ca. 1890s. English artist, Sir William Rothenstein (1872 - 1945), was highly regarded for his portraits of authors, royalty, and other famous persons. He was also an official war artist during both world wars and served as the Principal of the Royal College of Art between the wars. This is a nice pencil drawing on paper of the artist's wife, Alice. The drawing is from the collection of the Rothensteins' daughter, Betty Holiday. The study measures 38.7 x 22.2 cm. In very good condition with some light spots to the paper. In an archival mat and protected by sheet of tissue paper. ORIG/071216. Very Good.
Manuscripts & Prints
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London: Grant Richards, . Original Illustrations. Scarce. 750 copies printed. These are the disbound pages from English Portraits, with seventeen of Will Rothenstein’s twenty-four lithographs of well-known persons of his day, along with a page of complimentary comments about each person. Rothenstein (1872-1945) was famous for his portraits, and painted Albert Einstein, T.S. Eliot, Thomas Hardy, W.B. Yeats, and Oscar Wilde among many others. Both his painted works and his prints display his great sensitivity and artistic mastery. He was also a friend to many prominent figures of his day, including Max Beerbohm, Joseph Conrad, and H.G. Wells. This group from English Portraits are as follows: Charles Ricketts and Charles Shannon, Sir Frederick Pollock, Thomas Hardy, Sir F. Seymour Haden, William Archer, The Right Rev. Dr. Creighton, The Marchioness of Granby (Violet Lindsay), The Right Hon. W.E.H. Lecky, John Singer Sargent, Arthur Wing Pinero, William Ernest Henley, Sidney Colvin, George Bernard Shaw, Alice Meynell (2 copies), Grant Allen, and Henry James. Each leaf measures 10 x 14.5 inches. The title page and table of contents page are also included. Some browning, closed tears, and light chipping, particularly to the page margins, but the lithographs are generally in quite nice condition. ART/011712. Very Good.
circa 1760. This is a set of leaves from an anthology or collection of poems by Sa'di, Amir Khusrao, Jami and others. Circa 1760, it is written on paper, in a fine hand, black nasta'liq script with occasional phrases in blue. Written diagonally within two columns, the text throughout is encased in double gold lines with a few exquisite blue and gold floral headings. The fragment also contains illuminated title in polychrome colors of blue gold and red with a final folio of perching birds amongst flower sprays. Framed. #22609/22712. Very Good.
circa 1760. This is a set of leaves from an anthology or collection of poems by Sa'di, Amir Khusrao, Jami and others. Circa 1760, it is written on paper, in a fine hand, black nasta'liq script with occasional phrases in blue. Written diagonally within two columns, the text throughout is encased in double gold lines with a few exquisite blue and gold floral headings. The fragment also contains illuminated title in polychrome colors of blue gold and red with a final folio of perching birds amongst flower sprays. Framed. #22611/22702. Very Good.
[New York]: Charles Scribner's Sons, . Charles Dana Gibson. A stunning large color advertising poster for the 1899 Christmas issue of Scribner's Magazine. It features a classic black and white illustration by Charles Dana Gibson of one of his Gibson Girls being escorted by an older gentleman. Noted Christmas Features listed include : A Christmas Poem illustrated in colors by Walter Appleton Clark; Two Christmas stories; C.D. Gibson's "The Seven Ages of the American Woman" a Series of Drawings; Augustine Birrell on John Wesley; and other illustrations by H.C. Christy and Maxfield Parrish. Banners with the title and with price of 25 cents are gaily decorated with green and red Christmas holly. In a faux distressed wood frame showing some nicks and scratches. Poster is in very good condition. Poster is 18 x 22 inches. With frame is 18 x 25 inches. ART/100114. Very Good.
1896. Source: A Handbook of the Birds of Great Britain; three bird lithographs designed by Richard Bowder Sharpe (1847-1909), an English zoologist who joined the British Museum as a Senior Assistant in the Department of Zoology, in charge of the bird collection. Sharpe wrote 13 1/2 of the 27 volumes of the Catalogue of the Birds of the British Museum.The framed print measures 6 1/8 x 4 1/4 inches. Matted in wood frame with gold finish. #43583/43562/43576. Very Good.
1896. A Handbook of the Birds of Great Britaiin; two lithographs designed by Richard Bowder Sharpe (1847-1909), an English zoologist who joined the British Museum as a Senior Assistant in the Department of Zoology, in charge of the bird collection. Sharpe wrote 13 1/2 of the 27 volumes of the Catalogue of the Birds of the British Museum.The framed print measures 6 1/8 x 4 1/4 inches. #43518/43589. Very Good.
1818-1837. These hand-colored lithographs are from the work entitled Histoire Naturelle des Mammiferes avec les figures originales d'apres des animaux vivants, a work produced by the combined efforts of Geoffrey St. Hilaire and Georges Cuvier. Hilaire was a forerunner to later evolutionary biologists, such as Darwin. As his theories grew, his reputation and academic positions followed. From 1798-1801, Hilaire was a member of Napoleon's scientific staff during the attempted conquest of Egypt. After returning to France, he produced Philosophie Anatomique (1818-1822) and this Histoire Naturelle des Mammiferes (11818-1837). They are the most important works with which he had a part, as they "were the sounding board through which he developed the most important components of his transcendental biology: the law of connections (‘analogous' organs retain the same connections amongst themselves), the law of permanence (new organs are not created), and the law of balance (the development of one organ is made at the expense of another)." (American Philosophical Society) These magnificent prints are on chain linked, watermarked paper. Framed. #37219. Fine.
Rick Black [Turtle Light Press], 2005. Number 8 of 10 copies. Artist Rick Black works in the traditional Japanese format of only using black ink on various types of Japanese paper. He uses a specially hand-carved seal called a chop to sign and stamp his name in red. Only two of his paintings have been made into limited editions: bird on bamboo and bird on split bamboo. All of the prints are made on an Epson Stylus Photo R2400 Gicleé printer using the finest archival, fade-resistant pigment inks and acid free papers that have been tested to last for at least 100 years, depending upon framing and exhibition conditions. These limited editions are printed on acid free, ultra-heavyweight 140 lb. cold pressed Arches Watercolor paper with deckled edges and watermarks. Fine.
Rick Black [Turtle Light Press], 2005. Number 6 of 10 copies. Artist Rick Black works in the traditional Japanese format of only using black ink on various types of Japanese paper. He uses a specially hand-carved seal called a chop to sign and stamp his name in red. Only two of his paintings have been made into limited editions: bird on bamboo and bird on split bamboo. All of the prints are made on an Epson Stylus Photo R2400 Gicleé printer using the finest archival, fade-resistant pigment inks and acid free papers that have been tested to last for at least 100 years, depending upon framing and exhibition conditions. These limited editions are printed on acid free, ultra-heavyweight 140 lb. cold pressed Arches Watercolor paper with deckled edges and watermarks. Fine.
1818. Indenture. Lincoln County – Reign of George III. This is a hand written English indenture on vellum dated the 4th day of November 1818 between George and Ann Allen and Richard Cuthbert of the same place for an annual lease of land in Lincoln. Legibly penned with fancy printed vignette stamp with insert, and original red wax seals of Ann and George Allen. Tax stamp and summary on verso. Condition is fine with original folds. Archivally matted. #27236. Fine.
London: n.d. Hearne, Thomas. Print. A beautiful copy of a print titled "To the Right Honourable The Earl of Bute, this View of Rothesay Castle is inscribed by his Lordship's most obedient Servants, Thomas Hearne & William Byrne." Beneath is written "London: Published as the Act directs 15 June 1784 by W. Byrne and T. Hearne." Rothesay Castle in Western Scotland is a magnificent ruin of a castle dating from the beginning of the 13th century. It was in the keepership of the Earls and Marquesses of Bute until the 20th century when it was turned over to the state. The beautifully executed color engraving may have appeared in Antiquities of Great Britain, published in 1786. It depicts the castle surrounded by trees with a lake in the foreground. It is nicely double matted and in a gilt wood frame. The print is 16 x 18 inches in a 22 x 26 inch frame. In near fine condition. ORIGART/051613. Near Fine.
London: Illustrated London News, 1863. Print. A nicely framed page from the Illustrated London News with two views. The first is titled "Family Worship in a Plantation in South Carolina." It depicts a black minister giving a sermon to both the white owners and black slaves of the plantation. The second is "The War in America: The Federals Shelling the City of Charleston- Shell Bursting in the Streets." It shows residents running away as the shell explodes behind them. Both of the wood engravings are lightly hand-colored. The print is double matted and in a 2.5 inch handsome dark wood frame.The frame has some nicks but is overall very good. The print is in fine condition. Print is 11.5 x 16 inches in a 20 x 25 inch frame. ART/051613. Very Good+.
n.p. n.p., n.d. An attractively framed silk screen print of a famous photograph of young Ho Chi Minh taken during his years in France. It was in France that Ho Chi Minh became drawn to Communism years before he became the revolutionary leader of North Vietnam. In the photo portrait he is wearing a bowler hat and looking into the camera. The print is in shades of dark red and taupe, with French words making a design in the background ("a la societe des nations," "Colonisation France" etc.) The frame is dark brown, and the double matte is in the same red and taupe as the print. Print is 9 x 13 inches. Framed picture is 16 x 19 inches. In very good condition save for a few very small nicks to frame. ART/022513. Very Good.
1840. This fine leaf is from an excellently preserved, circa 1840 Koran, scribed in Kashmir about the time of Queen Victoria coming to the throne of England. Eleven lines of naskh script in a strong hand and on highly burnished paper, measuring 185 x 125 mm. The layout incorporates the typical marginal devices to which the Kashmir scribes are devoted. Neat gold floral devices embellish the corners of each page. The attractive Chapter Headings are in blue and gold. Framed. #4105. Fine.
India: 1425. Framed rare leaf from the remains of a Koran, on paper, India, Sultanate, originating in the state of Bihar, circa AD 1425 (330 x 250 mm). Text is from the end of juz 15 and juz 16 – 30. There are eleven lines of large bihari script in black ink; the word Allah picked out in red or gold throughout, first ‘ayah’ of each juz selected in gold, single verse divisions marked with illuminated gold florets, sura headings written in white on illuminated panels with palmetts extending into the margins, inner and outer margins ruled in red and blue, large finely illuminated marginal devices marking sajda instructions, juz, quarter and half and three-quarter juz, text words in black. The condition is in unusually good condition. Damp staining confined largely to one corner, hardly affecting the text. #17886. Good.
1751. This is a leaf from a fine quality Koran, scripted in India dated 1751/1752. There are thirteen lines of black naskh script with Sura headings in white ink on a ground of gold. Good quality polychrome and gold medallions ornament the leaf marking division and text. Some climatic damp staining not affecting text. Framed. #17516. Near Fine.
circa 1825. This brilliantly illustrated leaf is from one of the highest quality medium sized Indian Koran manuscripts, on paper, measuring 192 x 133 mm., circa 1825. This page consists of twelve lines with a floral margin, which is reserved for only the finest manuscripts produced for important personages. The script is naskh, with thuluth in the headings, and is of a fine elegant hand. A Persian interlinear translation in red has been added. All lines are in gold, as too is the floral borer and the Chapter Heading cartouches that are further embellished with blue floral end pieces and white titles. There are slight signs of devotional wear. Framed. #4324. Near Fine.
Persia. Framed handwritten manuscript leaf from a Koran, Persia, middle of the 16th century, on paper (325 x 220 mm). This leaf comes from a large-sized Koran of fourteen lines of black Nasta’liq script. It has elegant marginal devices recto and verso. Verso: fourteen lines of black Nasta’liq script. #18003. Fine.
1809. A leaf from a large Koran on polish ivory paper measuring 310 x 190 mm. or approximately 12 1/4 x 7 1/2 inches, with twelve lines of black naskh script between gold rules, gold roundels between verses, sura headings in red on gold panels with polychrome floral spandrels. Red Persian interlinear translation, extensive marginal commentary within gold clouds, elsewhere in the form of Cypress trees and finial shapes. Framed. #6373. Fine.
1846. A leaf from large Koran, Iran, 1846-47, on fine paper. There are fifteen lines of black naskh script, gold rosettes between verses, sura heading in red on illuminated panels, large polychrome medallions in borders, borders ruled in gold, red Persian interlinear translation, colophon signed by the scribe Muhammad'Ali ibn Muhammad Baqir. Framed, measures 345 x 200 mm. #39684. Very Good.
Spain: 1537. Five lines of music and verse in Latin on extremely heavy vellum. The text is written in a Spanish rounded gothic hand (Rotunda). A beautiful large initial "A" is in yellow with a tile border in black, red, and liquid gold. Verso: Five lines of music and verse with large undecorated initial. This leaf is in a large gilded wooden frame with plexiglass on both sides so that the verso is visible. The leaf measures approximately 25.25 x 17.25 inches. #103. Fine.
A leaf from an illuminated poetry manuscript, Moulana Nurruddin Abdorrahman Jami, North India, middle of the 18th century, on gold sprinkled paper. There are twelve lines to the page written in two columns of elegant nasta'liq script in black ink, inter columnar rules decorated with floral motifs, corner pieces and outer margins decorated with floral sprays and motifs in colors and gold throughout, inner margins ruled in colors and gold. Leaf measures 210 x 140 mm. Framed. #32889. Very Good.
This brilliantly rare illuminated manuscript leaf is from a remainder volume of the Al-Kamilat Al-Sajjadiyah, Prayers, composed by Zayn Al-Abidin'Ali ibn al Husayn, only some 70 years after the death of the holy Prophet Mohammed. It was written during the period of Shiite Muslim consolidation in Persia under the reign of Abdalmalik who first enforced the use of Arabic as the official language of Persia. There are eight lines of script in elegant Arabic Naskhi, with Persian interlinear translation. The manuscript was dated "AD Huharran 1101/AD1689" Safavid Persia. Pure gold paint is used in the beautiful, meandering, floral pattern, which frames the words and also the many pious comments in the margins. Framed. #33590. Fine.
India: 1878. This is a leaf from a remaindered (Dala'il al-Khayrat) prayer book, scripted in India, in 1878, thirteen lines scribed in a strong Naskhi script on a fine lines paper, measuring 204 x 130 mm. It was written in Arabic with Persian translation in red ink between the lines. The holy name of Allah is in red ink. The headings are in gold as well as the borders. Gold rosettes end the verses. The original text was composed by Muhammed ibn Sulayman al-Jazuli. This is one of the most popular devotional prayer books of Islam. Framed. #17661. Fine.