We found 44918 price guide item(s) matching your search

DAVID SHEPHERD (1931-2017) 'TEMBO MZEE', a limited edition print 143/850 of an elephant, signed in pencil, with blind stamp, mounted and framed, approximate size 49cm x 89cm (condition: small marks to the frame) (A)

Fodon Congleton - A 18th Century longcase clockWith brass 33cm arched dial, with Roman and Arabic numerals, subsidiary date and seconds aperture, to a brass eight day movement, the oak case with broken arch pediment, pillared side supports and blind fretwork decoration over a panelled box base, height 220cm. Fodon Congleton - A 18th Century longcase clockWith brass 33cm arched dial, with Roman and Arabic numerals, subsidiary date and seconds aperture, to a brass eight day movement, the oak case with broken arch pediment, pillared side supports and blind fretwork decoration over a panelled box base, height 220cm. overall poor conditionhood door detached and glass brokenvarious loses/splits/scuffs to wood of casemissing seconds hand dialmovement has probably not run for a long timein need of full restoration throughout

Committi London - A contemporary longcase clockWith square brass face, with silvered chapter ring, subsidiary seconds dial and pierced sprandrel decoration, to a brass three weight driven musical movement striking on a rack of bells, set into a 18th Century Dutch style case with blind fretwork and barley twist supports over a floral decorated trunk door and box base, height 196cm Committi London - A contemporary longcase clockWith square brass face, with silvered chapter ring, subsidiary seconds dial and pierced sprandrel decoration, to a brass three weight driven musical movement striking on a rack of bells, set into a 18th Century Dutch style case with blind fretwork and barley twist supports over a floral decorated trunk door and box base, height 196cm Height 195.5cm, has 3 weights and pendulum, dial 28cm square

A contemporary bronze figure 'Blind Man’s Bluff'Raised on veined marble plinth base, height 19cm A contemporary bronze figure 'Blind Man’s Bluff'Raised on veined marble plinth base, height 19cm

SALVADOR DALI 'Woman with Flower Head', lithograph, printed on BFK Rives paper, with artist's blind stamp, signed in the plate, numbered 1798/2000 in pencil, 50cm x 65cm, framed and glazed. Subject to ARR - please see Buyers Conditions)

A late 19th Century wash stand with a gallery above a blind drawer and under tier in inverted tulip legs, in clean condition, some usage wear consistent with age

A reproduction mahogany press cupboard on three drawers, the upper half with panelled doors, moulded detail and blind fretwork to the edges, the drawers with cross fretwork decoration, 161cm high x 92cm wide x 50cm deep

A mahogany standing display cabinet with blind fret cornice with astragal glazed doors over a shaped apron raised on cabriole legs 181cm high x 110cm wide x 29cm deep

A George III mahogany dressing linen press, with blind fret cornice over two short and six long graduated drawers, one with extensive fitted interior on bracket feet, 120cm wide x 201cm high x 58cm deep.

A George III Tavern TimepieceBy William Lundie, Aberdeen, circa 1800The circular dial with Roman chapters, above the trunk signed Willm. Lundie Aberdeen, fitted with a panel door, decorated with a coloured print of Christ healing the blind man, above a swept base, the movement with tapered plates, with four pillars and anchor escapement73cm diameter150cm high

A walnut and marquetry month-duration longcase clockThe dial inscribed J. Windmills, LondonThe pediment with a moulded cornice above a blind fret, with hinged glazed door, flanked by turned handed columns, a glazed panel to each side, above the trunk with a triple-panel marquetry-inlaid door, centred with an oval lenticle, above a panelled plinth, the 11in. square brass dial, with pierced cherub head spandrels, silvered chapter ring inscribed J. Windmills, London, enclosing a matted centre with seconds ring, harboured winding and calendar apertures, the twin train month-going movement with five latched, shouldered, ringed and finned pillars and external countwheel strike on a bell with anchor escapement, the movement with later elements, the dial plate possibly associated, the case 20th century193cm high

A George III parcel-gilt and faux tortoiseshell lacquer longcase clock By Thomas Bell, London, mid 18th Century and later The pediment with a moulded cornice above blind fret, with a glazed arched dial door flanked by three-quarter columns, the trunk inset with a rectangular door decorated with pavilions and figures, on a stepped plinth, the 12in. arched brass dial signed on a roundel in the arch THO: BELL LONDON, with silvered chapter ring, enclosing a matted centre with seconds subsidiary and calendar aperture, the twin train five-pillar movement with anchor escapement and rack strike on a bell, plinth restored, movement and case possibly associated 224cm high PROVENANCE, BY REPUTE: William Beckford, Fonthill Abbey. (According to a handwritten note in ink signed J. Moody dated 1900)

A Queen Anne walnut longcase clockBy Thomas Walkden, London, circa 1705 and laterThe hood with a moulded pediment above a blind fret, with glazed hinged door and flanked to each side by a turned column with gilt Corinthian capital, a glass panel to each side, the trunk inset with a hinged door, centred with a giltwood roundel, on a stepped plinth base, the 11in. square brass dial with cherub mask spandrels, silvered chapter ring, signed Tho Walkden, London, with a matted centre, narrow seconds ring and harboured winding holes, pierced steel hands, a calendar aperture above the VI, the movement with five turned shouldered, ringed and finned pillars, anchor escapement and internal countwheel strike on a bell, restorations, movement possibly associated206cm highThomas Walkden is recorded as apprenticed in 1682 and a member of the Clockmakers' Company 1694-1719.

Victor Vasarely (French/Hungrian 1906-1997): Untitled, limited edition screenprint No.CLXXVI/CC signed in pencil pub. Cercle Graphique Européen with blind stamp 75.5cm x 72.5cm Condition Report Click here for further images, condition, auction times & delivery costs

Death NYC: Marilyn New York City Subway Map, lithograph and screenprint signed and dated 2013 in pen, with blind stamp and certificate of authenticity verso 73cm x 57cm Condition Report Click here for further images, condition, auction times & delivery costs

Early twentieth century oak dressing base having two long & one short drawer above open dog kennel, flanked by blind panelled cupboards on bracket feet, 174 x 46 x 88cms high Condition Report: please request* *Condition is not stated in this type of auction with description and must be obtained by email prior to bidding as items are otherwise are purchased 'as seen'

Oak blind panelled cupboard top with three drawers, probably originally from a cupboard on chest Condition Report: please request* *Condition is not stated in this type of auction with description and must be obtained by email prior to bidding as items are otherwise are purchased 'as seen'condition:Height – 99cmsDepth – 53cmsLength – 113cms

A mahogany four height chest of drawers, with blind fret carved decoration, on bracket feet

A George III style mahogany stool with blind fretwork legs and green upholstered seat; together with a cane seated hall chair and another stool (3)

Two beige and burgundy acanthus decorated roman blinds together with a green trimmed cream satin roman blind CONDITION REPORTS Good - cream blind has some small marks to the edges,wear and tear conducive with age and use. For further details please view in person.

Laurence Stephen Lowry R.A. (British 1887-1976) - ‘The Old Townhall and St Hilda’s Church Middlesborough’ Numbered print, 485/850, with blind stamp, 42.5x31cm, framed

Laurence Stephen Lowry R.A. (British 1887-1976) - ‘The Arrest’ Limited edition print, 89/850 with A blind stamp, 52x41cm, together with a further Lowry limited edition print 414/850

Edwardian lady's mahogany bureau having a tray top, blind fret frieze below, the fall flap with iron strap hinges, two open shelves below Condition:

'Guardian Spirit' Hurricane print, 838/850 with blind stamp, 57x71cm

A MAHOGANY DEMI-LUNE CARD TABLE the frieze and square tapering supports with blind fret carved decoration, 92cm wide 76cm high

Two late 19th/early 20th century company letter blind stamp presses to include John Saddler & Sons Ltd, length 16cm, both with padlocks, one with key (2).

DAMON HILL; a signed limited edition print depicting the 1993 Williams Renault Formula 1 car, also signed by the artist Alan Stammers, number 85/750 with blind stamp and certificate of authenticity with a photograph of Damon Hill doing a signing, the former 48 x 81cm, both framed and glazed.

LAURENCE STEPHEN LOWRY (1887-1976); a signed limited edition coloured print 'The Fever Van', signed in pen to lower right and with blind stamp lower left indicating number 014, 41.5 x 51.5cm, framed and glazed. (D) CONDITION REPORT: Colours remain quite strong but there are areas of brown staining to the edges. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition black and white print, 'The Football Match', signed in pencil to lower right, with gallery blind stamp to lower left, limited edition 350/850, with descriptive label verso, 26.5 x 36cm, framed and glazed. (D) CONDITION REPORT: Very heavily stained brown/yellow throughout the print. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition coloured print, 'The Contraption', signed in pencil lower right, bearing blind stamp lower left, indication no.106, 31.5 x 30cm, framed and glazed. (D) CONDITION REPORT: Some fading to the colours but free from any stains/foxing. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition print, 'Station Approach', signed lower right and with FATG blind stamp indicating letter to number 197, with Royal Academy Of Arts London certificate of authenticity, approx 40.5 x 51cm, framed and glazed. (D) CONDITION REPORT: Colours remain strong and no obvious foxing or staining. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition print, 'His Family', signed in pencil lower right with FATG blind stamp letter to number indicating 357, approx 52 x 71cm, framed. (D) CONDITION REPORT: No glass. Colours remain quite strong and no obvious foxing or staining. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition coloured print, 'Farm Buildings', signed in pencil lower right and with blind stamp lower left indicating no.844, published by Venture Prints Ltd in 1974, 40 x 50cm, framed and glazed. (D) CONDITION REPORT: Good colours throughout, some discolouration to the margin. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

LAURENCE STEPHEN LOWRY RBA RA (1887-1976); a signed limited edition black and white print, 'The Football Match', signed in pencil lower right, blind stamp lower left, 283/850, 25 x 36cm, framed and glazed. (D) CONDITION REPORT: Colours remain good, there are three tiny yellow/brown marks to the upper centre (see pics). Slight staining to the margin. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

VICTOR PASMORE CH CBE (1908-1998); a signed limited edition screenprint, 'Green Darkness', signed and dated '86, 22/90, approx 40 x 55cm, framed and glazed. (D) CONDITION REPORT: Strong colours, slightly rippled. Blind stamp '2RC' lower left. This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.

A Sanderson Junior Half Plate Mahogany Field Camera, 1900, with Busch's Wideangle Aplanat No.3 f/16 brass lens, in roller blind shutter, body, VG, shutter not working, lens, VG, with two DDS

An Unmarked Half Plate Stereo Mahogany Field Camera, with Aldis Anastigmat No.7 f/7.7 lenses, serial nos. 53453/8155, body, G-VG, lenses, VG, complete with roller blind shutter and one DDS

ϒA Sheraton Revival satinwood, rosewood banded, and marquetry inlaid petite commode, circa 1900, of semi-elliptical outline, with lift top and single blind drawer, 70cm high, 63cm wide, 31cm deep Provenance: Kingstone Lisle Park, Oxfordshire ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

A 20th century tooled leather inlaid filing cabinet, four blind drawers, two filing drawers, plinth base, 49cm x 63cm x 76cm

A REPRODUCTION MAHOGANY SHERATON REVIVAL SIDE CABINET, two frieze drawers above a pair of blind astragal doors flanked by split pillar stiles, raised on splay bracket feet, 38 ins wide.

A 19TH CENTURY GEORGIAN REVIVAL MAHOGANY WARDROBE, the moulded cornice above a pair of blind fret carved and panelled doors, two internal drawers, raised on bracket feet, 61 1/2 ins wide.

David Shepherd, 2 limited edition coloured prints with blind stamps, life goes on and last leaves of Autumn, signed in pencil

David Shepherd, 2 limited edition coloured prints, with artist's blind stamp, Arctic foxes and Winter foxes, signed in pencil

A PAIR OF TOILE DE JOUY CURTAINS and another similar pair with a blind and a collection of approx five pairs of various sized lined red cotton curtains

An Edwardian ebonised mirror backed vitrine, the broken scrolled pediment over trinket shelves around bevelled kidney and rectangular plates, the base with blind fret carved frieze drawer above a pair of glazed cupboards flanked by corner shelves, on French cabriole legs united by an undertier, 220 x 120cm

Edwardian mahogany corner cabinet, moulded cornice, blind fretwork frieze, and canted corners, glazed doors enclosing shelves, ogee bracket feet, width 76cm height 170cm.

A pair of Georgian style two tier occasional tables with blind fret friezes

A pair of mid century coloured etchings depicting Middle Eastern Mosques one entitled " The Beggar's Blessing " the other " At The Mosque ", both blind stamped & hand signed, framed & glazed, 16 x 8in. (40.5 x 22.3cm.).

signed, numbered 3/30 and inscribed with the title in pencil in the margin engraving, soft- and dryground etching PROVENANCE The Edwine Simon Print Collection sheet size: 22 by 12cmEDWINE SIMON: A PRINTMAKERS JOURNEY A printmaker’s journey is a long and constantly challenging one in content, printing skills and technique. A printmaker should be able to print their own work, but collaboration with a master printmaker is recommended in order to push the boundaries in size, technique and content. My career began at the Michaelis School of Fine Art at the University of Cape Town under Eleanor Esmonde–White who taught design; Katrine Harries, technical virtuosity and skills of the traditional German school of etching and lithography; and May Hillhouse, colour. Oil painting and sculpture were the only two major degree subjects at the University at the time. Printmaking was the “Cinderella” until Kevin Atkinson and I broke that tradition and opened the doors for the following generations of students, enabling them to obtain a degree majoring in printmaking. We pushed the boundaries to the dismay of our lecturer. Kevin went on to study under Jennifer Dickson in Brighton England and Atelier 17 in Paris under Stanley Hayter. I went to The Institute of Education, University of London and part-time evening classes in etching at the Central School of Arts and Crafts in London under Peter Nel and Leonard Marchant. Back in Cape Town, Atkinson and I worked together teaching at The Cape Town Art Centre producing monotypes and work in acrylics. I went on to teach at the Ruth Prowse School of Art and thereafter worked with Jonathan Comerford, an ex-student of mine, who had just returned from Peacock Printmakers in Scotland. A collaborative printmaking studio, Hardground Printmakers in Roodehek Street, Cape Town, was established to provide professional printmaking facilities for the independent artist. A diverse array of artists would come to work there, both local and international, producing a wide range of printmaking. At Hardground, I produced large shaped etchings, collographs, blind embossing, viscosity etchings, silkscreens, linocuts and mixed media prints. This was made possible by Jonathan Comerford’s master printmaking expertise, as well as his wide arm span! He was able to lift soaked handmade paper, without it tearing, onto the surface of the plate and printing press. These collaborations show the complex process of printmaking and demonstrate the richness and diversity of the craft, whether it is a single print or a portfolio of exciting works. Lecturing at the Cape Peninsula University of Technology before retirement, I was able to draw upon my art experience from my collaborations with the above artists, educators and printmakers, by passing on technical knowledge to the students and other young creatives. - Edwine Simon Edwine Simon has held 11 solo exhibitions, participated in numerous group exhibitions and is represented in public and private collections in South Africa and overseas. Chilvers, I., Dictionary of Art & Artists, Kent, George Books, 2005 Craig, A., Arts & Entertainment Guide for Business South Africa Vol. 1, Cape Town, Living Art Productions, 1999/2000 Hobbs, P., Printmaking in a transforming South Africa, Cape Town, David Philip, 1997 Ogilvie, G., The Dictionary of South African Painters and Sculptors including Namibia, Johannesburg, Everard Read, 1988 Tappenden, C., Foundation Course Graphic Design, Great Britain, Octopus, 2004 History of Hard Ground Printmakers, www.hardgroundprintmakers.com/view.asp?ItemID=2&tname=tblComponent3&oname=About&pg=about [Online] Accessed 21 August 2018

signed and editioned 21/30 aquatint and softground etching PROVENANCE The Edwine Simon Print Collection sheet size: 19 by 14cmEDWINE SIMON: A PRINTMAKERS JOURNEY A printmaker’s journey is a long and constantly challenging one in content, printing skills and technique. A printmaker should be able to print their own work, but collaboration with a master printmaker is recommended in order to push the boundaries in size, technique and content. My career began at the Michaelis School of Fine Art at the University of Cape Town under Eleanor Esmonde–White who taught design; Katrine Harries, technical virtuosity and skills of the traditional German school of etching and lithography; and May Hillhouse, colour. Oil painting and sculpture were the only two major degree subjects at the University at the time. Printmaking was the “Cinderella” until Kevin Atkinson and I broke that tradition and opened the doors for the following generations of students, enabling them to obtain a degree majoring in printmaking. We pushed the boundaries to the dismay of our lecturer. Kevin went on to study under Jennifer Dickson in Brighton England and Atelier 17 in Paris under Stanley Hayter. I went to The Institute of Education, University of London and part-time evening classes in etching at the Central School of Arts and Crafts in London under Peter Nel and Leonard Marchant. Back in Cape Town, Atkinson and I worked together teaching at The Cape Town Art Centre producing monotypes and work in acrylics. I went on to teach at the Ruth Prowse School of Art and thereafter worked with Jonathan Comerford, an ex-student of mine, who had just returned from Peacock Printmakers in Scotland. A collaborative printmaking studio, Hardground Printmakers in Roodehek Street, Cape Town, was established to provide professional printmaking facilities for the independent artist. A diverse array of artists would come to work there, both local and international, producing a wide range of printmaking. At Hardground, I produced large shaped etchings, collographs, blind embossing, viscosity etchings, silkscreens, linocuts and mixed media prints. This was made possible by Jonathan Comerford’s master printmaking expertise, as well as his wide arm span! He was able to lift soaked handmade paper, without it tearing, onto the surface of the plate and printing press. These collaborations show the complex process of printmaking and demonstrate the richness and diversity of the craft, whether it is a single print or a portfolio of exciting works. Lecturing at the Cape Peninsula University of Technology before retirement, I was able to draw upon my art experience from my collaborations with the above artists, educators and printmakers, by passing on technical knowledge to the students and other young creatives. - Edwine Simon Edwine Simon has held 11 solo exhibitions, participated in numerous group exhibitions and is represented in public and private collections in South Africa and overseas. Chilvers, I., Dictionary of Art & Artists, Kent, George Books, 2005 Craig, A., Arts & Entertainment Guide for Business South Africa Vol. 1, Cape Town, Living Art Productions, 1999/2000 Hobbs, P., Printmaking in a transforming South Africa, Cape Town, David Philip, 1997 Ogilvie, G., The Dictionary of South African Painters and Sculptors including Namibia, Johannesburg, Everard Read, 1988 Tappenden, C., Foundation Course Graphic Design, Great Britain, Octopus, 2004 History of Hard Ground Printmakers, www.hardgroundprintmakers.com/view.asp?ItemID=2&tname=tblComponent3&oname=About&pg=about [Online] Accessed 21 August 2018

* AFTER LAURENCE STEPHEN LOWRY RBA RA (BRITISH 1887-1976), YACHTS colour print, with blind stamp and numbered in pencil 43cm x 58cm Mounted, framed and under glass

MARC CHAGALL 'Self portrait', after the frontispiece for 'The lithographs of Chagall vol.1', 1960, blind stamped and numbered 1415/2400, 50cm x 40cm, framed.

Maidstone & District DESTINATION BLIND, c.1960s, as used on Guy Arabs, Leyland Titan PD1/PD2s etc. A superb blind, very long and in very good to excellent condition. Plus a front REGISTRATION PLATE HUF 87 from 1947 Brighton Corporation AEC Regent 87, scrapped in 1968. In well-used condition, accompanied by a b&w postcard-size photo of the bus at Pool Valley bus station. [2]

Selection of London Transport & London Country DESTINATION BLINDS comprising 3 x Routemaster (2 x intermediate 'KK' type: 1978 (linen) from West Ham (WH) garage and 1980s (Tyvek) from Shepherds Bush (S) plus 1970s/80s side/rear 'LL' type (linen) from Peckham (PM)) plus a 1978 'King & Flack' Leyland National blind from Windsor (WR) garage with bus and Green Line coach destinations. All in good to very good, ex-use condition. [4]

1970s/80s Western National DESTINATION BLIND for Plymouth, Dartmouth & Totnes depôts, complete and in very good, ex-use condition, plus a 1960s/70s COACH DESTINATION BLIND from an unknown operator with various SE coastal and excursion destinations, in well-used but complete condition. [2]

London Country (London Transport-manufactured) RT-type bus DESTINATION BLIND coded 'V' (rear ultimate box) from Chelsham (CM) garage dated 7.5.76. Includes blue displays for the 403 Express and yellow displays for relief journeys on Green Line 706. A linen blind, complete with both white leaders, in very good, ex-use condition. [1]

Quantity of London Transport Routemaster (mainly) DESTINATION BLINDS comprising 18 x 'MM' number blinds and 16 x 'PP' canopy number blinds. Nearly all 1980s (one is a 1960s 'AA' RT blind) and from a wide variety of garages. All are complete, linen blinds in good to very good, ex-use condition. [34]

London Transport TROLLEYBUS DESTINATION BLIND (route numbers) from Wood Green (WN) depôt dated January 1959. A complete blind, with white leaders, in good, ex-use condition. [1]

London Transport RT-type bus DESTINATION BLIND coded 'V' (rear ultimate box) from Sidcup (SP) garage dated 21.12.64. A linen blind, complete with both white leaders, in ex-use condition, some wear in places but generally good to very good. [1]

London Country (London Transport-manufactured) RT-type bus DESTINATION BLIND coded 'S' (side or rear boxes) from Bromley (TB) garage dated 23.9.71. A linen blind, complete with both white leaders, in good to very good, ex-use condition. [1]