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Click here to subscribeKovsh en vermeil et émail cloisonné dans le goût art nouveau, poinçon du 11ème artel, Moscou, début XXe s., au décor de fleurs avec feuillage en volute dans des cannelures à fond amati, les bords avec frises de spirales, de volutes et de baies, kokoshnik 84, 1908-1917, poinçon d'importation français long. 18,5 cm 348g
Rolex, Daytona Paul Newman , réf. 6262/6239, rare montre-bracelet chronographe en acier, circa 1971Mouvement: cal. 727, mécanique, 17 rubisBoîtier: n°2476772, diam. 36 mmComplication: chronographe à 2 compteurs avec secondes, graduation pour le tachymètre, compteur subsidiaire pour les secondesBracelet Rolex: n°270/7835/17, derniers maillons n°271Signature: cadran, mouvement, boîtier, braceletAccessoires: écrin de service, facture Rolex d'un service complet datée du 27/10/2023, livret de l'atelier de restauration RolexRolex, Daytona «Paul Newman»La mythique collection Cosmograph débute avec la référence 6239 en 1963. Ce n'est qu'à partir de 1964 que le modèle se voit adjoindre le nom Daytona, marquant l'attachement de Rolex pour les sports automobiles et célébrant ainsi le sponsoring de la marque qui débuta 2 ans plus tôt au profit du circuit du même nom.La référence 6262/6239 est considérée comme un modèle de transition entre les références 6239 et 6263 et fut produit exclusivement entre 1970 et 1971. Ce chronographe est alors doté du rare cadran « exotique » ou « Paul Newman », reconnaissable à la forme si distinctive de ses index carrés. Il se démarque aussi par la cohabitation de 3 couleurs sur son cadran : le rouge noir et blanc. Il doit son attrait esthétique à cette association de couleurs et forme combinée à une police de style Art Déco ainsi qu'à une conception tridimensionnelle avec des sous-cadrans creux. Proposée à l'époque aux clients comme une alternative au style plus classique de la marque, les modèles Paul Newman, paradoxalement, ne rencontrent que peu d'intérêt. C'est ainsi que ce désintérêt provoqua la rareté de ces pièces. Associée au célèbre acteur et pilote de course automobile Paul Newman - qui portait ce modèle et donna ainsi le surnom à ce cadran - cette montre fut redécouverte plusieurs décennies plus tard par les collectionneurs. La pièce présentée ici est en très bon état et sort des ateliers de restauration Rolex ou elle a été soigneusement restaurée tout en conservant son cadran d'origine. Il est ainsi accompagné de son livret de restauration répertoriant la montre et son mouvement de manière individuelle.
Annibale Carracci - Arti di Bologna: Seller of Spectacles, and A Messenger - 1646 / Description: Diverse figure al numero di ottanta, disegnate di penna nell'hore di recreatione da Annibale Carracci intagliate in rame, e cavate dagli originali da Simone Guilino', more commonly called by the titles in the later reprints, 'Le Arti di Bologna': The occupations of the Bolognese). Here excellent early impressions, with the little scratsches in the plates stil visible, from the first edition of 1646 with traces of an earlier number erased in the bottom left corner also noticable on the first editions in Paris and Washington, but before the captions with the identification of the showed occupations in later states. It is assumed that Annibale Carracci would have drawn the figures of the Trades of his city, almost for fun, during the breaks in the work for the Farnese Gallery. The painter would have decided to collect these drawings in an album. Knowledge of this work by Annibale Carracci is due to the prelate Giovanni Antonio Massani, a relative of Pope Urban VIII and previously secretary of Giovanni Battista Agucchi. Massani, having found himself in possession of Annibale's drawings, as he himself narrates, had them engraved by the Frenchman Simon Guillain (1618-1658) and printed them in a volume entitled Diverse Figures al numero di ottanta, Disegnate di penna Nell'ore di raccolta da Annibale Carracci intagliate in copper, e scavate dagli Originali da Simone Guilino Parigino, dedicato a tutti i Virtuosi et Intendenti della Professione della Pittura, e del Disegno, printed in Rome in 1646. Here a pair of etchings from this famous work, mainly known by the later editions with title of the subject (here before...). The subjects here in this lot have later bein identified as: 'Acoramaglietti' A trinket seller, standing in the centre with his head turned to the left, holds up a decorative box full of his wares.) and 'Porta Citationi' (A man delivering notices (citations); seen in profile, he stands with his foot on a doorstep, thumbing through a bundle of papers.) Special for these etchings is that they have the title written in sepia ink beneath the print, only in later editions they were added to the copperplate etching itself. Also noticable is these plates are signed respectively ' A C I --- S. g S' and 'An. Ca Inv. --- S.G. Sc'' The number is also etched bottom middle, in later reworked editions it was set at the left or right corner to make space for the etched title. Our example is 100% identical as the first edition kept in the Library of Congres (In Roma : Nella Stamperia di Lodovico Grigniani, 1646). The British Museum holds only an etdition from 1740 with name of the profession etched in the image and other differences as described for later states. A pair of rare and original impressions from the first edition from 1646. / Dimensions: 27,30 x 16,70 cm / Condition: Outstanding early impressions with nice plate tone on crown watermarked laid paper with good margins. Subject titled in brown ink in lower margin. Excellent untouched condition. / Literature: IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (3) ----- Perfect Deformity, Ideal Beauty, and the "Imaginaire" of Work: The Reception of Annibale Carracci's "Arti di Bologna" in 1646 Author by Sheila McTighe in Oxford Art Journal , 1993, Vol. 16, No. 1 (1993), pp. 75-91). / Medium: Pair of Etchings /Circa: 1646
Albrecht Dürer, Hans Springinklee. The second Flemish uprising against Maximilian I. / Description: The second Flemish uprising against Maximilian I (1459 – 1519), the Holy Roman Emperor. Woodcut made by Albrecht Dürer (1471-1528)or in his atelier, or by Hans Springinklee (1495-1540) ca 1515. At the end of 1487, another Flemish uprising broke out in Ghent. The inhabitants of Gent where furious because of the higher taxes they had to pay. In 1488 Maximilian came to the Flanders to suppress the uprising, but he was captured. Maximilian was kept free after he had made several promises. Instead of keeping his promises he attacked the region for a second time. Woodcut from the Triumphal Arch of Emperor Maximilian I (a very large piece of art, 2,95 meter × 3,57 meter). One of the 195 woodcuts used for the Triumphal Arch of Emperor Maximilian I, one of the largest prints ever made. References: Meder 251 K from K. , Bartsch 138 Dürer. A good impression, in excellent good condition, printed on thin laid paper with narrow margins. / Dimensions: 17,6 cm x 15,3 cm / Condition: A good impression in excellent condition, printed on thin laid paper with narrow margins. / Literature: Meder 231 K from K. , Bartsch 125 Durer / Medium: woodcut /Circa: 1510
Hendrick Goltzius - Labor and Diligence - 1582 / Description: Labour and Industry; a naked male and female embrace and kiss; she holds a whip and a spur while he holds a flail; a spade, anvil and hammer lie on the ground. Engraving made and published by Hendrick Goltzius (1558-1617) after his own design in Haarlem ca 1582. The first engraving from the rare series: "The Ways of Fortune, Reward of Labour, Diligence, Practice and Art." / Dimensions: 20,50 x 14,20 cm / Condition: In excellent condition, good impression with nice plate tone on a full sheet of watermarked laid paper with good margins. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (199) ---Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (122) ---Hirschmann 1921 / Hendrik Goltzius, Verzeichnis des graphischen Werkes (122) ---Strauss 1977 / Hendrik Goltzius: the complete engravings and woodcuts (150) ---Bartsch / Le Peintre graveur (III.37.110) ----- See H. Leeflang and G.Luijten, 'Hendrick Goltzius (1558-1617): Drawings, prints and paintings', Rijksmuseum, Amsterdam, Metropolitan Museum of Art, New York and Toledo Museum of Art, Ohio, ex. cat. 2003, no. 10. Here the series is called The Rewards of Labour, Industry, Practice and Art. / Medium: Engraving /Circa: 1582
Dutch Incunabula - Werner Rolevinck - Utrecht 1480 / Description: Incunabula sheet with handpainted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubht from this edition as no other Duthc reprints are known.The First edition in Latin printed by Arnold Therhoernen (1474) / Dimensions: 28,00 x 20,00 cm sheet / Condition: Overall in excelent condition / Literature: As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: incunabula printed page /Circa: 1480
Hendrick Goltzius - Honour and Wealth - 1582 / Description: Opulenta and Honor" Honour and Wealth; a naked male and female embrace and kiss; Honour rests his hand on a laurel, crown and sceptre as she holds up a vessel containing coins and has an elaborate bracelet / collar around her wrist. in lower right corner "HGoltzius fecit". In the margin two columns of text in Latin and Dutch, each two lines "Mutua Divitiæ ... van besware". Engraving made and published by Hendrick Goltzius (1558-1617) after his own design in Haarlem ca 1582. The third" engraving from the rare series: "The Ways of Fortune". From the collection of E.Fabricius (Lugt.847a) and Königliche Kunstakademie Königsberg (Lugt.682. / Dimensions: 20,50 x 14,20 cm / Condition: In very good condition, good impression with plate tone on a full sheet of watermarked laid paper with good margins. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (201) ---Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (124) ---Hirschmann 1921 / Hendrik Goltzius, Verzeichnis des graphischen Werkes (124) ---Strauss 1977 / Hendrik Goltzius: the complete engravings and woodcuts (152) ---Bartsch / Le Peintre graveur (III.37.112) ----- See H. Leeflang and G.Luijten, 'Hendrick Goltzius (1558-1617): Drawings, prints and paintings', Rijksmuseum, Amsterdam, Metropolitan Museum of Art, New York and Toledo Museum of Art, Ohio, ex. cat. 2003, no. 10. Here the series is called The Rewards of Labour, Industry, Practice and Art. / Medium: Engraving /Circa: 1582
Claes De Grave - David playing the Harp - Antwerp, 1516 / Description: Post Incunabula sheet. Woodcut showing David bringing the Ark into Zion; a procession lead by King David playing the harp; in foreground two horses drawing a cart with the Ark. This Woodcut published in Antwerp bij Claes De Grave in 1516 is directly based on the woodcut sequence used in the first bible in Low German (Niederdeutsch), the Bible of Cologne: [Heinrich Quentell, c. 1478]. Most of the woodcut compositions of Quentell's Bible correspond in their turn closely to a manuscript bible produced in Cologne circa 1460, which may in turn reflect a common source (Info from: Bridwell Library Special Collections, Dallas).---------- The Bibel int Corte (Thez Bible in Short) is known as one of the earliest Dutch-language bible editions. It was contestated for it's fantasy of content. In 1518 The Franciscan Jan Elen wrote: Laet achter duytsche bibelen die onvolcomelic ende ooc valschelic sijn overgheset uten latine, ende historien ende legenden die dicwils niet waer en sijn, ende ander materien die u niet noot en sijn te weten, mer dicwils scadelic sijn. ---------- Early and important woodcut in line of history of woodcut art. Woodcut made before 1513 (first edition). 100% match with the 1516 edition (See Library of Congess example) / Dimensions: 9,50 x 13,00 cm / Condition: Condition is good with added margin at right. Size of the sheet 22,30 x 16,40 cm / Literature: De Bibel int corte ghetranslateert. Wten laine ende walsche metten figueren.[Antwerpen, Gheprent bi Claes de Graue, 1516] Rosenwald Collection (Library of Congress) Grave, Claes De, Date: 1516 (Image of page 194) / Medium: Woodcut /Circa: 1510-1516
Samuel Bottschild - The Times of the Day - Complete series - 1693 / Description: Complete series of four etchings + Dedication page. Aurora, Meriddes, Vesper, Nox, Mercurius holding a paper scroll. Five etchings from the series 'Opera Varia Historica Poetica & Iconologica' published in 1693. The opera contains almost the entire oeuvre of the artist and consists of 48 etchings, mostly designs for ceiling pieces. / Dimensions: 18,50 x 20,40 cm / Condition: Very good early impressions in full sheets (36 x 30 cm) of watermarked laid paper. Overall in very good condition with some moderate soiling mainly in the wide margins. A nice complete set. / Literature: Hollstein / German engravings, etchings and woodcuts c.1400-1700 (1-48) ---- Samuel Bottschild ( 1640-1707): German painter, draughtsman, graphic artist and writer on art. born in Sangerhausen in Thuringen and from an important artists family from the 16th and 17th century. He was a son and pupil of Andreas Bottschild II (c. 1590-1657), a painter and engraver, who decorated churches in Sangerhausen. Samuel had further training with his brother Johann Andreas Bottschild (b 1630; d after 1670), with whom he went to Saxony. In 1658-61 they worked jointly on gallery paintings of 19 scenes from the Passion in the Dorfkirche at Hohnstädt, near Leipzig. The decorations for the banqueting hall of Schloss Rötha, near Leipzig (c. 1668-70) were Bottschild's first complete programme of mythological themes. At Rötha he also completed two group portraits of the female and male lines of the Friesen family.Noted is a group of engravings showing his works from 1693 / Medium: Etching /Circa: 1693
Dutch Incunabula - Werner Rolevinck, The Ark of Noah - 1480 / Description: Incunabula sheet with hand painted rubrifications and initials in red. Sheet from the Dutch translation of Werner Rolevinck, "Fasciculus tempororum" , printed in 1480 and published by Johann Veldener in Utrecht. The sheet is with no doubt from this edition as no other Dutch reprints are known. The First edition in Latin printed by Arnold Therhoernen (1474) Larger oldcoloured woodcut of the Ark floating on the water. Indication of the use of the compartments in Dutch: The section for the tamed animals, the section for the birds and humans, the section for the wild animals. / Dimensions: 5,00 x 11,60 cm -- 28,00 x 20,00 cm sheet / Condition: A laid paper sheet in good condition. Moderate thumbing to the left corner. / Literature: Essling 277; Sander 6526; Goff R-261 ----- As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. As a rule, incunables are not known for their exuberant look and content. However, the chronicle Fasciculus temporum is a positive exception to this general rule. It is a masterpiece, both in terms of typography and illustrative art. It goes without saying that religious views and opinions played a major part in Rolevinks’s history of the world and it is therefore not surprising that it starts with God’s creation of the world. The text is illuminated with many beautiful woodcuts. For instance we find illustrations of Noah’s Ark, the city of Nineve, the Ark of the Covenant, the tabernacle and many Biblical genealogies. But also ‘profane’ matters and cities are immortalized such as overviews of the royal families of France and England and cities including Rome, Constantinople, and London.... The incunable is a Dutch translation, printed in 1480 and published by Johann Veldener, publisher in Utrecht. There were no other Dutch reprints which suggests that the work was less popular in the Low Countries. Possibly Veldener was already involved in the first print of 1474, which rolled off the press in Cologne at Arnold Therhoernen. ..... the Fasciculus temporum is a synthesis between the religious and worldly history, a form quite common in the era of Humanism. However, emphasis is on the non-profane history, not surprising considering Rolevinck’s background. As sources for his text he used the Chronicon Pontificum et Imperatorum by Martin von Troppau, the Speculum historiale by Vincent van Beauvais and the anonymous Rudimentum noviciorum. ... (source of the description: Special collections - Utrecht University) / Medium: Woodcut on incunabula printed page /Circa: 1480
Matthäus Merian - View on Paris with the Louvre / Description: This view on Paris as seen by two gentlemen standing on the south terrace of the Notre Dame gives a good view on 'Ile de la cité' The square of the Notre Dame is still filled with a plentitude of houses. V-Central middle we see 'La Sainte Chapelle'. Very interesting print showing the completely changed center of Paris. This is how it looked around 1620. A nice cityscape signed P Aubry Excudit. (Wüttrich: Basler Zeit 1620/1624, Kleinformatige Topographische Ansichten, kleine französische lLandschaftern (415-421). This print is dating from the first half of Merian his career (in his twenties . The publisher was Peter Aubry, who was based in Oppenheim when Merian went on to live there (1617-20) Matthäus Merian I (1593-1650), born in Basel, Switserland moved to Oppenheim in 1617 and when the city of Oppenheim was destroyed in 1620 by fire during the Spanish occupation he moved back to Basel. Merian married the daughter of Theodor de Bry in 1617 and worked for his father-in-law. In his early works, he showed a great talent for free landscape etching after his own designs, close to his contemporains Jan van de Velde and other fine Dutch landscape artist. His landscape art from that period deserves more attention and appreciation as it is far more interesting than his later. / Dimensions: 11,25 x 16,75 cm / Condition: Good impression, on a sheet of laid paper tipped with three corners on a support sheet. Good condition with no folds, tears or stains. / Literature: Wüthrich 1966-1996 (Merian) - 421, only state / Medium: Etching /Circa: Circa 1620-1623
Thielman I Kerver (fl. 1497-1522) - Dance of Death - 1499 / Description: This illumination combines two thems of the office of death, on top we see Job sitting on the dunghill regretting he was ever born and giving associations to the dead being tormented in Purgatory. Job is debating his three friends (and being scolded by his wife. Below Death attacking "every man". It shows a single young man who is being attacked by Death with his dart. This metal cut was already used in Horae intemerate Virginis Marie secundum usum Romanum, 1499. Here with a different border and probably published a bit later by Thielman Kerver between 1500-1520. / Dimensions: 13,70 x 8,90 cm, sheet 16,50 x 10,50 / Condition: Excellent impression on vellum with no wear art all to impression or colouring. Heightened with gold. One small circular worm hole, otherwise in very good condition. / Literature: Thielman I Kerver (fl. 1497-1522). Major printer and seller of religious books, originally from Coblentz but active in Paris 1497-1522. After his death the printing business was taken over by his widow Yolande Bonhomme, then by his son Thielman II Kerver. / Medium: metal cut /Circa: 1499-1520
Francisco de Goya - La Tauromaquia (III/VII) - Dreadful events in the ring in Madrid / Description: Unfortunate Events in the Front Seats of the Ring of Madrid, and the Death of the Mayor of Torrejón. It showsan elevated view over stand at edge of arena, with a bull goring a figure with others either fleeing or injured below. Unfortunate Events... is number 21 in a series of 35 etchings making up his Tauromaquia ("Art of Bullfighting") series, which he produced between 1815 and 1816.[ The plate has been described by Robert Hughes as among the greatest of Goya's graphic output. The etching details an event from 15 June 1801 when a bull broke through barriers at a bullfight in Madrid, killing two people (including the mayor of Torrejón de Ardoz) and injuring a number of other spectators. The lifeless body of the mayor is seen impaled and hanging from the triumphant-looking animal's horns, while the second dead man is shown beneath the barrier in the middle-ground, mourned by a woman in white. This is from an early edition, it is a third edition on seven published by E. Loizelet in 1876, with the paper size( 32,30 x 48,00 cm) and arches watermark as described for that edition. / Dimensions: 24,50 x 35,50 cm / Condition: Excellent impression in the original full sheet of watermarked laid paper with wide margins. Very moderate foxing in the outer side of the wide margins. / Literature: Matilla & Medrano 2001 / El libro de la Tauromaquia. Francisco de Goya. (21) ---- Harris 1964 / Goya: Engravings and Lithographs (224. III, 3/7) ---- Delteil / Le Peintre-Graveur Illustré (XIXe et XXe siècles) (244) / Medium: Etching with aquatint, open-bite and drypoint /Circa: 1811-1816
The Art of Natural History: Animal Illustrators and Their Work. A oversized hardcover book with original box sleeve. A wonderful book about animals depicted throughout history in various mediums and art styles. From the prehistoric cave paintings, to mosaic murals in ancient Greece, to lithographs in the 19th century, and more. Artist: S. Peter DanceIssued: 1978Dimensions: 10"L x 1.5"W x 14"HManufacturer: The Overlook PressCountry of Origin: United StatesCondition: Age related wear.
A collection of 3 books about birds. Titles includes: The Wildfowl Art of David Maass, an artist autographed copy and limited edition (401 of 3500) from the 1990 Gulf Publishing Company; American Wildlife Heritage Volume X by John James Audubon, a 1979 Volair Limited; and Raptors by Scott Weidensaul, a 1996 Lysons & Burford Publishers. The set measurements: 12"L x 4"W x 11.25"H. Issued: Late 20th centuryDimensions: See DescriptionCondition: Age related wear.
PERLEN COLLIER MIT ART DÉCO SCHLIESSE WG 750, Pt. L. 52,5 cm. Ges.-Gew.: ca. 67,8 g. Zweireihiges Collier, D. der Perlen ca. 7,2 mm. Schließe besetzt mit einem Diamanten im Altschliff, ca. 0.58 ct; vier Diamanten im Altschliff, zus. ca. 0.45 ct; sechs Diamanten im 8/8-Schliff, zus. ca. 0.05 ct.
Color offset print on paper. Dimensions: 76 x 66 cm. This color poster was published as part of the catalogue raisonné of Andy Warhol's posters. It was edited by the Pasadena Art Museum for the Andy Warhol exhibition, which took place from May 12 to June 21, 1970. Condition: The poster is in good condition, in keeping with the passage of time.
Patek Philippe. A fine 18K rose gold 'pink on pink' manual wind wristwatchModel: CalatravaReference: 96Date: Sold 6th November 1946Movement: 18-jewel manual wind, adjusted to heat, cold, isochronism & 5 positions, No.929082Dial: Salmon pink, applied faceted rose bullet hour markers, outer minute divisions, rose faceted lance hands, subsidiary seconds at 6Case: Polished round, snap on back, No.300352Strap/Bracelet: Fitted black Patek Philippe alligator leatherBuckle/Clasp: Signed 18K rose gold buckleSize: 27mm Accompaniments: Patek Philippe box, Extract from the ArchivesFootnotes:In 1932, the year the Stern Family became the owners of Patek Philippe, the Ref. 96 was launched. With its timeless proportions that pay homage to the era's Bauhaus, Art Deco, and Modernism styles the watch remains as stylish today as when it was first designed. It is quintessentially 1930s and yet effortlessly contemporary.Patek Philippe produced the reference 96 for four decades from 1932 to 1973. It was not only the first of the well loved Calatrava line of dress watches but was also the first model to be marked by a numbered reference by Patek. The model was later replaced by the reference 3796.The current example is a 'pink on pink' featuring a salmon pink dial and an 18K rose gold case - a highly desirable combination for any collector.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A 1903 silver tea set and a set of six teaspoons. The matching milk jug, sugar bowl and sugar nips with vertical ribbed decoration, hallmarks for Josiah Williams & Co (George Maudsley Jackson & David Landsborough Fullerton), London 1903, together with an Art Nouveau patterned set of six teaspoons, hallmarks for James Dixon & Sons Ltd, Sheffield 1903. Gross weight 258.8g. In a Robert Jones & Sons domed case.
Bob Dylan (b.1941)Manhattan Bridge, Downtown New York, from The Beaten PathGiclée in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, New York, and with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 762 x 1015mm (30 x 40in)
Salvador Dalí (1904-1989)Dan, from The Twelve Tribes of Israel (Field 72-6F; M&L 627a)Etching with pochoir printed in colours, 1972, signed in pencil, numbered from the edition of 195, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 655 x 505mm (25 3/4 x 19 7/8in) With the Dali Trade authentication inscription and signature in pencil verso
Laurence Stephen Lowry (1887-1976)The HarbourLithograph printed in colours, 1972, signed in pencil, numbered with ink stamp from the edition of 850, published by Venture Prints, Bristol, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 545 x 685mm (21 1/2 x 27in)
John Piper (1903-1992)Clytha Castle Triptych (Levinson 319) Screenprint in colours, 1981, signed and inscribed 'A/P' in pencil, an artist's proof aside from the edition of 70, printed by Kelpra Studio, published by Marlborough Fine Art, London, with the printer's inkstamp verso, on Arches paper, with margins, sheet 830 x 670mm (32 5/8 x 26 3/8in)
Bob Dylan (b.1941)Little Italy, Lower Manhattan, from The Beaten PathGiclée in colours, 2016, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, New York, and with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 762 x 1015mm (30 x 40in)
Laurence Stephen Lowry (1887-1976)View of a TownLithograph printed in colours, 1973, signed in pencil, from the edition of 850, printed by Bolton Fine Art Litho Works, Bombay, published by J.H. Mainstone Prints, Holt, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 600 x 700mm (23 1/2 x 27 1/2in)
Bob Dylan (b.1941)The Brazil Series (Favela Villa Candido, Wagon Master and Grande Árvore Beachfront)The complete set of three giclée prints in colours, 2016, each signed in pencil and numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, New York, and with the accompanying certificates of authenticity, each on wove paper, with full margins, sheet 654 x 762mm (26 x 30in) (3)
Laurence Stephen Lowry (1887-1976)Three Men and a CatLithograph printed in colours, 1971, signed in blue biro, from the edition of 850, printed by Max Jaffé, Vienna, published by Adam Collection Ltd., London, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 360 x 260mm (14 1/4 x 10 1/4in)
Laurence Stephen Lowry (1887-1976)The PondLithograph printed in colours, 1974, signed in pencil, from the edition of 850, printed by Beric Press, Crawley, published by J.H. Mainstone Prints, Briningham, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 657 x 726mm (25 3/4 x 281/2in)
Bob Dylan (b.1941)Sunday Afternoon, from The Drawn Blank SeriesGiclée in colours, 2018, signed in pencil, numbered from the edition of 295, printed by GTZ Fine Art Editions, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, and with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 700 x 560mm (27 1/2 x 22in)
John Piper (1903-1992)Foliate Heads I (Levinson 245) Screenprint in colours, 1975, signed in yellow crayon, numbered from the edition of 75, printed by Kelpra Studio, published by Marlborough Fine Art, London, with the printer's inkstamp verso, on Arches paper, the full sheet printed to the edges, sheet 580 x 760mm (22 7/8 x 29 7/8in)
Laurence Stephen Lowry (1887-1976)The Fever VanLithograph printed in colours, 1972, signed in blue biro, from the edition of 700, printed by Botton Fine Arts, published by Mainstone Publications, Norwich, with the Fine Art Trade Guild blindstamp, on wove paper, with full margins, sheet 571 x 658mm (22 1/2 x 25 7/8in)
Salvador Dalí (1904-1989)Frontispiece, from Twelve Tribes of Israel (Field 72-6M; M&L 618a)Engraving with drypoint and pochoir in colours, 1972, signed in pencil, numbered from the edition of 195, printed by Aterliers Rigal, Paris, published by Transworld Art, New York, on Arches paper, with full margins, sheet 655 x 505mm (25 3/4 x 19 7/8in)With the Dali Trade authentication inscription and signature in pencil verso.
Bob Dylan (b.1941)Walking in the FogGiclée in colours, 2022, with the autopen signature in pencil, numbered from the edition of 295, printed by Black Buffalo, New York, co-published by Washington Green Fine Art, Birmingham, and Black Buffalo Artworks, and with the accompanying certificate of authenticity, on wove paper, with full margins, sheet 760 x 580mm (30 x 23in)
Four early 20th century Art Nouveau silver enamel pendants, two by J Aitkin & Son, Birmingham 1915, other two makers mark S.B, Chester 1923 and Birmingham 1910 and one other later silver enamel circular pendantCondition Report:Aitkin & Son pendants - darker with restoration to enamel, other good, other two with very light losses, length = 42mm/43mm, circular pendant tested silver -good condition
GEORGE V ART DECO SILVER TABLE CLOCK, with red and white enamel dial, the case with beaten decoration and with rams head to the tapered supports22.5cm highCondition generally good. Clock working at time of testing. Typical wear as per age, including some minor nicks and tarnish. Scuff to back plate. Additional images now detail this.
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