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Lot 504
A FOLIO INCLUDING AN OLD MASTER DRAWING OF A BEARDED MAN, DRAWN ON ANTIQUE LAID PAPER, A DRAWING OF MYTHICAL BEASTS, SIGNED WITH INITIALS AND DATED. A DRAWING OF A FLORAL CARVING SIGNED AND DATED 1864. ANTIQUE SEPIA DRAWING, STILL LIFE OF A BOTTLE, CANISTERS ETC AND A GROUP OF EIGHT OLD LITHOGRAPHS OF DRAWINGS OF DECORATIVE CARVINGS, POSSIBLY OLD DESIGN PATTERNS.
Lot 489
Stundenbücher - - (HORAE B.M.V.) Horae deipare virginis Marie secundum usum Romanum. Druck in Rot und Schwarz, mit Druckermarke und 47 ganzseitigen teils kolorierten Miniaturen, zahlr. kleine Miniaturen in den Rahmungen und zahlr. kolorierten Initialen. Paris, Thielman Kerver, 1519. Metallschnitt auf Pergament. 16,6 x 10,7 cm (Buchblock). 132 Bll. a-k8, L-Q8, R4. 26 Zeilen. Kl.-8°. Moderner Ganzledereinband mit 4 Bünden. Adams L1031. - Bohatta 1032. - Worldcat listet nur 2 Nachweise weltweit: New York Morgan Library (inkomplett) und NY Public Library, KVK listet nur ein Exemplar im MAK Wien. I. Zum Verleger: Kerver wirkte ab 1498 als Buchdrucker zusammen mit Georg Wolf und Jean Philippe. Etwa um 1500 arbeitete er allein in eigener Werkstatt, wo er eine größere Anzahl von Stundenbüchern (livres d'heures) nach dem römischen Ritus und viele klassische und humanistische Schriften (Horaz, Juvenal und andere) edierte. Für mehrere Verleger wie Jean Richard, Pierre Regnault und Gillet Remacle führte er Druckaufträge aus. In den Jahren 1511-1517 stand er auch mit dem Pariser Verleger Simon Vostre in geschäftlicher Verbindung. (Vgl. NDB, 11, 541.) II. Zur allgemeinen Struktur des Stundenbuchs: Druckermarke, Almanach 1519-1538, Schmerzensmann, Heiligenkalender, Evangelien, Lesungen, Psalmen. III. Die prachtvollen Bordüren auf einem criblé horror vacui Grund. Dieser befüllt mit Medaillons aus biblischen Szenerien, vegetabilen und zoomorphen Rankenwerk, teils mit Drolerien und Vanitas Motiven. Desweiteren Kalenderbilder, ein Schöpfungszyklus, ein Apokalypse-Zyklus, Zeichen des Jüngsten Gerichts, ein Totentanz, begleitet von einer bas-de-page Serie von Toten und dem Höllenschlund, Susannah- und Verlorener-Sohn-Zyklen, sowie Sibyllen. IV. Die ganzseitigen Miniaturen umfassen Druckermarke (a1r), Schmerzensmann (a1v), Martyrium des Hl. Johannes der Evangelist (b1r), Gefangenahme Christi (b3v), Baum Jesse (b8v), Verkündigung (c1r), Heimsuchung (d1r), Geburt Jesu (d6v), Verkündigung an die Hirten (d8v), Anbetung der Könige (e2v), Beschneidung (e4v), Flucht nach Ägypten (e6v), Krönung Mariens (f2r), Bathseba beim Bad (g6v), Tod des Urija (g7v), Nathans Vorwürfe gegen David (g8v), Davids Buße (h2r), David und der Prophet Gad (h3v), Davids Versprechen an Batseba (h5r), David übergibt die Krone an Salomo (h6r), Die drei Toten (i3v), Die drei Lebenden (i4r), Adam und Eva werden aus dem Paradies vertrieben (k1v), Adam und Eva bei der Arbeit (k2v), Adam lobt Gott (k3v), Der verurteilte Domherrn (k6v), Das Leben und der Tod (k7v), Fegefeuer (k8v), Der Tod (l3v), Hiob (l4v), Drei Laster und das Kind (l5v), Judaskuss (m3v) Jesus vor Pilatus (m4v) , Jesus, der König der Juden (m5v), Kreuztragung (m6v), Kreuzigung (m7v), Kreuzabnahme (m8v), Grablegung (n1v), Christus in der Unterwelt (n2v), Auferstehung (n3v), Jesus besucht Maria nach der Auferstehung (n4v), Noli me tangere (n5v), Emmaus-Pilger (n6v), Der Unglaube des Thomas (n7v), Pfingsten: Heiliger Geist, die Apostel und Maria (n8v), Jungfrauen-Litanei (o1v), Dreifaltigkeit (o7v), Christus bei der Schmähung (q2v). - Die Pergamentseiten am oberen Rand teils knapp beschnitten, materialbedingt teils etwas wellig, wenige Seiten mit Pergamenteinbrücken durch Knickfalten, zu Beginn sind teils die Kolorationen verlaufen, die Miniaturen stellenweise nur ankoloriert oder unfachmännisch koloriert. Einige Blätter mit verwischten Kolorationen. Minimal fleckig, etwas gebräunt, insgesamt aber noch gutes Exemplar des seltenen Stundenbuchs mit schönen gratigen Abzügen von der Platte. Book of Hours. - Printed in red and black, with printers mark and 47 full-page partly colored miniatures, numerous small miniatures in the frames and numerous colored initials. Paris, Thielman Kerver, 1519. metalcut on vellum. 16.6 x 10.7 cm (book block) 132 ll. a-k8, l-18, R4. 26 lines. Small 8°. Modern full leather binding with 4 frets. Worldcat lists only 2 references worldwide: New York Morgan Library (incomplete) and NY Public Library, KVK lists only one copy in MAK Vienna. I About the publisher: Kerver worked from 1498 as a book printer together with Georg Wolf and Jean Philippe. Around 1500 he worked alone in his own workshop, where he edited a large number of books of hours (livres d'heures) according to the Roman rite and many classical and humanistic writings (Horace, Juvenal and others). He carried out printing commissions for several publishers such as Jean Richard, Pierre Regnault and Gillet Remacle. In 1511-1517, he was also in business with the Parisian publisher Simon Vostre. II On the general structure of the Book of Hours: printer's mark, almanac 1519-1538, Man of Sorrows, calendar of saints, gospels, readings, psalms. III The magnificent borders with a criblé horror vacui ground. This filled with medallions of biblical scenes, vegetal and zoomorphic vine work, partly with drolleries and vanitas motifs. Furthermore, calendar images, a creation cycle, an apocalypse cycle, signs of the Last Judgment, a dance of death accompanied by a bas-de-page series of the dead and the Hellmouth, Susannah and Prodigal Son cycles, and Sibyls. IV The full-page miniatures include printer's mark (a1r) Man of Sorrows (a1v), Martyrdom of St. John the Evangelist (b1r), Capture of Christ (b3v), Tree of Jesse (b8v), Annunciation (c1r), Visitation (d1r), Birth of Jesus (d6v), Annunciation to the Shepherds (d8v), Adoration of the Magi (e2v), Circumcision (e4v), Flight into Egypt (e6v), Coronation of Mary (f2r), Bathsheba bathing (g6v), Death of Uriah (g7v), Nathan's reproaches against David (g8v), David's repentance (h2r), David and the prophet Gad (h3v), David's promise to Bathsheba (h5r), David gives the crown to Solomon (h6r), The three dead (i3v), The three living (i4r), Adam and Eve are driven out of Paradise (k1v), Adam and Eve at Work (k2v), Adam Praises God (k3v), The Condemned Canon (k6v), Life and Death (k7v), Purgatory (k8v), Death (l3v), Job (l4v), Three Vices and the Child (l5v), Kiss of Judas (m3v) Jesus before Pilate (m4v) , Jesus the King of the Jews (m5v), Carrying of the Cross (m6v), Crucifixion (m7v), Deposition from the Cross (m8v), Entombment (n1v), Christ in the Underworld (n2v), Resurrection (n3v), Jesus visits Mary after the Resurrection (n4v), Noli me tangere (n5v), Emmaus Pilgrims (n6v), The Unbelief of Thomas (n7v), Pentecost: Holy Spirit, the Apostles, and Mary (n8v), Litany of the Virgins (o1v), Trinity (o7v), Christ in Reviling (q2v). - The parchment pages partly justly trimmed at the upper margin, partly somewhat wavy due to the material, a few pages with parchment bridges due to creases, at the beginning the colorations have partly run off, the miniatures in places only colored in or unprofessionally colored. Some leaves with smudged colorations. Minimally spotted, a bit browned, but overall still a good copy of the rare Book of Hours with nice burr-like impressions from the plate.
Lot 803
Pierre-Joseph Redouté. Rosa Alpina Lavis. Rosier des Alpes à pedoncule et calice glabres. Gestochen von Bessin. Paris, Imprimerie Rémond, um 1817. Kolorierter Kupferstich auf Vergé. 35 x 26 cm (55 x 36,5 cm). In der Platte bezeichnet. Dekorativ unter Passepartout und unter Glas gerahmt. Aus dem epochalen Meisterwerk: Les Roses. Bd. 1. Paris, Didot, 1817. - Altersbedingt leicht gebräunt und lichtrandig durch Rahmung. Insgesamt wohl erhalten. - Dabei: Anonymer Künstler 19. Jh. Blumenstillleben. Aquarelle und Gouache über Graphit auf Papier, dekorative Einfassungslinie in Tinte. 34,5 x 45 cm. Zwei hinterlegte horizontale Einrisse. Blatt altersbedingt gebräunt und stellenweise lichtrandig. - Fasciculus florum artifictosus. Wohl 19. Jh. Handkolorierter Kupferstich auf Papier. 22 x 14,5 cm (30,5 x 20 cm). Altersbedingt gebräunt. Engraved by Bessin. Coloured copper engraving on vergé. Decoratively framed under glass and passepartout. - From: Les Roses. Paris, Didot, 1817 - Slightly browned due to age and light margins due to framing. Overall well preserved. - Including: Anonymous artist 19th c. Still life with flowers. Watercolours and gouache over graphite on paper, decorative border line in ink. Two backed horizontal tears. Sheet browned due to age and light margins in places. - Fasciculus florum artifictosus. Probably 19th century. Hand coloured copper engraving on paper. Browned due to age.
Lot 807
Astley David Middleton Cooper (1856-1924) "Landscape at Eagle Peak, Montana, with meeting of Lakota, Sioux, and Cheyenne Warriors," O.O.C., signed and dated 1920, 243cms x 181cms (96” x 71”). (1) Provenance : Mallow Castle, Mallow, Co. Cork. In 1876, an alliance of Native American forces, led by the Lakota Sioux leader Sitting Bull, defeated the US 7th cavalry regiment under General Custer, at the Battle of Little Big Horn in Montana. The battle took place eight years after the signing of the Fort Laramie Treaty, which guaranteed the Black Hills of Dakota remaining the property of the Lakota Sioux. The Treaty was not honoured, and so an alliance was formed between Lakota Sioux, Cheyenne and Arapaho, to defend their lands against incursions by settlers and goldminers. This painting by Astley David Middleton Cooper is traditionally held to represent the formation of this alliance, in Montana, with Eagle Peak mountain in the distance. On the left is Sitting Bull, wearing a headdress arrayed with upright golden eagle tail feathers. To the right is the Cheyenne chief Two Moons, wearing a buffalo war bonnet. The third figure seated on the far side probably represents Chief Gall. In the background, across a ravine, can be seen the assembled Lakota warriors. Over the course of a life that spanned the second half of the nineteenth century and the first quarter of the twentieth, Astley David Middleton Cooper produced many evocative paintings, depicting Native American peoples and the magnificent landscapes of North America. His paintings, of warriors on horseback, tipi villages and herds of buffalo, charted the decline of Native American culture as tribal lands were encroached upon by European settlers, and did much to popularise the image of heroic Native Americans, struggling to maintain their way of life. However, Cooper was also sympathetic to settlers and the hardships they endured. One canvas depicts an abandoned covered wagon, surrounded by grazing buffalo, while a narrative series illustrates a settler and his daughter, held captive by a hostile tribe, and the ensuing hostage negotiations. Several poignant paintings include Lakota Sioux warriors – models in the artist’s studio - looking at canvases that portray their disappearing way of life. Cooper’s paintings are characterised by close attention to detail, such as clothing, beadwork, eagle feathers and brightly-coloured woven blankets. He also produced landscapes featuring rivers and forests—including Californian giant redwoods—as well as decorative works depicting cherubs, models and classical figures. Born in St. Louis, Missouri, Cooper’s father David Middleton Cooper was a leading Irish-born surgeon, while his mother, Fannie Clark O’Fallon was a grand-niece of William Clark, the explorer who took part in the famous trans-continental expedition of 1804. The artist George Catlin, who painted scenes of Plains Indian life, was a family friend. Having studied art at Washington University, Cooper travelled widely, living with Native American peoples and recording their culture in paintings and drawings. He spent two years in Boulder, Colorado, producing drawings for Frank Leslie’s Illustrated Newspaper, before settling in San Francisco, where he built up a successful practice as a genre and portrait painter. Among his sitters was General Ulysses S. Grant. In 1883 Cooper established himself at San Jose, building a large studio in an ornate Egyptian style. A sociable and popular figure in San Jose, Cooper often paid his bills at bars with paintings. He married late in life, in 1919, just five years before his death. His works can be found in many museums, particularly in the American West. In his Artists in California 1786-1940, the art historian Edan Hughes notes there are works by Cooper in the San Jose Historical Museum, Stanford Museum and the Oakland Museum. Relics of the Past, The Buffalo Head, a still life by Cooper in the Buffalo Bill Center of the West (Whitney Western Art Museum, Cody, Wyoming), includes portraits of Sitting Bull, Two Moons, Red Cloud and Chief Gall. Dr. Peter Murray 2022
Lot 147
Who / Rolling Stones / Beatles LPs, nine albums comprising The Who (By Numbers, Meaty Beaty Big and Bouncy, Odds and Sods and The Kids are Alright), Rolling Stones (Made In The Shade, Big Hits, Under Cover and Still Life) and The Beatles - Love Songs - various years and conditions but largely Excellent to EX+
Lot 78
Indie / New Wave LPs and 12" Singles, six albums and nine 12" Singles comprising LPs: Buzzcocks (Another Music In a Different Kitchen and Love Bites), Magazine (The Correct Use Of Soap and Real Life), New Order (Movement and Still Life) - 12" Singles: New Order - Blue Monday, Depeche Mode (Everything Counts, Love In Itself (2 different), Blasphemous Rumours, Leave In Silence, Master and Servant, Get The Balance Right and New Life (All in Picture sleeves except New Life) - various years and conditions
Lot 1138
M. Inez Shepherd after Cedric Morris oil on canvas - Still life study, 51cm x 61cm, unsigned, in gilt framed. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.
Lot 1141
*Jane Simone Bussy (1906-1960) oil on canvas - still life study depicting a jug and bowl of flowers, 40.5cm x 52cm, signed, in double frame. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.
Lot 1147
Bernard Meninsky (1891-1950) oil on canvas still life study - onions and leeks, 40.5cm x 60.5cm, signed, and one other similar oil on board - cabbage leaf and onions, 32.5cm x 40.5cm, unsigned, both unframed. Provenance: By descent from Douglas Shepherd (1922-1989), a designer and architect working on public houses for the brewery firm Ind Coope. He was heavily influenced by and was a serious collector of Arts and Crafts and Art Nouveau, including leading designers and artists such as Charles Ashlee and Jessie M King. He assembled a large collection from the 1950s to 1970s. His book collection was subsequently sold through Sotherby’s and in 2013 his magnificent silver collection by Archibald Knox and others was sold through these rooms.The oil on panel has some paint losses on the outer edges and a scratch to the left corner and scuffing to the right - see images. The oil on canvas is in good condition.
Lot 335
Fantin Latur,Still life flowers,oil on panel, signed,39x34cm.Condition report:The surface of the painting is very grubby and dirty and will need a clean, there is some light cracking to the paint to the surfaces all over. The frame has chips and worn patches. Please see the added photos online.
Lot 145
Henry George Todd (1846/7-1898)Still life of fruit signed and dated 'HG.Todd/1897' l.r., oil on canvas40.5 x 30.5cmCondition ReportFramed size: 64 x 52.5cm.Canvas is relined. Under uv light, there is a bloom of varnish and a small patch of retouching just above lower right edge, otherwise overall fine.
Lot 55
Circle of Mario Nuzzi, called 'Mario dei Fiori' (Italian, 1603-1673)Still life of tulips and other flowers tied with a red ribbonoil on canvas40 x 30cmCondition ReportThe painting is executed in oil on a linen canvas support which is unlined. The canvas tension is slightly slack. There are minor undulations along the upper edge and stretcher bar marks are starting to form in the paint layers, following the wooden stretcher below. The paint layers are unstable and actively flaking with areas of loss, this is mainly located in the lower right corner. There appears to be an attempt to stabilise these areas, some overpaint has been applied to unfilled losses. The varnish is degraded, matte and no longer adequately saturating the paint layers below. There is surface dirt and the work would benefit from a clean. With a new varnish and some discolouration, it should brighten, although to what extent it is not clear.
Lot 843
Five framed watercolours on paper to include: Vernon Holmes (20th century) - 'The Goat Farm', signed and titled below, 25 x 35 cm; together with Basil Rowles - winter landscape, signed lower right, 40 x 30 cm; David Hier, 'Pittville Lake, Cheltenham', signed lower left with label dated 'July 1995' verso, 38 x 26.5 cm; together with a windmill scene, signed indistinctly lower right, 44 x 33 cm; Norah Featherstonhaugh (20th Century), still life with fruit and goblet, watercolour on paper, signed and dated 'Nov, 1927' in pencil lower left, 35 x 50 cm, framed and glazed (5)
Lot 966A
A landscape in oil and three watercolours to include: M. C. Hider - 'Loch Katrine', oil on canvas, signed lower right, plaque below and pencil inscription verso, 51 x 30 cm; Florence England (20th century) - Still life with a vase of pinks, watercolour and bodycolour on paper, signed bottom left, 59 x 51 cm; Carmen Pedro Murray Carrington - 'Gemini (The Heavenly Twins)', signed lower right, with inscriptions and labels verso, dated 1940, 37 x 23 cm; G. Hunt, Rue du Gros, Rouen, signed and dated '1880' lower left, 22 x 32 cm, all framed (4)
Lot 323
§ § Raymond Campbell (b.1956) Still life of a delft flagon and fruit on a table topoil on boardsigned50 x 60cm**CONDITION REPORT**Oil on board in good untouched condition with no faults noted, housed in the original gilt frame, Forest Gallery Fine Art label verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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