gothic revival (10 Ergebnisse)

Couverture souple. Zustand: Très bon état. In-8 24 x 17 cm. Broché, couverture noire, premier plat illustré en couleurs, 225 pp., 8 planches en couleurs hors-texte, Nombreuses illustrations en noir & blanc, notes, bibliographie, catalogue. Exemplaire en très bon état. Texte en anglais.

12mo bifolium: 2 pp. Text clear and complete. On aged, spotted and lightly-creased paper. Relates to the Lancaster landmark the Storey Institute, designed by Paley and his partner Hubert James Austin (1841-1915) for Sir Thomas Storey, built on the site of the old Mechanics' Institute, and opened in 1891. It now houses the Storey Art Gallery. Paley states that his firm 'will put the work in hand for the completion of niche of the Storey Institute & when this is finished in, say, a month we shall be glad to have the marble group down'. The sculpture 'will have to be taken through the corridor floor (leading to the large room) & this floor, being constructed of iron & concrete, we shall be anxious to get on with but cannot do it until the marble group has been got into its place'. If the recipient is 'coming Northwards it will be well to see the building & consider how the group may be best got to its resting place in the Niche'.

1p, 12mo. Bifolium, addressed on reverse of second leaf, with small seal in black wax, to 'J Scoles Esqr | Argyll Place'. In fair condition, lightly aged and worn, with damage to second leaf from breaking of seal. Folded twice. Written in a tight, florid hand. Reads: 'Dear Sir | I hear there will be no admission into Your Church tomorrow without tickets. If you should have any of said Tickets to spare, please to favour with one two or three according to circumstances Yours Very Faithfully | J Landseer'. Joseph John Scoles was the first in a succession of four architects who lived at 11 Argyll Place between 1832 and 1903. The letter would appear to refer to one of the many Roman Catholic churches he designed.

See his entry in the Oxford DNB: 'In 1848 he was articled to the staunchly Quaker P. B. Alley, then in partnership with Richard Lane, the leading neo-classical architect of Manchester. In 1853 his education was completed with a ten-month tour of France, Italy, and Germany, after which he set up in practice as an architect in Manchester.' (Waterhouse's first success would come with his winning design for the Manchester assize courts in 1859.) 1p, 12mo. On the first leaf of a grey-paper bifolium. In good condition. Folded for postage. Addressed to 'Thomas Haigh Esq:' and signed 'A Waterhouse'. Begins: 'Dear Sir, / The enclosed came this morning in an envelope addressed to me, but has been evidently misdirected.' He is sending off three drawings, 'completing the set of general drawings for house at Keston'. He gives details of a date when he proposes to visit the site. 'Are you likely to be over there soon, may I ask?'.

See his entry, and that of his fellow Academician Horsley, in the Oxford DNB. 1p, 12mo. On the first leaf of a bifolium. In good condition, lightly aged. Folded twice for postage. Signed 'A Waterhouse'. Reads: 'Dear Horsley. / You are quite right. No "mystery" between us if you please. / I say "yes" to your query to the extent of 2 guineas. / I hope you will soon gain the sum you desire without any great trouble to yourself'.

See his entry in the Oxford DNB. See his entry in the Oxford DNB. Sneyd-Kinnersley is the headmaster who is alleged to have subjected a naked seven-year-old Winston Churchill to repeated beatings. 3pp, 12mo. With mourning border. Letterhead (no doubt designed by Waterhouse himself) in characteristic style. On grey paper. In good condition, lightly aged. Folded once for postage. Good expansive signature 'A Waterhouse', and the letter written in a stylish hand. Addressed to 'The Rev: H. W Sneyd Kinnersley'. He begins by stating that he 'called at Aldin House this afternoon in the hope of seeing you'. Had he done so, he would have 'troubled you with a question about my little boy's work. / I fancy that having risen in his place in the School he has missed somehow some of the Steps which he might have taken on his way to his present position.' He asks SK to 'point out to me in what you Consider him most deficient', so that he can 'get him to do a little work during the holidays to make him acquainted with what he has missed.'.

The Pippets of Solihull were a Roman Catholic family that worked closely on ecclesiastical designs with the Gothic Revival firm Hardman & Co (whose archives are held by the Birmingham Museum and Art Gallery). Wilfrid also collaborated with J. B. Trinick on the striking illustrations to A. E. Waite's rosicrucian 'Album of the Great Symbols of the Paths' (1917-21; copy in the British Museum Department of Prints and Drawings). Eleven attractive illustrations in black ink (over pencil draft). Each on a piece of board ('Faced with Whatman Hand-made Paper'), and ranging in size from 16 x 19.5 cm to 15.5 x 13.5 cm. All in good condition, lightly aged and worn. Each is annotated in pencil, several with the line of poetry being illustrated, and some with instructions for transferring the illustration to a block. Several of the illustrations are to the ballad 'The Three Men of Yardley Chase', with one showing the three men (George, Ben and Hob) standing in front of a tree used on the front cover when the ballad was issued as a separate fascicule ('Part I', with 'Leather and Thread and Tears', 3rd ed, 1925). This illustration, and two others, are signed 'Wilfrid Pippet', while the other eight are signed 'W. P.' The most striking illustration (featuring on p.13 of the printed volume) is of the ghosts of the three men dancing over their graves around a tree with an owl in it. Two illustrations depict the doorway of the 'WHITE HART HOTEL | HELEN SMITH', one with three figures in Georgian dress in the foreground. Another shows the three men with 'Hedge-hog meat', and another (depicting a beggar with a raven on his shoulder is captioned with a line from the poem 'Base people bred to mar their peace'. There are also: a drinking scene (including mother with baby), a dandy admiring himself in the mirror with a woman in a bonnet behind him, a man and woman in Tudor costume, three men (with a badger) listening to a beggar with a crow on his shoulder, and two lovers, in seventeenth-century garb, in front of two trees with owl, pixie and white rabbit. See Image.

Printed in black on one side of 13.5 x 18.5 cm card. Plate dimensions 11.5 x 16 cm. Aged and spotted. An attractive and elegant production with both illustration and text engraved. The illustration, with engraved signature of 'E Marolda' shows six putti playing with a string of foliage, with one in the bottom left-hand corner swathed in ribbon and standing beside an architectural feature. The text reads: 'Les Muses réunies prient ['Mr. George Bodleys' inserted in mansucript] de vouloir bien honorer de ['sa' inserted] presence le nouvel atelier de Sigr. Emilio Marolda le Jeude [sic] 1er Juillet de 4 a 7 heures p.m | 74A. Margaret Street Cavendish Square | Fête d Ouverture'. Names commencing with Sraah Bernhardt are written at top of card for no apparent reason. In a bankruptcy announcement, London Gazettte, 27 September 1881, Marolda is stated as being at this address, and described as 'Artist and Decorator and Dealer in Works of Art'. In previous proceedings (LG, 4 April 1876), his address had been given as 23 Berners Street, and his occupation as 'Artist and Decorator'. He was responsible for the ceiling at Toole's Theatre (1876) and the Turkish baths at the Prince's Club (1889).

See both men's entries in the Oxford DNB. 4pp, 12mo. Bifolium. In good condition, lightly aged, with slight spot from previous mount at one corner. Folded twice. Signed 'H. H. Armstead'. In reply to a letter of Dafforne, he reports that 'the Statues I have made for the "Colonial Office" Niches are not yet in situ - but are now being raised to the niches, and they will be in their places within the next few days.' He gives the names and positions of the statues, adding: 'The eight men are there as Secretaries of State for the Colonies'. He also indicates the work he has done for 'the central group representing the Queen &c &c': 'the two outside figures only they represent "Navigation" and "legislation", as well as 'the four flattish Reliefs under the central group [.] they are the Virtues "Truth," "Fortitude," "Temperance," and "Obedience." He continues: 'You are, of course, aware that the alto Relievos of the 5 divisions of the World & "Government" and "Education" are by me'. He concludes, with a hint of bitterness: 'I am glad you like the memorial work, it appears to give general pleasure - some satisfaction to the poor artists who were nearly made bankrupt by it.'.

Pen and ink and sepia wash on thick paper, 260 x 350 mm. a little surface soiling. An anonymous, though competent architectural drawing of a typical gothic revival villa.