Wilson (Erasmus). Researches into the Structure and Development of a Newly Discovered Parasitic Animalcule of the Human Skin, the Entozoon Folliculorum, from the Philosophical Transactions, part II for 1844, pub. 1844, three eng. plts., authors presentation inscription to upper margin of title (close-trimmed), some spotting, later half morocco, slim 4to, together with Pritchard (Andrew), A History of Infusoria, Living and Fossil, 2nd ed., 1849, eng. plts., large ink stamp to title, some spotting, new endpapers, orig. cloth, rebacked, 8vo, with Bostock (J.), Sketch of the History of Medicine, from its Origin to the Commencement of the Nineteenth Century, 1835, contemp. half calf, 8vo, and Vogel (Julius), The Pathological Anatomy of the Human Body, 1847, eng. plts. (some partly coloured), modern cloth, 8vo, plus four others (8)
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Wanostrocht (Nicholas). Felix on the Bat, being a Scientific Inquiry into the Use of the Cricket Bat, together with the History and Use of the Catapulta ... also the Laws of the Game as Revised by the Marylebone Cricket Club, [2nd ed.], Baily Brothers, 1850, half-title, hand-col. litho. frontis. (detached but present), six col. and three b&w litho. plts., illusts. to text, occasional spotting, pencil sketch to rear pastedown, contents a little shaken, a.e.g., orig. blindstamped cloth, rubbed, torn at foot of spine, some wear to lower board and joints, 4to. Padwick 397. The first cricket book to be illustrated with coloured lithographs. (1)
o'Flaherty (J.T.) A Sketch of the History and Antiquities of the Southern Islands of Aran, lying off the West Coast of Ireland .... read Jan 26, 1824 royal Irish Academy extract bound in later qtr. style cl; Synge (J.M.) The Aran Island, 1912, 4 parts in 2 vols, qtr. vellum with paper bds. (spines stained); with Mould (D.P.) The Aran Islands, dw, ex-lib. (4)
Elspeth Eagle-Clarke (fl. 1930's-40's) Mother and baby with attendant fairies; two watercolours signed lower right 22cm x 30cm and a pen and ink sketch of fairies Provenance: by family descent Today little is known of Elspeth Eagle Clarke, a talented painter of fairy tale subjects and flower studies. In the 1930's she designed two jigsaw puzzles entitled 'Dragonland' and 'Elfin' for the toy and games manufacturer Chad Valley. These elaborate puzzles were expensive to buy at the time as they were painstakingly fret-cut by hand, and today are highly prized by collectors. In their catalogue listed as " Puzzle for the Connoisseur " Chad Valley describe 'Dragonland' as: ...'This fantasy reproduced in glowing hues by a gifted artist, has been cunningly cut from wood by skilled workers. Every, elf, swan, mermaid and fish, is a picture in itself, colourful and complete, yet each dovetailing together into the brilliant design we illustrate'. One of Elspeth Eagle Clarke's jigsaw puzzles was supplied to Her Majesty The Queen, at that time Queen Mary wife of King George V.
SPRECKLEY (Stormont) a manuscript travel journal circa 1828-1831, relating to excursions to Dovedale, Rottingdean, Paris and Coblentz, including brief description of a railroad at Moreton-in-Marsh with a cross-section sketch of a rail and wheel, also his expenditure, etc, in a square 8vo volume
William Maw Egley, 1826-1916 Sketch for "Hullo Largess! A Harvest Scene in Norfolk" signed and dated 1861; titled on the reverse oil on board 29.5x44cm.; 11.5x17.25in. Hullo Largess! A Harvest Scene in Norfolk was exhibited in the Royal Academy in 1862, no.514 Provenance London, Christopher Wood Gallery
English School 19th century- Caricature of a man in white robes seated beneath a tree playing a pipe; watercolour, oval, extensively inscribed in pencil on the margins, 18.5x26.5cm: W Phillips 19th/20th century- Fisherfolk and beached vessels; watercolour, signed and dated 1899, 7.7x20.2cm: G J Hope early 20th century- "A New Recruit Presenting Arms"; pencil with touches of watercolour, signed, titled and dated 15/7/15, 16x12cm: together with one other watercolour landscape study, a sketch of an artist at his easel, (5), (unframed) (may be subject to Droit de Suite)
The Game Book of Brigadier-General Henry Robert Kelham C.B. (1853-1931), 19.5cm by 34.5cm, the leather cover embossed "Game Book, Morocco, Spain, Sicily, Malta & Gozo, Malay Peninsular, Singapore, China, Scotland, Baltistan, Egypt, India, Kashmir, Astor", and with inked names "Tripoli, South Africa, and Crete", the spine embossed "HRK The Highland Light Infantry", and with brass clasp, and containing a diary record of hunting expeditions illustrated with over fifty-five photographs and thirty-two watercolours by the author, and a hand-drawn folding map "Rough Sketch on the Ghiri", together with related newspaper cuttings, printed photographs and ephemera, the titled watercolours include "Stalking the Great Bustard 1883 (the Mesa Casas Viejas, Dec 72)", "My Favourite Camp, Chumrerar 1887 N.W. Himalayas (the scene of many a happy day)" and photograph titles including "A days shooting along the Orange River", "Gunga Singh-My bearer", portraits of the author's hunting dogs and game trophies various See illustrations Historical footnote pasted into the inside cover. It is a piece of writing paper with letterhead "Heigholme Hall, Leven, Hull, North Humberside, which states the following: "Brigadier-General Henry Robert Kelham C.B., 1853-1931, son of Henry Robert Kelham R.N. entered 74th Highlanders 1873, Captain Highland L.I. 1882, Major 1890, Lieut-Colonel 1899, B.Colonel 1906 (retired 1910), & Hon Brig-General 1912, served with Egyptian Expedition 1882, present at the Battle of Tel-el-Kebir/Medal with clasp, bronze star. In Crete 1898, in S.Africa 1899-1902, in command of this Regiment, present at the Battle of Hodder River (or Modder?), Battle of Magersfontein, at Relief of Kimberley (twice wounded, despatches twice, medals with clasp and C.B.), was Brig-General County Lowland Grouped Regt. .... Scottish (and 1906-08, and Lowland Territorial Div 1908-10), appointed Brig-General 1914;-in 1903 Doris Lilian, daughter of Edmund Tattersall of Coleherne Court, S. Kensington & Fremington House, Barnstaple, N.Devon" and is signed indistinctly and dated 8 Oct 1977. Henry Robert Kelham died at Instow while out shooting on the marshes with his wife, in 1931, and his obituary appeared in The Times on October 7th of that year. An extensive summary of the life and ancestry of Henry Robert Kelham is available for inspection (but not for sale, and it is copyright) during the viewing.
William Callow R.W.S., F.R.G.S. (1812-1908) "The Wharfe, Bolton Abbey, Yorkshire” Signed, inscribed and dated "September 30th 1858", also extensively inscribed on a later label verso, pencil and watercolour, a preparatory unfinished sketch possibly partially painted on the spot, 24cm by 33cm (9 1/2in by 13in) Provenance: With the Graham Watson Collection, Bradford, bearing collectors label Coat of Arms and numbered "395"
Steven Spurrier RA (1878-1961) The Langham Sketch Club, signed lower left Spurrier, charcoal, 24 x 33cm. Provenance:From the collection of Nicholas Spurrier, the artists grandson.Exhibited: The Art Exhibitions Bureau, 6 1/2 Suffolk Street, Pall Mall East, London, SW1, (according to an old label on the reverse) The Langham Sketching Club could boast the cream of Londons artists. Every Friday night, at seven oclock sharp, from October to May, the members, including such artists as Arthur Rackham, Sir John Tenniel and George Keene would get together for sketching for two hours on any given subject followed by dinner. These drawings were then pinned up and a lively discussion ensued, based on the merit of the works. The Langham Sketching Club was founded in 1838, and celebrated the skills of drawing and sketching - the black and white illustrator was regarded with much the same awe and respect as an actor or musician today. Illustrated books were the main entertainment in practically every home, and the artists who produced them often became household names
In the manner of Gillows, a Regency mahogany bow front chest, the moulded shaped top above three long graduated drawers flanked with reeded three quarter columns, standing on turned tapering legs, 104cm wide, 57cm deep, 89cm high Gillows illustrated a drawing for a very similar bowfront chest with reeded columns in their Cabinetmakers General Sketch Book, nd, page 3 (Westminster City Archives, Mss 344/144)
TWO INDIAN MUTINY COLOURED LITHOGRAPHS published by Ackermann 1848 after H Martens from a sketch by Major G F White, 31st Regiment 'At the Battle of Moodkee on 18th December 1846' and companion print 'Charge of the 16th Own Lancers at the Battle of Aliwal, January 28th 1846', 20" x 26" (see illustration)
Allen (Daphne, 1899-1985). A collection of original artwork, approx. 260 pencil sketches, pen and ink drawings, and watercolours, mostly religious, mythological and fairy subjects, approx. 390 x 280 mm and smaller, together with a number of old newspaper cuttings relating to the artist. Daphne Constance Allen was born at Stamford Hill, London, and was taught to paint by her parents. Her father, publisher Hugh Allen, was a well-known painter himself. Daphne wrote and illustrated two books as a child: 'A Child's Visions' (1912) and 'The Birth of the Opal' (1913), and showed a hundred of her works at her first exhibition - at the Dudley Galleries - at the tender age of 13. Her precosity caused a sensation in London, and debate raged over whether or not she was especially talented. She was hailed by many as a 'child genius', and art critic Mr. C. Lewis Hind wrote in the introduction to her first book: 'As a bird sings, so these drawings were made - merely from an impulse for expression. They show no sign of effort, because they are all done in joy, without self-consciousness... I can only express my astonishment that such facility, imagination, and variety should proceed from a child'. Others, however, were less delighted with the young artist's talent and celebrity. For example, Anthony Ludovici wrote: It is bad enough that a pack of hydrocephalous and gushing adults should be found to every attractive or moderately talented child in the British Isles... but when a lot of grown-up men, with Sir Claude Phillips at their head, join their hymns of praise to the rest, and write pompously about this child's nursery productions, as if they really constituted a serious event in the art world, it is time to protest... " ('The New Age', October 9th, 1913). Ultimately Daphne Allen defied both sets of critics and went on to neither wide-acclaim nor obscurity. She became a reasonable artist, who painted and drew mainly fairies and religious subjects, and worked as an illustrator for many magazines, including 'The Illustrated London News', 'The Sketch', and 'The Tatler'. Much of the work here appears to be the product of her earliest years, and as such is an interesting archive showing in some measure the development of her work. (a folder)
Bradbury (Ray). The October Country, 1st ed., NY, Ballantine, 1955, orig. red cloth in 1st state with "BB" monogram printed upside down, in rubbed and chipped d.j, vo. Presentation copy signed by the author on front free endpaper, and incorporating an original sketch by Bradbury, after Mugnaini's d.j. illustration.. (1)
*Railways. Smoult (William, after), Sketch of the Bridges and the Excavation at Olive Mount, On the Line of the Liverpool and Manchester Railroad. Erected under the Direction of G. Stevenson, Esq. Civil Engineer, printed by George Smith, c.1830s, uncoloured litho. view of the Olive Mount Chord near Liverpool, laid onto paper, image size 255 x 385mm. Closed in the 1970s the Olive Mount Chord is soon due to be restored and reopened. A scare print. (1)
Scrap album. A scrap album containing approx. twenty-six watercolours, pencil drawings, and pen & ink sketches by noted artists, 1901-36, incl. caricatures by Frank Reynolds, Phil May, John Hassall, and A.J. Hardman, a pencil portrait of a mustachioed gentleman by Stan Wood, a pencil sketch of a duck by Cecil Aldin, another of Bonzo by G.E. Studdy, a watercolour seascape by Edith S. King, another of the sun setting over water by Sid Gardner, a pencil drawing of a windmill by T.W. Hammond, a watercolour of a young cleric by Fred May, a pencil drawing of a horse and foal by Arthur Spooner, another of Madame Butterfly by Lance Thackeray, and others, a.e.g., orig. roan, worn, with sl. loss to spine, and leather to upper cover split at edges and becoming detached, approx. 170 x 200mm, together with several sketches on envelopes loosely inserted With manuscript letter signed from Tom Browne to Mrs. Atkey tipped-in to front pastedown, on the artists headed paper, dated February 1st 1902, in which Browne explains that he is returning the album, saying I have got a few good names in your book. The first contribution to the album - a pen & ink sketch of a London cabby - is by Browne himself. (1)
Turner (J.M.W.). The Works, with a biographical sketch and critical and descriptive notes by James Dafforne, pub. J. S. Virtue & Co., 1890, thirty steel engraved plates, a.e.g., orig. pubs. dec. blue cloth gilt, rubbed and frayed to extrems., some wear to head of spine, folio, together with Landseer (Sir Edwin), Pictures by Sir Edward Landseer R.A., with descriptions by W. Cosmo Monkhouse, pub. J. S. Virtue & Co., n.d., c. 1870s, seventeen steel engraved plates, contents partly loose (gutta-percha perished), a.e.g., orig. dec. green cloth gilt, very sl. rubbed, folio (2)
Blacks Colour Guides. Menpes (Mortimer & Dorothy) World Pictures, pub. A. & C. Black, 1902, 100 col. plts., t.e.g., remainder untrimmed, orig. dec. cloth, sl. faded on spine, 4to (limited Edition de Luxe 11/500, signed by Mortimer Menpes, with an orig. watercolour over pencil sketch of a young man seated, signed in red ink by Mortimer Menpes), together with The Clyde, River and Firth, Painted by Mary Wye & J. Young Hunter, Described by Neil Munro, pub. A. & C. Black, 1907, sixty-seven col. plts., folding map at rear, t.e.g., remainder rough-trimmed, orig. dec. cream cloth, sl. darkened on spine (limited Edition de Luxe 274/400, signed by Neil Munro and J.Y. Hunter), with twelve other Blacks Colour Guides (14)
Bedford (Francis). Photographic Views of Warwickshire/Torquay and Its Neighbourhood, both pub. Chester, n.d., each with sixteen mounted gelatin silver print views, printed borders and captions beneath, some spotting, a.e.g., orig. cloth gilt, rubbed and soiled, oblong small folio, together with Thompson (Stephen), Old English Homes, A Summers Sketch-Book, 1st ed., 1876, sixteen mounted albumen prints, some spotting throughout, orig. dec. cloth gilt, rebacked with orig. spine relaid, 4to, plus other Victorian photographically illustrated books including calf-bound copies of Men of Mark 3rd & 5th series, including mounted Woodburytypes of Charles Darwin, Anthony Trollope, Joseph Hooker, Robert Browning, Wilkie Collins, etc. (12)
A 19th century scrapbook, containing topographical engravings, a watercolour sketch, classical mythological scenes, views of the Shallop and and Grand Funeral Car used to transport the body of Lord Nelson in 1806, with a plan of the disposition of the bannerolls and trophies around the coffin at Nelson's funeral, and assorted portraits, including a trimmed political cartoon of Napoleon.
Zhang Feng, b. 1965 LAST SONG inscribed with the signature, dated 2000 and stamped with the foundry mark bronze height: 79cm.; 31.125in. Executed in 2000 and prodcued in various formats. Although it stands 80 centimetres tall and is cast in solid bronze there is undeniably something maquette-like about Zhang Fengs Last Song. This is not in the sense that a maquette is an unfinished sketch, a mere stage towards the ultimate execution of a sculpture. Rather it is because this key work so exquisitely demonstrates Zhangs sculptures as propositions, ideas he puts forward to encourage the viewer to partake in the very process of creation. Last Song is delicately poised between sculptures two age old traditional counterpoints. On one hand the building up and adding together, as the artist moulds a sculpture out of clay, versus the meticulous performance of subtracting when a sculpture is carefully chiselled out of a block of marble. This human figure exudes vibrancy and motion, yet stands firmly and centrally with two feet on the ground. The voluminous, block like elements of the characters head and torso are reminiscent of the Cubists endeavours to suggest an objects multiple viewpoints. Its slender arms and legs echo Giacomettis dialogue with archetypical form and pre-historic figurines. Provenance Acquired directly from the artist by the present owner
Attributed to Elizabeth Kirby - Set of nine ink sketch studies of Bury St Edmunds scenes, entitled as follows; Ruins in Abbey Gardens, Norman Tower & Abbey Ruins, Bridge at East End of Abbey Gardens, Abbots Bridge, Chapel Farm x 2, Abbey Gate x 2, and one untitled example, some dated 1864, each measuring approximately 25cm x 35cm (Part illus.)
Ilya Efimovich Repin, 1844-1930 preparatory sketch for barge haulers haulers on the volga signed and inscribed in Cyrillic l.l., dated 1870 / 23 June pencil on paper image size: 27.5 by 36.5cm., 10.75 by 14.25in. Repin took three years to paint his masterpiece Barge Haulers on the Volga (1870-73). It is a meticulously researched piece, for which he produced a vast number of studies. A comparative pencil sketch executed in 1870 hangs in the State Tretyakov Gallery, Moscow.
A pair of framed Fabere designs for a desk set, circa 1900 one pencil and watercolour on tracing paper, the other pencil on paper variously inscribed with instructions in Cyrillic and costs (2) image size: 28 by 21cm., 11 by 8.25in.; 29 by 23cm., 11.5 by 9in. It is very rare to find matched designs of this type which help illustrate the manufacture process in Faberge's workshop. The nephrite desk-set is outlined as a sketch which includes instructions and cost; the second design in watercolour gives a better impression of how the finished desk-set would have appeared.
Autograph Album including those of C. Hubert Parry, 1907, Florence Holderness, Harold Nicholas, Charles Saunders, Albert Visetti and including verses, drawings, a pen and ink sketch of sailing boats by E Pepperell 1904, others by Bert and Frank Pope, a watercolour drawing of fruit by Harry Hayden, etc
Circle of John Ruskin HRWS 1819-1900- Study of a classical temple; pencil and watercolour, bears signature, bears inscription on the reverse of mount reading "This Sketch by John Ruskin presented to William Walker by A R Wilkinson-Coniston, 1949 from his mother's collection of Ruskin's pictures and studies purchased theConiston sale", 9.8x13.5cm
Follower of Moretto da Brescia 1498-1554- Five standing Saints with Angels above; pen and brown ink and wash on laid, 26x16cm: together with two other Old Master drawings by different hands, one arched depicting an elderly man with a boy and the other a sketch for a battle scene, one bearing inscription, (3), (unframed)
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32316 item(s)/page