CANTERBURY: Burnby, John - An Historical Description of The Metropolitical Church of Christ Canterbury, 2nd edition, 8vo, calf, with frontispiece of the Cathedral, remnants of library bookplate on front pastedown, library stamp to top of title, joints very weak, loss to front board fore-edge, Simmons and Kirby, Canterbury 1783; Brent, John - Canterbury in the Olden Time, from The Municipal Archives and Other Sources and Felix Summerly's Hand-Book for Canterbury: Its Historical Associations and Works of Art, 8vo, cloth, disbound, with folding "Plan of the City of Canterbury and Its Vicinity" and folding "Ground Plan of Canterbury Cathedral", A. Ginder, Canterbury 1860 and Bennett, Paul and others - The Archaelogy of Canterbury, Vols 1, 2 and 4, quarto, cloth, with d.j.'s, Maidstone 1982-90, and Archaelogic, Vols 101 (1967) and 108 (1986)
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Josep Bofill (Spanish b. 1942), two cast resin limited edition sculptures, brown patination, one of a stylised female nude, signed and numbered 1504/4000, with Art Foundation stamp, on rectangular white stone plinth bearing artist's plaque, H 43cm (overall), the other of a standing embracing couple, signed and numbered 1367/3999, on naturalistic chalkstone base bearing artist's plaque, H 33cm (overall) Height 42cm
A late 19th Century French three piece champleve enamel and green onyx clock garniture, the clock dial signed 'A la Gerbe D'Or, A Chapus, 86 Rue de Rivoli, Paris' and with further conforming stamp to the rear of the movement, with decorative filigree work to the centre of the dial and with a mercury compensated pendulum, height 39.5cm and width 21cm, together with a pair of conforming five-light candelabra, height 46cm. (3)
Freek van den Berg (Dutch 1918-2000): Portrait of a Young Woman, watercolour over pencil with artist's studio blind stamp 74cm x 49cmProvenance: through the artist's family. DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs
French School (17th/18th Century): Christ and His Mother Studying the Scriptures, watercolour wash unsigned numbered with collector's stamp 22cm x 15cm, old mount titled and inscribed Charles Lotto Condition Report Overall good conditionClick here for further images, condition, auction times & delivery costs
Bates, H.E. The Woman Who Had Imagination. Jonathan Cape, 1934. 8vo, org. boards in dj (priced 7s 6d, corrected in pencil to 10s 6d). First edition, signed by Bates on title-page, ffep with stamp 'Production Department File. Do Not Remove.' and with loosely inserted catalogue of other Bates books with Cape.. Jacket worn, spine dulled, edges a little dusty, internally clean.
Angus McBean (1904-1990) - Welsh Photographer and cult figure. 6.5"x4.5" photograph of an unknown actor. Signed to the margin by McBean with ' London & Bath ' added. Autograph in pencil. Angus McBean Photographer stamp to verso. Fold running across the upper left corner. McBean famously photographed The Beatles for their first album ' Please Please Me '. Rare.
BIRMINGHAM PHOTOS Over 175 real photographs of Birmingham City, various sizes, most are match action , vast majority taken by Bill Golden (Birmingham City official photographer and match action photographs have game and players identified. Mostly 1970s , a few 80s and a few 50s/60s. Almost all are black and white and many have Golden or other Press agency stamp on the reverse.. Good
![[§] SIR WILLIAM MACTAGGART P.P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981)SANDS AND SHORE, CORNWALL Stamped with the](https://cdn.globalauctionplatform.com/674c16e8-dfe0-41a9-a1e6-aa2a00fca3dc/a5c1a662-8a6e-431e-b25b-aa4900fbe457/468x382.jpg)
GUSTAVE LOISEAU 1865 - 1935: CLIFFS IN ÉTRETAT 1901 Oil on canvas and paperboard 63 x 80 cm Stamp on back: "Coll . Dr. Stefan Ossusky/ 17 Av. Charl. Floquet/ Paris" Cliffs in Étretat is a unique example of French Post-impressionism and represents the oeuvre of one of its leading exponents, Gustave Loiseau. Works by this artist, attractive for collectors and viewers alike, appears only rarely on the Czech art market.Since the 1890s the name of this exceptionally sensitive landscape artist has been connected with the Brittany artists’ colony surrounding Paul Gauguin, known as the Pont-Aven School. However, Loiseau never built on its modern artistic vision and new directions (Synthetism and Cloisonnism); on the contrary, he remained faithful to Impressionism in its purest form. He continued the tradition of outdoor landscape painting, discovering the fleeting magic of the landscape in its transience, transformations in color, and light and dark moods in an effort to capture its natural beauty, as seen in paintings by Claude Monet and Camille Pissarro. He gradually created his own specific style of pointillist painting, the characteristic application of pure spots of color one next to another, emphasizing the essential interaction of light, clear, bright and yet unburdened color, and the airy mood of the depicted scene. He developed these principles in seemingly everyday scenes of the Breton and Norman landscapes, where he spentthe summer months. Loiseau is often called a natural talent who did not follow the directions of the period or the recommendations of others, instead carving his own path of unique sensual experience from the seen world. His extraordinary talent and painterly qualities earned him many admirers in 1890s Paris, including the prominent gallerist and primary patron of the French Impressionists Paul Durand-Ruel. He fully defended his uniqueness in around 1910, when he sparked a sensation with his special method of cross-like brushstrokes reminiscent of hatching (“en treillis” / “touche croisée”).The painting offered here, from the collection of an important Czechoslovak diplomat during the First Republic and ambassador in Paris, Stefan Osuský, may be considered a beautiful, profoundly poignant and highly valuable work that corresponds to a unique understanding of Impressionism in all respects, corresponding to the artist’s expression “I am led by instinct and I am proud that I am not like the others.”
VLASTISLAV HOFMAN 1884 - 1964: AN ANGULAR VASE Before 1914Čechy Praha Graniton, Rydl & Thon Svijany-Podolí Soft stoneware, red and white glaze 32 cm Marked with stamp on base: Artìl, eingeprägt: „5009“ A Cubist vase in the shape of a triangular prism with M-shaped chevrons. Design by Vlastimil Hofman. No. 5009 in design style B is in the holdings of the Museum of Decorative Arts in Vienna under inv. no. W. I. 1480.
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