There are 14383 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeREISS GEORGE F. A collection of 14 mounted wood engravings, some of views around Kendal, other botanical. Mainly ltd. eds. Late 1920's to early 1960's; also a pen & ink drawing of "A bit of Old Kendal" by another hand & a ltd. ed. engraving of a fairground by Harold Albert Maddick (purchased at retrospective 50th Exhibition of the Society of Wood Engravers). (16).
Sydney Harpley RA (1927-1992) ''Singapore Girl on a Swing'' Signed in the cast and numbered 4/6, 6 June 1984, on a black slate base and stand, bronze, life size Bronze: 158cm high, 170cm wide (approx.) Base: 45cm high, 88cm wide, 62cm deep Plinth: 8cms high, 84cm wide, 59cm deep Exhibited: Royal Academy Summer Exhibition, 1984, V15 Harrogate Festival Exhibition, 1985 On loan to the Mercer Art Gallery and the Harrogate Town Hall since 1991 *Artists' Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business Sydney Harpley was born in 1927 and served in the army National service 1945-48. Between 1950-53 Harpley studied sculpture at Hammersmith School of Art, where he gained the National Diploma in Art and Design. This was followed with a period spent at the Royal College of Art from 1953-56 and was made an Associate of the Royal College of Art. Harpley first exhibited sculpture at the Young Contemporaries in London and the Royal Academy Summer Exhibition of 1954, subsequently exhibiting at the latter every year. Harpley has held a number of highly successful one man shows, including those at The Society of Arts, Cape Town, South Africa (1964), Adler Fielding Gallery, Johannesburg, South Africa (1964), The White House Gallery, Breda, Holland (1974), Nevil Gallery Bath, UK, (1983) to name but a few amongst others within Europe and the United Kingdom. Mixed exhibitions have also been numerous within England. In 1958/9 Harpley was commissioned by London County Council to produce two sculptures, which was quickly followed by a commission from Hemel Hempstead New Town in 1960 for another four works. Cape Town has an over life size memorial to Jan Christian Smuts, amongst other international commissions, but perhaps ''Girl on Swing'' for the Singapore Botanical Gardens of 1984 is most notable here being no.1 from the edition of 6 and commissioned by his Excellency David Marshall, Singapore Ambassador to France. Harpley also lectured at several art schools within the United Kingdom and acted within various committees including the Selection Committee for RA, the Summer Exhibition (1975-76), Council of RA (1975-6) & 1982-3. Bronzes by this important Neo-Romantic artist can be found in many international and national collections including the National Gallery of New Zealand, the National Gallery of South Africa, Bradford City Art Gallery, University of Leeds (The Stanley and Audrey Burton Gallery), Samuel Josefowitz Collection, Geneva, Fleur Cowles Meyer Collection, London and the Paul Mellon Collection, USA. He has also produced several significant portrait busts on commission which include: HSH Prince Albert of Monaco for HSH Princess Grace of Monaco, Lee Kwan Yew, Prime Minister of Singapore and Viscount Villiers for Lord Jersey to name but a few. Sydney Harpley's work captures the full grace of the female form. ''Girl on a Swing'' should be considered one of his finest works representing neo-romanticism in its purest form and arguably equivalent to some of the earlier work produced by Degas and Rodin of a similar theme.
All World Stamps Early to Mid XX Century, predominantly used with plenty of interest on a full album. Together with an attractive Victorian greeting card and decoupage album which lends itself to re-purposing and a collection of G.B. and Canadian F.D.C's, including a Canadian Cover posted to Bakewell in 1952 bearing Queen Victoria and Edward VII stamps, Battle of Britain, Coronation and Botanical Congress.
Fourteen Early G.B. Presentation Packs. 1964 Shakespeare Festival, Geographical Congress, Botanical Congress, Forth Road Bridge. 1965 Churchill, Parliament, Battle of Britain, P.O Tower. 1966 Robert Burns, Westminster Abbey, World Cup, Birds and Technology. All in good flat condition and now cataloguing very highly.
A Significant Large Album of Edwardian and Georgian Picture Postcards, depicting Sheffield and its environs. Vibrant inner city street scenes, transport and railway station interiors. Many real photographs of the suburbs, parks, municipal buildings, 1905 Royal Visit Arches, illuminated trams, Empire Day, the university, Montgomery Road, Botanical Gardens, Whiteley Woods and much more. Viewing recommended.
A COALPORT PORCELAIN PART DESSERT SERVICE, c.1835, comprising four plates, a square dish and pedestal tazza, all painted in polychrome enamels by Stephen Lawrence with botanical specimens including tulips and an auricula, within cobalt blue borders enclosing scroll panels of summer flowers and gilt highlighted ecru scrolls, plates impressed 2, all numbered 4/412, plates 9 1/4" diameter, tazza 6" high (6) See "Coalport 1795-1926" by Michael Messenger, ACC 1995, pp.284/5 (Part Illustrated) (Est. plus 18% premium inc. VAT)
A COALPORT BOTANICAL DESSERT STAND WITH CANTED CORNERS, OUTSIDE DECORATED, C1815 boldly painted to the centre with a poppy in a border of cabbage roses, on four gilt feet, 20.5cm w, painted title Spatlin Poppy in blue script ++Localised crazing of the glaze that has a slight stain and wear to gilding on the rim. No restoration
Hill, John, Sir - The British Herbal, First edition. Large folio, original sheep boards - rebacked. Allegorical coloured engraving as frontispiece by H. Roberts after S. Wale, coloured engraved title page vignette, dedication page with coloured engraved arms of Earl of Northumberland and 75 plates of about 1500 botanical and herbal specimens. Printed for T. Osborne and J. Shipton in Gray's Inn. & c. London 1756Sir John Hill (1714-1775) was apparently from Peterborough. He was trained as an apothecary and set up a small shop in St. Martin's Lane. He travelled all over the country in search of rare herbs in order to write a herbal but this took longer than he thought. He was a prolific writer, his first publication being a translation of Theophrastuss History of Stones (1746). He edited the British Magazine (1746-1750), and for two years (1751-1753) he wrote a daily letter, The Inspector, for the London Advertiser and Literary Gazette. He also produced novels, plays and scientific works, and was a large contributor to the supplement of Ephraim Chambers's Cyciopaedia. His personal and scurrilous writings made him many enemies, including Henry Fielding, Christopher Smart and David Garrick all of whom attacked him in print. The Dictionary of National Biography attribute 76 different works the Hill but his most important are his botanical works. In addition Hannah Glasse's famous manual of cookery was generally ascribed to him (see Boswell, ed. Hill, iii. 285) as it was not readily believed that a woman could have written it. Dr Johnson said of him that he was an ingenious man, but had no veracity. The British Herbal, however, is a work of veracity and vitally important for modern botanical nomenclature in that not only did Hill attempt to name and categorize the flowers and herbs which grow in Britain but he classifed them on the forms of the corolla and gynoecium and criticised the Linnaean system.
A rare Chantilly sauceboat, shell moulded, with crabstock handle and coloured in enamels with botanical specimens. Painted hunting horn mark c1750, 21cm. Provenance; Liane Richards collection. Condition Report. To be used as a guide only. Handle re stuck. Spout section broken and re glued. Slight loss to the end of the spout.
ARCHIBALD WILLIAM MACDONALD, D.A. A.T.D.; watercolour and pencil study 'Briza & Bryonia', signed with initials and dated 1970, inscribed verso 'Briza & Bryonia by Archibald William Macdonald drawn in the solar of Valley Farm, Flatford, Suffolk, while his wife Joan 'Charnley' Macdonald was attending the Botanical Illustration Course directed by John Nash R.A. at Flatford Millfield Centre 1970', 36 x 21.5cm, framed and glazed. (D) CONDITION REPORT: This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk
A Swarovski Crystal group, Vase of Roses, 283394, an Orchid, 869948, and other botanical figures, all boxed (8) Condition report Report by NGVase of red roses, 283394Pink orchid on cushion, 200287- cushion frayedVase of pink roses, 628343Bonsai tree, 869964Flower, pink, 956807Three flowers, 956805Orchid, 869948Vase of red roses, 627098.All pieces appear to have original boxes. Condition ok unless otherwise specified. Some have been out on display and are grubby as a result of this.
Stamp /stamps Blue display folder of (mainly) GPO PRE-DECIMAL PRESENTATION packs. - about 40 of. These include some higher catalogue items eg Botanical, Churchill, geographical etc. A few pre-decimal FDCs. Some packs show mild card warping. Quite a number of packs are in triplicate. High philatelic cv.
A bound volume of copper engravings by Cooke of Paternoster Row, London, the engravings dated 1878-1795, including anatomical drawings, astronomy, maps, armorials and heraldry, zoology, electrical apparatus, scientific instruments, botanical subjects and architecture, in contemporary grey boards with cloth spine, 15¼ x 9¾in. (38.5 x 24.75cm.); together with 'Great Britain Illustrated', Thomas Moule and William Westall, ARA (illus), pub. Charles Tilt, London 1830, reading copy. (2)
A William and Mary kingwood oyster veneered and rosewood cabinet on stand The upper part with a moulded overhanging cornice and cushion frieze drawer above a pair of geometric inlaid doors enclosing an interior of ten various drawers around a central cupboard door enclosing five various small drawers, the stand with a long frieze drawer, on six later square section broken scroll legs joined by shaped stretchers uniting to support a radiating kingwood oyster veneered oval inlaid platform, on turned bun feet, with various old handwritten labels to the interior of the drawers and inscribed '1799', '1802', 'Jovis' and another 'Leverton Papers, to be Kept', 124.5cm wide, 52cm deep, 172cm high. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #000000; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Helvetica; color: #000000; -webkit-text-stroke: #000000; min-height: 13.0px} span.s1 {font-kerning: none}The cabinet offered here forms part of a small number of known cabinets which share certain similarities. Two have been published: notably an escritoire from the collection of the architect Basil Ionides with apparently a notably similar arrangement of kingwood oyster veneer roundels and spandrels (Country Life, August 11, 1950). This escritoire was referred to by Christopher Gilbert as a ‘highly important kingwood fall-front cabinet inscribed 'Thomas Pistor, Ludgate Hill, London, formerly owned by the Hon. Basil Ionides, which unfortunately remains untraced’, see C.Gilbert, The Pictorial Dictionary of Marked London Furniture, 1700-1840, Leeds 1996, p.44. A similarly veneered kingwood cabinet 'in two stages' forms part of the Noel Terry collection at Fairfax House, York and is illustrated in P.Brown, The Noel Terry Collection of Furniture & Clocks, York 1987, p.39, catalogued as c.1690-95 and acquired by Noel Terry from Mallett in 1935.It is possible that the class as a whole has a common maker (based on Christopher Gilbert's comments, possibly Thomas Pistor, for further information on this cabinetmaker see lot 27). There are similarities between different examples not only in the use of the veneers, but also in the details of the mouldings and other points of construction. The name 'Kingwood' does not appear in British sources until 1770 before which it was probably referred to as princes wood although the exact Botanical species has not been identified other than being a species of Dalbergia, see A.Bowett, Woods in British Furniture Making 1400-1900, Wetherby 2012, p.104.Bowett notes that kingwood had generally gone out of fashion by around 1730 but was re-introduced, very possibly by the French émigré cabinetmakers in London during the 1770’s. Kingwood was amongst the most expensive woods generally used by cabinet-makers at the time, and its use is invariably associated with furniture of high quality. NB: Requires a CITES license if exported outside the EU
Loading...
