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Lot 1017
Four: Surgeon W. Y. Jeeves, Royal Artillery, late 38th Foot crimea 1854-56, 3 clasps, Alma, Inkermann, Sebastopol; Turkish Crimea 1855, British issue, these two both unnamed as issued; Indian Mutiny 1857-59, no clasp (Asst. Surgn. W. Y. Jeeves, 11th Bde. Rl. Art.); Legion of Honour, Knight’s 5th class breast badge, silver, gold and enamels, all fitted with silver ribbon buckles and mounted in a contemporary carved wood frame, the last with enamel damage, otherwise toned, good very fine (4) £1000-1200 sold with 3 original commissions as Assistant Surgeon to the Forces (1 August 1856), Assistant Surgeon in the Royal Artillery (9 January 1857), and Surgeon to the Forces (21 November 1864); two letters of thanks for services in the Crimea, one signed by Sir John Hall, Inspector General of Medical services in the Crimea; and three portraits of the recipient’s father, John Jeeves of Sheffield, one particularly fine in oils on card and contained in a contemporary carved wood frame. william Younge Jeeves was born at Sharrow Grange, Yorkshire, in February 1829, and was appointed an Assistant Surgeon in the 38th Foot on 7 April 1854. He served in the Eastern Campaign of 1854-55, including the battles of Alma, Inkermann and siege of Sebastopol, seeing service in the trenches, and also took part in the assault and capture of the cemetery, 18 June 1855, for which he was mentioned in despatches (Medal and three clasps, Turkish Medal, and Knight of the Legion of Honour). major-General Eyre’s despatch stated ‘Assistant Surgeon Jeeves of the 38th, whilst exposed to a most galling fire, having exerted himself in the field in attending to the wounded in so zealous and humane a manner as to call forth special notice’. jeeves was appointed on the Staff in August 1856, and to the Royal Artillery in January 1857, subsequently seeing service with the 11th Brigade R.A. during the Indian Mutiny. He became Surgeon in November 1864, was appointed to the 2/25th Foot in 1865, and retired on half-pay in 1872. Surgeon William Jeeves died at Northallerton, Yorkshire, on 7 March 1875. £1000-£1200
Lot 1312
Hawkesworth (John) ALMORAN AND HAMET, half-titles, 2 vol. contemporary calf, rubbed, spines gilt, morocco spine lables, top board vol. 1 detached, others loose, for H. Payne and W. Cropley, 1761; [Bramston (James)] THE ART OF POLITICKS IN IMITATION OF HORACE'S ART OF POETRY, FIRST EDITION, engraved frontispiece, engraved vignette on title, modern sheep-backed boards, for L. Gilliver, 1729; Manuscript.- ?J[acobi]. C[ruci].- MISCELLANIES IN PROSE AND VERSE ORIGINAL AND SELECTED BY J. C., title with vignette painting, contemporary ink throughout, bookplate on front pastedown, contemporary half calf over patterned boards, rubbed, [c.1828]; and 22 others, similar, 8vo.
Lot 579
James C. Tarr (British, 1905-1996) A Game of Badminton in High Summer signed lower left "James Tarr" oil on board 23 x 34cm Jack Tarr was a near contemporary of Bawden and Ravilious at the Royal College of Art. After leaving college he became Painting Master at the Gloucester School of Art, and painted many good watercolours of the Gloucestershire countryside and had a number shown at the Royal Academy. He later succeeded Stanley Lewis, ARCA, MBE (b.1905) as Principal of the Newport School of Art.
Lot 641
Edward Bevan (1854-1898) PANNING OUT THE GOLD signed and dated 1895, with contemporary inscription on the label of Edward Parkers Fine Art Gallery and Artist's Depository, Cheltenham "Wash Dirt" and "Panning our the Gold" artist Edward Bevan £26.5.0, pencil and watercolour heightened with white, 55.5 x 88cm ++In fine condition, free from fading with very mild odd spots of foxing in the sky which are hardly noticeable. Undisturbed in the original giltwood and composition Rosetti frame
Lot 285
Waterloo - Booth, John The battle of Waterloo. London: printed for J. Booth, 1815, 8vo, hand-coloured folding map, 2 folding plates, contemporary half calf gilt, rubbed, some foxing, bookplate; Maitland, Capt. F.L. Narrative of the surrender of Buonaparte. London, 1826, 8vo, folding map, later half calf, some foxing; Count de Saxe, Maurice Reveries or memoirs concerning the art of war. Edinburgh, 1759, 8vo, contemporary calf gilt, rubbed, hinges weak, lacking front and rear blanks (3)
Lot 10
Hamilton Palace Catalogue of the collection of pictures, works of art and decorative objects, the property of his grace the Duke of Hamilton... London, 1882, 8vo, containing all 5 portions, photographic plates, contemporary ink notes and prices marked by lots, later red cloth gilt, some fading to backstrip, bookplate Provenance: Bookplate of Stewart of Murdostoun.
Lot 571
Robert Kelsey P.A.I. Crystal Cove Sunset, Barbados oil on canvas, signed 51cm x 61cm Note: Robert Kelsey was born in Glasgow and studied at the Glasgow School of Art (1966-1970) under David Donaldson, Alexander Goudie and James D. Robertson. Kelsey has earned a formidable reputation as one of Scotland's finest and most sought after contemporary artists. His numerous one man shows in London in particular enjoy huge success and his sell out exhibition at Thompson's Gallery (London) in 2004 was reported on BBC's "Breakfast" as "one of the biggest contemporary art exhibitions in London in recent years". The prestigious Thompson's Gallery described the event as "the most successful solo exhibition we have ever had". Robert has been a regular exhibitor for many years at The Royal Glasgow Institute, The Royal Institute of Oil Painters, Paisley Art Institute, The Royal Scottish Society of Painters in Watercolour and The Royal Scottish Academy. He has enjoyed success in New York , Budapest and Chicago and is widely exhibited throughout the UK. He has featured in many magazines including "Homes & Interiors" and "Scotland Magazine" and BBC News 24 has reported his achievements. The book "Robert Kelsey-the artist" was published in 2004. His style is distinctly "Contemporary Scottish Colourist" and although his work reveals his GSA training the strongest influences remain Peploe and Cadell. Robert writes : "I love the loneliness and serenity to be found at certain locations such as the beaches of the Outer Hebrides. I say "loneliness", which sounds like a bad thing, better to describe it as being at peace in serene places, where you can be alone with your thoughts, listen to the sea birds and the trickle of water". Robert's home and studio are in Paisley but his commercial success has allowed him to travel the world in search of the light and colour that are such strong features within his work. This broadening of horizons has been reflected in his "gallery prices" as his career and reputation continues to flourish. Kelsey collectors include : Sir Arnold Clark, The Duke of Bedford, Lord McFarlane of Bearsden, Cairn Energy PLC, Credit Lyonnais Bank, Taylor Woodrow, The Dunfermline Building Society, Highland Spring Water, Enterprise Oil, Paisley Art Gallery, Turnberry Hotel & Golf Club, Alliance & Leicester Building Society, Arisaig Partners (Asia) and The Fleming Collection.
Lot 627A
Jennifer Irvine (Scottish Contemporary). Still life with White tulips Oil on board, signed & dated 1991 34 x 32.5cm Note : Jennifer Irvine trained at the Glasgow School of Art under Leon Morocco, James Robertson and Barbara Rae. She won the Royal Glasgow Institute David Cargill Award in 1991 and has been elected to the Council of the RGI. Irvine is a frequent exhibitor at prestigious galleries in London and throughout Scotland. Provenance : Barclay Lennie Fine Art Ltd (Glasgow) gallery label verso dated 26.10.91
Lot 48
Glyn Morgan, Aphrodite VI, oilGlyn Morgan (1926-), Aphrodite VI, signed and dated '68, oil on canvas, 34.5 x 45cm.; 13.5 x 17.75in. * Morgan showed in many mixed exhibitions, including Edinburgh International Festival, 1952; Leicester Galleries, 1962; John Whibley Gallery, 1970; Royal Academy from 1987; and the Broad Horizon, Agnew, 1990. Had a solo show at Drian Galleries, 1969, others including a retrospective at the Minories, Colchester, 1981; Chappel Galleries, 1991 and the Simon Carter Gallery, Woodbridge, 1995. Welsh Arts Council and Contemporary Art Society hold examples.
Lot 50
Marie Walker Last, The Eye of the Wind, oilMarie Walker Last (1917-), The Eye of the Wind, signed, inscribed and dated 1963 on verso, oil on canvas, 90 x 120cm.; 35.5 x 47.25in. * She trained at the Chelsea School of Art, under Vivian Pitchforth and, later under Sir Terry Frost and Robert Medley. She and her husband were great friends of Ben Nicholson and Dame Barbara Hepworth, and she mixed in London with many of the great painters of the day; she also met Alfred Wallis, who was such a great influence on the work of Ben Nicholson. In her earlier days, she exhibited world-wide, with Exhibitions in London, Paris, Athens, Florence and Australia, and in 1988, she won First Prize in the Druce Constable Award at an exhibition of contemporary British landscape painting in the Camden Arts Centre. Her works are in the Collections of the Bank of England, the Halifax Building Society, Granada Television, the Arthur Haigh Collection, the Open University, Yorkshire Television, Bradford Art Galleries and Museums and the Universities of Leeds, Bradford and York.
Lot 176
ALEXANDER GOUDIE FOR LA MUSEE DE LA FAIENCE, QUIMPER 'LE MARIN' Hand-painted ceramic figure, limited edition 9/100, signed, bears painted makers marks and inscription by the artist, 'Head and re-touching by my hand/ Goudie' 51cm high Literature: 'Alexander Goudie Ceramique', Bernard Jules Verlingue, pub. La Musee de la Faience, Quimper, 1997 Exhibited: 'Goudie Ceramique’, The Musee de la Faience, Quimper, France 1998 Note: Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and Brittany then became one of his main sources of inspiration and for the first time, in 1966, he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ for the Brittany Ferries Company. His work brought together portraits of famous personalities, as well as a number of landscapes, small scenes, and still lifes. As well as being a painter, he was also a sculptor of great boldness and originality. In 1997, he created figures of Breton fi hermen and of women in traditional costume and ceramic wares depicting Breton life in conjunction with the Pottery Museum in Quimper. The figures in this sale were purchased from the opening exhibition and were each produced in a limited edition of 100.
Lot 177
ALEXANDER GOUDIE FOR LA MUSEE DE LA FAIENCE, QUIMPER 'PAYSAN DANS UN CHAMP DE BLE' Hand-painted ceramic figure, limited edition 27/100, painted makers marks 51cm high Literature: 'Alexander Goudie Ceramique', Bernard Jules Verlingue, pub. La Musee de la Faience, Quimper, 1997 Exhibited: 'Goudie Ceramique’, The Musee de la Faience, Quimper, France 1998 Note: Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and Brittany then became one of his main sources of inspiration and for the first time, in 1966, he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ for the Brittany Ferries Company. His work brought together portraits of famous personalities, as well as a number of landscapes, small scenes, and still lifes. As well as being a painter, he was also a sculptor of great boldness and originality. In 1997, he created figures of Breton fishermen and of women in traditional costume and ceramic wares depicting Breton life in conjunction with the Pottery Museum in Quimper. The figures in this sale were purchased from the opening exhibition and were each produced in a limited edition of 100.
Lot 179
ALEXANDER GOUDIE FOR LA MUSEE DE LA FAIENCE, QUIMPER 'LA GOEMONIERE' painted ceramic figure, limited edition 8/100, painted makers marks 51cm high Literature: 'Alexander Goudie Ceramique', Bernard Jules Verlingue, pub. La Musee de la Faience, Quimper, 1997 Exhibited: 'Goudie Ceramique’, The Musee de la Faience, Quimper, France 1998 Note: Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and Brittany then became one of his main sources of inspiration and for the first time, in 1966, he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ for the Brittany Ferries Company. His work brought together portraits of famous personalities, as well as a number of landscapes, small scenes, and still lifes. As well as being a painter, he was also a sculptor of great boldness and originality. In 1997, he created figures of Breton fishermen and of women in traditional costume and ceramic wares depicting Breton life in conjunction with the Pottery Museum in Quimper. The figures in this sale were purchased from the opening exhibition and were each produced in a limited edition of 100.
Lot 180
ALEXANDER GOUDIE FOR LA MUSEE DE LA FAIENCE, QUIMPER 'AIGRETTE' TAZZA hand-painted ceramic, decorated with a seagull design, signed and dated '97 27cm diameter Literature: 'Alexander Goudie Ceramique', Bernard Jules Verlingue, pub. La Musee de la Faience, Quimper, 1997 Note: This lot was a trial piece, made to assess size and colour before production commenced. It is signed and dated and acquired directly from the artist. Note: Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and Brittany then became one of his main sources of inspiration and for the first time, in 1966, he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ for the Brittany Ferries Company. His work brought tog ther portraits of famous personalities, as well as a number of landscapes, small scenes, and still lifes. As well as being a painter, he was also a sculptor of great boldness and originality. In 1997, he created figures of Breton fishermen and of women in traditional costume and ceramic wares depicting Breton life in conjunction with the Pottery Museum in Quimper.
Lot 181
ALEXANDER GOUDIE FOR LA MUSEE DE LA FAIENCE, QUIMPER 'MAINEE AUX FETES DE CORNOUAILLE', CYLINDRICAL VASE hand-painted ceramic, decorated with a Breton procession, signed and dated '97 41.5cm high Note: This lot was a trial piece, made to assess size and colour before production commenced. It is signed and dated and acquired directly from the artist. Note: Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and Brittany then became one of his main sources of inspiration and for the first time, in 1966, he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ for the Brittany Ferries Company. His work brought together portraits of famous personalities, as well as a number of landscapes, small scenes, and still lifes. As well as being a painter, he was also a sculptor of great boldness and originality. In 1997, he created figures of Breton fishermen and of women in traditional costume and ceramic wares depicting Breton life in conjunction with the Pottery Museum in Quimper.
Lot 259
RUPERT WILLIAMSON, ENGLAND, 1996 BANQUETING TABLE of rectangular form with coloured block supports 120cm wide, 75cm high, 600cm long Note: This table was made to commemorate the 50th anniversary of the Contemporary Applied Arts Gallery. The design won a competition between members of the gallery and was exhibited January 9th. 1998. The table was further exhibited in: The Guild Exhibition, Milton Keynes 1999.'In To the Home' 1999 (Art as Furnishing) Birmingham NEC and the Cirencester Craft Gallery 2000. It has also been featured in House and Garden magazine (February 1998 p. 72) and Furniture and Cabinet making (May 2000 p.48)
Lot 1132
Philip Kelly, Irish b.1950- View of the interior of a cafe; acrylic on paper, signed, 57x72cm., (unframed) (may be subject to Droit de Suite) Note: Philip Kelly was born in Dublin and educated at Rugby School. Leaving in 1968, he travelled to Africa with the Brathay Exploration Group before returning to Britain. He qualified from Bristol University in 1973 with a B.Ed in Art and French. He worked in various posts, while continuing to paint in Britain, Europe, North Africa and America before settling in Mexico City. He arrived in Mexico City in 1983 completely penniless, but managed to gain a job teaching English. Working hard, rising at 5.00 a.m. and continuing until late evening, he was unconsciously assimilating the shapes, colours, smells and activity of the city. Changing jobs to work in film, he began to meet other painters and artists, started selling his work, and became quite well known very quickly. He appeared on television and had various shows before the earthquake in 1985 which killed his partner and destroyed all his work. Philip considered this a finite end to his Mexican odyssey and returned to Europe for several years, but the greyness made him long for Mexico again, he returned in 1989. He has now become friends with many of the leading contemporary artists in Mexico. Kelly particularly admires the work of Gilberto, Acceres and Navarro. One Person and Mixed Exhibitions: 1984, The Orange Gallery, Huran South Dakota 1987, Latchunse Gallery London 1989, Cahill & Grebler Gallery 1989, Cuadermos de Viaje. Gallery Amsterdam 1990, Galleria 930 4 Artistas Mexico DF 1990 Galleria, 930 Homenage a Van Gogh 1990 Edificio Balmori, Mural Mexico DF 1990, Mural, (Ecological), Cordoba 1990, Hotel Palacio, Ixtapa 1990, En Ramnientos. Miguel Angel Que Vedo 1991, Belgravia Gallery London 1996, Westbourne Gallery, London, 1997 Museum of Modern Art, Mexico City - one man show, 1981 Yorkshire Artists Bennial I, 1982 Graves Gallery Sheffield, 1983 Yorkshire Artist Biennial II, 1986 S.W. London Arts, London, 1989 4 Artistas, Galeria 930, Mexico DF, 1990 Edificio Balmori, Dia Mundial del Artista, 1990 Las Miniaturas del Balmori, Art Vance 1990 Mural Ecologico, Cordoba, Beracruz 1991 "La Naturaleza Simbolizada" Hacienda La Casona II, 1995-2004 Several one man shows, The Frederick Gallery, Dublin
Lot 102
Rollin, Charles. The history of the arts and sciences of the ancients, under the following heads, agriculture, commerce, architecture and architects … the art military … translated from the French. London: J. & P. Knapton, 1737. 2 volumes, 8vo, 42 engraved folding plates, contemporary calf, edges rubbed, inner joints cracking; and another (3) . Note: A further two volumes were issued in 1739.. Provenance: From the library of the Hon. Lord Elliott Q.C., M.C.
Lot 374
Alken, Henry. The analysis of the hunting field, 1846, 8vo, additional title and hand-coloured plates, original red cloth, some browning, hinge broken; [Apperley, C.J.] Hunting reminiscences, 1843, 8vo, additional title and uncoloured plates, original red cloth; Daniel, W.B. Rural sports, 1807, 3 volumes, 8vo, half calf, some spotting, one cover detached; "Stringhalt" Runs with the Lanarkshire & Renfrewshire Fox-hounds, 1874, 8vo, plates, original red cloth; Scrope, William The art of deer-stalking, 1839, 8vo, additional engraved title, plates, original green cloth gilt, some spotting, spine slightly faded and rubbed; Beckford, P. Thoughts upon hunting, 1802, fourth edition, 8vo, engraved plates, contemporary half calf; Vedder, David The story of Reynard the fox. London, [no date], 8vo, illustrated, original red cloth gilt, some spotting; and 2 others (11) Provenance: From the library of Glendoune House,
Lot 563
Bryan (Michael). A Biographical and Critical Dictionary of Painters and Engravers, 2 vols., 1816, engraved portrait frontispiece, five plates of engravers monograms, occasional light spotting, contemporary calf gilt, spines worn, 4to, together with five other books: Walter Godfrey's The English Staircase (1911), Aymer Vallance's Old Crosses and Lychgates (1920), Old England's Worthies (1853), The Art Journal Illustrated Catalogue's The Industry of all Nations 1851 (1851) and the Illustrated Catalogue of the Universal Exhibition (1867) (7)
Lot 583
Hall (S.C., ed.). Gems of European Art: The Best Pictures of the Best Schools, first and second series, [1846], ninety steel-engraved plates, vol. 1 lacking all before first plate, occasional scattered spotting, contemporary green morocco gilt, rubbed and scuffed, a.e.g., folio, together with The Wilkie Gallery: a Selection of the Best Pictures of the Late Sir David Wilkie, R. A., n.d., and vol. II only of Royal Gems from the Galleries of Europe, c. 1847 (4)
Lot 256
The Indian Girl, and The Negress, after Charles Cumberworth, Copeland, circa 1855, the Indian girl holds a bowl of seashells and a frog-form jug, the negress carries a water jar, on circular bases, the Indian girl impressed "F97", the nubian impressed "Copeland", 44cm by 45cm high respectively See illustration Similar figures are illustrated in The Parian Phenomenon, A Survey of Victorian Parian Porcelain Statuary & Busts, edited by Paul Atterbury, published by Richard Dennis, fig.535, pg.160, where they are described as "This pair of companion figures were shown by Copeland at The Great Exhibition 1851 and illustrated in The Art Journal Exhibition Supplement". In Copeland (Robert) Parian, Copeland's Statuary Porcelain, Antique Collectors Club, p.161, it is mentioned that a price at the 1851 Great Exhibition for the Indian Girl was 2 1/2 guineas, ie £2.12.6 (in the price list for 1851 she is listed as Negress). The prices for this figure are substantially lower than those for her companion, despite the similarities of size and sculpture. Issued in both large and small sizes, the large being approx 53.34cm. Charles Cumberworth (1811-1852) was born in Verdun and trained under Pradier at the Ecole des Beaux Arts from the age of 18. Exhibited his work at the Salon between 1833-1843. His specialised in portrait busts of contemporary celebrities, including members of the Orleanist Royal Family, also subjects from romantic literature.
Lot 1127
Lois Bygrave (20th century contemporary) Figures at the Opening of the Carlos Nadal Art Exhibition, held in Harrogate in 1984 Signed, also inscribed with "Carlos Nadal", pencil, pen, ink and watercolour heightened with white, 40cm by 49.5cm (15 3/4in by 19 1/4in) The artist exhibited regularly in both London and Harrogate as well as many other provincial locations. Lois Bygrave was known as the "Yorkshire Lowry" and is the great, great granddaughter of Nancy de Garr, the French nursemaid to the Bronte family at Howarth See illustration
Lot 1133
Josephine Graham (20th/21st century contemporary) Portrait of the Artist's Daughter, seated, wearing a floral dress and holding a bowl of strawberries Signed "Graham", also partially inscribed on the remains of a label verso, pastel drawing, 118.5cm by 77.5cm (42 3/4in by 30 1/2in) Provenance: With Duncalfe Fine Art, Harrogate (New Glasgow School) See illustration
Lot 1
Alfred Cohen (1920-2001), "River and Red Sky", signed, with gallery label - 'Roland, Browse & Delbanco' on verso, oil on canvas board, 16 x 24cm.; 6.25 x 9.5in. * Studied at the Art Institute of Chicago. In 1929 was awarded a foreign travel scholarship which took him to Europe. He continued studying in Paris at L'Academie de la Grande Chaumiere, showing his work in France and Germany. In 1960 Cohen settled in England and had a long series of shows with Roland, Browse & Delbanco. Cohen's work is in many public collections including Contemporary Art Society, Nuffield Foundation, Pembroke College in Oxford and galleries in Rye and Hull, as well as widely abroad.
Lot 1
A Victorian satinwood and floral marquetry vitrine circa 1890, by Johnson & Appleyards in the Sheraton revival manner, of serpentine form, with an ivorine label for Johnson & Appleyards, Manufacturers, Sheffield, inside the door and another label on the underside h.169cm., w.99cm., d. 42cm Johnson & Appleyards were a highly successful firm of late nineteenth-century cabinetmakers, winning a Gold medal in the Paris exhibition in 1900. Based in Rotherham and Sheffield, the company was founded in 1879, when two local firms, Appleyards and Johnsons, were merged. They grew rapidly, with a workforce of up to 400 producing furniture in both contemporary and revivalist styles. They described themselves as ÒCabinetmakers, Upholsterers, Art Furnishers, Ecclesiastical and Domestic Painters and Decorators, by Special Appointment to HRH The Prince of Wales.Ó In 1891 they became a limited company; thus the absence of ÒLtdÓ on the label on the offered lot indicates that this piece was made before then. A full biography of the firm can be found in the journal Regional Furniture 2001, pp.43-63.
Lot 286
A RARE SOUTH GERMAN CLOSE HELMET FOR THE TOURNEY, IN THE MANNER OF WOLFGANG GROSSCHEDEL OF LANDSHUT, CIRCA 1550-5 of notable weight, formed of a rounded skull rising to a high roped medial comb (bruised and cracked towards the rear), pierced at the rear of the neck with four small rivet-holes for the attachment of a missing plume-holder and to either side of it with four lace-holes, two of those at the right retaining their brass eyelets, visor, upper bevor and bevor attached by later common pivots with large domed heads, the visor with a prominent step beneath its single broad vision-slit and a spring-catch at the right side operated by a later lifting-peg with baluster-shaped terminal, prow-shaped upper bevor pierced at its left side with twenty small circular ventilation holes arranged in four rows and at the right side with eight diagonal ventilation-slots, each expanded at its centre, the right side further pierced with a threaded hole for the attachment of a reinforce and fitted with a sliding spring-catch, the bevor (with riveted patch at right of face-opening) pierced at each side of the neck with seven circular ventilation-holes in rosette formation, the central one of the right group occupied by the brass-capped pivot of a sturdy forked visor-prop, the right of the neck further fitted with a brass swivel-hook to secure the push-button operated spring-catch issuing forward from the skull, the lower edges of the skull flanged outwards to receive missing gorget-plates, the front and left of the helmet showing numerous cuts from a rebated sword (pitted overall) 34.2cm; 131/2in high The helmet compares closely in both form and detail with the contemporary products of the Landshut school of armourers, in many cases marked by or documented as the work of Wolfgang Grosschedel, recorded 1517-62, and his son Franz Grosschedel, recorded 1555-78 (A. Von Reitzenstein 1954, pp. 142-53). Analogous helmets of the school can be recorded in the Hofjagd- und Rüstkammer, Vienna, the Real Armeria, Madrid, the Musée de l'Armée, Paris, the Musée Royale de l'Armée, Brussels, the Wallace Collection, London, the Metropolitan Museum of Art, New York, and the Stadt- und Kreismuseum, Landshut (G. Spitzelberger 1975, pls 25, 31-2, 34-5, 38-9, 41& 47-52; J. Mann 1960, pls IV & VI; and A. V. B. Norman 1986, pl 214). Like the helmet under discussion, they are pieced at either side of their bevors with circular groups of ventilation-holes.
Lot 1
Sheng Qi, B.1965 UNTITLED (MY LEFT HAND SERIES) signed and dated 2006 on the reverse oil and collage on canvas 90 by 80cm. 53.5 by 31.5in. To accurately draw ones own left hand has long been seen as a qualifying mark of an accomplished artist, but in the case of Sheng Qi, images of his four fingered left hand means infinitely more than that; they are the iconic works that sum up the entire life and Ïuvre of one of Chinas most celebrated contemporary artists. Sheng Qi emerged in the 1980s as one of Beijings key performance artists. Using himself as his artistic material he focused on the body as a lived existence of impulse and passion freed from the constraints of rational thought. The modest artistic freedom that was allowed in China during the 1980s came abruptly to an end with the events in Tiananmen Square in June 1989 leading the government to respond with reinforced suppression and state control. Sheng Qi, who took part in the protests, found himself forced to flee his country but before his departure he committed what could be read as an extreme act of performance art: he cut off the little finger on his left hand and buried it in Chinese soil so that a part of him would always remain in his homeland. The present and previous lots portray the artists left hand with a found image placed in his palm. When Sheng Qi places a found photograph in his mutilated hand, he is playing at the sudden rush of memories that is often evoked when one looks at a scar or an old photograph. A young boy with a Communist Party uniform and a propaganda image of a muscular party cadre are images of bygone times. With a sense of nostalgia they represent an era quickly dwindling away for the Chinese. In Sheng Qis hand, their sense of na•ve idealism contrasts with the bitter reality that led him to injure himself and therefore become startlingly sensitive and powerful examples of the artists most poignant work. Provenance Acquired directly from the artist by the present owner
Lot 1
Eduard Kharazian, b.1939 Oriental Rhythms signed, titled in Armenian and Cyrillic and dated 1984 on reverse tempera on canvas laid on board 171 by 155cm., 67.25 by 61in. Provenance Habsburg, Feldman, New York, Soviet Contemporary Art: The Property of the Kniga Collection, Paris, 5 May 1990, Lot 35 Exhibited Paris, Foire International d'Art Contemporain, Galerie de France, Art Contemporain Sovietique, October 1987, Ex.Cat. p.32 (illustrated)
Lot 1
Pilar Castaneda, Mexican b.1941- "Busqueda"; etching printed in colours, signed, titled, numbered 31/50 and dated 79 in pencil, 43.5x60cm: After Sir William Russell Flint RA 1880-1969- "La Voultre-sur-Rhone", publ 1969 by Frost & Reed Limited; reproduction printed in colours, signed in pencil, bears Fine Art Trade Guild blind stamp, 48.4x63.3cm: together with a colour lithograph of an abstract landscape subject by an unknown hand, signed and numbered 32/120 in pencil, bears Christie's Contemporary Art blind stamp, 63x91cm., (3) (may be subject to Droit de Suite)
Lot 1
Bernard Meninsky, 1891-1950 three figures dancing pen and ink and pencil 33.5x19.5cm.; 13.25x7.75in. The current work was designed for John Milton's L'Allegro and Il Penseroso. Provenance The Nora Meninsky Bequest to the Contemporary Art Society Exhibited Liverpool, University of Liverpool, Bernard Meninsky: A Singular Vision, October 2000 - July 2001 (Touring Exhibition), illustrated opp. p.31 Literature John Russell Taylor, Bernard Meninsky, 1990, illustrated p. 107 John Milton, L'Allegro & Il Penseroso, Allan Wingate, London 1947, illustrated p. 12
Lot 1
Fale,Thomas Horologiographia: the art of dialling: teaching an easie and perfect way to make all kinds of dials … London: by Felix Kyngston, 1627, 4to., Black letter, woodcut illustrations of a dial on title, floreated initials throughout, woodcut scientific diagrams and illustrations by Hondius on virtually every page, contemporary limp vellum, later arms on covers, 17th century ex libris and early 19th century armorial stamp on fly, small worm trail in final table, mostly interlinear, general light paper discolouration Note: STC 10680 (3 copies only in USA, including this one, another imperfect, 5 elsewhere). Houzeau and Lancaster 11390. Honeyman had 1633 edition only. Taylor, Math. Practitioners no. 82. Third edition (first printed in 1593) of the earliest English work devoted to the subject of dials and the author's only known publication. The table of sines which occupies the final unnumbered ll. is probably the earliest specimen (after the first edition.) of a trigonometrical table printed in England. The work includes also instructions for the manufacture and use of other instruments whereby the houre of the day and night is knowne, e.g. quadrants, of special use and delight not only for students of the Arts Mechanical, but also for diverse Artificers, Architects, Surveyors of buildings, free-Masons and others.
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Art - Bazin, Germaine Théodore Géricault. Paris, 1987-1990, 4to, 4 volumes, original cloth, dustwrappers, slipcases, a fine set; Tolnay, Charles de Corpus dei disegni di Michelangelo. Novara, 1975, folio, 3 [of 4] volumes, original quarter calf gilt, slipcases, a fine set; López-Rey, José Velázquez, catalogue raisonné. Taschen, 1996, 4to, 2 volumes, original cloth, dustwrappers, slipcase; Wiseman, Caroline Elisabeth Frink, original prints catalogue raisonné. London, 1998, 4to, dustwrapper, a fine copy; Gudiol, Jose Goya 1746-1828. Barcelona, 1985, 4to, 2 volumes, original cloth, dustwrapper, slipcase [worn at edges]; Tuchman, Maurice, et al. Chaim Soutine, catalogue raisonné. Cologne, 1997, 4to, 2 volumes, dustwrapper, slipcase, a fine pair; Rooses, Max Rubens. London, 1904, 4to, 2 volumes, later half morocco gilt, rubbed; Northcote, James The life of Titian. London, 1830, 8vo, 2 volumes, portrait frontispiece, contemporary half calf, crudely rebacked, inner hinges strengthened, bookplate of Lord Selborne and 20 other art reference works (39)
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Camper, Petrus The works... on the connexion between the science of anatomy and the arts of drawing, 1794, 4to, engraved portrait and 24 folding plates (17 called for on title), nineteenth-century half calf, some spotting, upper joint cracking, base of spine rubbed; Du Fresnoy, C.A. The art of painting, 1716, second edition of Dryden's translation, 8vo, nineteenth-century half calf, neatly rebacked, spine gilt, morocco label; Cellini, Benvenuto The life, translated by T. Nugent, 1771, first English edition, 2 volumes, 8vo, contemporary calf, spines gilt, morocco labels; Hogarth, W. Graphic illustrations of Hogarth, 1794-99, 2 volumes, 8vo, engraved plates, modern half morocco, spotting and offsetting to plates; Smith, J.T. Nollekens and his times, 1895. contemporary calf, spine gilt, t.e.g. (7)
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Death, Suicide & Sacrifice - Dagley, R. Death's doings. London, 1827, second edition, 8vo, engraved title, 30 engraved plates, contemporary half calf gilt, rubbed, foxing; Taylor, J. The danger of premature interment. London, 1816, 8vo, frontispiece, modern half calf gilt, ink inscription on title; Drelincourt, Charles The christian's defence against the fears of death. London, 1719, 8vo, frontispiece, panelled calf, hinges splitting; Spinckes, N. The sickman visited. London, 1717, second edition, 8vo, frontispiece, contemporary calf, red label, hinges split; Piggott, Rev. S. Suicide and its antidotes. London, 1824, 8vo, frontispiece, contemporary half calf, rubbed, inner hinges weak, browning; Dodd, William Reflections on death. London, 1763, 12mo, contemporary calf gilt, rubbed, lacking index; Norris, John A philosophical discourse concerning the natural immortality of the soul. London, 1708, 8vo, contemporary calf, red label, worn, hinges splitting, heavy foxing throughout, ink notes on endpapers; Myers, Eliab & Sullivan, F.A. The champion text book on embalming. Ohio, 1897, 8vo, illustrated, original green cloth gilt, rubbed at edges, interior clean; Vrown, Capt. Thomas The taxidermist's manual. London, 1885, 8vo, 6 plates, original cloth, sunned; Greenhill, Thomas Nekrokedeia: or the art of embalming. London, 1705, 4to, 12 [of 14] plates including folding map, 19th Century half calf gilt, rubbed, hinges splitting, foxing throughout; Hartshorne, Albert Hanging in chains. London, 1891, 8vo, illustrated, original vellum, dustmarked, page 109 tape repaired; [Defoe, Daniel] The history of the great plague in London in the year 1665. London, 1819, 8vo, frontispiece, original boards, rebacked, foxed and stained throughout; Watts, Isaac The world to come. London, [1815], 8vo, portrait frontispiece, engraved title, 6 plates, contemporary calf, rebacked and heavily restored, browning throughout and 3 other editions; and a quantity of other material relating to death (qty)
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Duppa, R. The life and literary works of Michel Angelo Buonarroti. London, 1806. First edition, 4to, portrait frontispiece, folding plate, 26 [of 48] plates, modern calf gilt, foxing; Hassell, J. Memoirs of the life of the late George Morland... London: James Cundee, 1806, 4to, engraved title, frontispiece, 7 plates, full green morocco gilt extra by Zaehnsdorf, some rubbing to hinges, some light foxing, bookplate; Burnet, John An essay on the eduaction of the eye with reference to painting. London, 1837, 4to, 7 plates, modern half calf gilt, slipcase, some foxing [mainly to plates]; Mason, William The art of painting of Charles Alphonse de Fresnoy. York: printed by A. Ward, 1783, 4to, half title, contemporary calf gilt, some rubbing to hinges, worn at corners, marble endpapers, bookplate of C. Mallord Turner; Opie, John Lectures on painting. London, 1809, 4to, frontispiece, plates, ex-library [stamps throughout], contemporary half red morocco gilt, worn; Fuseli, H. Lectures on painting. London, 1820, 4to, frontispiece, vignette title, contemporary half morocco gilt, rubbed, ex-library with bookplate and stamps throughout; Ralph, Benjamin The school of Raphael. London, [no date], plates, later cloth, rubbed, foxing; Canova, A. Works... London, 1876, 4to, portrait frontispiece, plates, contemporary decorative cloth gilt, rebacked, rubbing, some foxing; and 5 others on art (12)
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