We found 44913 price guide item(s) matching your search

An 18ct yellow gold Baume & Mercier quartz lady's Wristwatch, of square from with canted corners, blind black dial with tapering hands, blue glass set crown, 23mm wide, on replacement leather strap.

Sir William Russell Flint R.A. print 'Two Models' signed in pencil lower right, blind stamped lower left.Image size 37.5 x 28cm.

An 18th century style (later) single mahogany salon chair: the top rail carved with acanthus in low relief above an ornate pierced splat, stuffover seat and square chamfered legs with blind fret carving, the legs united by an H-form stretcher with fretwork carving 

George II japanned longcase clock by Joseph Stevens, London (Aldgate), c1750, with a flat topped hood, shallow cornice and blind fret beneath, square hood door with rectangular glazed panels to the sides, with a long trunk and conforming full length door with raised moulding to the edge, on a rectangular plinth with applied skirting, front of the case profusely decorated in the oriental chinoiserie style, with a square brass dial and silvered chapter ring engraved with Roman numerals, minute track and five minute Arabic's, matching scroll spandrels and finely matted dial centre, with matching steel hands, recessed silvered seconds dial and square date aperture with silvered date ring behind, dial pinned directly to an eight-day rack striking movement, striking the hours on a cast bell, with weights and pendulum. Joseph Stevens is recorded as a member of the clockmaker's company (London) in 1745 and 1752-94, his son Joseph (II) was apprenticed in 1753Dimensions: Height: 200cm  Length/Width: 46cm  Depth/Diameter: 23cm

Georgian style figured mahogany serpentine chest, the banded top over two short and three long drawers, canted uprights corners decorated with blind fretwork, shaped apron and splayed bracket feetDimensions: Height: 91cm  Length/Width: 91cm  Depth/Diameter: 54cm

Charles "Snaffles" Johnson Payne (1884-1967), Sandown Asking 'Em The Question, coloured print, facsimilie signed lower left and with "Snaffles Bit" blind stamp, 48.5 x 72.5cm.

Charles Hunt after John Frederick Herring, Doncaster Great St Leger, 1839, hand coloured print, 56 x 76cm, together with Claire Eva Burton, (b.1955), Rodrigo De Triano, Lester Piggott Up, signed limited edition print no. 659/850 with Chelsea Green Editions blind stamp and label verso, 49.5 x 60cm, and three other horse racing prints. (5)

Mid 20th Century Moorcroft vase with two blind floral design on green background, 12cm high

AN ISLAMIC HEXAGONAL TABLE CARVED WITH BLIND FRET FOLIAGE DIAMONDS, TRIANGLES AND BANDS ABOUT MOTHER OF PEARL STARS REPEATED ON PANELS TO THE SIDES ALTERNATING WITH MISHRABIYE. W 49 x H 65cms.

AN ISLAMIC MAHOGANY THREE TIER TABLE, EACH BLIND FRET CARVED WITH FOLIAGE BANDS ABOUT MOTHER OF PEARL INLAID STARS, THE STARS REPEATED ON THE LEGS. W 65 x D 45.5 x H 73.5cms.

AN ISLAMIC HEXAGONAL TABLE, THE CENTRAL STAR INLAID IN THE TOP ENCLOSED BY BLIND FRET SCRIPT, GEOMETRIC AND FOLIAGE BANDS. W 52 x H 47cms.

A GEORGE III MAHOGANY SECRETAIRE CHEST WITH A BLIND FRET BAND BELOW THE CORNICE AND ABOVE TWO SHORT, TWO LONG, THE SECRETAIRE DRAWER AND A FURTHER THREE LONG DRAWERS BELOW ON BRACKET FEET.   W 109 x D 57.5 x H 181cms.

•After William Russell Flint (1880-1989) *ARR, Venetian Waterway, limited edition 724/750 print, blind stamp, 52 x 73cm

•After Laurence Stephen Lowry (1887-1976) *ARR, Lonely House, print, signed in pencil in the margin, blind stamp to left hand side, Hibbert Brothers label verso, 28 x 51cm.

An early George III mahogany serpentine chest of drawers, circa 1770, ogee moulded top over a brushing slide, four long graduated drawers with brass drop handles and escutcheons, flanked by canted blind fretwork angles in the Chinese Chippendale manner, bracket feet, 77cm high, 91cm wide, 52cm deep

J Baillie Fraser, "Military Memoir of Lieut-Col James Skinner, CB, for many years a distinguished officer commanding a corps of irregular cavalry in the service of the Honourable East India Company", two volumes, Smith, Elder & Co, 1851, blind and gilt embossed cloth

The Prose Works of Robert Burns; containing his letters and correspondence, literary and critical; and amatory epistles, including letters to Clarinda &c &c, Mackenzie and Dent, Newcastle upon Tyne, 1819, 610pp, small 4to, illus, half calf with marbled boards, gilt and blind embossed spine with faux bands and red label,

§ Laurence Stephen Lowry (British, 1887-1976), 'Landscape with Farm Buildings', lithograph in colours, signed in pencil to margin and bearing Fine Art Trade Guild blind stamp, image size 40 x 49cm, framed and glazed. Please note that Artists Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information

An Edwardian mahogany grandmother longcase clock, the hood with Greek key pediment and blind fret frieze enclosing an eight day gong striking movement faced by eight inch brass Roman dial, over a three quarter length door, box base and bracket feet

Suzanne Phillips 'TEARDROP' - print - 5" x 7" in a 7" x 9" mount - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Suzanne Phillips, born in London, was an artist from the word go, hearing many words of encouragement from her grandmother who always found time in a busy day to sit and listen to the stories unfold behind every drawing, painting or sculpture put on her lap. As this young artist grew she started selling her work on the railings of Hyde Park, London at the age of only 14 years from her back pack. Suzanne showed her art in Pitshanger Manor Gallery and in local shows around London while raising her children, selling art throughout the UK and across the globe. Becoming very unwell in 2008, Suzanne decided to make the move to Cornwall, recover and start a new life, drawing and painting as she recovered from her battle with her tumour. She found love, married and dedicated herself to art on a full-time basis. Surgery to remove the tumour left Suzanne completely blind in her left eye but hearing her grandmother’s words from her past, she carried on creating children and pet portraits. Fundraising for hospices and local animal charities by donating art or vouchers for private commissions is a huge part of Suzanne’s life. Suzanne works in her studio painting mostly animals, private pet portrait commissions and landscapes using many styles, ranging from realism through to pop art as well as carving and hand printing fabrics.

Suzanne Phillips 'LION' - print - 5" x 7" in a 7" x 9" mount PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Suzanne Phillips, born in London, was an artist from the word go, hearing many words of encouragement from her grandmother who always found time in a busy day to sit and listen to the stories unfold behind every drawing, painting or sculpture put on her lap. As this young artist grew she started selling her work on the railings of Hyde Park, London at the age of only 14 years from her back pack. Suzanne showed her art in Pitshanger Manor Gallery and in local shows around London while raising her children, selling art throughout the UK and across the globe. Becoming very unwell in 2008, Suzanne decided to make the move to Cornwall, recover and start a new life, drawing and painting as she recovered from her battle with her tumour. She found love, married and dedicated herself to art on a full-time basis. Surgery to remove the tumour left Suzanne completely blind in her left eye but hearing her grandmother’s words from her past, she carried on creating children and pet portraits. Fundraising for hospices and local animal charities by donating art or vouchers for private commissions is a huge part of Suzanne’s life. Suzanne works in her studio painting mostly animals, private pet portrait commissions and landscapes using many styles, ranging from realism through to pop art as well as carving and hand printing fabrics.

Victor Bonato (1934 Köln) (F)'B-KK', Spiegel auf Plexiglas montiert, 30 cm x 30 cm Sichtmaß, 4/30 nummeriert, verso signiert, Mai 1979 datiert und betitelt, partiell kleine blinde Flecken, Spiegelfolie mit kleinem Fehlstück am RandVictor Bonato (1934 Cologne) (F)'B-KK', mirror mounted on plexiglass, 30 cm x 30 cm, 4/30 numbered, signed on verso, May 1979 dated and titled, small blind spots in places, mirror film with small missing piece at edge

Ostdeutsche Kunst Gerhard Altenbourg (1926 Rödichen/Schnepfenthal - 1989 Meißen)Von Erinnerung zu Erinnerung, ach Servilia. Farblithographie auf Vergé. 31 x 22,5 cm (41 x 29,5 cm). In Tinte signiert, datiert, betitelt und nummeriert. Mit Blindstempel des Künstlers. Verso mit Galeriestempel und Annotation in Bleistift. - Etwas stockfleckig und gewellt. Ausgezeichneter Druck mit vollem Rand. Eines von 150 nummerierten Exemplaren. Color lithograph on vergé. Signed, dated, titled and numbered in ink. With blind stamp of the artist. Verso with gallery stamp and annotation in pencil. - Some foxing and waviness. Excellent impression with full margins. - One of 150 numbered copies.

Abstrakter Expressionismus - - Sam Francis. (1923 San Mateo - 1994 Santa Monica). Dark Plated. 1973. Lithographie auf chamoisfarbenem BFK Rives. 64,8 x 86,4 cm (64,8 x 86,4 cm). Signiert und nummeriert. - Tadellos schön erhalten. Prachtvoller, kontrastreicher Druck der formatfüllenden Darstellung, mit Schöpfrand. Lembark, L 167, SF-187. - Eines von 30 Exemplaren. - Hrsg. von The Litho Shop, Santa Monica (mit dem Blindstempel). - Druck bei George Page, The Litho Shop. - Die Lithographie wurde von 4 Aluminiumplatten in 4 Tönen gedruckt. Lithograph on buff BFK Rives. Signed and numbered. - Perfectly preserved. Splendid, high-contrast impression of the full-size depiction, with deckle edge.- One of 30 copies. - Published by The Litho Shop, Santa Monica (with the blind stamp). - Printed by George Page, The Litho Shop. - The lithograph was printed from 4 aluminium plates in 4 tones.

August Sander (1896 Herdorf - 1964 Köln)Der Maler Otto Dix. 1928/1986. Silbergelatine auf Agfa-Photopapier. 25,2 x 16,9 cm. Mit Blindstempel "August Sander, Köln-Lindenthal". Entlang des oberen Randes auf Unterlage montiert. Verso auf der Unterlage mit Etikett des August-Sander-Archive, New York. - Sauberer und kontrastreicher Abzug. Aus dem Zyklus "Menschen des 20. Jahrhunderts". Silver gelatin on Agfa photographic paper. With blind stamp. Mounted along upper margin on backing. Label of the August Sander Archive, New York, on the verso of the backing. - Clean and contrasty print. - From the cycle "People of the 20th Century".

Adolf Fleischmann. (1892 Esslingen - 1968 Stuttgart). o.T. Farbserigraphie auf chamoisfarbenem Vélin. 64 x 45 cm (86 x 59,5 cm). In Bleistift monogrammiert und nummeriert. Mit Blindstempel der Domberger Werkstätten Stuttgart. Verso mit Galeriestempel und Annotationen in Bleistift. - Im unteren Rand mit kaum sichtbarer Knickspur, im rechten Rand mit unscheinbarem Braunfleck. Verso mit unwesentlichen Anschmutzungen. Prachtvoller und samtiger Druck mit kräftigem Kolorit und vollem Rand, Schöpfrand an einer Seite. Eines von 150 nummerierten Exemplaren. Color serigraph on buff vélin. Monogrammed and numbered in pencil. With blind stamp of the Domberger Werkstätten Stuttgart. Verso with gallery stamp and annotations in pencil. - In lower margin with barely visible crease, in right margin with inconspicuous brown spot. Verso with insignificant soiling. Splendid and velvety impression with strong coloring and full margins. - One of 150 numbered copies.

Ben Vautier. (1935 Neapel - lebt in Nizza). 1 Serigraphie in: Introspection Truth Art & Sex. 2013. Zusätzlich mit dem gleichnamigen Buch und der DVD. Die Serigraphie auf Spiegelglas. 21 x 15 cm (21 x 15 cm). Signiert und datiert. Zusätzlich im Buch signiert sowie blindgeprägt nummeriert. Buch und DVD jeweils im schwarzen Original-Leineneinband. Je inliegend in zugehöriger Original-Leinenpappkassette und gelber Original-Pappbox. - In sehr gutem Zustand ohne Gebrauchsspuren. Eines von 50 (GA 100 + 10 AP's) nummerierten Exemplaren der Deluxe Edition von Luiscius Antiquarian Booksellers, Niederlande 2013. - Entstanden in Zusammenarbeit mit Karlyn De Jongh und Sarah Gold. 1 silkscreen in: Introspection Truth Art & Sex. Additionally with the book of the same name and DVD. The silkscreen on mirror glass. Signed and dated in the form. Additionally signed in the book as well as blind stamped numbered. Book and DVD each in original black cloth binding. Each enclosed in corresponding original linen cardboard box and yellow original cardboard box. - In very good condition without signs of wear. - One of 50 copies.

Sammlung von 35 Graphiken aus der Mappe "Omaggio a Picasso". 1971. Je Aquatinta- bzw. Radierung auf chamoisfarbenem Magnani Bütten (mit dem Wasserzeichen). Blattmaße je 69,5 x 50 cm. Je signiert und datiert. Teils römisch, teils arabisch nummeriert. - Wenige Arbeiten im weißen Rand partiell (wasser)fleckig. Insgesamt wohlerhalten. Die Abzüge ausgezeichnet, gratig und kontrastreich. Mit zahlreichen Doubletten. Enthält Arbeiten von: - Floriano Bodini - Arturo Caramassi - Giacomo Porzano - Attilio Stefanoni. - Mit Arbeiten aus der Auflage von 99 arabisch nummerierten sowie der abseits erschienen Auflage von 15 römisch nummerierten Exemplaren. - Hg. von Renato Guttuso für Edizioni Galerie L`Incontro, Mailand (mit dem Blindstempel auf jedem Blatt). Collection of 35 prints from the portfolio "Omaggio a Picasso". Each aquatint resp. etching on buff Magnani laid paper (with the watermark). Each signed and dated. Partly numbered in Roman, partly in Arabic. - Few works in the white margin partly (water)stained. Overall in good condition. The prints excellent and with good burrs and contrast. With numerous duplicates.- With works of artists as mentioned above. - With works from the edition of 99 Arabic numbered copies and the edition of 15 Roman numbered copies published apart. - Edited by Renato Guttuso for Edizioni Galerie L`Incontro, Milan (with the blind stamp on each sheet).

Geometrische Abstraktion - Op Art Victor Vasarely (1906 Pécs - 1997 Paris)o.T. Serigraphie auf schwarzem Vélin. 56,5 x 37,5 cm (70,5 x 50 cm). In Bleistift signiert und nummeriert. Mit dem Blindstempel der Guilde internationale de la Sérigraphie. Verso mit Galeriestempel und Annotationen in Bleistift. - Ecken etwas bestoßen, unten rechts stärker. Unscheinbar berieben. Verso mit Spuren früherer Montierung. Ausgezeichneter Druck mit kraftvollem Hell-Dunkel-Kontrast und vollem Rand. Eines von 100 nummerierten Exemplaren. Serigraph on black vélin. Signed and numbered in pencil. With the blind stamp of the Guilde internationale de la Sérigraphie. Verso with gallery stamp and annotations in pencil. - Corners somewhat bumped, stronger at lower right. Insignificantly rubbed. With traces of former mounting on verso. Excellent impression with powerful light-dark contrast and full margins. - One of 100 numbered copies.

Zao Wou-Ki. (1921 Peking - 2013 Nyon, Schweiz). o.T. aus: Canto Pisan de Ezra Pound. 1972. Farbradierung und -aquatinta festem Japon nacré (Dooppelbogen). 40,9 x 26 cm (51,8 x 33,6 cm). Signiert, bezeichnet "H.C." und römisch nummeriert. - Mit einer winzigen Bleistiftannotation, insgesamt sehr gut und tadellos schön. Prachtvoller, kontrastreicher Druck mit leicht eingeprägter Plattenkante und blind mitdruckender Facette, mit Rand, rechts mit dem Schöpfrand. Aegerup 225. - Eines von 30 Exemplaren der Vorzugsausgabe. Blatt 8 der gleichnamigen Folge. - Gedruckt bei Bellini, Paris. - Herausgegeben von Pierre Belfond, ebendort. Colour etching and -aquatint on strong Japon nacré (double sheet). - From the preferred edition of 30 copies. - A small pencil annotaton, all in all in a very good condition and perfectly nice. Excellent,contrast-rich impression with slightly impressed platemark and blindly printed facette, with margin, deckle edge on the right.

Africa.- Tanzania.- Craster (Capt. J.E.E.) Pemba, the Spice Island of Zanzibar, first edition, half-title, frontispiece, plates, folding map at end, occasional marginal pencil annotations, previous owner's blind-stamp to front free endpaper, previous owner's ink signature, bookplate, discreet ink-stamp to title, original cloth, slight bumping to corners and extremities, [Hosken p.52], 8vo, 1913.

Africa.- Zimbabwe.- Hall (R. N.) Great Zimbabwe Mashonaland, Rhodesia, plates and plans, 7 folding, occasional very faint spotting, original pictorial cloth, slight bumping to corners and extremities, 1905; The Ancient Ruins of Rhodesia (Monomotapæ Imperium), plates, maps, 1 large folding in pocket at end, publisher's advertisements at end, spotting, previous owner's ink inscription, original pictorial cloth, slight bumping to spine extremities, 1902; Pre-Historic Rhodesia, plates, 5 maps, 4 folding, list of subscribers, original cloth, slight bumping to corners and extremities, 1909, first editions, half-titles, frontispieces, bookplate, § Peters (Dr. Carl) The Eldorado of the Ancients, first edition, half-title, portrait frontispiece, plates, 2 folding maps, blind-stamp of 'Munger Africana Library' to title, bookplate, original pictorial cloth, gilt, slight bumping to extremities, 1902 § Randall-Maciver (David) Mediæval Rhodesia, first edition, frontispiece, half-title, plates, bookplate, original decorative cloth, gilt, slight bumping to corners and extremities, 1906 § Caton-Thompson (G.) The Zimbabwe Culture, first edition, colour frontispiece, plates and illustrations, one or two folding, light staining to fore-edge not affecting text, 4 related newspaper and magazine articles pasted in, bookplate, original cloth, light mottling, slight bumping to corners and extremities, Oxford, 1931, 8vo & 4to (6)

Africa.- Zimbabwe & Zambesi.- Bent (J. Theodore) The Ruined Cities of Mashonaland, first edition, folding map frontispiece, plates and illustrations, 4 maps, 2 folding, scattered faint spotting, bookplate, original pictorial cloth, slight bumping to corners and extremities, [Hosken p.16], 1892 § Blennerhassett (Rose) & Lucy Sleeman. Adventures in Mashonaland, first edition, map frontispiece, bookplate, original pictorial cloth, slight bumping to corners and extremities, [Hosken p.20], 1894 § Bertrand (Alfred) Au Pays des Ba-Rotsi Haut-Zambèze, first edition, portrait frontispiece, vignette title, plates and illustrations, 2 folding maps, previous owner's ink inscription, cracked hinges, original pictorial cloth, gilt, small split to spine head, slight bumping to corners and extremities, Paris, 1898 § Rankin (Daniel J.) The Zambesi Basin and Nyassaland, first edition, publisher's compliments blind-stamp to title, frontispiece, plates, folding map, publisher's advertisements at end, bookplate, ex-Royal Empire Society with label and small stamp to title, original pictorial cloth, slight bumping to corners and extremities, [Hosken p.165], 1893 § Harding (Col. Colin) In Remotest Barotseland, first edition, portrait frontispiece, vignette title, plates and illustrations, folding map at end, one or two neat marginal notes, scattered faint spotting, bookplate, near contemporary calf-backed boards, 1905; 8vo & 4to (5)

Turkey.- Ramsay (Sir W. M.) & Gertrude L. Bell. The Thousand and One Churches, first edition, half-title, plates and plans, some folding, illustrations, ex-library with label, ink-stamps to title and title-verso and occasional blind-stamps, bookplate, later buckram, small faint abrasion mark to spine foot where label removed, 1909 § Bell (Gertrude L.) Amurath to Amurath, second edition, half-title, frontispiece, plates and illustrations, folding colour map at end, marginal tear not affecting image with neat tape repair, previous owner's ink signatures to front free endpaper, bookplate, original decorative cloth, slight bumping to corners and spine extremities, 1924, 8vo (2)⁂ The first is relatively scarce with only one copy currently available on vialibri.

World.- Bleek (W. H. I.) & L. C. Lloyd. Specimens of Bushman Folklore, first edition, half-title, colour frontispiece, plates, ex-library with label and occasional ink-stamps, lacking front free endpaper, bookplate, cracked hinges, original pictorial cloth, gilt, slight bumping to corners and extremities, 1911 § Galton (Francis) Vacation Tourists and Notes of Travel in 1861, first edition, 10 maps, scattered spotting, bookplate, blind-stamp to front free endpaper, original cloth, slight bumping to corners and extremities, Cambridge, 1862 § Haddon (Alfred C.) Head-Hunters Black, White, and Brown, first edition, compliments slip loosely inserted, frontispiece, plates and illustrations, 6 maps, publisher's advertisements at end, original pictorial cloth, gilt, bumping to corners and extremities, 1901; 8vo (3).

Asia Minor.- Barrows (J. O.) On Horseback in Cappadocia, first American edition, double-page map, full-page illustrations, scattered spotting, new endpapers, original cloth, gilt, slight bumping to spine extremities, Boston, 1884 § Burnaby (Captain Fred) On Horseback Through Asia Minor, 2 vol., fourth edition, half-titles, photographic portrait frontispiece, 3 folding maps, 1 with short marginal tear, original pictorial cloth, gilt, fractional bumping to corners and extremities, ex-library with blind-stamp to lower boards, 1877; 8vo (3).⁂ The first is scarce.

Australia.- Westgarth (William) Victoria, late Australia Felix. or Port Philip District of New South Wales, first edition, presentation inscription "Major Mercer with the author's regards" to endpaper with later gift inscription from the Mercer family below, folding map (short split to one fold), hand-coloured in outline, errata slip, folding table, 8pp. advertisements at end, original pink blind-stamped cloth, slight sunning to spine, slight bumping and fraying to spine ends and corners, occasional fraying to joints, light surface soiling to covers, but a very good example overall, [Ferguson 18415], 8vo, Edinburgh, 1853.

Balkans.- Paton (A. A.) Highlands and Islands of the Adriatic, including Dalmatia, Croatia and the Southern Provinces of the Australian Empire, 2 vol. bound in 1, first edition, tinted lithograph frontispieces, vignette titles, 8 tinted lithographs, double-page plan, folding map, pp.47-48 with short tear in to text neatly repaired, scattered spotting, original blind-stamped cloth, a little rubbed, slight bumping to corners and extremities, 8vo, 1849.

NO RESERVE China.- Brine (Commander Lindesay) The Taeping Rebellion in China; a narrative of its rise and progress, first edition, half-title, 6 maps, 1 folding, 2 with short tears, occasional soiling, ex-library with label and occasional blind-stamps, modern cloth, slight bumping to corners and extremities, 8vo, 1862.

China.- Davis (John Francis) The Chinese: a General Description of the Empire of China, 2 vol., half-titles, plates and illustrations, ex-library with label and blind-stamps, scattered spotting, original cloth, rubbed, bumping to corners and extremities, shelfmark to spines, vol. 2 with small split to upper joint, 1836 § Scidmore (Eliza Ruhamah) China: the Long-Lived Empire, frontispiece, plates and illustrations, scattered spotting, original pictorial cloth, rubbed, slight bumping to corners and extremities, 1900 § Caunter (Rev. Hobart) Caunter's and Daniell's Oriental Annual 1839. Eastern Legends, engraved frontispiece, additional engraved title, 20 engraved plates, tissue-guards, scattered spotting, lacking front free endpaper, contemporary morocco, split to upper joint but holding firm, a little rubbed, 1838 § Beresford (Lord Charles) The Break-Up of China, half-title, 2 folding maps, 1 folding table, previous owner's ink signature to title, publisher's advertisements at end, scattered faint spotting, original cloth, bumping to corners and extremities, 1899; and others, China, 8vo (18)

NO RESERVE China.- Parker (E. H.) Chinese Account of the Opium War, half-title, title and several leaves detached and loosely inserted, occasional tears, pencil and crayon underlining, ex-library with remnants of labels and perforated blind-stamps, original upper cover loosely inserted, modern cloth, Shanghai, 1888 § Hall (Captain W. H.) The Nemesis in China, comprising a History of the Late War in that Country, third edition, signed by author, lacking front free endpaper and frontispiece, 2 engraved plates, illustrations, 4 folding maps, 1 with short marginal tears, scattered spotting and staining, publisher's advertisements at end, original cloth, chipping and small loss to spine head, upper joint beginning to split but holding firm, rubbed, 1847; and an 1860 copy of "The Scottish Review" with an article on the opium trade, 8vo (3).

Africa.- Ethiopia.- Budge (E.A. Wallis) The Miracles of the Blessed Virgin Mary and the Life of Hannâ (Saint Anne), and the Magical Prayers of Aneta Mîkâêl [Lady Meux Manuscripts Nox. 2-5], one of 300 copies, half-title, chromolithographed frontispiece and plates, title printed in red and black, previous owner's ink-stamps to early blank and half-title, occasional faint finger-soiling, one or two small marginal tears with neat tape repairs, marginal loss to final few leaves not affecting text, expert tissue repairs, bookplate, original morocco, decorated in blind, rebacked retaining original backstrip, slight bumping to corners and extremities, folio, 1900.

India.- Moor (Edward) Hindu Infanticide. An Account...of the Systematic Murder by their Parents of Female Infants, first edition, some light foxing and toning, silk ribbon with some offsetting, bookplate of Robert Townsend Farquhar, contemporary blind-stamped russia, rebacked and recornered, rubbed, 4to, 1811.

Italy.- Maffei (Francisco Scipione de) Compendio della Verona Illustrata, 2 vol. in 1, engraved portrait frontispiece, 32 engraved plates (folding), the odd small paper repair to plate verso, occasional very light marginal spotting, repairs to hinges, contemporary blind-stamped calf by J. Atkinson of York (with ticket), rebacked, corners lightly rubbed, 8vo, Verona, nella Stamperia Moroni, 1795.

Middle East.- Anet (Claude) Through Persia in a Motor-Car, first edition, frontispiece, plates, spotting, original pictorial cloth, gilt, slight bumping to corners and extremities, small stain to spine foot, 1907 § Jackson (A. V. Williams) From Constantinople to the Home of Omar Khayyam, frontispiece, plates and illustrations, folding map, publisher's advertisements at end, ex-library with blind-stamp to title, original pictorial cloth, slight bumping to corners and extremities, New York, 1911; 8vo (2).

Africa.- Maydon (H. C.) Simen: Its Heighs and Abysses, first edition, frontispiece, folding map, plates, spotting, bookplate, original cloth, slight bumping to spine extremities, [Czech p.110], 1925 § Dracopoli (I. N.) Through Jubaland to the Lorian Swamp, first edition, publishers presentation blind-stamp to title, frontispiece, folding map, plates, publisher's advertisements at end, bookplate, original pictorial cloth, slight bumping to corners and spine extremities, Czech p.51], 1914 § Pearce (Major F. B.) Zanzibar: The Island Metropolis of Eastern Africa, first edition, frontispiece, plates, folding map, short marginal tear and marginal water-staining, scattered marginal spotting, bookplate, original cloth, sunned spine, neat repairs to spine extremities, a little rubbed, 1920 § Hattersley (C. W.) The Baganda at Home, first edition, frontispiece, plates, publisher's advertisements at end, scattered spotting, bookplate, original pictorial cloth, slight bumping to corners and extremities, [Hosken p.96], 1908 § Lagden (Sir Godfrey) The Basutos: the Mountaineers & their Country, 2 vol., first American edition, frontispieces, plates, 9 maps, 2 folding, scattered spotting, bookplate, original cloth, gilt, slight bumping to spine extremities, New York, 1910 § Wauters (A. J.) Stanley's Emin Pasha Expedition, portrait frontispiece, plates, folding map, publisher's advertisements at end, bookplate, original pictorial cloth, gilt, slight bumping to corners and extremities, 1890; 8vo (7)

L.S. Lowry R.A. (British 1887-1976) "His Family" Signed in pencil in the margin, with Fine Art Trade Guild blind stamp, from an edition of 500, limited edition colour print.image size 53cm x 71cm (20.75in x 28in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The colours are slightly down across the image and there is a small surface mark in the upper right-hand corner of the print. There is some very light time staining and yellowing around the edges of the paper near the mount board. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Records : Rock - desirable & collectable albums inc Byrds, Creedance, Black Sabbath, Blind Faith etc (13)

A large Collection of Vinyl LP Records housed in 4 boxes. Including / Rock / Pop / Punk / Metal / 60s etc. Including Moody Blues, Troggs, Bryan Ferry, Johnny Cash, Duran Duran, Wham, Rod Stewart, Bod Dylan, Michael Jackson, Queen, David Bowie, Genesis, Rolling Stones, Hawkwind, Crosby Stills, Fleetwood Mac, The Police, Madonna, Gladys Knight, Slade, Al Green, Blondie, Bon Jovi, Slade, The Byrds, P J Proby, Donovan, Yardbirds, Chuck Berry, Seekers, Tom Jones, Rutles, Wilson Pickett, Wings, Travelling WIlburys, Madonna, Led Zeppelin, Hollies, Everly Brothers, Nazareth, Status Quo, ZZ Top, Blind Faith and lots more.. Total of approx 250 lp records Some with sleeve damage some vinyl marked that may affect play,

A good collection of Vinyl LP Records. From the 1960s to 1980s - various genres from Rock / Pop / Metal / - collection - Including artists such as Charged GBH, Beach Boys, Commodores, The Eagles, Genesis, Earth Wind & Fire, Phil Collins, Drifters, ELO, Supertramp, Blue Oyster Cult, Rolling Stones, Elton John, Carpenters, Michael Jackson, Dr Hook, Madness, Billy Joel, Abba, Duran Duran, Spandau Ballet, Bread, Roy Orbison, Depeche Mode, The Hollies, PJ Proby, Bob Dylan, Moody Blues, Chicken Shack, Buffalo Springfield, Hermans Hermits, The Animals, Dave Clark Five, Velvet Underground, Lou Reed, Jimi Hendrix, Eurythmics, Brian Poole & the Tremeloes, Motley Crue, Blondie, George Harrison, Johnny Cash, Eagles, Cliff Richard, Meatloaf, Bangles, Ventures, Pink Floyd, Deep Purple, The Who, The Beatles, Muddy Waters, Frank Ifield, Street Sounds, The Smiths, Status Quo, Bee Gees, Madonna, Pet Shop Boys, Gary Numan, Iron Maiden ( one record chipped ) AC/DC, Alice Cooper, Steel Pulse, Tina Turner, Young Rascals, Nazareth, Elvis Presley, Allman Brothers, Billy Bragg, Stackridge, Adam Ant, Blind Faith, Sex Pistols, Fleetwood Mac, David Bowie, Fairport Convention, Living Colour, Dirty Dancing soundtrack, UB40, Neil Young, FGTH, Sham 69, Peter Gabriel, Queen, New Order, Dead Kennedys, George Jones, NOw 7, Papa John Creach, Bon Jovi, Alan Parsons, Big Brother, Black Sabbath, Megadeth, Neil Duddy, Nat King Cole, The Shadows, New Order 12Includes a handful of 12 inch singles all others are LPs. Condition on some is fair to very good. Some sleeves have damage some records have marks or in need of cleaning. A good collection for a new collector or trader4 x Boxes total approx 240 +

Vinyl - 8 Rolling Stones LPs to include self titled x 2 (LK 4661) mono red unboxed Decca label, Blind Man text, Let It Bleed (SKL 5025) stereo, no poster, mark to side 2, Their Satanic Majesties (TXL 103) vinyl only fair, Beggars Banquet x 2 (LK 4955 mono and SKL 4955 stereo), Out Of Our Heads (LK 4733) name in marker to both labels and rear of sleeve, Aftermath (LK 4786) and Sticky Fingers (COC 59100). Condition varies.

Vinyl - Approx 70 rock & pop LPs to include The Band, Barclay James Harvest, The Doors, Badger, Captain Beefheart, Big Brother & The Holding Company, Bonzo Dog Band, Erasure, Baker Gurvitz Army, Blind Faith, Everything But The Girl, Be Bop Deluxe and more. Condition varies but at least Vg overall

A Gothic Revival bronze encrier, cast throughout with blind tracery, the lofty cover enclosing a desk bell and a pair of inkwells, turned wooden base, 15.5cm high

A set of four Gothic Revival gilt metal altar pricket candlesticks, cast throughout with figures and blind tracery, triform bases, 59cm high

A 19th Century Chamberlain Worcester botanical vase and cover decorated with leaves, buds and insects, similar to the Blind Earl pattern, the cover with a rose finial, painted Chamberlain & Co, 155 New Bond Street, height 18cm, restored.

A 19th Century Flight Barr and Barr Worcester cabinet plate decorated with a hand painted botanical study titled Iris Germanica German Flag, the centre with a purple flower surrounded by a green border and gilt pie crust edge, printed mark alongside hand painted title, diameter 25cm, together with a 19th Century Worcester frilled edged plate decorated in the Blind Earl pattern, impressed mark, diameter 20cm, restored. (2)

A Chippendale style 18th century and later mahogany side table, the rectangular crossbanded top over a blind fretwork frieze incorporating a long drawer, the legs joined by X stretchers on brass castors. H.70 W.91 D.55cm.

George Russell AE (1867 - 1935)Children Playing in a Woodland GladeOil on canvas, 53.5 x 81.5cm (21 x 32")SignedProvenance: Collection of the Late President Erskine Childers, thence by descentThe Garden of Eden has haunted the imagination ever since the Book of Genesis gave us those descriptions of an idyllic world. In Eden grew ‘every plant’ and ‘every tree that is pleasant to the sight’. It’s a place imagined by artists through the centuries and behind many paintings of beautiful, natural landscapes shimmers that ideal garden where everything was once perfect and carefree. George Russell [Æ] born Lurgan, County Armagh in 1867, painted many ideal landscapes. The Russell family moved to Dublin when George was eleven years old and during summers spent with an aunt or with maternal grandparents in rural Armagh, Russell began to paint in watercolour. Educated at Edward Power’s school on Harrington St and at Rathmines School, as a talented thirteen-year old he was admitted to evening classes at Dublin Metropolitan School of Art and it was there that he met W.B. Yeats. When Æ died Yeats confided ‘Æ was my oldest friend. We began our work together.’Painter, poet, dramatist, novelist, critic, theosophist, mystic, economist and Irish nationalist, George Russell, a true polymath, worked as a draper’s clerk, later worked for the Irish Agricultural Organisation Society, established co-operative banks and he edited, from 1905 to1923, the Irish Homestead, a progressive journal of the Irish Co-operative movement, a journal, in Diarmaid Ferriter’s words, that was ‘generally optimistic about the potential for rural Ireland to develop, but only if the populace would organise in the manner of its European neighbours’. Russell, or Æ, also declared, in New York, that cities were ‘an actual danger to life itself’. ‘The decay’ he said, ‘of civilisation comes from the neglect of agriculture’. Æ believed that ‘[t]here is a need to create, consciously, a rural civilisation adding that ‘[y]ou simply cannot aid the farmers in an economic way and neglect the cultural and educational part of country life, or else the children will continue to leave for the city.’ During a tour of Canada, Kenneth Leslie, a Nova Scotia poet, thought Æ ‘as ready to talk of fat cattle and creamery butter as of Yeats and Lady Gregory’.Oil portraits by Æ included those of Iseult Gonne and Mary Colum, there are charcoal drawings of W.B. Yeats and he painted oil on plaster murals at the Theosophical Society of Ireland headquarters in Ely Place. But he is best known for his landscapes real and imagined. There are representational, atmospheric works such as Clouds Over The Hill, Evening In The Fields, Boglands, Swans at Coole, Landscape North of Muckish, County Donegal and Æ also painted visionary, mystical scenes inspired by his interest in the Tuatha Dé Danann, sea and tree spirits.Æ’s undated painting Children Playing in a Woodland Glade contains four young female figures in gold, red, white and blue dresses. Other undated idyllic sylvan scenes such as Figures in Woodland or Gathering Firewood include girls and women wearing bright colours - blue, red, orange, purple. This work features a woodland scene with figures in bright clothes. The smooth woodland floor is lit with brilliant, dappled sunlight and the tall tree trunks with their splashes of brightness are dazzlingly lit. Overhead, the delicate, young, green leaves suggest springtime and the eye is drawn beyond the figures in the foreground to wander among the slender and broader tree trunks. Compositionally, there is a lovely contrast between the still figure kneeling on the left and the “ring-a-ring-a-rosying” trio on the right. The blue and red dressed figures are older and taller, the girl in blue is quietly concentrating on the forest floor, the girl in red exudes an energy and her two companions in purple and white are totally absorbed in play. Details are deliberately vague. Faces are rendered impressionistically rather than realistically and none of the figures looks at the viewer. They are too caught up in their own joy. And their clothes are captured with a beautiful painterliness.  In The Opal and the Diamond, AE describes how he felt ‘one warm summer evening lying idly on the hillside, not then thinking of anything but the sunlight’. He knew at that moment that ‘the Golden Age was all about me, and it was we who had been blind to it but that it had never passed away from the world’. A painting such as this reminds us of such a sun-bright, golden world. It is a glimpse of Eden.His monogrammed signature, lower right, is the very same as on the autograph tree at Coole Park next to Yeats’s, Æ being an abbreviation of Aeon meaning ‘vital force’, ‘life’, ‘a lifelong quest’. [When Æ appears as a character in Ulysses, smarty-pants Stephen Dedalus borrows some money from him and quips A.E. I. O. U.]Æ married Violet North in 1898. They had three sons one who died soon after being born. After his wife died Æ moved to England. He died in Bournemouth and in an Obituary P.G. Browne wrote ‘his going leaves a blank not easy to fill. He had many friends (he had NO enemies) made during the course of his worldly activities’. Nicknamed The Hairy Fairy and Strayed Angel, Patrick Kavanagh called Æ ‘a great and holy man’. He is buried in Mount Jerome. There’s a commemorative bust by Jerome Connor in Merrion Square and his work is in many collections including the Hugh Lane, the NGI, the Abbey Theatre, Trinity College, University of Texas and Winnipeg Art Gallery, Canada.Niall MacMonagle, October 2022

An extremely rare pair of Meissen red-ground bottle vases, circa 1735Each of globular form with a long, slightly flared neck, the body reserved with three shaped quatrelobe cartocuches framed in brown and painted with elaborate chinoiserie landscape scenes, one vase with a bird in flight and flowering branch reserved on the red ground, the lower body and shoulder reserved with a broad band edged with brown lines and painted with a few scattered leaves and flowers and flowering branches of indianische Blumen, respectively, the rims with gilt bands, 37.5cm high, AR monograms in underglaze-blue, incised x (for Johann Daniel Rehschuh), inventory nos. B.n. 17 and B.n. 18 in black, one with paper label numbered in pencil 749 (some scattered minor scratches) (2)Footnotes:Provenance:Catalina von Pannwitz Collection, 'De Hartekamp', Heemstede, The Netherlands (purchased from Alfons Heilbronner, Berlin, in 1924)This form of bottle vase appears to have been made exclusively for the Dresden court (all are marked with the AR monogram for Augustus Rex). The form was made in several sizes (the present lot is the largest), most commonly with a sea-green or turquoise ground colour for the Japanese Palace in Dresden. Bottle vases of this large size, painted in imitation of a Chinese original in the collection of Augustus the Strong, were delivered to the Palace by July 1734, and another five of the same size with a turquoise or celadon ground colour were delivered in 1737. A similarly large bottle in the Rijksmuseum is decorated with the only known example of a marbled green ground. Walter von Pannwitz also owned two slightly smaller pairs of bottle vases with a similar decorative scheme as the present lot: the first with a seeded yellow ground reserved with indianische Blumen, and the second with a similar blue ground (sold by Galerie Helbing in Munich, 24-25 October 1905, lots 388-89 and 390-91; the first pair is now in the Rijksmuseum (A.L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), no. 193) and the second pair was sold by Christie's Geneva, 9 November 1987, lots 148-9).Numerous ground colours were developed by J.G. Höroldt for the Meissen manufactory in the late 1720s: a 1731 list of porcelain painted by Höroldt as samples or models for his painters includes examples of twelve different ground colours including red (C. Boltz, Höroldts Malereimodelle von 1731, in Keramos 158 (1997), pp. 3-24). Red is one of the rarer ground colours on Meissen porcelain and known mostly in combination with European landscape scenes dating to the early 1740s. These vases belong to the earliest examples: the only other recorded example with similar chinoiserie decoration is the ovoid Augustus Rex vase and cover that was sold by Paul Graupe, Berlin, 27-29 May 1935, lot 466 (see illustration). Five vases from a garniture painted with flowers, animals and insects reserved on a red ground are published by U. Pietsch, Phantastische Welten (2014), nos. 31-35 (of which two are in the Metropolitan Museum of Art, New York).This style of chinoiserie decoration has been described as 'contour' chinoiseries (to distinguish it from the more common style of chinoiserie decoration associated with J.G. Höroldt, see A.L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), p. 259) and has been associated with the painter A.F. von Löwenfinck, who was active at Meissen until 1736. The style is based on prints by Augsburg publishers, such a Johann Christoph Weigel, but has been most closely associated with the series 'Nieuwe geinventeerde Sineesen published in Amsterdam and Leipzig by Petrus Schenk and his son (A.L. den Blaauwen, Keramik mit Chinoiserien nach Stichen von Petrus Schenk Jun., in Keramos 31 (1966), pp. 3-18). In the case of these vases, only the figure of the monkey appears to be derived from the title page of the Schenk series. Two figures playing blind man's buff and the standing figure with the monkey appear together on a plate in the Rijksmuseum, Amsterdam (Inv. BK-17367). See also J. Weber, Porzellanmalerei nach Pieter Schenk und Johann Christoph Weigel, in C. Bischoff/P. Kuhlmann-Hodick, La Chine Die China-Sammlung des 18. Jahrhunderts im Dresdner Kupferstick-Kabinett (2021), pp. 202f, and five vases from a yellow-ground garniture decorated in similar style in the Porzellansammlung, Dresden (inv. no. PE 1343-1347).For further information on this lot please visit Bonhams.com

Satz von 5 Schüsseln, Hedwig Bollhagen, 2. H. 20. Jh.Keramik. Runde Form, Dekor 086-00, zentrale Spirale in rosa auf weißem Grund im Spiegel, blaue Keile wechseln sich mit roten Streifen ab. Kleinste Schüssel unterseitig monogrammiert, größe Schüssel Prägemarke "HB". Schüssel mit 32,5 cm am Standfuß min. gechipt, größte Schüssel am Rand bestoßen. D. zwischen 19,5 und 37 cm Set of five bowls, Hedwig Bollhagen Ceramic. Round form, libely decor. Smallest one is monogrammed, biggest one has a blind stamp. Two bowls min. chipped.