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AERONAUTICS -- [POCOCK, George]. The Aeropleustic Art or Navigation in the Air by the Use of Kites or Buoyant Sails. [London: W. Wilson ?for the author, 1827]. 4° (315 x 245mm). Engraved title by A. Adlard with hand-coloured aquatint vignette by P. Roberts, 3 hand-coloured aquatint plates, 2 signed by Roberts, one after T. Butterworth, the other after S. Colman. (Two plates detached, text leaves loose, spotted and occasionally dust-soiled, tear to margin of F2.) Original paper-backed boards with printed cover label (spine worn). Provenance: J. Whittuck 1828 (inscription on label). FIRST EDITION. The eccentric Bristol schoolmaster, George Pocock, dedicated this work to his ex-kite-flying pupils. Recognising the force of wind power, it provides a history of the kite as a scientific invention, and examines its potential adaptations as a kind of ascending parachute for mariners before describing the famous Charvolant, a kite-powered carriage capable of speeds of twenty miles per hour. The vignette shows a rescue at sea by means of a kite, while the three plates illustrate a kite-powered 'Boat Race', the 'Patent Kite and Charvolant' and 'Charvolants travelling in various directions in the same wind'. The work drew serious attention as well as satire, and a second edition appeared in 1851. See front cover illustration. View on Christie's.com
BROWN, Richard (fl. 1804-1845). The Rudiments of Drawing Cabinet and Upholstery Furniture. London: printed for, and sold by, the author, 1820. 4°-in-2s (282 x 215mm). 25 engraved plates, 17 with hand-colouring. (Occasional light spotting and offsetting.) Contemporary half calf (extremities lightly rubbed, spine slightly faded). EXTREMELY RARE FIRST EDITION. Richard Brown, an architect, designer and drawing-master, became increasingly interested in furniture design, and the present work demonstrates his belief that designers in this field needed to master the art of perspective. The work consists of 25 plates, each accompanied by commentary, and includes 3 plates (2 plain and one fully coloured) developing a design for a library. The designs throughout are in the Classical style and acknowledge the work of Thomas Hope, George Smith and Charles Percier (p.viii), as well as John Soane (p.38, pl. XVIII). ONLY THE NATIONAL LIBRARY OF SCOTLAND COPY CAN BE TRACED IN INSTITUTIONS. RIBA suggests there is another copy in Grand Rapids Public Library, MI, but this is not found via their online catalogue or through Worldcat. A new edition with 32 plates was published in 1822, and a third edition in 1835. RIBA 438 (3rd edition). View on Christie's.com
MACHIAVELLI, Niccolò (1469-1527). The Works, translated by Henry Neville. London: for J. S., to be sold by Robert Boulter, 1675. 2° (321 x 198mm). (Lightly spotted and soiled, stain on 3Y3 and 3Y4, light marginal worming at end.) Contemporary calf (worn). FIRST EDITION IN ENGLISH, including The History of Florence, The Prince, The Discourses and The Art of War, each with sectional title. Wing M-128. View on Christie's.com
PERSIA -- POPE, Arthur Upham & Phyllis ACKERMAN. A Survey of Persian Art from Prehistoric Times to the Present. London: Oxford University Press, 1938-39. 6 volumes, 2° (375 x 288mm). Titles printed in blue and black, 1,482 half-tone plates, illustrations. (Upper margin of half-titles lightly browned). Original blue buckram gilt (without dust-jackets, spines lightly bumped and sunfaded). (6) View on Christie's.com
PROUT, Samuel (1783-1852). Facsimiles of Sketches made in Flanders and Germany. [London: by the artist, 1833?]. 2° (555 x 362mm). Lithographic title, dedication and 50 tinted lithographic plates. Bifolium of subscribers loosely inserted. (Light spotting throughout, subscribers' list frayed and dust-soiled.) Contemporary straight-grained blue half morocco (worn, backstrip missing). 'Samuel Prout was one of the most prolific and accomplished early exponents of the art of lithography. THE PRESENT WORK IS AMONG HIS BEST IN THIS MEDIUM' (RIBA). Lowndes III, 1983; RIBA 2635. View on Christie's.com
BARRETT, Francis (fl.1780-1814). The Magus, or Celestial Intelligencer; being A Complete System of Occult Philosophy, a manuscript copy of the first edition (published by Lackington, Allen and Co, London, 1801), including 14 drawings (10 coloured) of heads of demons etc, and a number of other figures, concluding with a related text, 'Illustrations of the Black Art', 413 pages, 4to (f.1 reattached), roan-backed boards (worn). 'Composed in the Christian tradition, The Magus was a farrago of Renaissance alchemy and natural and talismatic magic that fitted contemporary Gothic taste ... The book's most startling feature was a set of gargoyle-like portraits of demons conjured up in ritual magic ceremonies' (ODNB). The present copy apparently dates from the mid-century, no doubt before the second edition of 1870. View on Christie's.com
MALEVICH, Kazimir, and EL LISSITZKY. O novykh sistemakh v iskusstve: Statika i skorost. [On New Systems in Art: Statics and Speed.] Vitebsk: Art Labour Cooperative, 1919. 4° (232 x 190mm). 3 lithographs after Malevich, lithographed text throughout. (Plates bound-in at rear, faint browning, light wear to edges.) Original stapled printed wrappers (repaired loss to rear wrapper affecting part of the imprint, some spotting and soiling). FIRST EDITION OF THIS LANDMARK OF BOOK DESIGN. Produced under El Lissitzky's supervision, who designed the covers, these 'perhaps the most remarkable use of Malevich's ideas' (Compton, p.114). Karshan 27-35; MoMA, The Russian Avant-Garde Book, p.147. View on Christie's.com
TIMM, Vasilii Feodorovich (1820-1895). Russkii khudozhestvennyilistok. [The Russian Art Periodical.] St. Petersburg: 1856. Oblong 2° (350 x 530mm). 36 tinted lithographs by A. Miunster after Timm, Briullov, Gross, Koradina, Grimm, Filippov, and others. (Bound without title, occasional light soiling and a few short tears in the margins, some of these repaired, the portrait of Alexander II trimmed in the margins and repaired along the edges, dampstain touching the image in a very few plates.) Contemporary half roan, red label lettered in gilt on upper cover (spine chipped, extremities worn). Provenance: 19th-century owner (signature on front endpaper). This issue of Timm's famous annual, published between 1851 and 1862, includes primarily scenes relating to the Crimean War and the coronation of Alexander II. View on Christie's.com
TOLSTOI, Aleksei Nikolaevich, Count (1883-1945). Autograph letter signed ('Aleksei N. Tolstoi') to Anna Alekseevna Gorodetskaia ('Darling Anna Alekseevna'), no place, no date, 1 page, 4to (two short marginal tears). Count Tolstoi to Anna Alekseevna Gorodestakaia, wife of the poet Sergei Mitrofanovich and a great beauty; an excellent double portrait by Il'ia Repin hangs in Kiev's National Museum of Russian Art. View on Christie's.com
17 Corgi Aviation Archive including Vulcan B2, Tornado GR1, RAF Aerobatics Team EE Lightning, 1962 USN Sea King, RAF Black Arrows Hunter Mk 6, Nose Art USAF P-38 Lightning. Smaller examples (100 Years of Flight, Fighting Machines, BoB Memorial) include Spitfire/Hurricane set, Douglas C47, Mosquito, Harrier, B-52. All boxed, VGC to as new.
A South American “Gaucho” knife, fullered SE blade 12” by H Boker & Co Solingen, etched with panels of trophies and foliage and “Dr Petersen” in gothic script, the tapered GS hilt embossed with Art Nouveau panels and with flat recurved crosspiece, in its leather sheath with Art Nouveau embossed GS mounts, the hilt and mounts all stamped “Coco”. GC (belt stud AF, blade not fully seated) Plate 3
20th century 1 1/2`` gilt hollow with lambs tongue front edge 18 1/2 x 25``, 19th century gilt swept watercolour frame with gilt slip 13 x 20``, 20th century coverground 19 1/2 x 23 1/2, late 19th century straight sided hollow with corners 22 1/2 x 16 1/2``, 20th century Dutch reverse, unfinished 20 x 24``, 20th century Italian reverse pine, unfinished 18 x 15``, 20th century Art Noveau, metal leg finish 17 x 22`` (7)
A fine quality Art Deco rectangular brooch, the centre with carved coloured gem and hardstones in the form of flowers and leaves, each flower tipped with a single round diamond, the geometric border set with triangular and round cut diamonds, the brooch measuring 47mm x 30mm, indistinct mark to pin, assessed as 18ct white gold (minor repairs).
* A pair of Victorian electro-plate and glass vases, 1860s, with part frosted and cut trumpet vases, on shaped triform bases supported by three swans in relief and foliage, on shell feet, 39.5cm (15.5in) high. Typical of the French inspired silverwork of the 1860s owing much in design to the swan service shown by James Dixon & Sons at the 1862 exhibition, as illustrated in the Art Journal catalogue, which meant the design was available to manufacturers interested in keeping pace with current taste

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640875 item(s)/page