EGYPTOLOGY A collection of volumes comprising Baikie, James The Story of the Pharaohs. Adam and Charles Black, London, 1908 Baikie, James The Life of the Ancient East. A. & C. Black Ltd., London, 1923 (signed and inscribed by the author) Baikie, James The Armarna Age. A. & C. Black Ltd., London, 1926 Baikie, James Egyptian Papyri and Papyrus-Hunting. The Religious Tract Society, London, 1925 Baikie, James The Glamour of Near East Excavation. Seeley, Service & Co. Ltd., London, 1927 Manning, Samuel The Land of the Pharaohs. The Religious Tract Society, London Rawlinson, George History of Ancient Egypt. Two-volume set. Longmans, Garren and Co., London, 1881 Tyndale, Walter Below the Cataracts. William Heinemann, London, 1907 Murray, Margaret A. Egyptian Temples. Sampson Low, Marston & Co. Ltd., London Murray, Margaret A. The Splendour that was Egypt. Sidgwick and Jackson Limited, London, 1949 Mertz, Barbara Temple, Tombs and Hieroglyphs. Victor Gollancz Limited, London, 1964 Erman, Adolf Life in Ancient Egypt. Macmillan and Co., London, 1894 Hurry, Jamieson B. Imhotep: the Vizier and Physician of King Zoser and afterwards the Egyptian God of Medicine. Oxford University Press, 1926 Edgar, John and Edgar, Morton The Great Pyramid Passages and Chambers. Volume 1. Bone & Hulley, Glasgow, 1910 Edwards, Amelia B. Pharaohs, Fellahs and Explorers. James R. Osgood, McIlvaine & Co., London, 1892 Bell, C. F. Moberley From Pharaoh to Fellah. Wells Gardner, Darton & Co., London, 1888 Oxley, William Egypt and the Wonders of the Land of the Pharoahs. Trubner and Co., 1884 Bell, Edward The Architecture of Ancient Egypt: a Historical Outline. G. Bell and Sons Ltd., London, 1915 Bryan, C. P. The Papyrus Ebers. Geoffrey Bles, London, 1930 and others Condition Report:Available upon request
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Women In Flight; An Album of Inscripture Verse, sketches and press cuttings circa 1910/20's with numbered pages, to include page 51 a photograph of two ladies in early plane- number 591. Page 50 'True Friendship Never Dies' in French, signed Amelia? Page 94 Flight Back to Germany, Pages 102 to 106 'Lest We Forget' relating to The Sinking of The Titanic.
A German Third Reich publication "So Sieht uns die Welt Deutschland in Bild der Auslanspresse", [This is How the World sees us, Germany in the image of the Foreign Press], together with a 1936 "Franken Kalendar", the latter including images of Hitler and the Hitler Youth, German life under the Reich etc
A Second World War Chindit group, that of 14303902 Pte William E Parker, Essex Regiment, (formerly Home Guard and West Yorkshire Regiment), comprising his slouch hat, bearing an Essex Regiment cap badge with backing, and bullion-embroidered Chindits badge, also a Battledress Blouse with shoulder titles, Chindit flash, War Service and Long Service & Good Conduct chevrons, and Bren Gunner qualification badge, the blouse in service number stamped internally, and pen-and-ink inscribed, accompanying the group are period and facsimile photographs, a press cutting etc
A late Georgian velum bound notebook inscribed "Samuel Palmer, his Book", containing diverse contents including table of monetary calculations titled "Addition. Teacheth to add several sums into one total", similar notes pertaining to subtractions, a very large quantity of press cuttings pertaining to fashion, reports of crime, travel and commerce, anecdotes, songs and poems, arts, sports and society notices etc, also autograph manuscript recipes, notes on horticulture including "A method of raising mushrooms" etc, 20 cm x 16 cm
Laurie Lee, 'Cider with Rosie', Hogarth Press, 1959, first edition, with drawings by John Ward, original dust jacket, inscribed to front page by previous owner, Flora Robson, possibly the well-known actress, includes reference to 'a fire at the piano-works almost every year' on page 272. Condition Report: Clear wear to volume, with fraying to corners of the dust jacket and general foxing throughout. Original green boards generally in good condition for age.
Patrick Miller, 'The Green Ship', Golden Cockerel Press, 1936, with engravings by Eric Gill, no. 79 from a limited edition of 200, cloth marbled boards.Condition Report: Generally good condition overall. Contemporary inscription to front page. Some spotting, along with general foxing throughout.
A Victorian Mahogany veneered Wardrobe/Compactum, Cornice over four doors, the central two doors with mirrors, the two left doors opening to reveal four linen press slides above two short drawers over three long, the two right doors opening to reveal brass clothes rail above blanket box raised on a plinth base. Height 228cm Width 257cm Depth 65cm.
Lancaster WWII Night Bomber and Dambuster by Nigel Cawthorne 2011 Hardback Book First Edition published by Abbeydale Press (Anness Publishing Ltd) early signs of age. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99
SIR JOHN LAVERY R.A., R.S.A., R.H.A., P.R.P., H.R.O.I., L.L.B. (IRISH 1856-1941) MISS ANNABEL MANN Signed and stamped, inscribed and dated 1931 verso, oil on canvas boardDimensions:49cm x 17.75cm (19.25in x 7in)Provenance:Provenance: Christie’s, London, 19th and 20th Century Paintings and Drawings, 30 October 1964, lot 192 (as 'Miss Anabel Mann')Exhibited: P. & D. Colnaghi & Co., London, Their Majesties’ Court, Buckingham Palace, 1931, Portrait Studies and Other Sketches by Sir John Lavery RA, November 1932Note: One of the three daughters of the Scots portrait-painter, Harrington Mann, and his wife, Florence Sabine-Pasley, the interior designer, known as ‘Dolly Mann’. Annabel as a baby was painted by her father c.1910 (City Art Centre, Edinburgh), while Annabel and her Toys (Russell-Cotes Art Gallery and Museum, Bournemouth), shows her as an infant in 1912. Other portraits followed, and by the late 1920s Annabel Mann was being photographed in the press as an attendee at fancy dress balls, along with other ‘bright young things’.We are grateful to Professor Kenneth McConkey for the cataloguing of these artworks.
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) MARGUERITES IN A BLUE AND WHITE VASE Signed, oil on boardDimensions:57cm x 46cm (22.5in x 18in)Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[2] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. The striking patterned vessel in Marguerites provided one such prop. The bright blue which covers most of its surface is the perfect complement to the variously coloured titular flowers which spill out of and over its neck. The arrangement is set upon a square of fabric, itself placed on an enigmatic surface, with hints of the surrounding space provided in the background. Redpath’s relish in the application of paint is clear from the precise detailing of petals, to the broader brushstrokes with which expressive swathes of the support are covered.Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[3] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.[3] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce]
§ ANNE REDPATH O.B.E., R.S.A., A.R.A., L.L.D., A.R.W.S., R.O.I., R.B.A. (SCOTTISH 1895-1965) DISH OF FRUIT Signed, oil on boardDimensions:44.5cm x 74cm (17.5in x 29in)Provenance:Exhibited: Nottingham University, Nottingham, Scottish Committee, Arts Council of Great Britian: Six Scottish Painters, 1959Note: Of all the genres of fine art, Redpath is most closely associated with that of the still life. Her love for this theme stretches back to her student days at Edinburgh College of Art, as she recalled:When I was at college I was very fond of still life. People said I wasn’t actually painting what was in front of me, that it was a vision of still life. Those were more impressionistic than I have ever done since, because I was terribly keen on light, high pitched light and shadow, and I used more of an accidental quality than I have ever done since.[1] Indeed, the first work which Redpath exhibited in public was titled Still Life and was displayed at the Royal Scottish Academy (RSA) in 1919. Following her marriage in 1920 and fourteen years spent living in France, Redpath returned to Scotland in 1934. She resumed painting in earnest and emerged as an artist of importance. This was recognised by the first acquisition of one of her works for a public collection, when the RSA purchased the still life The Lace Cloth for £50 in 1944 (acc.no.2006.37). Admiration for her still lifes soon spread to England; when the Sunday Times art critic Eric Newton reviewed the Royal Academy of Arts (RA) exhibition of 1948, he exclaimed ‘Anne Redpath’s still lifes stand out like patches of blue sky on a grey day.’[ii] The following year, Redpath moved to Edinburgh where she set about decorating her new home with the objects she loved to collect and which were often the subject matter of her work. Redpath’s professional success continued unabated and on 13 February 1952 she was elected a full member of the RSA, the first female painter to achieve that rank. In the same year she moved to 7 London Street in Edinburgh’s Georgian New Town, which was to be her home for the rest of her life. Redpath discussed the objects she collected and lived amongst, explaining in 1961:With my awful magpie tendency to collect things I have collected so many objects around me that are paintable. I buy them because I like them…any artist really becomes very aware in a visual way…and therefore you surround yourself with these things which are ready to be painted and ask to be painted. Sometimes for months you’re not really aware of them then suddenly a light changes or you feel different and suddenly you see those things as you would in a picture and you either help their arrangement or it just so happens that an artist almost sub-consciously does arranging all the time.[1] Redpath’s mature career settled into a pattern of regular travel abroad as well as solo and group exhibitions in Edinburgh and elsewhere, accompanied by an ever-growing professional standing. In 1960 she became the first Scottish woman to be elected an Associate of the RA. Her death in Edinburgh in 1965 was marked with multiple memorial exhibitions, including those mounted by the RSA and the Scottish Committee of the Arts Council of Great Britain; still lifes featured prominently in all of them. [1] LM AR interviews[I think this comes from BBC Scotland Counterpoint 1961 by George Bruce] [1] As quoted in George Bruce, Modern Scottish Painters: Anne Redpath, University Press, Edinburgh 1974, p.3.[2] As quoted by Patrick Bourne, Anne Redpath 1895-1965, Edinburgh 2004, p.46.
§ ◆ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE YELLOW JUMPER Oil and collage on boardDimensions:57cm x 56.5cm (22.5in x 22.25in)Provenance:Exhibited: The Scottish Gallery, Edinburgh, Festival Exhibition, 1964, no.27 Glasgow Art Gallery & Museum, Glasgow Art Galleries and Museums Association Show, no.242 Note: Joan Eardley’s reputation as one of the leading British artists of the twentieth century is based on her portrayal of the Townhead district of Glasgow – in particular of its children – and of Catterline, a fishing village on the Scottish north-east coast.Having trained at Glasgow School of Art (GSA) and Hospitalfield College of Art, Arbroath, Eardley was awarded scholarships by GSA and the Royal Scottish Academy which allowed her to travel in France and Italy. She began to draw and paint children on her return to Glasgow in 1949. Three years later she moved to a studio at 204 St James Road in Townhead in the city centre, which she was to maintain until her premature death in 1963. It was on the second floor, wedge-shaped with large windows and a glazed roof and was described as being ‘filled with pictures, sketches and drawings of the neighbourhood and its occupants.’[1]The area, of mixed residential and light industrial use, was overcrowded and dilapidated. However, Eardley was drawn to its vibrancy and closeknit community. She explained ‘I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with.’[2] Eardley was able to champion and memorialise the neighbourhood in its post-war guise even as the wide-scale demolition of the Clyde Valley Regional Plan began in the early 1960s.Eardley became a regular sight in the streets, sketching buildings, people and scenes of daily life in chalks and pastels, which she then worked up into paintings in the studio. She was also rarely without a camera, which provided a way in which to capture, for example, the games, squabbles and other interactions between the local youngsters who spent much of their time outside.The Yellow Jumper of 1963 is an outstanding example of Eardley’s paintings of the children of Townhead. As Patrick Elliott has pointed out, it was in the mid-1950s that Eardley’s interest in depicting children gathered momentum.[3] She explained ‘I have a studio in Glasgow off Parliamentary Road and some of the children living in the district used to watch me at work. I thought it would be a good idea to paint them. There was only one difficulty – if they didn’t sit still I couldn’t paint them.’[4]This difficulty was overcome by the willingness of the twelve children of the Samson family - who lived nearby - to model for her. Ann Samson remembered: ‘To get to her studio you went up a spiral stair…She gave us paper to draw and toys to keep us quiet. ”Sit in peace” she’d say as she was drawing us…We used to get 3d off Joan for posing for her and went to Miss Bickett’s to buy sweets…She was really serious…She was never cheeky or angry.’[5]Two of Ann’s Samson siblings are the sitters in The Yellow Jumper. It comes from a celebrated series that Eardley began in the early 1960s, depicting two children positioned in front of a wall. This was often, as can be seen here, the red wall of the scrap-metal business on the ground-floor beneath her studio. The word ‘METAL’ in The Yellow Jumper is a direct quotation from the graffiti-surrounded advertising upon it and was applied using an old set of stencils.Indeed, The Yellow Jumper contains all the elements which have been described as the key themes in Eardley’s figurative work: ‘The bright…ground…studded with a collage of sweet-paper wrappers, foil from cigarette packets and newspaper scraps. The worn letters of the…shop-fronts has been stencilled on. The oddly patterned clothes speak of the hand-me-down items we see in Eardley’s own photographs and sketches of the children and create an intense visual texture.’[6] The flotsam and jetsam of Glasgow street life have been collected and used in the creation of the work and she even pressed into the support, applying literal graffiti to the painting rather than simply depicting it. Film footage of Eardley painting a closely related work shows the speed, energy and physicality with which she worked.[7] She often re-used canvases and there is a painting of Glasgow tenements on the reverse of The Yellow Jumper.The painting’s square format focusses attention on the half-length children, who gazed directly at the artist and now at the viewer. Their ease and intimacy is clear in a pose in which they wrap their arms around each other and press themselves together. Eardley’s use of paint and colour to layer up, for example, facial features and to describe clothing, as well as to re-create the surfaces and atmosphere of the outdoor world, is extraordinary. Her expressiveness borders on the abstract in some passages of this vibrant and masterful image.The Yellow Jumper is closely related to Two Children, c.1962 and Two Children before Lettered Wall, 1963 (both Private Collection), which were shown in the National Galleries of Scotland 2016 exhibition Joan Eardley: A Sense of Place, and to Brian and Pat Samson, on long-loan to Gracefield Arts Centre, Dumfries from the Walker Family.We are grateful to Ann Samson and Jan Patience for their help in researching this work.Endnotes can be viewed on our website. [1]As recalled by Robert Henriques in 1955, see Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, Edinburgh 2016, p. 15 and p.127, n.15.[2] As quoted in 1959, see Elliott and Galastro, op.cit., p.14 and p.127, n.8.[3] See Elliott and Galastro, ibid., p.17.[4] See Elliott and Galastro, ibid., p.17.[5] See Elliott and Galastro, ibid., p.19.[6] Fiona Pearson and Sara Stevenson, Joan Eardley, Edinburgh 2007, p.73.[7] See Laurence Henson (Director), Three Scottish Painters, Templar Film Studios sponsored by The Scottish Committee of the Arts Council, The British Council and the Films of Scotland Committee, 1963, from approximately 6:04, see https://movingimage.nls.uk/film/2263 (accessed 7 November 2022).
Goldsmith, Oliver "A history of the earth and animated nature", in vier Bänden, mit insges. 41 handkolorierten, ganzseitigen Stichen. Printed by Henry Fisher at the Canton-Press, published in London 1822. Gebräunt und teils fleckig. Ledereinbände mit Gebrauchsspuren und an den Rändern teils best.
Minimalismus - - Sol LeWitt. (1928 Hartford, Connecticut - 2007 New York). Broken/ straight, broken aus: Grids, using straight, not-straight lines & broken lines in all their possible combinations. 1973. Radierung auf Velin. 26,9 × 26,9 cm (26,9 x 26,9 cm). Verso signiert und nummeriert. Gerahmt (ungeöffnet). Dort verso mit dem Label der Susan Sheehan Gallery. - Teils sehr schwache Braunfleckchen am Rand, diese unauffällig. Insgesamt in gutem Zustand. Prachtvoller, gratiger Abzug. Krakow, 1973.03. Kunsthalle Basel/ Kornfeld Cie, E6 a), 16. - Eines von nur 25 Exemplaren. - Hg. v. Parasol Press, Ltd., New York. - Druck bei Crown Point Press, San Francisco. 1 etching from: Grids, using straight, not-straight lines & broken lines in all their possible combinations. On paper. Signed and numbered on verso. Framed (unopened). There on verso with the label of the Susan Sheehan Gallery. - Partly very faint brown spots at margins, these unobtrusive. Overall in good condition. Splendid and burr-like print. - One of only 25 copies. - Published by Parasol Press, Ltd, New York. - Printed by Crown Point Press, San Francisco.
Sammmlung von 6 Serigraphien aus: New York Ten (New York l0/69). 1969. Je auf chamoisfarbenem Bütten bzw. Vélin. 1 Blatt mit Perforierung. Blattmaße von 47 x 45,5 cm bis 51 x 66 cm. Je signiert, datiert und nummeriert. - Vereinzelt mit leichten Knickspuren im weißen Rand, das Motiv nicht betroffen. 1 Blatt am Rand schwach gebräunt. Teils minimal berieben. Insgesamt in wohlerhaltenem Zustand. Die Abzüge ausgezeichnet und sehr farbsatt . Enthält jeweils 1 Arbeit von: - Alan Cote - David Diao - Alan Shields - Kenneth Showell - Lawrence Stafford - Ronnie Landfield. - Hrsg. Tanglewood Press (mit dem Blindstempel) und Gagosian Gallery, Inc., New York. Collection of 6 silkscreens from: New York Ten (New York l0/69). Each on handmade buff paper. 1 sheet with perforation. Each signed, dated and numbered. - Partly minimally bumped at the edges. 1 sheet slightly browned at margins. Partly minimal rubbed. Altogether in good condition. The prints are overall excellent, rich in contrast and expressive. - With works of the artist as listed above. - Published by tanglewood press (with the blindstemp), New York and gagosian gallery.
Minimalismus - - Brice Marden. (1938 Bronxville, New York). Blatt 6 aus: 12 Views for Caroline Tatyana. 1977/ 79. Aquatintaradierung auf kräftigem, genarbten Velin. 25,3 x 35,3 cm (67 x 52 cm). Signiert und nummeriert. Punktuell auf Unterlage montiert und im Passepartout freigestellt. Dort verso mit dem Etikett der Galerie Yvon Lambert und typographischen Werkangaben. - Mit zwei unwesentlichen, blassen und kleinen Fleckchen. Verso mit leichten Spuren der ehemaligen Montierung. Insgesamt in sehr gutem Zustand. Ausgesprochen prachtvoller, klarer und gratiger Druck mit Rand, allseitig mit dem Schöpfrand. Lewinson 29f.- Eines von 50 Exemplaren. - Aus dem Portfolio "12 Views for Caroline Tatyana". - Herausgegeben von Parasol Press, New York 1989. - Druck bei Doris Simmelink, Santa Monica. - Marden greift ganz im Spirit der Minimal Art auf das Format der Serie und eine reduzierte geometrische Formensprache zurück, nimmt aber zugleich Bezug auf die klassische Säulenarchitektur. Inspiriert von der griechischen Antike und ihren Tempeln, beabsichtigt er jenes Gefühl einzufangen, das sich beim Betrachten der Säulenfassaden einstellt sowie, wenn die einzelnen Architekturelemente in harmonischer Wirkung ein einheitliches Ganzes ergeben. Die spiegelbildlich zweigeteilte Fläche unseres Drucks steht in Verbindung zum Begriff Öffnungen, so wie es jene zwischen tragenden und liegenden Architekturelementen, zwischen Säulen und Räumen geben kann. Ein Zusammenspiel von meist schwarzen und weißen Tönen stellt sich beim Besuch solcher Orte ein: Kontraste zwischen Licht und Schatten, Innen und Außen, Dichte und Leichtigkeit. Innerhalb von Mardens 12-teiliger Serie, die nach seiner Patentochter benannt ist, schaffen die Wiederholung der Formen - sieben vertikale Säulen mit einem einzigen architravischen horizontalen Element - und die Spiegelung der Strukturen Einheit und Gleichgewicht. Selten. No.6 from: 12 Views for Caroline Tatyana. Aquatint and etching on strong, grained wove paper. Signed and numbered. Mounted in spots to underlying mat and free-standing in mat. There on the verso with the label of the Galerie Yvon Lambert and typographical indications of the work. - With two insignificant, pale and small stains. Verso with slight traces of the previous mounting. Overall in a very good condition. Extremely splendid, rich and burr-like impression with margin, deckle edge on all sides. - One of 50 copies. - From the portfolio "12 Views for Caroline Tatyana". - Published in 1989 by Parasol Press, New York. Printed by Doris Simmelink, Santa Monica. Rare.
Minimalismus - - Gene Davis. (1920 Washington - 1985 ebenda). 1 Arbeit aus: Series 1. 1969. Farbserigraphie auf Leinwand, voll auf Karton aufgezogen. 78 x 62,7 cm (78 x 62,7 cm). Verso der Karton typographisch bezeichnet mit dem Editionsvermerk. - Kanten und Ecken etwas angestoßen und dort teils mit leichtem Farbabrieb. Teils mit Oberflächenabrieb. An den Seiten mit kaum merklichen Klebespuren. Verso mit Spuren der ehemaligen Montierung und partiell oberflächlichem Papierabrieb. Insgesamt in gutem Zustand. Prachtvoller, großformatiger Druck in leuchtenden und kräftigen Farben. Vorderumschlag aus einem der zwei Portfolios "Series 1". - Je herausgegeben von Petersburg Press, London. Dort je in einer Auflage von 150 Exemplaren erschienen. - Druck bei Hans Peter Haas, Stuttgart. Colour silkscreen on canvas, fully mounted on cardboard. Verso of the cardboard typographically inscribed with the edition note. - Edges and corners somewhat bumped and partly with slight colour wear there. Partly with surface abrasion. At the sides with hardly noticeable traces of glue. Verso with traces of former mounting and partial superficial paper abrasion. At all in good condition. Splendid, large-format print in bright and strong colours. - Front cover from one of the two portfolios "Series 1". - Each portfolio was published by Petersburg Press, London in an edition of 150 copies each. - Printed by Hans Peter Haas, Stuttgart.
Abstrakter Expressionismus - - Joan Mitchell u.a.. (1925 Chicago - 1992 Neuilly-sur-Seine). 16 Farbserigraphien in: Abstract Expressionism. 1960. 4 Bände mit Graphiken zu Gedichten amerikanischer Dichter. Pro Band 4 Serigraphien. Je auf chamoisfarbenem, kräftigem Hahnemühle. Blattmaße je 45 x 35,5 cm. Je eingebunden und mit Seidenhemdchen. Die 4 Bände jeweils im Druckvermerk vom Künstler und Dichter signiert sowie nummeriert und mit weit. Werksangaben. Die Bände je in den original illustrierten Umschlägen und im original Leinenschuber und Pappkarton. - Der Schuber wenig wasserrandig, die Bücher und Graphiken davon nicht betroffen. Die Serigraphien sehr satt, ausdrucksstark und sauber. Je eines von 200 Exemplaren. - Enthält: - Joan Mitchell, 4 Farbserigraphien zu John Ashberys "The Poems" - Michael Goldberg, 4 Farbserigraphien zu Frank O'Haras "Odes" - Alfred Leslie, 4 Farbserigraphien zu Kenneth Kochs "Permanently" und - Grace Hartigan, 4 Farbserigraphien zu James Schuylers "Salute". - Hg. Tiber Press, New York, 1960. - Herausragende Künstlerbücher der 2. Generation der New York School um Joan Mitchell. In Wechselbeziehung zu Gedichten der amerikanischen Dichteravantgarde der zweiten Hälde des 20. Jahrhunderts fertigten die Künstlerinnen und Künstler die Werke an. Entstanden sind prachtvolle Arbeiten der Vertreterinnen und Vertreter des Abstrakten Expressionismus, die eine dynamische Bezeihung zu den Gedichten aufbauen, aber auch kraftvoll für sich selbst stehen. 4 volume box set with 16 silkscreens (4 prints per book) by artists Joan Mitchell, Michael Goldberg, Alfred Leslie, and Grace Hartigan. The prints according to poems by by american poets John Ashbery, Frank O'Hara, Kenneth Koch, James Schuyler. 4 silkscreens per volume. Each volume signed by the artist and the poet. Bound as issued, the full sheets, with original illustrated boards, cloth slipcase and the cardboard box. - The slipcase a little bit waterstained, the books and prints not affected. The serigraphs very rich, expressive and clean. - One of 200 copies. - Pb. by Tiber Press, New York 1960.
Jim Dine. (1935 Cincinnati/Ohio - lebt in London). Big Red Wrench in Landscape, from Homage à Picasso. 1973. Farblithographie auf Arches. 76,2 x 56,6 cm (76,2 x 56,6 cm). Mit Bleistift signiert, datiert und nummeriert. - Verso mit Spuren der vorherigen Montierung sonst sauberes Blatt mit zweiseitigem Schöpfrand. Prachtvoller, samtiger und farbfrischer Druck. Eines von 90 Exemplaren. - Hg. v. Petersburg Press, London u. Ulstein Propylaen Verlag. Colour lithograph on Arches. Signed, dated and numbered in pencil. - Verso with traces of the previous mounting otherwise clean sheet with two-sided scooped margins. Splendid, velvety and fresh impression. - One of 90 copies. - Published by Petersburg Press, London and Ulstein Propylaen Verlag.
Allen Jones. (1937 Southampton). No Strings, Two Can Play, Low Key. 1995. Drei Farblithographien auf kräftigem BFK Rives Velin (mit dem Wasserzeichen). 76,5 x 56,5 cm (76,5 x 56,5 cm). Je signiert, datiert und nummeriert. - Verso teils blasse Druckfarbspuren, insgesamt sehr gut und tadellos schön. Ausgesprochen prachtvolle, in den Farben satte und leuchtende Drucke der formatfüllenden Kompositionen, an zwei Seiten jeweils mit dem Schöpfrand. Lloyd, 109, 110 und 111. - Je eines von 50 Exemplaren. - Hg. Galerie Levy, Hamburg. - Druck bei Tobey Michel, Angeles Press, Los Angeles. No Strings, Two Can Play, Low Key. Three colour lithographs on strong BFK Rives wove paper (with the watermark). Each signed, dated and numbered. - Verso partly pale colour printing traces, all in all very good and impeccably nice. Extremely splendid, in the colors rich and luminous impressions of the format-filling compositions, each on two sides with deckle edge. - Each from an edition of 50 copies.
Minimalismus - - Sol LeWitt. (1928 Hartford, Connecticut - 2007 New York). Straight/ straight, broken aus: Grids, using straight, not-straight lines & broken lines in all their possible combinations. 1973. Radierung auf Vélin. 26,9 x 26,9 cm (26,9 x 26,9 cm). Verso signiert und nummeriert. Gerahmt (ungeöffnet). - Guter Zustand. Der Druck prachtvoll und kontrastreich. Krakow, 1973.03. Kunsthalle Basel/ Kornfeld Cie, E6 a), 5. - Eines von nur 25 Exemplaren. - Hg. v. Parasol Press, Ltd., New York. - Druck bei Crown Point Press, San Francisco. 1 etching from: Grids, using straight, not-straight lines & broken lines in all their possible combinations. On paper. Signed and numbered on verso. Framed (unopened). There on verso with the label of the Susan Sheehan Gallery. - The print is splendid and rich in contrast. - One of only 25 copies. - Published by Parasol Press, Ltd, New York. - Printed by Crown Point Press, San Francisco.
Minimalismus - - Sol LeWitt. (1928 Hartford, Connecticut - 2007 New York). Straight/ straight aus: Grids, using straight, not-straight lines & broken lines in all their possible combinations. 1973. Radierung auf Velin. 26,9 x 26,9 cm (26,9 x 26,9 cm). Verso signiert und nummeriert. Gerahmt (ungeöffnet). - Vereinzelt mit wenigen schwachen Braunfleckchen am Rand. Insgesamt wohlerhalten. Krakow, 1973.03. Kunsthalle Basel/ Kornfeld Cie, E6 a), 1. - Eines von nur 25 Exemplaren. - Hg. v. Parasol Press, Ltd., New York. - Druck bei Crown Point Press, San Francisco. 1 etching from: Grids, using straight, not-straight lines & broken lines in all their possible combinations. On paper. Signed and numbered on verso. Framed (unopened). There on verso with the label of the Susan Sheehan Gallery. - Isolated with a few faint brown spots at margins. Overall in good condition. - Published by Parasol Press, Ltd, New York. - Printed by Crown Point Press, San Francisco. - One of only 25 copies. - Published by Parasol Press, Ltd, New York. - Printed by Crown Point Press, San Francisco
Minimalismus - - Robert Ryman. (1930 Nashville - 2019 New York). o.T., aus: Six Aquatintas. 1975. Aquatinta auf Lennox. 90 x 90 cm (98 x 99 cm). Signiert, datiert und bezeichnet "A.P." und mit dem Trockenstempel "K" im Rand unter der Darstellung. Im geschwungenen Acrylrahmen der Zeit freistehend gerahmt. - Mit einem unscheinbaren Fleckchen am Rand. Der Rahmen gering angestaubt. Insgesamt in sehr gutem Zustand und tadellos schön. Ausgesprochen prachtvoller, satter und malerische Werte umsetzender Druck mit klar zeichnender Plattenkante und schmalem Rand. Artist proof außerhalb der Auflage von 50 nummerierten Exemplaren. - Aus dem gleichnamigen Portfolio. - Herausgegeben von Parasol Press, Ltd., New York 1975. - Druck bei Crown Point Press, San Francisco. - Unsere Aquatinta ist ein markantes Beispiel für die subtile Kraft der Oberfläche, des Lichts und des Maßstabs, die Robert Rymans künstlerisches Schaffen bestimmen. Mehr als ein halbes Jahrhundert lang arbeitet Ryman fast ausschließlich in Weiß und auf quadratischen Bildträgern. Innerhalb dieser selbst auferlegten, taktischen Strenge - er variiert minimal die Art der verwendeten Farbe, ihren Auftrag, die Größe der Bildträger - schafft er seine sog. "Weißen Bilder" und stellt unermüdlich und experimentell die vielschichtigen Facetten von Weiß dar. Er trägt die Farbe sehr gründlich auf, wodurch seine Arbeiten fast dreidimensional wirken. An der Nicht-Farbe gefiel ihm, dass sie keinerlei Assoziation oder Symbolik beim Betrachter auslösen würde, und Quadrate, weil sie laut eigener Aussage keine Türen, Fenster oder Landschaften suggerieren. "Der wahre Zweck der Malerei ist, Vergnügen zu bereiten. Das ist wirklich der eigentliche Grund." (zit. nach Robert Ryman, 2007). Aquatint in cream-white on strong Lennox. Signed, dated and inscribed "A.P.". Framed free-standing in a curved acrylic frame of the time. - With an very unobtrusive stain in margin. Frame minimally dusted. Overall in a very good condition and impeccably nice. Exceptionally splendid, rich picturesque like impression with clear platemark and narrow margin. - Artist proof aside the edition of 50 numbered copies. - From the portfolio of the same name. - Published by Parasol Press, Ltd., New York 1975. - Printed by Crown Point Press, San Francisco.
Transavantguardia Francesco Clemente (1952 Neapel - lebt in New York)3 Lithographien aus: The Departure of the Argonaut. 1986. 3 einzelne Blätter, je auf feinem Japanpapier. Blattmaße von 65,5 x 50,5 cm bis 65,5 x 100 cm. 1 Arbeit signiert und datiert. Durchweg jeweils verso nummeriert. - Mit wenigen, kaum merklichen, blassen Braunfleckchen und einer kleineren Knickspur. Insgesamt in wirklich gutem Zustand. Prachtvolle und sehr kräftige Drucke mit formatfüllenden Darstellungen. - Die Arbeiten sind als Triptychon bestimmt. Jeweils eines von 100 Exemplaren. - Beigegeben: - Francesco Clemente. The Departure of the Argonaut. Von Alberto Savinio, mit Illustrationen von Francesco Clemente. Hg. Petersburg Press, New York und London anlässlich der gleichnamigen Ausstellung im Museum of Modern Art, New York 1986. Die Lithographien dort abgebildet bzw. reproduziert. 3 lithographs from: The Departure of the Argonaut. 3 single sheets, each on fine Japanese paper. 1 work signed and dated. Numbered throughout on verso. - With a few, hardly noticeable, pale brown spots and a smaller crease. Overall in really good condition. Splendid and very strong prints with format-filling images. - The works are intended as a triptych. - One of 100 copies of each. - Added: - Francesco Clemente. The Departure of the Argonaut. By Alberto Savinio, with illustrations by Francesco Clemente. Ed. Petersburg Press, New York and London on the occasion of the exhibition of the same name at the Museum of Modern Art, New York 1986. The lithographs illustrated or reproduced there.
Africa.- Archaeology.- Kobishchanov (Yuri M.) Axum, first American edition, translated by Lorraine T. Kapitanoff, illustrations, bookplate, original cloth, fractional bumping to spine extremities, dust-jacket, fractional creasing to spine extremities, 8vo, Pennsylvania State University Press, 1979.
Africa.- Nubia.- Wendorf (Fred) The Prehistory of Nubia, 2 vol. and atlas, first edition, folding plates, illustrations, bookplate, faint spotting, text vol. in original cloth, slight bumping to corners and extremities, plate vol. loose as issued in original cardboard wrapper, Texas, Fort Burgwin Research Center and Southern Methodist University Press, 1968 § Adams (William Y.) Nubia: Corridor to Africa, first edition, plates and illustrations, bookplate, original cloth, slight bumping to spine extremities, dust-jacket, slight creasing and chipping to edges, 1977 § Crawford (O. G. S.) The Fung Kingdom of Sennar, first edition, frontispiece, plates and illustrations, bookplate, original cloth, fractional bumping to spine extremities, dust-jacket, small tears and chipping to edges, neat tape repairs to verso, Gloucester, 1951 § Russell (Rev. M.) Nubia and Abyssinia, third edition, folding map frontispiece, additional vignette title, plates, contemporary decorative morocco, gilt, g.e., slight rubbing to corners and extremities, Edinburgh, n.d. § Sidebotham (Steve) & Willemina Wendrich. Berenike ... Preliminary Report of the Excavations at Berenike ..., 6 vol., illustrations, folding maps loosely inserted, bookplate, all but the last in original printed wrappers, the last in original cloth, dust-jacket, Leiden & Los Angeles, 1995-2007; 4to & 8vo (12)
An Achaemenid rod-formed glass cylindrical kohl tube Circa 5th-4th Century B.C.Of dark amber to black glass, the upper half with opaque white spiral trail partly overlaid by translucent amber spiral trail to the lower body, the cylindrical body slightly narrowing towards the flattened rim, 7.1cm high Footnotes:Provenance: Anonymous sale; Christie's, London, 17 October 1996, lot 22A. The Nico F. Bijnsdorp Collection (NFB 037), acquired from the above sale.There is a similar rod-formed kohl tube with trail decoration in the Toledo Museum of Art, collection no.1980.42See Dan P. Barag, Rod-formed kohl-tubes of the mid-first millennium BC, Journal of Glass Studies 17, 1975, pp.23-36. Barag Group IIA, and D.F. Grose, Early Ancient Glass. Core-formed, rod-formed and cast vessels and objects from the late bronze age to the early roman empire, 1600 B.C. to A.D.50 (Hudson Hill Press, New York 1989), pp.86-7, no.33.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Andrei Yakovlevich Beloborodoff, Russian 1886-1965 - A Design for an Open-Air theatre at Ivy House, Golders Green, Home Of Anna Pavlova; watercolour on card, heightened with bodycolour and pen & sepia ink, signed lower right 'A Beloborodoff', signed and inscribed on the reverse '...[?] Beloborodoff /...z[?]iante per il Balletto di Anna Pavlova,gallo... / N. 16', 19 x 23.5 cm Note: Beloborodov began his career as an architect and designer at the very end of Russia's "Silver Age". He studied at the Academy of Arts in St Petersburg. Early on in his studies he developed a particular affinity for Italian architecture, in particular the Italian expatriate Quarenghi, whose buildings could be seen all around the old capital. He gave a speech in 1912 where he spoke of protecting the architect's Zavadovskii Palace, he began work on a project to issue a book with architectural plans and sketches of the Palace. Although global circumstances prevented this from coming to fruition, it established Beloborodov's reputation among St Petersburg high society. He received commissions from clients such as the Count & Countess Bobrinski, the Obolenskiis and Prince Felix Iusopov. His career in Russia reached its zenith with a commission from Tsar Nicholas II to design the public halls at the Cabinet of His Royal Highness at Anichkov Palace in 1913-14. During this period, he also came to know the leading figures of the arts in Russia, including Benois, Stravinsky, Nijinski and Anna Pavlova. His time in Russia was cut short by the Great War and subsequent revolution, and he moved to London in 1920. Here he designed sets for the Royal Albert Hall, including for his former client and friend Prince Iusopov's 'Blue Ball', held in support of refugees from Soviet Russia. It was while he was in London that this design for Anna Pavlova's ballet was executed (1). Pavlova was iving in Ivy House, in Golder's Green, where she kept a small ornamental pond for her pet swans, with which she became associated in the popular conception: "I stayed on in England for several months (executing a project for an open-air theatre for the great ballerina in "Swan" park...)" (2) The so-called 'Swan Park' at Ivy House was already well-known as the setting for many press photographs of Pavlova. Her performance of The Dying Swan, her posing as a Swan for The Sketch in a window of Selfridges and numerous other deliberate associations had solidified her image as this elegant creature in the mind of the public (3). Ivy House itself was built in the 18th century and is said to have been home to J.M.W. Turner at one point prior to Pavlova's purchase of it in 1913 (4). Beloborov went on to have a glittering career in Italy after his short stay in England. This was a place where he could fully indulge the innate Italophilia which he had already admitted to in 1911-1912: "The world of painting was always linked for me to my dream of Italy..." and he developed an "...'Italian backbone' which fuses all of my art" (5). In 1924 he held his first solo exhibition at the Galerie Charpentier in Paris and would continue to exhibit at other galleries across Europe. In Italy he became a close friend of the artist Giorgio de Chirico, and his architectural designs and interiors were critically acclaimed by collectors and the cognoscenti in that country. He is best remembered for his later fantastical views of Rome and other grand Italian cities: these are generally devoid of people and often sparkling in an otherworldly glow (de Chirico rightly perceptively saw it as a 'Platonic' light (6)) which have a surreal element to them and show off his fantastic architectural draughtsmanship. Later in life he also excelled in designing costumes and sets for opera and cinema in Italy.
Lynn Chadwick RA, British, 1914-2003 - Bird VIII, 1959; bronze, signed and numbered 'Chadwick 2/3', stamped 'Susse Fondeur, Paris', H19 x L36 x D15 cm (ARR) Provenance: Sotheby's London, Modern British and Irish Paintings, Drawings and Sculpture, 6th October 6, 1993, lot 288 (unsold); The Geoffrey and Fay Elliot Collection and thence by descent Exhibited: Galerie Charles Lienhard, Zurich, July 1959 (likely another cast) Literature: Dennis Farr and Eva Chadwick, Lynn Chadwick, Oxford University Press, 1990, no.292, pp.156, illus. another cast) Note: Leading British post-war sculptor Lynn Chadwick was introduced to an international audience when he was included in the XXVI Venice Biennale in 1952, as a way for the British Pavilion to demonstrate that the success of British sculptors reached beyond Henry Moore and Barbara Hepworth. In the mid-1950s, he began adding wings to his dancing figure groups, a concept that continued in his work (see lot 13). Around the same time, he started having some works cast in bronze, previously welding iron sculptures himself, which allowed for editions to be made. His sculptures have been referred to as three dimensional drawings. Beginning with abstract shapes, he would add on legs or arms to become animals or figures in motion: “I would call it attitude, you know, the way that can almost make something talk by the way the neck is bent, or the attitude of the head; you can actually make these sculptures talk, they say something according to the exact balance, whereas if they’re absolutely straight… well, I suppose that’s saying something, too” (Farr, p.11) In Bird VIII, the strong angular geometric beak is ready for flight, poised on pin legs. His works are widely collected, in major institutions including the Tate; MOMA, New York and Centre Pompidou, Paris.
Lynn Chadwick RA, British, 1914-2003 - Maquette VII Walking Couple, 1976; bronze, stamped with monogram, dated '76', numbered '786' and numbered with edition '3/8' on the reverse, H39 x W21 x D17cm (ARR) Provenance: Sotheby's, London, Modern British and Irish Paintings, Drawings and Sculpture, 30th June 1993, lot 70, illus. p.66; The Geoffrey and Fay Elliot Collection, purchased from the above and thence by descent Exhibited: Galerie Farber, Brussels (with Victor Passmore), Nov-Dec 1976 (another cast) Literature: Dennis Farr and Eva Chadwick, Lynn Chadwick, Oxford University Press, 1990, no.736, pp.313, illus. (another cast) Note: Leading British post-war sculptor Lynn Chadwick was introduced to an international audience when he was included in the XXVI Venice Biennale in 1952, as a way for the British Pavilion to demonstrate that the success of British sculptors reached beyond Henry Moore and Barbara Hepworth. In the 1960s, his work became more experimental with the creation of abstract human forms in addition to other complex figures, notable in the "Elektra" series. By 1973 he had begun to clothe his figures in pleated drapery, with figures often depicted with wings and billowing cloaks, as seen in the present work. His sculptures have been referred to as three dimensional drawings. Beginning with abstract shapes, he would add on legs or arms to become animals or figures in motion: “I would call it attitude, you know, the way that can almost make something talk by the way the neck is bent, or the attitude of the head; you can actually make these sculptures talk, they say something according to the exact balance, whereas if they’re absolutely straight… well, I suppose that’s saying something, too” (Farr, p.11)
Robert Frame, Scottish c.1922-1989 -Castello Estense, Ferrara, Italy, 1979;oil on canvas, signed and dated lower left 'R. Frame 79', 92 x 71 cm (ARR)Provenance: the Estate of the artist Benjamin Creme (1922-2016) Note: Scottish artist Robert Frame studied in Jankel Adler’s studio in Glasgow together with his friends Robert Colquhoun, Robert MacBryde and Benjamin Creme. Another friend was W.S. Graham, and in 1942, Frame and Creme each produced drawings for Graham’s first book ‘Cage Without Grievance’ published by David Archer’s Parton Press. Frame moved to London in the mid-1940s with Colquhoun and MacBryde. In London, he was part of the circle around John Minton, becoming close to Minton for a time and was friendly with Prunella Clough. In the early 1950s, Frame exhibited with the St. George’s Gallery in London, and also became involved with theatre. In the 1960s, Frame produced illustrations for several books for Ian Hamilton Finlay’s Wild Hawthorn Press. The British Museum acquired a collection of Frame’s drawings and monotypes by the artist in the 1980s.
Robert Frame, Scottish c.1922-1989 -Campo Santi Giovanni e Paolo, Venice, 1975;oil on canvas, signed and dated lower right 'R. Frame 1975', 76 x 127 cm (ARR)Provenance: Bonhams, 2nd February 1999, lot 335; the Estate of the Artist Benjamin Creme (1922-2016) Note: Scottish artist Robert Frame studied in Jankel Adler’s studio in Glasgow together with his friends Robert Colquhoun, Robert MacBryde and Benjamin Creme. Another friend was W.S. Graham, and in 1942, Frame and Creme each produced drawings for Graham’s first book ‘Cage Without Grievance’ published by David Archer’s Parton Press. Frame moved to London in the mid-1940s with Colquhoun and MacBryde. In London, he was part of the circle around John Minton, becoming close to Minton for a time and was friendly with Prunella Clough. In the early 1950s, Frame exhibited with the St. George’s Gallery in London, and also became involved with theatre. In the 1960s, Frame produced illustrations for several books for Ian Hamilton Finlay’s Wild Hawthorn Press. The British Museum acquired a collection of Frame’s drawings and monotypes by the artist in the 1980s.
L.S. Lowry R.A. (British 1887-1976) "A Northern Town" 1969, signed and numbered 60/75 in pencil in the margin, published by Ganymed Press, two-tone lithograph.image size 47.5cm x 61cm (18.75in x 24in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. There is some light time staining and browning together with other minor surface marks in the margins. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
REVILLE, APPOINTED COURT DRESSMAKERS TO QUEEN MARY: A FOLIO OF 1930'S COUTURE DESIGNS including newspaper cuttings, one of Princess Chichibu of Japan, selecting her Coronation robes. The collection includes designs of a Royal robe. Two of the designs have "Reville copyright design Hanover Square, London" seals, all designs are by Bettie Richardson, in various sizes, (70) BETTIE BENSON RICHARDSON 1914-1998Bettie was a boarder at The Institute Notre-Dame de Boulogne-Sur-Mer on the edge of Paris.She then studied at The House of Reville in London, producing many designs, including coronation robe designs for Princess Chichibu of Japan during her state visit to England. Photographs of the Empress wearing some of Betties designs were shown in the national press during a Buckingham Palace Garden Party.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),A CORNER OF LOCH FYNEwatercolour on paper, signed, titled label versoimage size 14.5cm x 17.5cm, overall size 32cm x 36cm Mounted, framed and under glass.Label verso: T. & R. Annan & Sons, Ltd., Glasgow.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* HANNAH FRANK (SCOTTISH 1908 - 2008), GARDEN (1932)lithograph on paper, signed in pencil image size 31.5cm x 27.5cm, overall size 53cm x 42cmMounted, framed and under glass.Note: "Garden (1932)" is one of the rarest Hannah Frank signed prints. A previous example of this print was sold (by McTear's) for £650 (lot 526 The Scottish Contemporary Art Auction 27th September 2020). Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* HANNAH FRANK (SCOTTISH 1908 - 2008), WOMAN IN TREESlithograph on paper, signed in pencil image size 34cm x 23cm, overall size 53cm x 42cmMounted, framed and under glass.Note: Since McTear's first promoted Hannah Frank's spectacular work in 2011, the prices for her ever more rare signed prints have continued to rise with many current prices being more than five times higher than those achieved barely a decade ago. The latest UK auction record figure for a single signed lithograph was most recently achieved (twice) in our auction on 24th October 2021 and now stands at £820 (hammer). Note 2: Hannah Frank was the last living link to the Arts and Crafts and Art Nouveau period. She studied at the Glasgow School of Art and Glasgow University in the 1920`s and her haunting pen and ink drawings have been exhibited at the Royal Academy, Royal Scottish Academy and Royal Glasgow Institute. A series of lithographs of some of her 90 drawings were made in the 1960's and again in the 1980's to satisfy the demand for her work after exhibitions in Edinburgh and Glasgow. Only a relatively few of these prints were hand signed (in pencil) by Hannah and it's understood that only one print was ever editioned (numbered) in a conventional manner. A major exhibition at the Royal Glasgow Institute in 2006 brought her work to a new generation of admirers and received considerable press coverage. Her work toured for five years in the UK and the USA culminating in an exhibition at Glasgow University which opened on her 100th birthday 23rd August 2008. After her death, she was awarded a posthumous Honorary Doctorate at Glasgow University and Glasgow City Council`s Lord Provost`s Award For Art (2009).
* DAVID SHRIGLEY OBE (SCOTTISH b. 1968),DO NOT FUCK ABOUT WITH IT, I MEAN NO DISRESPECT, I'VE RECEIVED A CLONK TO THE HEAD and ANY DIRECTION IS FINE limited edition lithograph printed on 200g Munken Lynx paper by Narayana Press in Denmark, from an edition of 250 image size 70cm x 50cm each, overall size 73cm x 43cm eachFramed and under glass (4).
* FRANCIS BOAG (SCOTTISH b. 1948), UNTITLED mixed media on board, signedimage size 19cm x 54cm, overall size 55cm x 90cm Mounted, framed and under glass.Note: Born in Dundee in 1948, Francis Boag is a leading figure amongst a group of painters often labelled the ‘New Scottish Colourists’. In a career spanning more than 50 years, he has taught in schools in Dundee, Perth and Aberdeen. His vivid, and instantly recognizable, paintings have found their way into a host of public buildings such as airports and hospitals and are sought after by large corporate collectors including John Lewis plc, Baxters Food Group and the Royal Bank of Scotland. In 1964, at barely 17 years of age, he won a place at Duncan of Jordanstone College of Art and Design in Dundee and studied under the then Head of Painting, the larger than life, Scottish-Italian painter Alberto Morrocco and his Deputy David McClure. Upon graduation, Francis’ professional career was dictated by the rhythm of school life. After completing an MA at Gray’s School of Art in Aberdeen and nearly 30 years teaching, Francis decided to challenge the maxim, ‘those who can, do and those who can’t, teach’ and in 2001 went on to achieve a life-long ambition of making a career as an artist. His paintings are less about copying a scene, than creating a representation of it, a representation which has to be on the one hand a recognisable place or space but also a world where the imagination is unleashed. Polls published in the press in Scotland and Ireland have both placed him in their lists of top 50 best-selling artists, and he is one of only a few artists who has work in the National Collections of both countries. For many years he has donated images of his work to the children’s charity, UNICEF who have recently published a Box set of his Scottish landscapes and in 2015 his Christmas card design was UNICEF’s top seller, raising more than £35,000 for the Charity.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),CUILLINS OF SKYE FROM SLIGACHAN BURNwatercolour on paper, signed, titled in the mount and label versoimage size 27cm x 37cm, overall size 51cm x 61cm Mounted, framed and under glass.Label verso: Paisley Art Institute Exhibition.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),SCOTTISH SANDSwatercolour on paper, signedimage size 15.5cm x 23.5cm, overall size 42cm x 52cm Mounted, framed and under glass.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),"THOUSAND POUND VIEW", KYLES AND LOCH STRIVEN FROM CANADA HILLwatercolour on paper, signed, titled versoimage size 19cm x 27cm, overall size 37cm x 44cm Mounted, framed and under glass. Artist's label verso.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
* STIRLING GILLESPIE (SCOTTISH 1908 - 1993),THE NARROWS, KYLES OF BUTE FROM RHUBODACH, BUTE watercolour on paper, signed, titled versoimage size 18cm x 27cm, overall size 36cm x 43cm Mounted, framed and under glass.Note: James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. James Gillespie Jnr was one of four children brought up in a world of cinema. His father, James senior was a missionary, evangelist and tenor before joining JJ Bennell as a silent film commentator in Aberdeen the early 1900’s. Gillespie senior moved his family to Rothesay around 1913 to manage the island’s Palace Cinema, for whom he made topicals of local events and with religious and temperance undertones. One of his films starred his son James coming out of a shop with a bottle of whisky, followed by his younger sister who was laden with all the groceries that could be bought for the same cost as the alcohol. Stirling Gillespie (as he was known professionally) started in journalism first at the Rothesay Express, then the Daily Record, through which he met J Blake Dalrymple who was to bring Gillespie into his film company Elder Dalrymple Productions. Hired to cover the company’s literary and photographic concerns, Gillespie also became involved in the making of films. In 1936 J C Elder and Dalrymple decided to take the company out on Dalrymple’s yacht to make educational films around the world. Gillespie was to act as press correspondent for the Daily Record coverage of the trip. His cabin aboard the yacht was completely fitted out as a developing and printing studio. However, the trip was curtailed prematurely by the Spanish Civil War, so that the only substantial filming to be completed was of a later voyage to the Baltic. In 1937 Gillespie and Dalrymple undertook an overland expedition from Cape Town to Cairo making educational films as they went. Gillespie taking photographs and film, recorded the expedition in a book "Celluloid Safari" and with the film Land of the White Rhino (1939). After the Second World War was over, Gillespie was to make only one more film with Elder Dalrymple "Perchance to Sail" (1947) in which he starred as a young artist at sea. He was then, until his death, to pursue a highly successful career as a watercolour landscape painter.
James Frederick Griffiths (no 40427) Gunner in the Heavy Branch Machine Gun Corps, later Tank Corps, July 1917. Interesting collection including dog tag and his War Medals, ribbons etc. Interesting letters with descriptions of periods on the front line and action "being bombed and strafed" April 1918. Also describes coming across a friend's grave in October 1917, "G.Veitch"" killed in action April 1915. (press cutting with photograph describes his death)In addition a Tank Corps Christmas Greetings card, 1917, Signals 2nd Tank Brigade Christmas Dinner menu1917piece of sharpnel and other letters a number pre war. Two other medals, one for Engineers, another for Billiards! Supported by some research. The Collection.
International Military Tribunal Nurnberg, Germany 1945-1946. Large folder with Important collection of photographs from the trial, with mainly full page images of all the Defendants, (including Goering, Hess, Frank, Rosenberg, Doenitz, Jodl, Speer, etc.), Court scenes, Judges, Lawyers, Guards, Stenographers etc. etc. buildings and photographs taken of most of the condemned after their executions. Most are clearly press photographs but this collection provides a remarkably full visual record of the proceedings, together with two original well executed pencil drawings of the interior of the cells, initialled P.K. and dated 1947, clearly drawn by someone who had viewd the cells during the trial. Also contemporary documents showing seating plans and biographies of all the Defendants c.140 photographs, a very few dupicates, most full page, almost all very nice condition.
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