyat of Omar Khayyam rendered into English Verse by Edward Fitzgerald, London: Hodder & Stoughton, circa 1915, original gilt-decorated red cloth, a few marks to extremities, 4to, and other illustrated works, circa 1890-1920, including Marcus Heuish, Happy England, illustrated by Helen Allingham, 1903 (rebound in modern good-quality green half morocco), Rudyard Kipling, A Song of the English, with illustrations by W. Heath Robinson, Toronto: Musson Book Company, circa 1910 (frontispiece creased to lower outer corner, bound in gilt decorated blue cloth, with some wear to edges, 2 Black's Colour Guides: Paris by Mortimer & Dorothy Mempes, 1909 & British Water-Colour Art by Marcus. B. Heuish, 1904, both limited deluxe editions, editions of 500 copies, Walter Crane's Book of Wedding DAys, 1889, Constance & Noel Irving, A Child's Book of Hours, circa 1905, Cranford by Mrs Gaskell and The Ballad of Beau Brocade by Austin Dobson, both illustrated by Hugh Thomson, 1891, and 1892 respectively, etc.QTY: (17)
Du Chaillu (Paul B.). The Land of the Midnight Sun: Summer and Winter Journeys through Sweden, Norway, Lapland, and Northern Finland, new edition, London: George Newnes, 1899, folding map to the front plus numerous monochrome illustrations, some light toning & spotting, contemporary red half morcocco, front hinge cracked, boards & spine slightly rubbed, 8vo, together with:Hofer (Tamás & Edit Fél), Hungarian Folk Art, 1st edition, Oxford: University Press, 1979, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbe dto head & foot, large 4to, plusKaalund (Bodil), The Art of Greenland, sculpture, crafts, painting, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern European history, culture & art reference, mostly original cloth in dust jackets, G/VG, 8vo/4toQTY: (6 shelves)
Rubinstein (Nicolai). The Palazzo Vecchio 1298-1532, government, architecture, and imagery in the Civic Palace of the Florentine Republic [Oxford - Warburg Studies], 1st edition, Oxford: The Clarendon Press, 1995, original cloth in dust jacket, covers lightly spotted with minor rubbing to the head of the spine, large 4to, together with:Holcomb (Melanie), Pen and Parchment, Drawing in the Middle Ages, 1st edition, New Haven: Yale University Press, 2009, numerous colour illustrations, original cloth in dust jacket, large 4to, plusCollins (Hugh E. L.), The Order of the Garter 1348-1461, chivalry and politics in late medieval England [Oxford Historical Monographs], 1st edition, Oxford: The Clarendon Press, 2000, original cloth in dust jacket, minor rubbing to the head & foot of the covers, 8vo, and Maddox (Donald & Sara Sturm-Maddox, editors), Melusine of Lusignan, founding fiction in late medieval France, 1st edition, Athens: University of Georgia Press, monochrome vignettes, original cloth in dust jacket, covers very lightly rubbed to head & foot, 8vo, plus other modern university publications on history, medieval history, art, mostly original cloth in dust jackets, some paperback editions, G/VG, 8vo/4toQTY: (4 shelves)
Postcards, a modern album of approx. 252 illustrated greetings and children's art cards with Birthday, Easter, Xmas, New Year etc. Artists include Govey, Richardson, Ebner, Bompard, Cowham, Mallet, Flora White etc. Themes include snowmen, dance, transport, chickens, rabbits, pig, dogs, snow scenes, ice skating, Halloween (1) etc (mixed condition)
Quantity of art reference books and biographies to include 'Playing to the Gallery', Grayson Perry, Particular Books 2014, 'Modern Soft Toy Making', Margaret Hutchings, Mills & Boon Ltd. 1967, 'The Disney Studio Story', Richard Holliss and Brian Sibley 1988, 'Visiting Picasso: The Notebooks and Letters of Roland Penrose' ed. Elizabeth Cowling, Thames & Hudson 2006 etc. (3 boxes)
Quantity of art reference books with particular interest in Picasso, with technology history, to include 'C.R. Ashbee: Architect, Designer and Romantic Socialist' by Alan Crawford, Yale University Press 1985, Dante's Inferno: The First Part of the Divine Comedy by Dante Alighieri', translated and illustrated by Tom Phillips, Thames & Hudson 1985, 'Picasso & Modern British Art', Tate Publishing 2012, five volume 'A History of Technology' edited by Charles Singer, E. J. Holmyard, A. R. Hall, Oxford at the Clarendon Press 1979 in dust wrappers with a later edition of the same work (6 boxes)
An Epns mounted engraved claret jug (31cm x 13cm), an Epns goblet, a Museum of Modern Art two handled porringer, a pair of plated fruit serving spoons, an Epns Celtic style presentation quaich with inscription George --- Ordination June 1899, a pair of plated shell bowl jam spoons, a white metal feathered decorated dish on tripod support and a white metal chased container with domed top with leaf engraved chased decoration (6.5cm x 7cm) and an Epns cake dish stand (a lot)
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