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Lot 179
STAMPS POSTAL HISTORY : CUBA, group of 12 pre-stamp entire's all addressed to France and sent via USA. All with various markings incl. oval forwarding agent cachet, handstruck '16' & '32' US ratings, French maritime markings, boxed 'COLONIES/&c.ART.13' in red cachets, boxed 'GB/1F60C' accountancy markings and various other endorsements. A useful batch! (12)
Lot 1334
A Late Victorian Pique and Black Lacquer Pen Case, with mother of pearl roundels with white metal centre, blue silk lining; A Matching Stamp Case, in a fitted box, a pewter spoon with a Stanhope to the handle and a collection of ten red lacquer seals, six contained in turned wooden boxes. (A Lot)
Lot 128
6/8, signed with monogram, and stamped with the Susse Foundry Paris stamp, patinated bronze24cm high (9.5in high)Footnote: The subject of Girl is Reg Butler's student Rosemary Young, a sculptor who became his muse, companion, colleague and second wife. In this early example of his female studies in bronze, Young is depicted holding a modelling knife.
Lot 252
titled, dated and with Estate studio stamp (to reverse), collage on board11cm x 10.5cm (4.25in x 4.1in)Footnote: Bryan Ingham was an independent and dedicated artist, who furrowed his own artistic path throughout a long and productive career, attributing his successful endeavours to ‘sheer, bloody hard work.’ Born and raised in Yorkshire, he was introduced to poetry and music by his bachelor uncle, who also forged in him a deep love of reading, despite his struggles at school. His first encounter with visual art and painting was through attendance at Scouts, where one evening a lady artist shared her watercolours; Ingham fell in love and was inspired to start painting himself. Later called up to the RAF, an ‘artistic sort of airman,’ he was fortunate enough to be paired in accommodation with a designer who had attended the Royal College of Art, whom further encouraged Ingham’s creative instincts and set him up still-life studies to work from. Ingham returned to Britain following his service armed with the ambition to be an artist. His ensuing formal artistic training took place at Central St. Martins and then the Royal College of Art, as the young Ingham felt a move to London entirely necessary to both his personal and artistic development. He gained attention from senior staff for his talent, and on the strength of his work generated numerous job offers at graduation and a grant allowing him to spend a year in Italy, travelling and then studying at the British Academy in Rome. At this stage, Ingham seemed poised to become an establishment artist, with works already receiving prime positions and sales at the Royal Academy. Yet, eternally independent, he instead made the decision to purchase a remote cottage on the Lizard peninsula in West Cornwall, following in the footsteps of Ben Nicholson and Barbara Hepworth. He maintained this for the rest of his life, and worked there for long periods every year, interspersed with trips abroad, particularly to northern Germany, and times where he lived elsewhere in Cornwall, most notably at St. Ives. This commitment to Cornwall drew him into both the inspiration and social network of the St. Ives school, of which he became an important figure. Throughout his career, Ingham worked in a variety of mediums, creating a large body of works that drew on the rich artistic legacy of Britain, and artists such as Nicholson and Peter Lanyon, alongside the wider continental influences of Mondrian, Braque and Picasso. Towards the end of his life he reflected on his career as a 45-year ‘apprenticeship,’ acknowledging ‘there is the argument that by going down many false paths one has enriched one’s vocabulary, if only minimally, but positively enriched it…because nobody else has gone up and down those various pathways . . . I’ve been up and down a hell of a lot of pathways.’
Lot 160
DAVID LEACH (1911-2005) for Lowerdown Pottery; a small porcelain bowl covered in celadon glaze with iron and cobalt decoration, painted DL and impressed pottery marks, collector's inscription and Taggs Yard stamp, diameter 11.5cm. (D)Provenance: The Harry Horlock-Stringer collection.Additional InformationAppears good with no obvious signs of faults, damage or restoration.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org
Lot 64
signed, dated and titled (to reverse), oil and gouache on paper/card, Schoellers Aspis dry stamp (lower right)50.75cm x 72.25cm (20in x 28.5in)Exhibited:Penwith Gallery, Spring Exhibition, 1964, no. 62, Titan, POA.The current work is characteristic of her abstract works of paper of the time, and could have been made in Greece.
Lot 1011
Christopher Corr (British, 20th Century). Three lithograph prints. 'Griffith Observatory' (129/200), image size 52 x 69cm. 'Woolwich Odeon' (62/160), bearing stamp of the Curwen Studio, London, image size 50 x 69cm. 'Santa Monica Beach' (196/200), image size 53 x 68cm. All signed and dated by the artist in pencil. Unframed. (3)
Lot 1026
§ After L. S. Lowry (British, 1887-1976), 'Market Scene, Northern Town'. Print. Signed in pencil to margin. Framed and glazed. Image size 45 x 60cm. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more informationCondition Report: § No blind stamp.
Lot 112
Godwin (Francis, Bishop) Annales of England. Containing the Reignes of Henry the Eighth, Edward the Sixt. Queene Mary, translated by Morgan Godwyn, 3 parts in 1 vol., first edition in English, 2 titles within elaborate woodcut boarders (lacking title to second part, 2E1), woodcut portrait of Henry VIII (lacking other portraits), lacking M2 and 2V6 (blank), initial blank loose, small marginal mauve ink stain 2Q4-2Y4, some marginal soiling, some spotting, contemporary calf, upper cover near detached, lower coming loose, spine and corners worn, [STC 11947], A. Islip and W. Stansby, 1630 § Atkinson (James) and H. Wilson, A Compleat System of Navigation, 2 parts in 1 vol., 18 plates (mainly folding, 1 with moveable paper parts, 1 torn), B4 marginal defect with text loss, some small worm holes (mainly marginal but some affecting text), some spotting and marginal finger soiling, contemporary calf, worn, Dublin, Boulter Grierson, 1767 § Dati (Carlo) Prose Fiorentine Raccolte, vol. 1 (all published), half-title, ink stamp to title, Florence, Nuova Stamperia, 1661, bound with Della Casa (Giovanni) Due Orazioni per muovere i Veneziani, Lyon, Bartholomew Martin, [1716], together 2 works in 1, some light spotting, vellum, spine toned; and c.115 others, mainly literature and history C17th-19th (c.120)
Lot 154
NO RESERVE Connoisseur (The), An Illustrated Magazine For Collectors, vol. 1-7 only (of 24), plates and illustrations, ex-Birmingham Assay Office Library stamp to free endpapers, 1903 § Bettsworth (John) Correct Tables of Interest...Together with Tables of Brokerage and for Valuing Annuities, upper hinge weak, [c.1820] § Barry (Dr. Frederick) Report on an Epidemic of Small-Pox at Sheffield during 1887-88, plates, some cracking at gutter, modern cloth, 1889, occasional light spotting and browning, all but last with original cloth, quite rubbed; and c.50 others, mostly literature and topography, v.s (c.55)
Lot 188
First Australian Bible Society.- Broadside.- Auxiliary Bible Society of New South Wales, 228 x 190mm., a few pencil numbers and letters, lightly stained, Sydney, 1825; and another seemingly unrecorded work on the state of the church in NSW, 1837 (Webster Collection 2617), folio (2)⁂ Unrecorded. The Bible Society NSW was the first of its kind to be formed in Australia (Act of the Parliament of NSW, 1817). Provenance: Webster Collection, 3895 (small ink stamp to verso).
Lot 214
NO RESERVE Oxford colleges.- Nicholson (William) Oriel College, Oxford, full sheet 385 x 517mm., lithograph on Japanese vellum, signed in ink by the artist in lower left margins, small ink number '98' and blind-stamp of Stafford Gallery to lower right margin, tipped-in to thick card mount, Stafford Gallery, 1905; and another similar for Wadham College (2)
Lot 287
NO RESERVE Art.- Benezit (Emmanuel) Dictionnaire Des Peintres, Sculpteurs, Dessinateurs et Graveurs, 14 vol., original cloth, a little rubbed and soiled, 1999 § The First Proofs of the Universal Catalogue of Books On Art, 3 vol. including supplement, ex-Birmingham Assay Office Library stamp to half-titles, some cracking at gutter, morocco-backed boards, lightly rubbed, 1870-7; and c.65 others, art related, v.s (c.80)
Lot 296
NO RESERVE Bol (Cornelis), Attributed to. Landscape with the ruined church of Muiderberg, after Jan Van Goyen (1596-1656), point of the brush and ink, monochrome wash, on laid paper without watermark, ruled ink borderline, sheet 115 x 190 mm (4 1/2 x 7 1/2 in), under glass, some toning and surface dirt, framed.Provenance:Anonymous collector's ink stamp 'BL' verso [not in Lugt]E.J. Otto, Berlin [according to printed label on reverse, but without any collector's mark to sheet]Brod Gallery, London [according to inscription on reverse]Literature:Gerson, H., 403/4 as 'After van Goyen' [according to inscription on reverse]⁂ The present sheet is recorded on the RKD - Netherlands Institute for Art History database [see no. 262537], and is described as "Attributed to Cornelis Bol". The van Goyen drawing that it is after is located in the Kupferstichkabinett der Staatlichen Museen zu Berlin, Berlin [inv./cat.nr 12260].
![[Ritson (Joseph, editor)] Pieces of Ancient Popular Poetry..., first edition, half-title, wood-engravings by Thomas Bewick, c](https://cdn.globalauctionplatform.com/0fae1759-3856-49a9-a221-adc200f41540/6905753b-694e-4165-85a4-adc200f7fb30/468x382.jpg)
Lot 31
[Ritson (Joseph, editor)] Pieces of Ancient Popular Poetry..., first edition, half-title, wood-engravings by Thomas Bewick, contemporary tree calf, rubbed, rebacked preserving most of old gilt spine, C.Clarke for T. & J.Egerton, 1791; Northern Garlands, bound with others similar, later calf, gilt, joints split, 1810; Memoirs of the Celts or Gauls, ex-library copy with faint ink stamp to title, contemporary half calf, 1827; Annals of the Caledonians, Picts, and Scots..., 2 vol., contemporary half calf, Edinburgh, 1828; Fairy Tales, now first collected, original cloth, paper label chipped, 1831; The Letters..., 2 vol., contemporary half calf, 1833, all rubbed; and a rebound uncut copy of the first, 8vo (9)
Lot 74
NO RESERVE Numismatics.- Landi (Constanzo) In veterum numismatum romanorum miscellanea explicationes, title within elaborate woodcut historiated border, large woodcut decorative initials, colophon f., errors in pagination, but complete, water-stained at lower corners, some browning, occasional spotting, contemporary limp vellum, spine worn, remains of later paper to covers, [Adams L111], small 4to, Lyon, Sebastian de Honoratis, 1560.⁂ Provenance: Colonna family red ink stamp to title and verso of colophon leaf.
Lot 78
Cardanus (Hieronymus) Les livres...intitulez de la subtilité & subtiles inuentions, ensemble les causes occultes, & raisons d'icelles, title with woodcut ornament, woodcut illustrations and diagrams in text, woodcut head- and tail-pieces and decorative initials, library ink stamp to verso of title and the odd margin, showing through on title, spotted, some water-staining / staining, lightly browned, later vellum, some staining, 8vo, Rouen, Widow Bosc, 1642.⁂ Cardanus' great compendium of the natural and scientific world. The 32 ff. of table at end normally found at start.
Lot 88
NO RESERVE Engravings Auction.- Catalog der Otto'schen Kupferstichsammlung oder der von weiland Herrn Ernst Peter Otto, priced in pen and pencil throughout, slightly browned, ink stamp on front free endpaper, inner hinges strengthened, original cloth-backed boards, slightly rubbed, Leipzig, Druck von J.B. Hirschfield, 1851; and 2 others, a collection of songs, 8vo (3).⁂ Ernst Peter Otto (1724-99), German collector of engravings.
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164719 item(s)/page