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297887 item(s)/page
Lot 1
* Hunting & Coaching. Sampson (T., after), Lord Andover's Beagles, c.1870s,. hand coloured litho. by E.Walker, relaid with a few minor surface marks, image 405 x 607 mm, together with Gilpin (S., after), Modish. A remarkable fine Fox Hound bred by Coll. Thornton, pub. 11 february, 1788, hand coloured aquatint by R. Pollard, relaid with a few minor surface marks, plate dimensions 445 x 560 mm, and Hall (E., after), "The Park! that magnet of the town, That idol to which all bow down", c.1820s, hand coloured litho. by C. Hullmandel, image size 238 x 368 mm, plus others related including a hand coloured etching of a coach and four (195 x 283 mm), a waterstained hand coloured aquatint after Shayer entitled 'Coaching Incidents' (350 x 550 mm) plus an hand coloured aquatint after Herring of horses in a stable entitled 'The Team' (200 x 305 mm) (6)
Lot 1
Bible ([English]). The Holy Bible with a Devotional and Practical Commentary, by the Rev. R. Jamieson, 2 vols., n.d., pub. Virtue & Co., c. 1870s,. steel engs. after John Martin and others, some minor scattered spotting, a.e.g., contemp. tooled and gilt dec. dark brown full morocco, a trifle rubbed at extrems., together with another copy of the same Bible bound in contemp. blind-stamped full black morocco, gilt lettering to spine, a few minor signs of wear to corners, plus Dore (Gustave), The Dore Gallery: Containing Two Hundred and Fifty Beautiful Engravings ... with a Memoir of Dore, Critical Essay, and Descriptive Letterpress, by Edmund Ollier, 2 vols., n.d., pub. Cassell, c. 1870s, num. wood engs., a.e.g., orig. gilt dec. and panelled plum morocco, joints rubbed, all thick 4to (6)
Lot 1
New Testament [English]. The New Testament of Our Lord Jiesus Christ ..., [Geneva-Thomson version], printed by Robert Barker, 1604,. title within woodcut border, bound with The Whole Booke of Davids Psalms ..., printed by P[eter] Short for the assignes of W Seres and R Day, 1603, woodcut vign. title, minor shaving to running headlines of last few leaves, a.e.g., late 17th c. gilt panelled and decorated black morocco, sl. rubbed, small square 8vo. Collation: Star 8, A-Z8, Aa-Hh8; A-Z8, Aa-Ee8.. (1)
Lot 1
Oxford Type-Facsimiles. A complete set of sixteen type-facsimile reprints 1st-4th series (including Pope's The Dunciad), Oxford University Press, 1923-28,. partly untrimmed, all in orig. marbled wrappers with paper label to upper cover, various sizes (folio to 8vo), together with Shakespeare Head Press. Greenes Newes both from Heaven and Hell, by B. R., 1593, and Greenes Funeralls, by R. B., 1594, reprinted 1922, & Epigrammes in the Oldest Cut and Newest Fashion by John Weever, 1599, reprinted, 1922, partly untrimmed, both orig. cloth backed boards, with paper labels to upper cover, in frayed and sl. chipped d.j.s, somewhat darkened to spines, large 8vo, plus others similar, including 3 x Shakespeare Head Quartos series, three copies of William Henninge, Elegy on Randoloph's Finger, reprinted, Shakespeare Head Press, 1923, Sir Thomas Browne's Letter to A Friend, 1690 (Haslewood Reprints No. 1), printed for Frederick Etchells and Hugh MacDonald, 1924, A Little Ark containing Sundry Pieces of 17th-Century Verse, ed. G. Thorn-Drury, & The Life of Tomaso The Wanderer, an attack upon Thomas Killigrew by Richard Flecknoe, reprinted, both pub. Dobell, 1921/25 respect., etc. (30)
Lot 1
Tucker (Mark, editor). The Duke Ellington Reader, 1st ed., OUP, 1993,. orig. linen-backed boards in d.j., together with Sudhalter (Richard M. and Evans, Philip R.), Bix. Man & Legend, 1st ed., 1974, b & w illusts. from photos, orig. boards in d.j., both 8vo, and others of jazz interest, including many biogs., mostly 20th-century hardback publications, many in d.j.s, G/VG. (3 shelves)
Lot 1
A mixed lot comprising: A George III Provincial Tablespoon, Old English pattern, initialled Exeter 1793, Makers mark R F; Together with a further Irish example, Old English pattern, initialled, Dublin 1823, Makers mark J S; Together with two further Dessert Spoons and a Butter Knife, various dates and makers, (5)
Lot 1
A late 19th Century silver cased open face Pocket Watch, 18022, the frosted gilt movement with engraved cock and jewelled end stone, to monometallic balance, with dust cover, to a silvered and engraved dial, with applied gilt Roman numerals, sunk subsidiary seconds and blued steel hands, in a hinged case with engine turned back cover and milled band, London 1871, Makers mark R J P, width 2”
Lot 1
A small specimen wood parquetry games box. By R & J Price, Scotland. Of rectangular form with projecting cover, skirted apron and cedarwood lining, on block feet, decorated with sixty five exotic woods in an offset panel arrangement, including satinwood, rosewood, zebra, tulipwood, padouk, maple, thuya, olive and cormandel; accompanied by a handwritten key to each wood and enclosing a collection of graduated fireclay marbles, stamped verso: R.& J.Price, Makers, Scotland 1929 21cm wide; 9.5cm high; 11.4cm deep
Lot 1
An early 20th Century painted plaster rectangular wall plaque with relief moulded scene of two young girls carrying baskets down a windswept hill with another girl in distance, indistinctly signed "S R Priacger", the back bearing paper retailer's label of "John Magee Art Store, 4 Donegall Sq West Belfast", 30.5 cm high x 20.25 cm excluding frame
Lot 1
* Niemann (Edmund John, 1813-76). Wooded landscape, with mother and child on a path, oil on canvas (relined), signed, approx. 240 x 440mm (9.5 x 17.25ins), gilt frame Provenance: Ex collection D. R. Portman, of Solihull, Warwickshire, with label of E. Stacy-Marks, Eastbourne, Sussex, to verso, dated 17th November 1978. (1)
Lot 1
* Parmigianino (Girolamo Francesco Maria Mazzola, 1503-1540). Amor carving his bow, oil on canvas copy of the original painting on limewood, by Parmigianino (now in the Vienna Kunsthistorisches Museum), probably 18th c., approx. 1320 x 950mm (52 x 37.5ins), framed Provenance: Ex collection D. R. Portman Esq., of Solihull, Warwickshire. Bears label of E. Stacy-Marks of the Restorers E. Stacy-Marks, Eastbourne, Sussex to verso, dated 6th November 1978. (1)
Lot 1
* Lethaby (William Richard, 1857-1931). Study of the Madonna and Child, 1892, pencil on paper, signed and dated, approx. 330 x 235mm (13 x 9.25ins), framed and glazed W. R. Lethaby (1857-1931), English Architect and Designer, and important figure in the Arts and Crafts movement. He worked as an assistant designer to the Architect Richard Norman Shaw, from 1879 onwards, leaving in 1892 to pursue his own independent architectural and design projects. He became the first Professor of Design at the Royal College of Art in 1901, and Principal of the Central School of Arts and Crafts in 1902. (1)
Lot 1
* Nevinson (Christopher Richard Wynne, (1889-1946)). Returning to the Trenches, 1916, drypoint etching printed in dark brown, a good impression, signed and dated in pencil, from the edition of 75 on laid paper, with wide margins, in good condition, apart from light mount stain, a few minor marks to margins, plate size approx. 150 x 201mm (6 x 8ins), sheet size approx. 212 x 275mm (8.3 x 10.75ins), together with the copy of Modern War Paintings by C. R. W. Nevinson, pub. Grant Richards, 1917, printed in a limted edition of 75 copies, this copy numbered 67 and signed by the publisher, in which the etching was originally published Provenance: From the collection of Samuel Courtauld, (1876-1947), the wealthy industrialist and art patron, with his bookplate (designed by Paul Nash) to front pastedown. Leicester Galleries Catalogue. Leicester Galleries, Nash and Nevinson, The Graphic Work, 1914-1920 (1977), 1. (1)
Lot 1
Birnbaum (Uriel). In Gottes Krieg, Sonette von Uriel Birnbaum, Vienna - Berlin, R. Lšwit Verlag, 1921, decorative title, b&w lithograph plates by Birnbaum, text printed in red and black, contemp. black cloth, a little rubbed, 8vo, limited ed. 609/1250, together with Edschmid (Kasimir), Geschichte von den Suaheli-MŠdchen und den schwarzen Kriegern mit sechs Farbigen Lithographieen von Erna Pinner, Darmstadt, 1929, six colour litho. plates, partly untrimmed, orig. vellum-backed pict. boards, a little rubbed and spine very lightly discol., large 8vo, limited ed. 51/125 signed by the author and illustrator, plus Jammes (Francis), Der Hasenroman, Leipzig, Kurt Wolff Verlag, 1916, [really 1918], b&w litho. plts. and illusts. by Richard Seewald, some marks and foxing towards rear of vol., orig. pict. boards, soiled and some staining, a little wear to head and foot of spine and extrems., large 8vo, and other various 20th c. German illustrated books, including Richard Seewald, Gestehe dass ich glŸcklich bin, 1942, inscribed by the author, Bildung, Essays von Hermann Bahr Insel-Verlage, 1900, illust. Heinrich Vogeler-Worpswede, Gustave Flaubelt, Der BŸchernarr, illust. Alfred Kubin, n.d., c. 1920, Lieder des, Ghetto von Morris Rosenfeld, illust. E. M. Lilien, Berlin, Benjamin Herz Verlag, 26-30 Tausend, c. 1920, etc. (13)
Lot 1
London Sketch Club. Album of original watercolour sketches, drawings and illustrations presented to Clay Thomas in 1970, containing thirty early to mid-20th c. sketches and drawings in watercolour, coloured inks, crayons, gouache, etc., by members of the London Sketching Club. including Frank Wright, Thomas Downey, Alfred Sindall, Tony Castle, L. R. Brightwell, Ian Hassall, Ian Roberts, Albert Hindle, George S. Dixon, Fred Buchanan, Harry Riley, P. Padden, A.R.C.A., Charles D. Ward, Ellis Silas, Harry May Hamsley, Stan Terry, and others, each signed, sheet size approx. 290 x 220mm (11.5 x 8.5ins), contemp. half leather and cloth, rubbed and marked, oblong 4to (1)
Lot 1
* Munnings (Alfred James, 1878-1959). Two pencil studies showing figures and horses, one with a Church tower in the background, initialled A. J. and captioned Kersey, Suffolk, 1931, in the artists holograph, approx. 18 x 23cm, the other smaller also on a loose album leaf, approx. 11 x 17cm, together with a group of nine autograph letters and notes to friend and fellow artist Maurice Codner (1888-1958), mostly undated by c. 1940/43, all but one in pencil, initialled A. J. and two signed A. J. Munnings, discussing art and life and friends, etc., Like two indecent men, we both wonder & think about one another very often. So often that we might be accused of the Act!! well - as you say - Im working - I never stop - nothing ambitious. All studies and executions ... why try immense monsters for that conglomoration at the R.A.? Awful show: though I look back now & recall the hanging & the jumbling - alas! All well with us excepting that Exmoor & its freedom gets a hold on one. You cant leave it - out here we are in the wilds ... I seldom see anyone. I go on working. I think Im getting old as I cant please myself at all ... We now are living in a world war if you like, and Brendon Bracken is a good friend of mine. Well see something done yet on the wireless & in the press for Tradition in Art - what is a Nation? First reply a Nation has a race or races of folk whose life &c &c is BUILT up on its own tradition, and Bye the bye Ive wondered if you ever use terre verte a good color for your portraits - days weeks & months fly by - I dont know what we shall do ... stick to it my lad & dont keep doing those big ones. Try 30 x 20 my size, glad youre well & not blown up - no more, and (written on R. A. printed circular dated 1942), As I sit here in a small room I look outside. It isnt just raining - its bloody well pouring straight down & old Violet went off with the rest of the few as they passed behinds the hounds onto Hawkridge 2 miles away - theyll be wet through before they start - hunting all over England should be stopped. Thats my opinion. People who go wouldnt if the hounds didnt - absolute rot ... What a pity you arent rich and cant get away - you & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work. Three pounds a week - trees galore & stone buildings & the rest & when it rained wed do masterpieces indoors ... write again my lad of wax - any f...g lately?, a total of 23 pp. on various papers, some occn. marks and marginal tears, mostly 8vo, plus two related (13)
Lot 1
* Doyly-John (C. R., 1906-1993). Street scene, Eze village, South of France, oil on canvas, signed, approx. 355 x 255mm (14 x 10ins), framed, with Frost and Reed label to verso Doyly-John served in the Army during the Second World War, and was wounded by a bomb blast in 1945, after which he took up painting. His work is characterised by the use of bold colour and the accomplished use of the palette knife. (1)
Lot 1
Ransome (Arthur). Christmas card, sent by Ransome to his grandson John Lewis, inscribed in Ransome's holograph "To John Lewis from A. R.", with a coloured view of "Low Tide at St. Ives" after Vernon Ward on the front, 14 x 18.5 cm, together with a small quantity of family ephemera, including photographs of the donkey cart, and early 1930s photographs of Ivy and Tabitha John Lewis, the son of Tabitha and her husband Frederick Harold Lewis, was born in 1940. He informs us that this was the only greetings card that he ever received from his grandfather. It was sent when he was about ten or eleven years old. This fact, and the formality of Ransome's inscription, underlines the degree of separation that then existed between Ransome and his daughter. Ransome had long since faced the fact that his escape from Ivy would eventually entail the loss of Tabitha. Ransome and John Lewis never met. (-)
Lot 1
Robinson (Charles, illust.). Make-Believe, by H.D. Lowry, pub. John Lane, 1896, frontis., dec. title, b & w illusts., pubs. list at rear, pubs. date erased from title-page, t.e.g., remainder rough-trimmed, contemp. crushed half morocco, gilt dec. spine faded, 8vo, together with Johnson, (R. Brimley, ed.), Lilliput Lyrics, pub. John Lane, 1899, col. frontis. and title-page, numerous b & w illusts., orig. dec. cloth gilt, foxed, spine darkened and sl. frayed at head, 8vo 'Make-Believe' with original pen and ink sketch of an angelic head by Charles Robinson bound in at the front, initialled by the artist, and dedicated 'To Phyllis' with an addition beneath by the author 'for whom this book was written by H.D. Lowry'. (2)
Lot 1
A Welsh oak clock dresser, first half 19th century, with central 13 (33 cm) white painted clock face with ring of Roman numerals, signed Richard R *****, Welshpool, under a stepped cornice over a short fielded rectangular panelled door revealing a twin weight driven eight-day movement flanked by a two-panel cabinet door to each side over a base of a central twin-panel cabinet door flanked by three short drawers, all fitted with turned wooden handles raised on shaped bracket feet, 158 cm wide, 222 cm high, 55 cm deep (in need of restoration)
Lot 1
Vonnegut (Kurt). Slaughterhouse-Five, First/Final Draft Screenplay by Stephen Geller, March 25, 1970 & December 21, 1970, 183/133 pp. respec., orig. printed wrappers, spines secured with three brass studs, together with a nine-page synopsis of the film and a two-page copy-document from Eugene G. Dougherty, Vice-President of Motion Picture Association of America Inc., addressed to Miss Arline Conklin of the Law Department, Universal Pictures, California (November 27, 1970) concerning the censor rating of the film, saying that the story appears to be appropriate for an R rating but the excessive use of vulgar language (mostly four letter words, many beginning with 'f') would place the picture in the X category, folio The film was a George Roy Hill-Paul Monash production and the upper cover of the final draft screenplay is marked in felt-tip 'Paul Monash work copy'. (4)
Lot 1
Charles Bartlett, September Sun, pencil signed and titled, 13/60, aquatint, 33.5 x 42.5 cm; 20th Century British School, Spring, pencil signed (R. S. Chambers?) and titled, 1/4, aquatint, 37.5 x 30 cm, and another coloured print, Moorland Coast, pencil signed indistinctly (Peter Garman?), dated '83 and titled, 5/50, 34.5 x 30, (3).
Lot 1
A ‘Bristol’ blue glass canted-square decanter and stopper, with a gilt painted faux label entitled ‘Rum’, the stopper similarly painted ‘R’, 19cm high, early 19th century; a gilt brass mounted opaque-white casket, painted with bouquets of flowers within conforming borders, 15.5cm wide, probably French, mid 19th century; and a small decanter, engraved ‘Vinegar’ to a faux label and ‘Mary Medlen’, 14.5cm high, early 19th century (with a matched stopper)
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297887 item(s)/page