Delphine Lebourgeois Spring Quarantine Study 2, 2021 Ink, Watercolour and Acrylic on Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) "Delphine Lebourgeois is a French artist based in London She works in various medium including digital, collage, pencil, pen, ink, watercolour and screenprint but her working process always starts with an initial collage of found elements. Her most recent work draws from various stylistic sources (ranging from Botticelli to comics) mixing symbols and cultural references in a playful and sometimes irreverent way. In 2014, Lebourgeois created a whole series of original drawings on the power of crowds "The Girl has a Gun" that was launched at the Other Art Fair in October 2014. The works explored the realm of power relations and female emancipation. Lebourgeois' latest series are her most feminist to date, as her armies of women have progressively taken on a deeper meaning. Her 2019 Pink Collection explores both erotica, the power to assert one's sexuality, and Mania, a look back on female repression. Lebourgeois has also collaborated with The New Yorker, The Guardian, Le Monde, L'Obs, Amnesty International, Soho House and The Other Art Fair, where she continues to exhibit her work yearly. In 2019, several of her works were featured as street art in the latest edition of Need For Speed Heat, produced by EA Games. She is exhibited around the world, including in the UK, Paris, New York, Hong Kong and Singapore. Education BA Fine Art, Ecole Des Beaux-Arts, Lyon, France MA Illustration, Central St Martins, London, UK Exhibitions UPCOMING 10-14th March 2021 - The Other Art Fair Virtual Edition SELECTED SOLO EXHIBITIONS 2019 - Prélude - Jealous Gallery, London 2017 - Rebels - Gas Gallery, London 2013 - Fall / Gas Gallery / London 2011 - Over the Cover / Frameless Gallery / London SELECTED GROUP EXHIBITIONS 2020 - Women by Women / Liberty Gallery / Royal Over Seas League, London 2020 - Hang Up new gallery launch / Hoxton / London 2020 - The Big Issue, Ben Eine and Our Types charity exhibition / Jealous Gallery / London 2020 - London Art Fair / Jealous Gallery / London 2019 - Salon Des Beaux Arts / Carrousel du Louvre / Paris , France 2019 - Speculative Fiction / Candid Art Trust / 6 artists show / London 2018 - The Other Art Fair / Brooklyn, USA 2017 - Unforeseen / Art Bastion Gallery / Miami, USA 2017 - Art Wynwood / Amnesty International / USA 2017 - The Other Art Fair / Collaboration with Elisabeth Lecourt / London 2017 - London Art Fair / Liberty Gallery / London
We found 480 price guide item(s) matching your search
There are 480 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
Delphine Lebourgeois The Run, 2021 Ink on Japanese Paper Signed recto, further signed verso 15 x 10cm (5¾ x 3¾ in.) "Delphine Lebourgeois is a French artist based in London She works in various medium including digital, collage, pencil, pen, ink, watercolour and screenprint but her working process always starts with an initial collage of found elements. Her most recent work draws from various stylistic sources (ranging from Botticelli to comics) mixing symbols and cultural references in a playful and sometimes irreverent way. In 2014, Lebourgeois created a whole series of original drawings on the power of crowds "The Girl has a Gun" that was launched at the Other Art Fair in October 2014. The works explored the realm of power relations and female emancipation. Lebourgeois' latest series are her most feminist to date, as her armies of women have progressively taken on a deeper meaning. Her 2019 Pink Collection explores both erotica, the power to assert one's sexuality, and Mania, a look back on female repression. Lebourgeois has also collaborated with The New Yorker, The Guardian, Le Monde, L'Obs, Amnesty International, Soho House and The Other Art Fair, where she continues to exhibit her work yearly. In 2019, several of her works were featured as street art in the latest edition of Need For Speed Heat, produced by EA Games. She is exhibited around the world, including in the UK, Paris, New York, Hong Kong and Singapore. Education BA Fine Art, Ecole Des Beaux-Arts, Lyon, France MA Illustration, Central St Martins, London, UK Exhibitions UPCOMING 10-14th March 2021 - The Other Art Fair Virtual Edition SELECTED SOLO EXHIBITIONS 2019 - Prélude - Jealous Gallery, London 2017 - Rebels - Gas Gallery, London 2013 - Fall / Gas Gallery / London 2011 - Over the Cover / Frameless Gallery / London SELECTED GROUP EXHIBITIONS 2020 - Women by Women / Liberty Gallery / Royal Over Seas League, London 2020 - Hang Up new gallery launch / Hoxton / London 2020 - The Big Issue, Ben Eine and Our Types charity exhibition / Jealous Gallery / London 2020 - London Art Fair / Jealous Gallery / London 2019 - Salon Des Beaux Arts / Carrousel du Louvre / Paris , France 2019 - Speculative Fiction / Candid Art Trust / 6 artists show / London 2018 - The Other Art Fair / Brooklyn, USA 2017 - Unforeseen / Art Bastion Gallery / Miami, USA 2017 - Art Wynwood / Amnesty International / USA 2017 - The Other Art Fair / Collaboration with Elisabeth Lecourt / London 2017 - London Art Fair / Liberty Gallery / London
SANDRO BOTTICELLI (NACHFOLGER) 1. März 1445 Florenz - 17. Mai 1510 Ebenda MADONNA DELLA MELAGRANA Tempera, wohl auf Pappelholz. 19,5 x 11 cm (Bildmaß) (R. geöffnet 26 x 26 cm) (o. Verso: Alte Londoner Auktionsnummer (undeutlich): '485 NN'. Min. besch., kleinere Farbverluste, min. Kratzspur. Rahmung in Form eines Triptychons. Provenienz: Rheinische Privatsammlung. SANDRO BOTTICELLI (FOLLOWER) 1st March 1445 Florence - 17th May 1510 Ibid MADONNA DELLA MELAGRANA Tempera, probably on poplar wood. 19,5 x 11 cm (painting size) (F. opend 26 x 26 cm) (top with pointed arch). Verso: Old London auction number (indistinct): '485 NN'. Min. damagerd, minor paint losses, min. scratches. Framing in the shape of a triptych. Provenance: Rhenish Private Collection.
Umfangreiches Jugendstil-Speiseservice "Botticelli" Rosenthal. Marke Geschirrabteilung Stammwerk Selb, um 1910/20. Pastellfarbenes Rosendekor. 69 Teile. Formentwurf von Günther Reinstein (1880-1938?), 1906. 12 Suppenteller, 16 Speiseteller, 13 Salatteller, 16 Dessertteller, 1 + 2 Platten (L 31,5 cm, 32 und 37 cm), 2 Ovalschalen (L 25,5 cm), 2 Quadratschalen (20 x 20 cm und 23,5 x 24 cm), 3 Deckelschüsseln (L 33 cm), 1 Terrine (L 39 cm) und 1 Sauciere (L 23 cm) Bestoßung am Stand von 1 Deckelschüssel.
PRODUZIONE ITALIANA ANNI ‘50Mobile da ingresso composto da due corpi e da un anta scorrevole, da un lato specchiera, consolle con ripiano in vetro, porta documenti e vano contenitore, dall’ altro una mensola in vetro con appenderia. Struttura in laminato chiaro, pannello scorrevole decorato con le tre grazie di Sandro Botticelli in bianco e nero (usure e difetti). - cm 172 x 32 Alt. cm 179
PAINTINGS AND PRINTS, ETC, to include an African village sunset signed V Manoloma, two collage portraits of African figures, Norfolk windmill landscape watercolour, indistinctly signed, oil on canvas depicting cottages beside water signed N Robinson, three Michel Thomas 'Big Eye' prints 3D paper prints, large Botticelli 'Birth of Venus' print size approximately 71cm x 113cm, together with assorted prints, etc
Jem Stevens (British). '3 of Diamonds'. Collage. I am a London based collage artist and my practice centres around the concept of play in relation to the representation of queerness and femininity. My aesthetic is by turns vulgar, erotic, naïve, sensual, abject, colourful and symbolically rich - playing within the discourse of the depiction of gender and self. Historically one interpretation of the three of diamonds in cartomancy is the card’s relation to the professional - and after all what is the oldest profession? Inspired by Tart Cards the image depicts myself in triplicate (three Jems): the three graces by way of a Prince girl band in a Barbie-hued Botticelli-backed snapshot; ready to be propped up on display in a phone booth window. The Diamond Emoji is also a modern shorthand for sex work on various dating apps. I am presenting myself for admiration and consumption as a tongue in cheek comment on the commodity fetishism of the trans body and the perceived innately transactional (pun intended) sexual lure of trans femininity.Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future. Please note that there is no buyers premium payable on this sale if bidding on Ewbank's Live, online fee of 6% inc VAT is payable bidding via the-saleroom.com. Added to the hammer price. Ewbank's are also waiving all vendor commission for the charity.
Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Farbserigraphie auf Lenox Museum Board 81,5 x 101,6 cm. Unter Glas gerahmt. Rückseitig mit dem Stempel "Andy Warhol Art Authentication Board, Inc. Authentic" und mit einer Archivnummer. Rückseitig mit dem Copyright-Stempel des Künstlers "© ANDY WARHOL 1983". Unikat einer kleinen Serie von unikaten Farbvarianten.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr. III A.62 eProvenienzVom Vorbesitzer direkt beim Drucker Rupert Jason Smith, New York, erworben.“Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature “Warhols,” the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely “Munchs,” images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch.” (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12) Andy WarholMadonna and Self-Portrait with Skeleton's Arm (After Munch) Colour silkscreen on Lenox Museum Board 81.5 x 101.6 cm. Framed under glass. Stamp "Andy Warhol Art Authentication Board, Inc. Authentic" verso and with archive number. The artist's copyright stamp "© ANDY WARHOL 1983" verso. From a small unpublished edition of unique colour variants.Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no. III A.62 eProvenanceAcquired directly from the Printer Rupert Jason Smith, New York, by the previous owner."Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature "Warhols," the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely "Munchs," images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch." (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12)
Mel Crawford (Canadian, B. 1925) "Shepherd Seeing Star of Bethlehem" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 20c Christmas stamp issued October 28, 1981. And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the Angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord. (Luke 2:8-11). Through the centuries, the events and miracles associated with the life of Christ were witnessed, remembered, and retold for generations to come. An excellent example is Italian Renaissance painter Sandro Botticelli's rendition of the Madonna and Child which brilliantly brings forth the deep mutual love Mother and Child feel for one another. Indeed, exemplary of Botticelli's tendency toward naturalism in art, this particular Madonna and Child tempera-on-panel portrait is one of the loveliest and most heartwarming paintings ever created. Today few painters are more popular than Botticelli. His paintings are distinctive for their clear, rhythmic line, delicate color, lavish decoration, and poetic feeling. This moving portrayal of the Madonna and Child by Botticelli now hangs in the Chicago Art Institute in Chicago, Illinois. The Botticelli: Art Institute of Chicago United States Christmas stamp featured on this First Day Cover was issued in Chicago on October 28, 1981. Image Size: 14 x 11.75 in. Overall Size: 17.25 x 14.75 in. Unframed. (B07415)
A 19th Century Italian antique Grand Tour oil on board painting after the 15th Century Renaissance antique example The Birth of Venus by Italian artist Sandro Botticelli. Set to a scroll and acanthus leaf ormolu bronze / brass frame with easel back. An impressive display piece. Measures: 29cm x 21cm. Panel measures: 12cm x 9cm.
After Sandro Botticellioil on boardThe Madonna of the Book, or the Madonna del Librotondo, 43in.CONDITION: Oil on board in honest untouched condition, paint a little dirty so would benefit from a clean, a few fine crackle lines running with the grain of the panel, looks to date to the early to mid 20th century, housed in an ornate carved giltwood frame which has been overpainted and has a number of splits and minor chipping.
NO RESERVE Italian Art.- Horster (Marita) Andrea del Castagno...with a critical catalogue, Oxford, 1980 § Ettlinger (L.D.) Antonio and Piero Pollaiuolo...with a critical catalogue, Oxford, 1978 § Clark (K.) Piero della Francesca, second, revised edition, 1969; The Drawings by Sandro Botticelli for Dante's Divine Comedy, 1976 § Pope-Hennessy (John) Paolo Uccello, second edition, 1969 § Kanter (L.) & Pia Palladino. Fra Angelico, New Haven & London, 2005 § Berti (L.) Masaccio, University Park, Pa. & London, 1967 § Wohl (H.) The Paintings of Domenico Veneziano ca.1410-1461, Oxford, 1980 § Antal (F.) Florentine Painting and its Social Background, 1947 [1948], illustrations, many colour, original cloth or boards, all but the seventh with dust-jackets, the fourth a little faded, the last frayed at head of spine, the first also with slip-case; and c.10 others on Early Renaissance painting, mostly Florentine, v.s. (c.20)
Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, number 857 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, light spotting to endpapers and fore-edge, original vellum stained orange, gilt, t.e.g., others uncut, some spotting, slight fading to spine and splaying to covers as usual, folio, Nonesuch Press, 1928.
Fine Arts.- Yashiro (Yukio) Sandro Botticelli, 3 vol., number 58 of 630 copies, mounted colour frontispiece, collotype plates, captioned tissue guards, book-plate of Sybil Assheton-Smith, bound in half dark green morocco, gilt, by Bickers & Son, t.e.g., others uncut, very slight scuffing at edges but still an excellent set, 4to, London & Boston, Medici Society, 1925.Provenance: The Partridge Fine Arts Research Library
MEDICI (Lorenzo de) Poesie Volgari, first edition 1554, small 8vo (149 x 90mm), lacking 4 leaves O5-O8 as is usual for this edition, anchor device to title and final leaf, lacking 2C7-8 at end (errata?), though 2C7 in this copy is blank; (as noted by Renouard 'Presque tous les exemplaires sont mutilés de cinq chansons (Canzoni) dans la feuille O'), bound in 19th century red morocco gilt, aeg. Note: the scarce first edition of Lorenzo de' Medici's poems and poetic commentary. 'Lorenzo the Magnificent' was a diplomat, politician and patron of scholars, artists (including Leonardo da Vinci, Sandro Botticelli and Michaelangelo Buonarotti), and poets.
Vasari (Giorgio). Le Vite de'piu eccellenti Pittori, Scultori, e Architettori, scritte, & di nuovo ampliate..., co'ritratti loro et con le nuove vite dal 1550. in fino al 1567, Parts 1, 2 and 3 (Primo Volume only), lacking the final part entitled Secondo et ultimo volume della Terza Parte, 2 nd edition, Florence, Appresso I Giunti, 1568, elaborate woodcut title, woodcut initials and ornaments, woodcut portrait of the author to B4 verso, 126 large medallion woodcut portraits of artists, set within borders of female figures representing the arts (woodcut portraits to pages 166, 193, 200, 203 and 232 in Part 1, and to pages 16, 51 and 227 of Part 3 not printed), TT3 with a small portion of the leaf torn out and missing (affecting text), Part 3 lacking title (*1), and colophon leaf at end (Aaa2), some early ink marginal annotations to Part 3, some minor marks and soiling, contemporary vellum, first volume heavily worn with covers detached and spine defective, second volume with some soiling and wear, particularly to lower half of spine, 4to (Qty: 2)NOTESProvenance: John Flaxman (1755-1826), artist and sculptor, with his signature in brown ink to front pastedown of Part 3; John Payne Collier with his ink annotation below Flaxman's signature, and further annotation to verso of front endpaper, stating that the volume was given to him by Mr. John Wilson, dated 17 May 1880; Patricia Milne-Henderson, with her small bookplate to head of front pastedown, Gamba 1725; Censimento 16 CNCE 48229; Mortimer, Italian Books 515; PMM 88; Adams V296. The first two volumes of Vasari's three-volume work. The first volume consisting of the Prima e Seconda Parte, and the second volume containing the Primo Volume della Terza Parte. The third volume, not present here, is entitled Secondo et ultimo volume della Terza Parte. Vasari's Lives was first published in 1550, but without portrait illustrations. This second edition was significantly expanded, and is the first to include the woodcut illustrations. In this copy, the title page to the first volume does not include an inset view of Florence at the foot, and the image of dead artists rising from the ground is placed at the centre of the woodcut title, rather than printed on the verso. Flaxman lived in Rome between 1787 and 1794, and went on sketching expeditions with William Young Ottley in 1792. Flaxman was an assiduous student of so-called Italian 'primitives' such as Ghiberti, Botticelli and Signorelli, and it is no surprise that he owned a copy of this illustrated edition of Vasari's Lives, the 'first modern history of art' (Printing and the Mind of Man).
NO RESERVE Italian Art.- Martineau (Jane, editor) Andrea Mantegna, 1992 § Lightbown (R.) Sandro Botticelli, 2 vol., 1978 § Clark (Kenneth) Piero della Francesca: Complete Edition, second edition, 1981 § Ettlinger (L.D.) Antonio and Piero Pollaiulo: Complete Edition with a Critical Catalogue, 1978 § Butterfield (A.) The Sculptures of Andrea del Verrochio, New Haven & London, 1997 § Borsi (F.) Leon Battista Alberti: Complete Edition, Oxford, 1975 § Oppé (A.P.) Raphael, 1970 § Fremantle (R.) Florentine Gothic Painters from Giotto to Masaccio, 1975, illustrations, many colour, original cloth with dust-jackets, the last two slightly frayed at edges; and c.50 others on Italian Renaissance art, mostly Florentine, v.s. (c.60)
Ethel Gabain (1883-1950) 'Lassitude' signed (lower right), titled (to reverse) oil on canvas 48cm x 59cm. Information: The Sitter, Carmen Watson, sat for Gabain in over sixty paintings. Ethel Gabain gave a gushing interview to the Sunday Express in the same year: 'A Botticelli Smile - Carmen Watson, blonde, petite artist's model, is the most sought-after girl in London. She has been working 12 hours a day for six years, and is now booked up for three months. "Long hair, punctuality, and an 'indefinable something' are my greatest assets," she said ... "Artists tell me I am the Botticelli type. They say there is something about my smile they can't quite capture. So they go on trying ... Even Mr Gerald Kelly, who usually paints only his wife, did a portrait of me"'.
Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, number 886 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, leather book-label of Haven O'More, handsomely-bound in russet morocco tooled in gilt and blind, by Frank Garrett, upper cover with title in gilt at head and author at foot within elaborate border of interlacing ropes of small gilt circles between double lines in blind forming Celtic-style knots, lower cover with same border, spine titled in gilt and tooled with similar decoration in compartments and five raised bands, vellum doublures and flyleaves, turn-ins with gilt circles and lines in blind, signed at foot of rear doublure, t.e..g, others uncut, lightly rubbed at edges, slight mark to lower cover, folio, Nonesuch Press, 1928.⁂ A splendid binding. A loosely-inserted note reads, "This book 'La Divina Commedia' was bound by Mr Frank Garrett teacher of book-binding at the B[irmingha]m School of Art. It was exhibited in the Arts & Crafts section of the Bm. Soc. of Artists' Autumn Exhibition 1928 & priced at £20 which I paid for it....".
Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, number 39 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, bookplate of Frank C.Reilly and leather book-label of Haven O'More, original vellum stained orange, gilt, t.e.g., others uncut, an excellent copy without the usual fading to spine or splaying to covers, preserved in cloth folder and morocco-backed cloth slip-case (a little rubbed and soiled), folio, Nonesuch Press, 1928.
One Volume ' La Divina Commedia ' or ' The Divine Vision of Dante Alighieri ' in italian and English, edited by Mario Casella of the University of Florence with the English version of Sandro Botticelli, printed in 1928 by the Nonesuch Press, Orange Vellum and guilt tooled binding, spine faded, together with one volume ' Lucretia Borgia ', The Chronicle of Tebaldeo Tebaldie by Algernon Charles Swinburne, engravings by Reynolds Stone, published by The Golden Cockerel, press 1942, limited edition 33 / 350Good overall condition
A Victorian Gothic hardwood and parcel gilt reredos, probably from a private chapel, the panelled back with outswept pediment, two renaissance coronets above a monogram, the centre section set with a print of the Madonna, Child and St John The Baptist After Sandro Botticelli, flanked by foliate tendrils, the oak table base, fronted by a panel of scrolling and interlocking tendrils, 262cm H, 176cm W, 65.5cm D.
One volume, ' La Divina Commedia ' or ' The Divine Vision of Dante Alighieri ', in Italian and English, edited by Mario Casella of The University of Florence with the English version of H.F. Cary and forty two illustrations after the drawings by Sandro Botticelli, printed in 1928 by the Nonesuch Press, orange vellum and gilt tooled binding
KNIGHT LAURA: (1877-1970) English Painter, famous for her works of London's theatre, ballet and circus. A good, small selection of five A.Ls.S., Laura Knight (3) and Laura K (2), nine pages (total), mainly oblong 8vo, 4to (1), St. Johns Wood, London, October 1965 - May 1967, all to Margaret Hallett. Knight writes, in part, 'When you rang me up a few minutes ago I was in a bit of a muddle, a certain lady who bought 2 pictures from the Diploma Gallery show, now cannot make up her mind whether she wants them or no. I was just writing to tell her - advise her not to have them and that I should be pleased to keep them. I have various scraps of paper, messages sent by telephone - all difficult to know what she is talking about…..I value your friendship greatly and am more than grateful for the wonderful articles you have written about my work…..I've done the worst of the work in connection with getting all the sold work from the R.A. to its new owners…..I cannot wish you greater joy than I myself had in the many years Harold & I spent together' (1st October 1965), 'I am so glad that “Ronald is reading 'The Magic of a Line' with great enjoyment”. It ought to have been a lot better than it is. However the publisher William Kimber and his wife Audrey are delightful people, who have become dear friends of mine. I am greatly interested in the book on women artists which you are writing. It would appear in the art schools, the R. A. for instance, as I have experienced, that they can compete with the men. But it is rare that they go far after leaving. Is the reason for this lack of advancement the fact that after marriage, or even single, that constant household duties leave insufficient time for the whole thought and constant toil - a single minded attitude - in the visual arts in particular. You can't hold a baby with a palette in your hand, nor can you keep your paint brushes in the sink. Apart from that, it is usual for the wife to become a show-piece for her husband. I was extraordinarily lucky, from the very beginning of our marriage, Harold Knight gave me equal chances with himself. If the few of us women painters have gone a little further, I guess it is largely due to the husband's generous thought. I am fully aware that I owe, however little the progress made, to my own dear and wonderful man. On the other hand in the Arts, although you can't paint on the kitchen table where food is prepared, you can write thereon' (16th October 1965), 'I have known two female infant prodigies - one, Pamela Bianco, half Italian, half English. She was the most remarkable. She was an infant Botticelli. She had enormous talent and possibilities, but her father Bianco, on his discovery of her gifts, gave up his business to keep her at work for years, making her notorious in many countries…..In my opinion she should have been allowed to study and find out what she lacked of understanding from other students, but no, he thought her too gifted for any tuition. Whether it is true or no, I do not know for certain, but it was said that she lost her mind at the age of twenty. A proud parent, it would appear, can be a danger to either a daughter or a son.' (5th November 1965), 'Thanks so much for your kind letter…..and for all you say about the B.B.C. interview. Robert Robinson is a delightful person - easy to talk to. I almost forgot the cameras…..I do hope….that you are finding pleasure in your work at Exeter University where you are organizing exhibitions and “a big theatrical display to co-incide with the opening of a new theatre” All the same, as you say, it is not like working at the Academy. I also love every stone of the old building. I hope you will soon be back there…..' (20th May 1967). Two of the letters are accompanied by the original envelopes (one signed by Knight in the return address to the verso. VG, 5 Margaret Hallett (1928-2018) British Clerk and Assistant Librarian at the Royal Academy of Arts in London 1955-65.
![Nonesuch Press. Dante Alighieri. La Divina Commedia [Divine Comedy], Italian & English text, the English translation by H. F.](https://cdn.globalauctionplatform.com/bce01263-c463-4daa-a57c-aa8800f683ce/65fb77e3-5e5d-4f53-b0d5-aa930110a50a/468x382.jpg)
Nonesuch Press. Dante Alighieri. La Divina Commedia [Divine Comedy], Italian & English text, the English translation by H. F. Cary, limited edition numbered 231 of 1475, Nonesuch Press, 1928. Illustrations after drawings by Sandro Botticelli. Folio, original orange-stained vellum, top edge gilt (remainder untrimmed). Contents very good, clean, bright; offsetting to endpapers caused by three old catalogue clippings hinged with tape to pastedown; very light spotting to extreme outer page edges; binding very good and tight with bleaching to the orange at spine and very faint wear to corners - otherwise an excellent copyProvenance: Consigned to sale by the Turbutt family. The vendor's uncle was Gladwyn M. R. Turbutt - the man who discovered the original Bodleian copy of the first folio of Shakespeare (The Turbutt Shakespeare)
Volumes on art including the History of Art in three volumes, YTBA within slipcase, Bakst After Theatre and Dance, Michelangelo's World, An Illustrated History of Fashion, Monet, Botticelli, the Art Fraud detective and also Funke, Cornelia "Ink Spell" the chicken house 2005 green cloth, dust jacket not price clipped, Larson Rief "The Selected Work of TS Spivet" Harvill Seker 2009, and other volumes (1 box)
Gerald Leslie Brockhurst (1890-1978)Portrait of Florence Forsyth Oil on panel, 60.7 x 47.4cm (23¾ x 18¾'')Signed Provenance: Acquired directly from the artist by the sitter's family, prior to 1931; thence by descent. A fine example of a vivacious portrait of a young woman, Florence Forsyth, holding a sprig of snowdrops, against a stylised mountain backdrop by Gerald Leslie Brockhurst. Thought to date from the late 1920s, when Florence was a singer in London, it was commissioned by her father.Celebrated as a society portrait painter from the early 1920s through several decades, Brockhurst was also recognised as a printmaker of rare ability. Born in Edgebaston, Birmingham in 1890, he suffered from recurrent ear infections as a child and wrote poorly, but was precociously good at drawing. So much so that he was accepted in art school aged 12, first in Birmingham, then London. His self-portrait aged 15 is in the Scottish National Portrait Gallery. A travel scholarship brought him to France and Italy, where he was particularly impressed by the work of Piero della Francesca, Botticelli and da Vinci. His beautiful, Renaissance-style portrait of an unnamed woman, titled Ranunculus, (in Sheffield City Galleries), like Florence clutching a sprig of flowers, is judged an important work in pre-war British art by Kenneth McConkey in ‘The British Portrait.’ He also met, and in 1914 married, Anaïs Melisande Folin. They spent the war years mostly in Ireland, and visited Connemara. Besides painting some landscapes, Brockhurst painted Folin as the personification of Ireland against a mountainous Connemara setting (now in the Hunterian Gallery in Glasgow), and several portraits including those of Co Clare-born poet Francis McNamara (like Brockhurst part of Augustus John’s social circle) and Thomas Bodkin’s fiancée Aileen Cox (now in the National Gallery of Ireland collection, with several of Brockhurst’s Irish graphic works). Back in London from 1919, Brockhurst quickly became known as a printmaker and portrait painter. Although he was a slow, meticulous worker and demanding of his sitters, he became the portraitist of choice. Subjects included Margaret, Duchess of Argyll (now in Tate Britain), Wallis Simpson, the Duchess of Windsor and the society beauty Florence Lambert, wife of composer Constant Lambert.Brockhurst’s portraits are brilliantly lit. He had the instincts of a skilled Hollywood lighting-cameraman and his ability to lend his sitters a film star gloss was often noted. In the 1930s he could demand 1000 guineas per commission. But when his relationship with his model Kathleen ‘Dorette’ Woodward became public his marriage ended acrimoniously and he and Woodward moved to the United States, settling in New Jersey (they married in 1947). His services were as much in demand as ever and his subjects included Merle Oberon, Marlene Dietrich, J Paul Getty, several of the Rothschilds and many more. But by the time of his death, in 1978 (Woodward lived until 1995), he was a relatively neglected figure. Since the turn of the century, however, there has been renewed interest in his work, with several exhibitions in the US, and he is increasingly recognised as a significant 20th century printmaker and portrait painter.
Nonesuch Press.- Dante Alighieri. La Divina Commedia or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, number 66 of 1475 copies, printed in Monotype Blado, text in Italian and English, double-page plates from drawings by Sandro Botticelli, endpapers a little browned, original vellum stained orange, gilt, t.e.g., others uncut, a good copy without the usual fading to spine and covers only slightly splaying, folio, Nonesuch Press, 1928.
CLASSICAL - CDs. Harmonious collection of around 500 x high quality Classical CDs (including some box sets that are counted as '1'). With condition excellent throughout (some are sealed), this collection will feature works/composers/performers such as Stokowski, Thomas Campion, The Palladium Ensemble, Sandro Botticelli, Bruch, Timothy Salter, Kevin Bowyer, Handel, Prokofiev, Matilde di Shabran, Puccini, Dag Wiren, Bach Ensemble Helmuth Rilling, Francesco Tamagno, Zemlinsky, Kurt Weill, John Bull, Arnold Schoenberg, Lumbye, J. S. Bach, Beethoven, Arensky, Lucia Negro, Vivaldi. Labels will include EMI, Deutsche Grammophon, Naxos, ASV Digital, NM Special, Astree Auvidis, Marco Polo, ORF, Symposium.
![Alighieri, Dante. La Divina Commedia [The Divine Comedy], illustrated by Sandro Botticelli, limited edition numbered 1049 of](https://cdn.globalauctionplatform.com/bfd725f5-e051-4a6c-8eec-aa3a00d3350d/36f51343-8e76-445c-bd71-aa3f01500b70/468x382.jpg)
Florentine Domed Mirror Genuine English Reclaimed Timber Stained Black The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Florentine Domed Mirror Genuine English Reclaimed Timber The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Florentine Domed Mirror Matt Black The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 x 10 x 95cm RRP £2080
Nonesuch Press.- Dante Alighieri. La Divina Commedia Or the Divine Vision of Dante Alighieri in Italian & English, translated by H.F.Cary, text in Italian and English, double-page plates from drawings by Sandro Botticelli, bookplate of Walter Hirst, original vellum stained orange, gilt, fading to spine, 1928 § Holy Bible (The), 5 vol. including Apocrypha, copper-engraved pictorial titles and head- & tail-pieces by Stephen Gooden, tissue guards, original decorated boards, gilt, 1924-27 § Rousseau (J.J.) The Confessions, edited by A.S.B.Glover, 2 vol., wood-engraved decorations by Reynolds Stone printed in brown, original natural morocco, 1938 § Montaigne (Michel de) Essays, translated by John Florio, 2 vol., original brown morocco, gilt-stamped green calf medallion to upper covers, 1931, limited editions, all t.e.g., others uncut, the last two spotted and spines browned, Nonesuch Press; and 6 others from the press, v.s. (16)
Florentine Domed Mirror Matt Black The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 x 10 x 95cm RRP £2080
{ Option of lots: 70 } Florentine Domed Mirror Genuine English Reclaimed Timber The Elaborate Florentine Celebrates The Renaissance Culture For Which The Italian City Of Florence Is So Famous For, Having Nurtured The Talents Of Both Michelangelo And Botticelli. Regal Curves Are Handcrafted Around The Domed Mirror, With A Slightly Distorting Effect For Modern Day Drama. 110 X 10 X 95cm RRP £2080
Loading...