We found 641361 price guide item(s) matching your search
There are 641361 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
641361 item(s)/page
Lot 172
Sir William Russell Flint, R.A., P.R.W.S., R.S.W. (British, 1880-1969):Two seated ladies in conversation, coloured chalk study, signed lower right, H 23 x W W 32.5 cm. Provenance: With the Fine Art Society, their label verso, the reverse also bearing stencil numbers. Please note that Artist's Resale Rights may apply to this lot.
Lot 188
Bergamo.- Bellafini (Francesco) and Marcantonio Michiel. De Origine et Temporibus Urbis Bergomi...Agri et Urbis Bergomatis Descriptio, 2 parts in 1 vol., collation: a-e8 f4, text in Latin, fine italic type mirroring that of Ludovico Arrighi, initial spaces with guide-letters, final f. blank, some staining, spotting, or finger-marking, a few ff. in second work lightly browned, contemporary pre-binding limp boards, strengthened with 2 section of a 14th century vellum ms., majority of backstrip missing, worm trace to upper board, lightly soiled, with wide margins, small 4to (213 x 157mm.), Venice, [Giovanni Antonio da Sabio and brothers], May, 1532. ⁂ First editions of these works on Bergamo, which are rare at auction. The Venetian patron and art historian Michiel never completed his work, and so it is here edited by Bellafini. Bellafini's own work was later translated into Italian and this first guide to Bergamo became the first book printed in that town. Literature: Adams B481; Lozzi 316; EDIT 16 CNCE 4851.
Lot 376
Death of Charlotte Brontë.- Jameson [Anna, writer and art historian, 1794-1860) Autograph Letter signed to Mrs. Gaskell, 4pp., 8vo, Ealing, Easter Sunday [31st March 1855], commenting on the death of Charlotte Brontë, "How shocked you will have been by the death of Charlotte Brontë - I started - & felt as if a light had been extinguished", and thanking her for sending North & South, "I have not yet had time to study the alterations", folds, remains of album stub. ⁂ Elizabeth Gaskell met Charlotte Brontë for the first time in 1850; her celebrated Life appeared in 1857.
Lot 361
Jane Eyre.- Wheelhouse (Mary V., ?-1933) The hills beyond Marsh Glen sent the answer faintly back; They went, shutting the door, and locking it behind them; I took a seat: St John stood near me, three works, pen and black ink, watercolour, each signed and the second mentioned dated lower left, each approx. 230 x 155 mm. (9 x 6 1/8 in), the first two under glass, the latter unframed, [circa 1911-1913]; together with a copy of Charlotte Brontë's 'Jane Eyre' with illustrations by Wheelhouse, G. Bell & Sons, 1911. Exhibited: 'Jane Eyre': Women's International Art Club (WIAC) exhibition, Turin, 1913 (label on reverse) Illustrated: 'Jane Eyre', published by G. Bell & Sons Ltd., 1911 (colour frontispiece, p. 8, and p. 460, respectively)
Lot 64
Calligraphy.- Bickham (George) The Universal Penman; or, the Art of Writing..., engraved throughout with 212 numbered calligraphic leaves including 2 titles but lacking frontispiece, many including vignettes, printed on rectos only, half-title torn at foot, rather soiled and stained particularly plates 103, 105 & 134, several marginal tears, plates 69, 144 & 209 with slight loss to images, plate 192 from another copy, plates 211 & 212 with small rust-holes, modern half calf, folio, H.Overton, 1743.
Lot 396A
δ Shepard (Ernest Howard) Flashbacks to the famous script-writing at the Brontës, pen and black ink, monochrome wash, traces of graphite, heightened with white, signed in pencil lower left, title inscribed lower centre, 310 x 250 mm. (12 1/4 x 9 3/4 in), [circa 1957] Illustrated: Punch, 18th September 1957, p. 332 Exhibited: Chris Beetles Gallery, London, 'The British Art of Illustration 1900-2016', 1994 (label on reverse); Mall Galleries, London, 'The Heatherley School of Fine Art, 150th Anniversary', 27th Feb to 9th March, 1996, no. 104 δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
![Scott (William Bell) Gems of Modern Belgian [& German] Art: A Series of Carbon-Photographs, together 2 vol., both inscribed b](https://cdn.globalauctionplatform.com/dee7acb7-0eba-4924-bdfc-a79000f74b48/85aaeb42-f597-48b1-e16c-b95fc4c4e033/468x382.jpg)
Lot 427
Scott (William Bell) Gems of Modern Belgian [& German] Art: A Series of Carbon-Photographs, together 2 vol., both inscribed by the author to his mistress Alice Boyd "To AB affectionately from WSB..." on front endpaper, bookplate of Spencer Boyd of Penkill, original decorated cloth, gilt, g.e., vol.2 broken and loose, 1872 § Rossetti (William Michael, editor) Ruskin: Rossetti: Preraphaelitism. Papers 1854 to 1862, number 123 of 250 copies on handmade paper, frontispiece after D.G.Rossetti, original buckram-backed decorated cloth, t.e.g., others uncut, a little soiled, 1899 § Bell (Malcolm) Edward Burne-Jones, some spotting, original buckram, 1892 § Ford (Julia Ellsworth) Simeon Solomon: An Appreciation, original cloth, New York, 1908 § Young (Rev. Edward) Pre-Raffaellitism, first edition, pencil signature of E.T.Cook (biographer of Ruskin on front free endpaper), original pink decorated cloth, spine browned, crease to lower cover, 1857 § Madox-Brown (Oliver) The Dwale Bluth..., edited by W.M.Rossetti and F.Hueffer, 2 vol., first edition, etched frontispieces by Ford Madox Brown, contemporary half morocco, gilt, t.e.g., 1876, plates, all a little rubbed, some soiled; and 2 others, v.s. (10) ⁂ Oliver Madox-Brown was the son of Ford Madox Brown and brother-in-law of both William Michael Rosssetti and Francis Hueffer. He was a promising artist and writer but died of blood-poisoning aged 19. Alice Boyd - See also previous lot
Lot 448
Kelmscott Press.- Syr Perecyvelle of Gales, edited by F.S.Ellis, one of 350 copies on Flower paper, printed in red and black in Chaucer type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, with A.N.s. from Edward Burne-Jones to Robert Catterson Smith "...could you come on Monday - instead of tomorrow - tomorrow is awkward for me...E.B.J." loosely inserted, very light spotting to first two leaves, bookplate of Harry Currie Marillier, original holland-backed boards, upper cover titled in black, uncut, a little rubbed and marked, lower corners bumped and worn, [Peterson A33], 8vo, Kelmscott Press, 1895. ⁂ Robert Catterson-Smith (1853-1938), artist, socialist and principal of the Birmingham School of Art. He worked with William Morris and Edward Burne-Jones on the Kelmscott Chaucer, preparing Burne-Jones's original drawings for engraving.
![Ruskin (John) Letters on Art and Literature, [one of 33 copies on paper], 1894; Letters...to Ernest Chesneau, [one of 33 copi](https://cdn.globalauctionplatform.com/dee7acb7-0eba-4924-bdfc-a79000f74b48/5e68dc63-fe45-42c5-f320-bfe7ecd6c046/468x382.jpg)
Lot 445
Ruskin (John) Letters on Art and Literature, [one of 33 copies on paper], 1894; Letters...to Ernest Chesneau, [one of 33 copies on paper], facsimile leaf, 1894; Letters...to Rev. F.A. Malleson, M.A., "limited to a few copies", 1896; Aratra Pentelici. Six Lectures on Sculpture, vol.III of 'The Works...', signed and inscribed by the author "Henry Acland with John Ruskin's love, and gratitude, 29th January 1872" on front free endpaper, for the author, Keston, 1872; Val d'Arno: Ten Lectures on Tuscan Art, inscribed to S.A.Acland by various other Aclands, Orpington, 1882, the first three all edited by Thomas J.Wise, device of Ashley Library at end, original cloth, uncut, very slightly rubbed, [Todd 212d, 213d & 217d], privately printed [for T.J.Wise], the last two with plates and bookplate of Sarah Angelina Acland (daughter of Henry), original blue calf ruled in blind, g.e., rubbed; and 7 others by or relating to Ruskin (mostly pamphlets), and a photogravure of Ruskin with Sir Henry Acland from a photograph taken by Sarah Acland at Brantwood in 1893 (foxed), 8vo & 4to (13) ⁂ Sir Henry Acland (1815-1900) was appointed Lee's reader in anatomy at Christ Church in 1845 and physician to the Radcliffe Infirmary. He met Ruskin while a student at Oxford and they became life-long friends. Acland also encouraged the study of art at Oxford and was instrumental in Ruskin's appointment as the first Slade Professor of Fine Art at Oxford in 1869.
Lot 345
Holmes (Sir Charles John, KCVO RWS, 1868-1936) Gimmerton Churchyard, oil on canvas, signed and dated lower left, 460 x 815 mm. (18 x 32 1/4 in), unlined, with very fine craquelure, 1916. Provenance: Abbott & Holder ⁂ Holmes was both a painter and art historian, and was appointed director of the National Portrait Gallery in 1909. He held one-man shows at the Carfax Gallery, Piccadilly, in 1909, 1911 and 1913; The Fine Art Society held a memorial exhibition in London in 1937.
![[Evans (Arthur Benoni)] The Cutter, in Five Lectures upon the Art and Practice of Cutting Friends, Acquaintances, and Relatio](https://cdn.globalauctionplatform.com/dee7acb7-0eba-4924-bdfc-a79000f74b48/7017e8e0-9293-4b8a-bc5b-c00adb2b2634/468x382.jpg)
Lot 43
[Evans (Arthur Benoni)] The Cutter, in Five Lectures upon the Art and Practice of Cutting Friends, Acquaintances, and Relations, first edition, with initial imprint (otherwise blank) leaf, hand-coloured etched frontispiece and 5 folding aquatint plates by and after John Augustus Atkinson, 8pp. publisher's catalogue at end, some light soiling and browning, modern calf-backed marbled boards, roan label (original paper label mounted on front pastedown), uncut, joints a little rubbed, 8vo, for J.Carpenter, 1808.
Lot 274
Pre-Raphaelite & 19th century Artists letters, including: W.M. Rossetti, Seymour Lucas, William Holman Hunt, Sir Edward Poynter, William Clarkson Stanfield, Sir Luke Fildes, Charles Keene, Samuel Prout, Patrick Naysmith, Spencer Stanhope, Sir Lionel Cust etc., together c. 160 letters, numerous pp., folds, some browned, v.s., v.d. (3 folders). ⁂ William Rossetti letter. Autograph Letter signed to Dr. Moore, 7th December 1890, writing in reply to a request for his opinion on the "Station" Scholarship "must no doubt be the Telegraphists blunder for 'Italian Scholarship", he continued to say that he had signed the paper Moore had sent & mailed a note with Professor Millais letters - which would have hopefully have settled the matter." William Holman Hunt. Autograph Letter signed to Mrs. Pattison, 5th December 1862, "There is nothing but a very vague idea of the lectures on Art at present. Whether there will be anything else that is in my time I cannot say, but if so and it depends upon the exertion of the future professor, he will have to be someone with a more inclination to shine in oratory than myself. I am glad to hear your idea of the inadvisability of the undertaking because I was beginning to think that I should be obliged, spite of my dislike to it to make some sort of promise to undertake the task of preliminary lecturer on art. It is certainly wanted badly enough not in Oxford only but throughout England for every day I think public talk is becoming more meretricious."
Lot 277
William Morris, Edward Burne-Jones.- Catterson-Smith (Robert, artist, socialist, principal of the Birmingham School of Art and Director of Art Education in that city, worked with William Morris and Edward Burne-Jones on the Kelmscott Chaucer. 1853-1938) Archive of letters and other material relating to Catterson-Smith, including: (1). Morris (William) Autograph Letter signed "Wm" to Catterson-Smith, 2pp., 8vo, Kelmscott House, Hammersmith, 28th December 1895, regarding the production of the Kelmscott Chaucer, "I forgot to say last night please look after and let Hooper [wood-engraver] have the first of the House of Fame as soon as possible, as we shall be wanting it soon, in fact as soon as possible", and then turns his attention to the production of his work, The Well at the World's End, "Re the lady's foot in the 'Well', I was thinking if there were any thing in the designs already done which would help you. I find there is in Griselda going back home you will find pretty much the same action turned the other way of course, and the foot is very pretty there. I send on a proof at once for your benefit, and I think by the help of it you need not bother Sir E. [Edward Burne-Jones], browned; (2). Burne-Jones (Sir Edward) 33 Autograph Letters signed (?1 in Geogiana's hand and signed by Burne-Jones) & 2 Autograph Postcards signed to Catterson-Smith, on his assistance with various projects for the Kelmscott Press, 38pp. and 20 envelopes, 8vo, Kensington, 1898, meeting for consultations etc., "Dear CS, I wonder if it would be possible for you to come tomorrow Tuesday & do a little work for me apart from the Chaucer", (3). Burne-Jones (Georgiana, wife of Edward Burne-Jones, 1840-1920) 16 Autograph Letters signed & 2 Autograph Postcards signed to Catterson-Smith, relating to his work on The Beginning of the World, 58pp. and 9 envelopes, 8vo, Rottingdean, 1902-16, "I have seen the proofs, and am greatly pleased with them... Mr. Mackail is having a 'dummy' page or two printed for me at the Chiswick Press with the two proofs and some type. He is well forward with the letter press..." and Catterson-Smith's design of a mace for Birmingham; and a quantity of other letters and notes from May Morris, W.R. Lethaby, Sydney Cockerell, Philip Webb, Sir Henry Wood etc., manuscript notes by Catterson-Smith on sex and marriage, Burne Jones Cupid and Psyche, etc., v.s., v.d. (qty).
Lot 268
Dickens, Wilkie Collins etc.- Wills (William Henry, journalist and journal editor, honorary secretary of the The Guild of Literature and Art and close friend of Charles Dickens, 1810-80) Original autographs of those attending a management meeting of he Guild of Literature and Art, including: Charles Dickens, Wilkie Collins, John Tenniel, Edward Bulwer Lytton, Charles Knight, W.H. Wills, Frank Stone, Dudley Costello, R.H. Horne, Augustus Egg, Mark Lemon, Robert Bell etc., all signed on 1 sheet of paper, browned, 234 x 157mm., [c. 1855]. ⁂ An uncommon grouping of some of the most famous literary figures of the age. The Guild of Literature and Art. "In 1850, when Dickens's amateur theatricals troupe was presenting Every Man In His Humour at Knebworth, Bulwer-Lytton suggested setting up a fund: 'To encourage life assurance, and other provident habits among authors and artists, to render such assistance to both as shall never compromise their independence, and to form a new institution where honourable rest from arduous labour shall still be associated with the discharge of congenial duties.' To begin raising funds for an endowment, and build retirement homes at Stevenage, Bulwer-Lytton wrote a new comedy, Not So Bad As We Seem, and the Duke of Devonshire allowed the use of his Piccadilly home for the opening night. Dickens devoted a great deal of time and energy to the Guild, attending 31 of its management meetings, but in 1857 he was dismayed to find that several clauses in its bill of incorporation seriously restricted its activities... . Dickens at once reorganized the administration... . Although the Stevenage houses were completed in 1865, the legal restrictions and lack of enthusiasm in the intended beneficiaries proved fatal to the Guild's success. It was disbanded in 1897." - Alan S. Watts. Oxford Reference. "... Wills and Dickens became good friends, with Wills serving as a highly trusted confidant. Dickens went so far as to entrust Wills with the transmission of his letters to Ellen Ternan during Dickens's 1867-8 American reading tour. As Dickens had put it on 2 January 1862: 'I think we can say that we doubt whether any two men can have gone on more happily and smoothly, or with greater trust or confidence in one another' (Letters, 10.2). It is significant that his friendship with Wills was 'one of the few unbroken relationships Dickens experienced in his lifetime' (Spencer, 145)." - Oxford DNB.
Lot 304
Austen (Jane) Pride and Prejudice, with a Preface by George Saintsbury, one of 275 deluxe large paper copies on handmade paper, (250 for England), frontispiece and illustrations by Hugh Thomson, all on China paper and mounted, faint spotting to one or two, with 'Notice' regarding the illustrations loosely inserted, endpapers browned, bookplate of W.S.Adams, original red-brown buckram, uncut, spine faded, [Gilson E78], large 8vo, George Allen, 1894. ⁂ The loosely-inserted flyer is for Thomson's original drawings for the edition, for sale at The Fine Art Society, New Bond St.
Lot 394
δ West (Joseph, 1882-c.1960) Brontë Bridge, Haworth Moor, looking west, watercolour, heightened with white, on wove paper, signed lower right, 280 x 370 mm. (11 x 14 5/8 in), [circa 1957] Exhibited: City of Bradford Art Gallery, April 1957, number 261 (label on reverse) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 439
Rossetti (Christina) Goblin Market, one of 160 large paper copies, wood-engraved pictorial title, 12 plates and numerous illustrations by Laurence Housman, title browned from tissue guard, later half green morocco, spine gilt, uncut, very slightly rubbed at edges, [Ray 279], 8vo, 1893. ⁂ One of the most important Art Nouveau illustrated books. It was originally published in 1862 with two illustrations by the author's brother, Dante Gabriel Rossetti, but Laurence Housman wrote to the publishers suggesting a fully illustrated version. His style perfectly captures the tale of the weird and sinister goblins tempting two innocent sisters to taste their fruit.
Lot 428
Morris (William).- Wagner (Richard) Die Walküre, first English edition, William Morris's copy inscribed to him by H.Buxton Forman (whose brother Alfred was the translator) on front free endpaper, some light foxing, mostly to endpapers, original boards, rubbed and stained, rebacked, new printed label, privately printed, 1873 § Morris (William) The Story of Sigurd the Volsung and the Fall of the Niblungs, fourth edition, one of 50 large paper copies, limitation slip tipped in at beginning, Laurence W. Hodson's copy with his book-label on front pastedown, original half parchment, uncut, rubbed and soiled, spine torn at head, 1887, 8vo & 4to (2) ⁂ Morris was not impressed by Wagner's version of the Sigurd story and wrote to Henry Buxton Forman in 1873, "Many thanks for your letter and the translation of Wagner [i.e. this copy].I have not had time to read it yet: nor to say the truth am I much interested in anything Wagner does, as his theories on musical matters seem to me as an artist and non-musical man perfectly abhominable [sic]: besides, I look upon it as nothing short of desecration to bring such a tremendous and world-wide subject under the gaslights of an opera: the most rococo and degraded of all forms of art - the idea of a sandy-haired German tenor tweedledeeing over the unspeakable woes of Sigurd...I wish to see Wagner uprooted...". (Letters, I, 205) Laurence W.Hodson (1864-1933), patron of William Morris and the Kelmscott Press.
Lot 276
Rossetti (Christina, poet, 1830-1894) Cheque signed "Christina G. Rossetti", made out to Miss Read for £50, 82 x 197mm., 30th March 1894 § Ruskin (John, art critic and social critic, 1819-1900) Cheque signed, made out to Mr. Baxter for £15, with manuscript note in another hand, "I bought it at Grasmere on 23 Aug. 1932. Cheque drawn by John Ruskin in favour of Baxter (Baxter Prints) dated 22 Oct. 1884", 80 x 195mm., 22nd October 1884 (2).
Lot 474
δ Designer Binding (Miniature).- James (Angela, binder).- Ritchie (Ward) A Guide to the Hand Press, one of 200 copies, wood-engraved illustrations by Anthony Christmas, bound in citron goatskin onlaid with letters and small dots in different colours and edged in pink goatskin, by Angela James, onlaid pink goatskin doublures, coloured endpapers, preserved in felt-lined citron goatskin folder fastened with pink triangular button and elastic loop, with manuscript note by the binder "This little book was bound by me, Angela James, at Osmotherley, North Yorkshire, England in 1989" loosely inserted, 76 x 55mm., Wakefield, Fleece Press, 1989. ⁂ Angela James (b. 1948) is a Fellow and past President of Designer Bookbinders. She trained at the Glasgow School of Art and was then apprenticed to Sydney Cockerell in 1970 where she worked with James Brockman. She won the Thomas Harrison Memorial Award with her first binding in 1974 and continues to exhibit regularly. Her work is held by many private and public collections. In 1991 the Fleece Press issued her miniature book The Art of Binding Books. δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Lot 325
Brontë (Rev. Patrick) The Cottage in the Wood; or the Art of becoming Rich and Happy., second edition, engraved frontispiece by E. Stather after a drawing by F. James, light offsetting, some spotting, book label of Lewis Hainsworth, Bradford, to pastedown, contemporary morocco-backed boards, light wear to spine ends, light discolouration to boards, a little rubbed at extremities, 8vo, Bradford, T. Inkersley, 1818. ⁂ Patrick Brontë's first book of prose, scarce in either the first or second editions. The Cottage in the Wood is similar in tone and intensions to Cottage Poems with much the same audience in mind, it met with greater success however and brought the author a certain amount of local celebrity.
Lot 440
Studio (The): An Illustrated Magazine of Fine and Applied Art, vol.1-12 in 11 only (lacking vol.9), plates and illustrations including several original lithographs, some colour, a few loose, foxing (affecting some prints), original green cloth, vol.1 & 2 pictorial, the rest decorative gilt, t.e.g., others uncut, rubbed, a little spotted, 4to, The Studio, 1893-98. ⁂ Including original prints by many fin-de-siècle artists including Whistler (5), Beardsley, Pennell, Anning Bell, Brangwyn, Khnopff, Menpes, Rivière and William Nicholson.
Lot 352
Gordon Mitchell Forsyth (Scottish, 1879-1952), oil on canvas, 'Andante Cantablile', signed l.l. 55 x 65cmNote: Gordon Forsyth is best known for his work in ceramics and teaching (his students at the Burslem School of Art included Susie Cooper, Charlotte Rhead and Clarice Cliff) and for his British rail and travel poster designs.
Loading...-
641361 item(s)/page