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Click here to subscribeFrom The Estate Of Tom Owen (1949-2022) - Last Of The Summer Wine - Keith Clifford (Billy Hardcastle in the series) - an original pencil and ink sketch of Tom Owen entitled 'Tom,' drawn by Clifford. Signed in ink and dated by Clifford to the corner. Professionally framed and glazed. Total size: 59cm x 44cm. A unique piece of Last Of The Summer Wine memorabilia.
From The Estate Of Tom Owen (1949-2022) - Last Of The Summer Wine - a collection of x4 scrapbooks made by Tom Owen covering the years 1999 to 2001. Each filled with photographs, cuttings, and documents. Many of the pieces within relate to his father, Bill Owen and chart the time surrounding his death. Items of note within the albums include: many newspaper clippings covering the death of Bill, orders of service, Tom's handwritten speech for Bill's funeral, several photographs of Bill's final working projects / personal appearances, various Last Of The Summer Wine production ephemera relating to Tom's new role in the series, a pencil sketch of Compo (unknown artist), sections of a draft script 'Behind The Scenes Of Last Of The Summer Wine,' National Television Awards 2000 ticket and paperwork, behind the scenes paperwork and photographs from Cinderella at the Theatre Royal Bath c2000, and many other items. A unique archive of memorabilia.
John Harvey Oswald (Scottish 1843-1895): 'A Sketch off the Bass', oil on panel, signed titled and dated 1865 verso 22cm x 30cm Provenance: private collection, purchased John Swan Limited 28th November 2013 Lot 45Condition Report: Good condition, behind glass. Some overpainting in the sky visible under UV light. Well presented in quality 19th century swept gilt frame - ready to hang.
*HENRI MATISSE (1869-1954) 'Jeunes Filles et Fleurs' two girls sitting at a table with a vase of flowers and an open menu bearing the title 'Thé' (tea), signed and dated "Mai 47" lower left, ink on paper, 36.2cm x 54.6cmProvenance: Schoneman Galleries, Inc. 63 East 57th Street, New York 22, NY., #9196 H. Matisse 'Jeune Filles et Fleurs' ink drwg. (old #6806)This work, number M119 in the Matisse archive has been authenticated by Marguerite Duthuit-Matisse, daughter of the artist, dated Paris, November 2, 1966, stating that the work was executed in Nice. It is not a page from a sketch book, rather a preparatory work for a series of fully realised paintings of a similar size, which date from May and June of the same year and are evidently based on this simple outline.The work offered here appears to be Matisse's first impression of a scene which he subsequently fleshed out in charcoal and then in ink and brush work and later worked up into numerous paintings entitled 'La Lecture' (reading) or which begin 'Deux Fillettes' (two girls) followed by the dominant colours to distinguish one from another - 'Deux fillettes, fond corail, jardin bleu' and 'Deux fillettes, fond jaune et rouge', both in the Barnes Foundation, Merion, Pennsylvania.Henri Matisse (1869-1954) Henri Matisse is commonly hailed, along with Pablo Picasso, as one of the most influential artists of the 20th century. He was instrumental in the development of Fauvism, Modernism and Post Impressionism. This work, however, was produced towards the end of his life but in the midst of what he termed his "second life". He had been diagnosed with cancer in 1941 and the treatment left him wheelchair bound and with various other medical issues but lead to a period of intense creativity. By 1950, as painting became more difficult, he invented a new medium - his famous cut outs.
JAMES, Henry (1843-1916). The Europeans, London, 1878, 2 vols. bound in one, original buckram gilt. FIRST EDITION. With the same author's Confidence (London, 1883, original cloth, FIRST EDITION). (2)JAMES, Henry (1843-1916). The Europeans. A Sketch. London: Macmillan and Co., 1878. 2 volumes bound in one, 8vo (188 x 125mm). Half titles (variable mainly marginal spotting and staining throughout). Original dark grey/blue buckram decorated in gilt and blind (corners bumped, some light scuffing). FIRST EDITION, with "[CH. IV]" at the head of pp.177-191 in the first volume. Edel & Laurence A7a. The novel first appeared serialised in "The Atlantic Monthly" between July and October 1878. The author significantly revised it before its present first appearance in book form, published one month before the first American edition. With the same author's Confidence (London, 1883, 8vo, some leaves detached, original cloth, FIRST EDITION). (2)
BLIGH, William (1754-1817). A Voyage to the South Sea ... in his Majesty's Ship The Bounty ... Including an Account of the Mutiny, London, 1792, 4to, 7 plates and charts, contemporary or original paper-backed boards. FIRST EDITION.BLIGH, William (1754-1817). A Voyage to the South Sea, Undertaken by Command of His Majesty, for the Purpose of Conveying the Bread-Fruit Tree to the West Indies, in his Majesty's Ship The Bounty, commanded by Lieutenant William Bligh. Including an Account of the Mutiny on Board the said Ship, and the Subsequent Voyage of part of the Crew, in the Ship's Boat, from Tofoa, one of the Friendly Islands, to Timor, a Dutch Settlement in the East Indies. London: Printed for George Nicol, 1792. 4to (317 x 250mm). Oval portrait frontispiece of William Bligh engraved by J. Condé after John Russell, 7 engraved plates and charts, 5 of which folding, with the printed account of the mutiny ("Chap. XIII. A Mutiny in the Ship") commencing at p.154 (frontispiece lightly browned, some heavier staining at upper margins of the first few text leaves and occasionally others, not affecting letters, some mainly marginal spotting and staining, a few darker spots). Contemporary or probably original publisher's paper-backed blue paper boards, uncut and partly unopened (parts torn away from the spine resulting in the loss of most of the old manuscript title, corners rubbed and bumped, some light staining). The plates and charts are titled as follows, with the wording often at variance with the wording on the list, and bound in the following order and not in the same order as the list: 1) "Sections of the Bread Fruit"; 2) "Sketch from recollections and anchor-bearings of the North Part of Otaheite from Point Venus to Taowne Harbour ... by William Bligh", with his facsimile signature (folding); 3) A Copy of the Draught from which the Bounty's Launch was built" (folding); 4) "Chart of Bligh's Islands", incorporating smaller inset "Chart of the Northern Part of the New-Hebrides ..." (folding); 5) "NE Coast of New Holland"; 6) "Track of the Bounty's Launch from Tofoa to Timor" (folding, bound in upside-down); and 7) "Plan & Section of part of the Bounty Armed Transport, shewing the manner of fitting and stowing the Potts, for receiving the Bread-fruit plants" (folding). Provenance: Holbrook Gaskell (19th-century signature on front pastedown). Holbrook Gaskell (1813-1909) was a British industrialist and an art and plant collector. He was the cousin of the Unitarian minister William Gaskell, husband of the eminent novelist Elizabeth Gaskell (1810-65), commonly referred to as "Mrs Gaskell". FIRST EDITION of this account of the first Bounty expedition and the mutiny in its entirety and "... one of the most heroic sea voyages ever made ..." including "... a slightly revised version of the text of Bligh's narrative of the mutiny, previously published at London in 1790 ..." (Hill). The author's own printed "Advertisement" at the beginning of the book describes how the work took on its present form in order to incorporate the account of the now infamous mutiny: "At the time I published the Narrative of the Mutiny on Board the Bounty, it was my intention that the preceding part of the Voyage should be contained in a separate account. This method I have since been induced to alter ...". Brunet I, 364; Cox II, 305; Du Rietz 93; Ferguson 125; Kroepelien Bibilotheca Polynesiana 93; Hill 135; Mendelssohn II, 7; Sabin 5910; Wantrup 62a.
"FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere, London, 1937, 8vo, original buckram, FIRST EDITION, PRESENTATION COPY, with an original pencil and watercolour drawing signed "Fougasse". And another. (2)"FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere. London: Methuen & Co. Ltd., 1937. 8vo (186 x 120mm). Half title, illustrations by "Fougasse". Original yellow pictorial buckram lettered in dark blue, pale blue endpapers (spine a little discoloured, some light staining, without the dust-jacket). FIRST EDITION, PRESENTATION COPY, inscribed on the half title "Jane Portal, with [?]lots of author's compliments," with an original pencil and watercolour drawing of a man with an umbrella standing at a bus stop, signed, "Fougasse." With the same artist's Family Group (London, 1944, 8vo, original yellow buckram, FIRST EDITION, PRESENTATION COPY, the half title inscribed in blue ink, "Jane, A Happy Christmas from us both, M. H. & K. B.", with an original sketch in blue ink of two birds, and further signed by the artist on the upper cover. "Fougasse", editor of "Punch" magazine between 1949 and 1953, is perhaps best remembered for his Second World War posters, most notably "Careless Talk Costs Lives". He also designed many posters for the London Underground. (2)Provenance: The Late Lady Williams of Elvel (1929-2023) See Bellmans website article for further details
§ CHARLES OPPENHEIMER R.S.A., R.S.W. (BRITISH 1876-1961) ON THE GRAND CANAL, VENICE Signed, oil on canvas Dimensions:76cm x 76cm (30in x 30in) Note: Though his name is inextricably linked with the Kirkcudbright School of artists, the half-German, Manchester-born-and-raised Oppenheimer did not in fact settle in this region until the end of World War One. Over time he became a respected stalwart of the Scottish art world and a Royal Scottish Academician. His oeuvre is firmly and famously associated with the depiction of Galloway. Less well known perhaps is the fact that, as his biographer Euan Robson puts it, “Italy was as much his muse as Galloway”. As a body of work, they are much less frequently seen outside private collections comparative to his Scottish subject matter. Lyon & Turnbull are therefore delighted to offer a scarce and significant Italian painting by the artist, the most monumental in scale and sophistication to be seen on the market for some years.Oppenheimer’s love affair with Italy was a long and enduring one. In 1896 at the age of 21 he won a funded prize to travel to Florence and Venice. A deep passion for the country began. He was, in fact, retracing the steps of his father Ludwig Oppenheimer, a diversely talented individual who reputedly studied mosaic design and manufacture in Venice in the 1860s. It is thought the artist and his wife Connie travelled to Italy on honeymoon in 1903 and continued to do so frequently after the interlude of WW1, visiting throughout the 1920s and 30s. Verona and Venice were his main destinations of choice. This makes great sense: Oppenheimer was a master of depicting water and the play of light and shadow, and Venice especially with its canals and densely arranged architecture would have provided endless compositional inspiration to tempt his brush.In 1913 Oppenheimer exhibited Italian pictures at Doig, Wilson and Wheatley gallery on George Street, Glasgow, as well as at the RSA. It was a significant exhibition and he received numerous positive reviews. The Glasgow Herald’s critic remarked: “Mr Oppenheimer’s work impresses by way of its distinguished draughtsmanship and a refined sense of colour…[The painting]…possesses exhilarating sparkle and there is a subtle restraint in colouring: there are none of those lurid splashes which give some pictures of Italy the effect of mere garishness.”These words could quite easily be applied as a descriptor to the later painting of c.1928, On the Grand Canal, Venice, that we offer now for sale. Here we have a tranquil depiction of Venice’s most famous waterway, quiet and calm in the afternoon heat, the only sounds evoked being the lap of water against stone. Redolent, as the critic would have it, “…[of]…the drowsy felicity which belongs to life in these pleasant places.” The water is masterful; ripples and reflections rendered with comprehensive realism and skill. The light and heat of the day glare and glance off the stone walls whilst darkened alcoves and interiors coolly and enticingly recede into cleverly described shadow. Oppenheimer, as the Herald critic alluded, did not have a hyperbolic artistic vocabulary. This is attested to by the subtle tonalities of the palette here, which allow Venice to weave its romantic magic simply and on its own terms, free from excessive artistic licence.Oppenheimer’s artworks were sketched en plein air, indeed sometimes painted outdoors too before finishing in the studio from earlier studies. One certainly senses that immediacy here; the plein air approach almost certainly responsible for rendering this painting so very transportive and truthfully evocative. One such working sketch for this painting is recorded in Robson’s monograph of the artist (Euan Robson, Charles Oppenheimer: From Craftsman to Artist, Atelier Books, Edinburgh, 2012, p.73, pl.s39), a watercolour c.1928, held now in a private collection.The subject, Palazzo Contarini Fasan, is an unusual 15th-century Venetian gothic structure. It is also known as Casa di Desdemona for its famed associations with Shakespeare’s Othello. Legend has it that Nicola Contarini, a famous heroic leader in the wars against the Turks in the 1500s, once lived in the palazzo. He was said to have had dark skin, subsequently nicknamed "Moor". Contarini's wife, Palma Querini, was the inspiration, possibly, for the character of Desdemona. Exhausted by the brutal jealousy of her husband, she fled the marriage to return to her family. Furthermore, John Ruskin wrote in his The Seven Lamps of Architecture that the palazzo was "the most elaborate piece of architecture in Venice." Little wonder then, that the romanticism of the building’s legendary history and its unusual and beautiful façade captured the attention of Oppenheimer, who afforded it a substantially sized stretch of canvas.
Trevor Grimshaw (British 1947-2001) "Ancoats" Signed, titled and dated '72, pencil sketch.14 x 14.5cm (framed 40.5 x 40.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The drawing is in very good, original condition. There is a faint crease running horizontally across the lower quarter of the sheet and one or two minor spots of foxing. The drawing is ornately reframed and glazed. The frame has some minor scratches and knocks commensurate with age.
Liberty and Co., an Arts and Crafts silver, pearl and enamelled necklace, circa 1910, the main circular pendant formed of four segments around a central mother of pearl cabochon, suspended by two chains united by a smaller roundel of the same design in blue and green enamel, 40cm long, 11.4g. Note: see Liberty Sketch Book model No.9025
Manner of Ernest Gimson, a pair of Arts & Crafts brass and iron fire dogs, of 17th Century design, double pierced brass roundels of stylised swords amongst scrollwork, 67cm high, 42cm deep (2). Note: the leading Arts & Crafts designer Ernest Gimson made a pencil sketch of a near identical pair or fire dogs at Haddon Hall, Derbyshire in 1889, and metalwork such as this clearly influenced his work
Émile Gallé,1846 – 1904GROSSE VASE MIT ANEMONENHöhe: 46 cm. Durchmesser: 13,3 cm.Geätzte Signatur am Boden „Gallé / deposé / GG“.Um 1895.Die Vase zählt zu den frühen Werken der Gallé Produktion, noch vor den später üblichen, erhaben geschnittenen Signaturen. Oval hochziehend, öffnet die Vase sich dreifach spitz zungenförmig. Grünes Glas, die Oberfläche rau geätzt, darauf sich überschlingende Stiele der rosa- und rotviolettfarbigen Anemonenblüten, Blätter und Knospen in Emailglasauflage. An den Spitzen und in den Blattstängeln Schmelzgold/ -silber.Provenienz:Sotheby´s, 22. Nov. 2016, Paris, Lot 107, Kat.-Abb. S. 10.Literatur:Vgl. Ausstellungskatalog. Nancy 1900, Jugendstil in Lothringen, zwischen Historismus und Art deco. Münchner Stadtmuseum, 1980. Ein ähnliches Werk dort abgebildet Nr. 286 S. 290. Vgl. The Paris Salons; 1895-1914, Bd. IV, Caramics and Glass, Alastair Duncan, Woodbridge, 1988, decor sketch, Abb. S. 216.Vgl. Le Verre, Art & Design – XIXe siécles, Yves Delaborde, Paris 2001, S. 126. (1380116) (11))
Harry Clarke RHA (1889 - 1931) The Magic Glasses c.1927-9 Pencil and watercolour, 23 x 7.5cm (9 x 3") Harry Clarke’s Geneva Window, created for the International Labour Organization and completed in 1930, was a triumph of Clarke’s artistry, skill and imagination – but also a personal tragedy for him as it was never installed. The rectangular window comprises Clarke’s interpretations of fifteen of his favourite excerpts by contemporary Irish writers.[1]This preliminary design is inspired by George Fitzmaurice’s The Magic Glasses, a short one-act play which had been produced at The Abbey Theatre in 1913, a production Clarke most likely would have seen, not only because he was an avid theatre goer but also because the producer was his close friend, Lennox Robinson. The watercolour, in pinks/reds and blues, is a tell-tale indication that Clarke planned to make this panel – like the other panels for the Geneva Window that comprise it – from two pieces of flashed glass, one of ruby glass, one of blue glass, which when ‘acided’ and plated (carefully registered together), would create myriad shades of purples and violets, and with judicious additional application of silver stain would add hues of yellow and green.The title of the play is derived from three sets of glasses which Shanahan received from a mysterious woman (‘It’s the pleasure and diversion of the world you’ll hear and see in them magic glasses’); each set is coloured differently and came with their own properties. Clarke decided to feature the red glasses which show nubile naked females: ‘the purtiest women was ever seen on the globe’.As with all preliminary iterations, it is interesting to note what Clarke originally had in mind, and what evolved when the panel was made. In the sketch, the principal figure, curly-haired, angelic Jamoney Shanahan appears mildly inebriated and distracted as he allows his champagne glass gently slip within his slim fingers, whereas in the panel as executed, Shanahan, is rougher-looking, hands planted firmly in pockets, and depicted with his eyes rolling about, drunk and possibly delirious. The sketch design features a total of eighteen naked females, some frolicking in glasses of champagne, some with wild unkempt hair, and one stretching to whisper enticements in his ear – decorous nymphs, they are not. One can see from this sketch and the panel as executed, along with some of the other vignettes in the Geneva Window, how the Irish government of the day became uneasy about Clarke’s selection of texts and even more so his daring treatment of imagery.Dr David Caron, November 2023[1] See Bowe, Nicola Gordon, Harry Clarke – The Life and Work (1989); also, Kennedy, Róisín, ‘The Geneva Window’ in Harry Clarke and Artistic Visions of the New State (eds A. Griffith, M. Helmers, R. Kennedy (2019)
Hieronymus Hesse (Swiss, 1799-1850)Cantastorie in Naples bears inscription 'Cantastorie in Neapel/VXX' (upper centre)pen, ink, chalk, and wash on paper23.9 x 28.7cm (9 7/16 x 11 5/16in).Footnotes:Provenance Collection of Dr L. Pollack, Rome (L.788b)Private Collection, CanadaGiven the spontaneity of the present sketch it is likely that it was carried out on the spot, probably during Hesse's trip to Italy between 1819 and 1823. The artist treated this subject a number of times, including the watercolour in Staatliche Kunsthalle Karlsruhe (inv. no. 1950-103) dated 1821 for which the present work may be a sketch. Cantastorie translated from Italian means 'story-singer', referring to an individual who literally would sing out stories in public spaces for people to listen into and enjoy.For further information on this lot please visit Bonhams.com
Both, Katt -- "Atikah Cigaretten", from "Bauhaus - 20 Photographs" portfolio 1931/printed 1984. Gelatin silver print. 27,2 x 20,8 cm (30 x 23,5 cm). Annotated in pencil and Pressprint & Copyright Galerie Rudolf Kicken stamp on the verso.The Bauhaus left a significant imprint on advertising photography and design, highlighting the importance of clean lines, basic geometric shapes, and clear typography to produce uncluttered visuals that effectively communicate messages, as seen in this advertising sketch for Atikah cigarettes. – A few light smudges in margins, otherwise in very good condition.
Jacob de Wit (Amsterdam 1695-1754)A sketch of Aurora with putti oil on canvas30.9 x 36cm (12 3/16 x 14 3/16in).Footnotes:ProvenancePrivate Collection, UKIn this small but confident and fluid sketch Aurora is seen holding aloft the torch with which she is lighting the dawn sky. Jacob de Wit used this study, in reverse, for the central figure of the large ceiling decoration that he painted for Herengracht 475 in Amsterdam and which is still in situ today. The house is now the headquarters of the Vereniging Hendrick de Keyser, the association for the preservation of historic houses in The Netherlands. As one of the great decorative artists of early 18th century Holland, de Wit was commissioned to paint many such ceilings in patrician homes and used them as a vehicle to show off his facility for painting 'dal sotto in su', the dizzyingly foreshortened figures appearing to fly high above the viewer. His mythological, allegorical or historical subjects painted in this trompe l'oeil technique were greatly in demand by fashionable society and his works decorated many grand houses in Amsterdam. Interestingly the RKD records a drawing by de Wit in the Rijksprentenkabinet, Amsterdam after Gianantonio Pellegrini (1675-1741) which de Wit has signed but in which he acknowledges his debt by inscribing it 'Pellegrini invt' (RP-T-1898-A-3750). It bears a striking similarity to the pose (in reverse) of Aurora in the present work, and it perhaps gives some insight into de Wit's influences, as the Venetian artist had visited Amsterdam around 1715. Whilst the conceit of large-scale works is impressive, it is often in small sketches that one best appreciates the technical abilities of an artist, as this study demonstrates.For further information on this lot please visit Bonhams.com
Bruce BairnsfatherPortrait Sketch of Old Bill , inscribed 'To Mr Land, 'Ullo! from "Old Bill" & Bruce Bairnsfather. Thank you very much for sending me a copy of your clever poem of the old days, with best wishes BB!', black ink, 21cm by 16cm, together with a related newspaper article "Legion Reflections in Verse", both framed and glazed as one.
Bruce Bairnsfather'Ullo!, from Old Bill and Bruce Bairnsfather, blue ink sketch, signed and dated 1958, 19cm by 13cm, framed and glazed; two framed sets of ten Hill's Cigarette Cards The Bystanders Fragments from France in sepia and colour printed, and five unframed examples in an envelope (4)
A Collection of Ephemera Related to Bruce Bairnsfather, comprising a framed montage of a printed photographic portrait of him with his sketch book, an ink signature and four Old Bill postcards; six midget message cards, framed as one; two framed postcards "So Obvious", signed and "Situation Shortly Vacant"; three acetate cells framed as one; a framed poster and a folding programme for "The Better 'Ole" together with the music score; The Bystander Jigsaw in original box; a set of playing card; five various postcards, two Midget Message cards and a match book for Adkin's Empire Nut Brown (18)
Various mixed collectibles to include diecast vehicles, a Corgi 'James Irlam & Sons Ltd Superhauler CP86904', two Lledo 'Royal National Lifeboat Institute Campervan and Truck', four diecast classic cars, a Classic Sports Car Collection 'BMW Z1', two diecast metal soldiers, one 17th century figures, the other Viking warriors, Britains Ltd 'The Queen's Silver Jubilee Figure Set' and 'Beefeater' models, a Pencra Designs bronzed figure of a sergeant, a Daily Sketch newspaper for Tuesday January 25th 1966, and a pair of Tasco Zip 2008 10x50mm fully coated binoculars in case (12).
Nine historical account books, comprising 'Lord Macaulay's Essays and Lays of Ancient Rome', authorised edition, Longman's, Green & Co 1888, 'English Writers: The Writers Before Chaucer, With an Introductory Sketch of the Four Periods of English Literature' by Henry Morley, Chapman & Hall, 1864, 'Notes and Jottings from Animal Life' by the late Frank Buckland, with illustrations, a new edition, Smith, Elder & Co 1888, 'The Rise of the Dutch Republic: A History' by John Lothrop Motley, a new edition, complete in one volume, George Routledge & Sons, 1866, Volumes I & II of 'The History of England from the Accession of James the Second' by Lord Macaulay, popular edition in two volumes, Longman's, Green & Co 1889, 'The Biographical Treasury: A Dictionary of Universal Biography' by Samuel Maunder 1872, and two 'Pope's Homer' books, comprising 'Odyssey of Homer' and 'Iliad of Homer' (9).Condition Report: - We have not checked that every page is present, so we cannot give any guarantees. Some books on the hard cover have gilt tooling for schools, to include Blackheath Proprietary School and Oliver's Mount School, Scarborough.
Attributed to Henry Edridge ARA (1768-1821) Portrait miniature of a lady, half length, in a black dress, enlarged to a full length portrait by a subsequent hand, the sitter holding a closed parasol and standing by a classical urn in an Italianate landscapewatercolour on ivory, set into a landscape background in watercolour on card laid down to panel, with a sketch of two figures to the verso7.5cm high; 27 x 20.5cmThis item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 12C98MNG.
1979-1987 A.D. T.H.McK. Clough & W.A.Cummins - Stone Axe Studies - CBA Research Report no.23 - 1979, card covers, 137 pp, monochrome photographs, sketch maps; Susan M. Nicholson - Catalogue of the Prehistoric Metalwork in Merseyside County Museums - Dept. of Prehistoric Archaeology Work Notes 2 - 1980, card covers, 148 pp, line drawings, sketch maps; Ann Brown et al. - Antiquities from Europe and the Near East in the Collection of the Lord McAlpine of West Green - 1987, card covers. 142 pp, colour and monochrome photographs. 1.7 kg total, 30 x 21 - 30 x 21.5 cm (11 3/4 x 8 1/4 - 11 3/4 x 8 1/2 in.).Property of a Stowmarket, UK, gentleman. [3, No Reserve]
DAHL, Sophie - Playing with the Grown-ups, cloth in slip case, 8vo, signed limited edition of 550 copies, Bloomsbury, 1st ed. 2007, With - Dahl, Sophie, The Man With The Dancing Eyes, cloth in d/w, Illust., 8vo, signed by the author with a sketch, Bloomsbury. First Ed. 2003, With - Morpurgo, Michael & Blake, Quentin, The Birthday Book, pictorial cloth, Illust. 4to, limited edition of 500 copies, With five others (8)
Pen on paper, 25 x 17 cm. W. short dedicatory note, signed and dated '77. In: Une Epée pour Pierre Dehaye. Publ. on the occasion of Pierre Dehaye's election to L'Académie des Beaux-Arts. The sketch is a drawing of the sword offered to Dehaye on this occasion (sword also des. by Mathieu). Added: A carte de voeux des. by Mathieu (?). Gouache and collage on thick paper, "avec mes meilleurs voeux" written in black ink. Unsigned. W. former bill of sale. Both in very good condition. (total 2)
Softcover, 25 x 31 cm, 12 pp. Cover with original lithograph by the artist. Catalogue for de Jong’s solo exhibition at Galerie Westing, Odense, Denmark, from 19 September to 12 October, 1964. Includes a b/w photo portrait of the artist, reproduction of 14 paintings in b/w and a short biographical sketch. Very good copy. Scarce. De Jong (1939) is a Dutch painter, sculptor and graphic artist. She became involved with the radical artists and thinkers of the 1960s, most notably with the Situationist International and Gruppe SPUR. After her expulsion from the Situationist International, she founded The Situationist Times. Her early paintings from the 1960s can be characterized as expressive abstraction, with violent, humorous and erotic elements.
by Robert Smithson, Ed Ruscha, Claes Oldenburg, Snelson et al. Contains: (1) Robert Smithson, 4 pp. undated handwritten letter to R. Oxenaar, with initial proposals for Sonsbeek. With 2 full page pencil sketches, one signed and dated '69 by the artist, the other monogrammed R.S. Unfortunate rust stains of paperclips on all sheets. (2) Ed Ruscha, typed and hand signed letter to Wim Beeren May 13 1971. 'My ideas have still not reached comprehension yet (...) I prefer to wait until I get to Groningen'. (3) Claes Oldenburg, typed letter to Wim Beeren, Aug. 17 1971, hand signed. (4) Sketch by Oldenburg, black ink on brown cardboard, 13 x 20.2 cm, with handwritten note on back (not by the artist) 'ontwerp Oldenburg Sonsbeek 70'. (5) Vintage postcard with collaged element, drawings and text by Kenneth Snelson, signed Snelson '71 Sonsbeek on front. Sent to Wim Beeren from St. Anton (Austria) March 15 1971, where the artist took a break between exhibitions, 'resting on skis for a week'. With 2 punched holes for filing. (6) Miniature cut-out design by Snelson, 6 x 1 cm, which resembles his sculpture produced for Sonsbeek. (7) 2 sheets of Sonsbeek beyond borders stationary paper designed by Wim Crouwel, which lists the board and work committee members. (8) Ten original b/w photos of Sonsbeek installations, probably used for catalogue or press purposes. All with descriptive text on back, some with Sonsbeek stamp. Featured are works by Sol Lewitt, Claes Oldenburg (2x), Donald Judd, Kenneth Snelson, Ronald Bladen, Klaus Rinke, Tony Smith, Robert Grosvenor and Ulrich Ruckriem. (total 18) Wim Beeren (1928 -2000) curated several landmark exhibitions such as 'Op losse schroeven' (1969) and Sonsbeek 71. He was director of the Boijmans van Beuningen from 1978 to 1985 and headed the Stedelijk Museum from 1985 to 2000. These documents derive from his personal archive.
Basel/Halifax/New York, Kunstmuseum Basel/The Press of the Nova Scotia College of Art and Design/New York University Press, 1976. Softcover, white cover with black lettering, 28 x 21.7 cm, 168 pp. Exhibition catalogue with b/w reproductions of drawings, some photos of sculptures and installations. Text by Dieter Koepplin in German and English. Soiling on covers, spine discoloured, generally a fine copy. (2) Added is a press release for the exhibition in Dutch and an original b/w press photo of a Judd sketch, stamped on back Rijksmuseum Kröller Müller. (total 3)
Berlin, Texte zur Kunst, 1998. Multiple, ca. 25 x 40 cm. Signed and numbered edition of 100, this copy numbered 57/100. White cotton underwear altered to act as shopping bag, with machine-embroidered label. Conceived by the Canadian collective General Idea (aka artists AA Bronson, Felix Partz and Jorge Zontal) in 1991, realized in 1998 for Texte zur Kunst magazine No.31. Includes offset post card and facsimile copy of the original sketch. Lacking the ziplock bag, else a fine copy. (total 3)
1923. 20 x 4 cm. (2) Hanging butterfly girl. India ink drawing, mounted on a larger paper sheet. 10 x 7 cm. (2) The same, as a printed picture postcard in colour 'Hartelijk Gefeliciteerd'. -and 8 postcards from the same series. (4) A watercol. drawing of ducklings and their mother in a pond, 22 x 16 cm, incl. the sketch for the drawing. -and three others. (total 16)
THREE BOXES OF USED AND UNUSED ART SUPPLIES, to include unused Windsor & Newton tube and pan painting boxes, Reeves soft pastel set, Inscribe pastel set, Daler Rowney watercolour set, Pentel watercolour tube set, Daler Rowney gouache starter set, Reeves watercolour tube set, Windsor & Newton drawing inks, various sealed packs of crayons and pastels etc, assorted brushes and unused sketch pads, Daler Rowney artists carry box with partially used paints and brushes, boxed unused Chatsworth easel box, boxed Magenti table display easel etc (3 boxes)
A QUANTITY OF ASSORTED PICTURES AND PRINTS ETC, to include to unsigned 19th century landscape studies in charcoal - poor condition, Francis Antoine Bossuet pencil sketch of a Cathedral in Normandie, approximate size of paper 50cm x 35cm - dirty marks to the paper, etching with colours and verse 'Will Watch, The Smuggler Bold' published 1825, printed broadside with hand coloured etching 'Rules and Instructions for playing Skittles' published by G. Kearsley 1786, reprint of 'The Laws of the noble game of Cricket', etchings after Robert Hills comprising studies of horses published 1801 and studies of horses published 1817 together with studies of pigs probably by the same hand, ten engravings from the Frescoes in the Piccolomini library in Siena published 1881 - poor condition, assorted other prints including religious themed prints, some in very poor condition, a framed print of Arnold Fellows after a painting by John Haggis, distressed folio holders etc (Provenance: The Arnold Fellows Collection)
Donald Wood (1889-1953)"After Kill"Signed and inscribed, inscribed verso "Sketch for the Bedale Hunt", oil on canvas, together with an oil on canvas river landscape, indistinctly signed, 27.5cm by 37cm and a limited edition print"Sunset Towers, Holywood" signed in pencul Kaufmann, numbered 7/50 (3)
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!["FOUGASSE" [i.e. Cyril Kenneth BIRD (1887-1965), artist]. Drawing the Line Somewhere, London, 1937, 8vo, original buckram, FI](https://cdn.globalauctionplatform.com/6edce4a1-3223-4a0c-83ea-b0c201165cd2/cc59ef14-947a-4e9d-9cfa-b0c20118d8b2/468x382.jpg)
