We found 15822 price guide item(s) matching your search
There are 15822 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
15822 item(s)/page
Lot 376
Banana box GB FDC's and 8x albums and loose in shoebox. Approx 645 from various sources producing a varied lot from early 1960's, 2x 1964 Botanical, 2x Geographical, a number of Cotswold and Stewart Covers and a small number of Benham. Later Post Office covers dominate of which many regional definitives, but no mini sheets. 2012 Olympics in qty.
Lot 113
A VICTORIAN SILVER MOUNTED THOMAS WEBB (STOURBRIDGE) CAMEO GLASS SCENT BOTTLE. of a large size (for laying down), the tapering body overlaid in opaque white on a red glass ground and decorated with botanical specimens in relief, the hinged cover opening to reveal a clear glass stopper, the silver mount by Henry Griffith & Son, Birmingham 1884, together with 4 other scent bottles including a cased silver example and a jet one; the Webb example 9.1" (23cm) long (5). *CR All with wear, the Webb example with a dent to the cover and although not visible, the cap on the end of the body is likely hiding a break. Please contact Connor for further informationconnor.swanwick@lawrences.co.uk.
Lot 1523A
Evelyn de Morgan (British 1855 - 1919) Pre-Raphaelite artist, 'Narcissi and Apple Blossom', watercolour study, from a collection of botanical drawings and sketches sold at Dominic Winter Auctioneers 2018 (see saleroom results), with Ottocento Fine Art Dealers receipt 2109, 35 x 24cm, F & G
Lot 1024
A QUANTITY OF FRAMED PRINTS AND PHOTOGRAPHS, the photographs are mostly African landscapes, African animals and African people taken by renowned photographer David Keith Jones, non-photographic prints include botanical studies, Margaret Preston reprints, four signed Franca Ghitti prints, Edward J. Cherry dry point etching of St Pauls Churchyard, a James Wyld map of Africa circa 1820, assorted other prints etc
Lot 752
A GROUP OF LARGE ORNAMENTS, FRAMED BOTANICAL PICTURES, AND A COPPER PAN to include two decorative pedestal urns back stamped with a blue beehive and marked Austria, with painted cameo scenes, and gilded embellishments, a central screw connects the three separate pieces together, height 48cm x width 21cm (could benefit from a clean), two large gold painted lamp stands in a neo-classical style, height 72cm (both untested, cracks to the paint around the middle of one), ten framed pictures of mostly tropical plants in faux bamboo frames, all have detailed descriptions to the reverse of the frame (some scuffs to the frames), height approximately height 34.5cm x width 25cm, a large handled copper pot with lid, height 22cm x diameter of pot 26cm, width including handle 56cm (15) (Condition Report: itemised conditions above)
Lot 105
Two cabinet plates to include a Copeland plate circa 1860s with pierced basket weave border 'jewelled' and picked out in tooled gold, 22.5cm diameter, together with a mid 19th century Worcester botanical plate, hand-painted with flowers to the centre with a 'jewelled' border, 22.5cm diameterIf there is no condition report shown, please request
Lot 21
A selection of early 19th century Masons dessert ware, to include an ironstone comport, circa 1815-20, 33cm wide x 21cm wide, a serving dish, circa 1815-20, 27.2cm wide, a dessert dish circa 1822, with 'Dwarf Iris' botanical specimen, 21.5cm diameter, an ironstone dish and plate painted in enamel colours, dish 19cm x 24cm, the plate 22cm diameter, each piece illustrated in 'Mason's The first Two Hundred Years' by Gaye Blake Roberts, refence numbers 79, 86 and 87If there is no condition report shown, please request
Lot 860
A QUANTITY OF PICTURES AND PRINTS ETC, to include an oil on board depicting boats at low tide signed Jill White, approximate size 29cm x 35cm, a W.A. Tait botanical plant study in watercolour, a watercolour of a derelict barn signed F. Ball, a watercolour landscape with farm buildings signed Alan D. Bulman, a floral still life study attributed to Florence England, two Marc Neale oil on board landscapes, a DOT motorcycles competition bulletin No 105 detailing wins in America, a framed photograph of a DOT motorcycle, modern needlework pictures, picture frames, mount card etc
Lot 1030
British School (19th century) Portrait of a young girl holding a bird, with a cat looking on Initialled J. E (obscured by the mount), watercolour, 33cm by 26cm (oval); Together with an English School 19th century "Wild Flowers" watercolour; three pencil and watercolour botanical studies each initialled S. A. G. and dated 1973; a reverse print on glass depicting a still life of flowers after Simon Pietersz Verelst; a limited edition print of common blue butterflies on grasses and a set of botanical prints frames in fours (qty)Provenance for "Wild Flowers": Malcolm Innes Gallery. The Selected Contents of Eden Lacy, Lazonby, from the estate of Victor Gubbins
Lot 108
This set includes eight framed color prints on paper after Greek philanthropist and artist Niki A. Goulandris's illustrations published in the botanical book Wild Flowers of Greece by C. Goulimis and W.T. Stearn. These prints were published by The Goulandris Botanical Museum, which she founded with her husband to promote interest in natural sciences and protect Greece's endangered wildlife. Housed in gilded frames with beige mats. Each sight size: 10"L x 14"H. Frame dimensions: 14.75"L x 0.75"W x 20.5"H. Artist: After Niki A. Goulandris (Greek, 1925-2019)Dimensions: See DescriptionCondition: Age related wear. One of the mats has a small brown spot.
Lot 102
A lovely color lithograph print on paper after an engraving by Bessin, based on an original botanical painting by Pierre Joseph Redoute, depicting the Chinese new year flower. Housed in a gilded frame with a leaf-like pattern, with a white mat with a green border. Artwork can be unframed and rolled for shipment. Artist: After Pierre Joseph Redoute (Austrian, 1759-1840)Dimensions: See DescriptionCondition: Age related wear.
Lot 1275
A collection of approximately 810 microscope specimen slides, late Victorian and later, a large proportion with Norman Preparer paper labels, including botanical, metallurgical and geological, within a pine twenty-eight drawer collector's specimen chest, each drawer labelled, on a plinth base, height 60cm (some faults and lacking front door).
Lot 1276
A collection of seventy-two microscope specimen slides, mostly late Victorian, including entomological, botanical and zoological, many with printed labels, the majority detailed 'W. Watson & Sons', housed within a card case with twelve removable trays, together with twenty-five other microscope specimen slides, all with 'W. Watson & Sons' paper labels, cased.
Lot 153
RAPA NUI LIZARDMAN FIGURE, EASTER ISLANDtangata moko toromiro wood, obsidian, boneHeight 68.5 cmold no.'D.35.23-3' in white paint under the ring. This inscription refers to a loan made to the Musée d'Ethnographie du Trocadéro, Paris in 1935. This object once had an Kichizo Inagaki base, now lost.ProvenancePaul Eluard and André Breton, ParisEtude Bellier, Paris, 2 July 1931, lot 162René Gaffé, BrusselsChristie's, Paris, 8 December 2001, lot 10LiteraturePortier, A. and Poncetton, F., Décoration océanienne, Paris, 1931, pl.IOrliac, C., Botanical Identification of 200 Easter Island Wood Carvings, 2007, table 2Biro, Y., Hourdé, C.-W., and Rolland, N., Surréalisme: Zones de contact, Paris, 2024, p.12ExhibitedParis, Musée d'Ethnographie du Trocadéro, Ile de Pâques - Exposition de la mission Franco-Belge en Océanie, 21 June - 30 October 1935Footnotes:Paul Éluard and André Breton first met in Paris in March 1919. Breton, along with fellow writers, Philippe Soupault, and Louis Aragon, had recently started a new surrealist magazine, Littérature. Impressed by what the shy Éluard read to them on the occasion, they invited him to contribute to the next edition of the magazine. Breton and Éluard became close friends. In 1924, exactly 100 years ago, Breton published his first Surrealist manifesto along with Éluard and fellow writers Louis Aragon, André Breton, Robert Desnos, Jacques Baron, Jean Carrive, René Crevel; the photographer Jacques-André Boiffard and the artist Georges Malkine. Claiming to be the successors of the legacy of Guillaume Apollinaire who had first used the term 'surrealism' in 1917, they sought to allow the free expression of the unconscious mind. The arts of the Pacific would play an important role in the Surrealist movement. Breton had purchased his first object of 'primitive art', an Easter Island sculpture, with money given to him by his parents in 1913 for passing a school exam. The arts of the Pacific best represented the revolution of artistic perception the Surrealists sought with its variety and unexpected visual appearance. On a map entitled 'The World at the Time of Surrealism', published in the Belgian avant-garde magazine Variétés, countries were accorded a size relative to their importance in the eyes of the surrealists with Pacific islands at the centre - Easter Island appears as large as the continent of south America. As Yaëlle Biro points out in her article in Contact Zones: Africa, Oceania, and North America as Sites of Dialogue and Friction Surrealism (p.10) Breton would explain later in the preface to his catalogue Océanie in 1948 the surrealist preference for Oceanic over African arts. The latter he described as realists, anchored in materiality, far removed from Surrealist preoccupations, while the former are spiritual and poignant, with the potential to spark both dreams and desire. In 1931, reputedly due to financial difficulties, Breton and Éluard organised a sale of 'Sculpture d'Afrique, D'Amérique, d'Océanie' at the Hotel Drouot. The sale was planned to coincide with the opening of the Exposition coloniale internationale in Paris. Pacific objects dominated with six lots from Easter Island. Charles Ratton bought the Easter Island rei-miro for 3,500 francs and René Gaffé acquired the two Easter Island moko for 6,200 and 3,800 francs respectively, one of them being the present lot. Ahead of the sale Gaffé had also bought directly from Breton, his uli figure. Yaëlle Biro (op.cit., p.10) points out that Breton, Éluard and other members of the Surrealist movement, were not merely participating in the burgeoning market for non-Western objects in Europe, but were actively shaping it. Their involvement in the market, their large scale selling at auction and influence on the descriptions in auction catalogues, contributed to the dynamism in the market and the shaping of the Western narrative on such works. René Gaffé, a Belgian bibliophile, collector and journalist, had made a fortune in the perfume industry and had formed an important collection of Cubist and Surrealist works by painters such as de Chirico, Braque, Picasso and Miró, as well as important Oceanic and African art. Many of the paintings and other works he acquired through Breton and Éluard who acted as dealers. Gaffé loaned works to the International Surrealist exhibition in London in 1936 and the following June organised two exhibitions at the Zwemmer gallery in London with works from his collection - Joan Miró and Chirico – Picasso. Forty of the exhibited paintings were acquired by Roland Penrose, the artist, historian and poet, for £6,750, a very modest price at the time. For years Gaffé supported Breton and Éluard financially, buying objects for them when they were in need. His debt to them he acknowledged in his A la Verticale: Reflections of a Collector, published in 1963. 'It is, I believe, quite rare for a collector to move, spontaneously, from one school to another out of an appetite for knowledge. It is more natural for someone to point him a direction that could lead him on the path of new discoveries. André Breton and Paul Éluard helped me in this first step. Indeed, they had brought together carefully selected Cubist works with the most moving statues from black Africa and the Pacific. Without much explanation, they led me into an area that was still little explored at the time and revealed to me its truth. Breton had written that it was impossible for him to conceive of a spiritual joy other than as a breath of fresh air! What had immediately impressed me was discovering the science of taste they both shared when encountering objects that conveyed feeling. They never bought anything mediocre and, prodigiously inspired, had succeeded in transforming an apartment, which, without their expertise, would have been banal.' His friendship is clear from a dedication written by Breton: 'To René Gaffé, whose active friendship has never ceased to be of the greatest help to surrealism. August 1, 1932.' Gaffé retired to the south of France in the mid 1950s with his wife, Jeanne where they lived surrounded by their collection. Gaffé sold his important collection of Dadaist and Surrealist books in Paris in 1956. After Gaffé's death in 1968 his wife kept the collection intact until her own death in 2001 when the collection, including the present lot, was sold for the benefit of UNICEF, in accordance with the terms of his will. Moko miro or Moai tangata moko are hybrid beings, half man and half lizard. They are only known in the form of wood carvings and do not appear on petroglyphs or carved on rongo rongo tablets. Michel and Catherine Orliac, writing about moai tangata moko (in Treasures of Easter Island: Collection of the congregation of the Sacred-Hearts of Jesus and Mary SS.CC, Paris, 2008, p.145 ) explain that the term moai moko coined by Routledge is less appropriate than their preferred term, moai tangata moko; moai describing all anthropomorphic and zoomorphic carvings of Easter Island, moko being 'lizard' and tangata referring to human figure which forms the lower body. Their function was reported to Wihelm Geiseler in 1882 as being clubs intended to protect the entrance of houses. According to Alfred Métraux (Ethnology of Easter Island, Honolulu, 1940, p.265) during the inauguration of a house the images of lizard-men were placed on each side of the door to protect the entrance and were also brandished before the enemy (from the next world) to repulse their attacks. Certainly, some of the smaller examples are pierced on the spine for suspension and may hav... For further information on this lot please visit Bonhams.com
Lot 112
Two boxes of botanical and natural world interest books, to include Allen's Naturalists Library, W H Allen & Co, London 1897, Vols. 2 to 5; W Withering, A Systematic Arrangement of British Plants, 3rd ed, Scott, Webster and Geary, London 1835; Francis T Buckland, Curiosities of Natural History, 1st to 4th Series, Macmillan & Co, London 1900; and others.Qty: 2 boxes
Lot 80
A Pair of Minton White Porcelain Figural Sweetmeat Baskets, late 19th century, after Meissen, together with a modern Chinese porcelain baluster vase, yellow ground with lotus scrolls and painted with birds and flowers in reserves and two Royal Worcester Botanical Studies plaques (two trays)Baskets - both with crazing, staining and some firing cracks. Male figure with the basket and one hand broken of and re glued. Female figure lacking a toe. chinese vase and plaques in good order.
Lot 429
Worthington George Smith (British, 1835-1917), botanical study Masdevallia Nycterina (Dracula Orchid), colour lithograph plate, Floral Magazine, published by L. Reeve & Co. London together with eight Horto Van Houtteano (Belgian, 1810-1876), botanical studies including Nepenthes (Pitcher Plants) and Amorphophallus Campanulatus (flowering Elephant Foot Yam) colour lithograph plates, 25 by 34cm
Lot 487
A mid-19th century botanical watercolour study of 'Polygonum aviculare', common knotgrass, watercolour on paper, inscribed l.l., attributed to Anna Ravens (backing label), 19.5 by 15.5cm, Walter Dendy Sadler (British, 1854-1923), 'For Fifty Years', etching of a happily married couple, 41.5 by 57cm, after George Morland (British, 1763-1804) 'Woodcutters', 19th century print, together with another period colour print (4)
Lot 156
* De Bry (Johann Theodor). Six botanical engravings from Recueil de plantes dessinées et gravées anciennement à Francfort par la celebre famille Merian, published by Jean George Fleischer, 1770, 6 copper engraved plates on Dutch laid paper, with watermark of C. & I. Honig, generally with wide blank margins, some minor marks, sheet size 40 x 25 cm (15 3/4 x 10 ins)QTY: (6)NOTE:The plates are: XXV, Sinensis Rosae Arbuscula, CCXXXI, Lilium, CCXLIII, Martagon, CCCXXVII, Papaver Spumosum foliis gramineis, CLXXXI, Narcissus Indicus and CLXXXIII, Narcissi bulbus.
![[Japanese Lilies]. Picture[s] of the various kinds of Japanese Lilies by N. Uchiyama [so titled on upper cover], manuscript,](https://cdn.globalauctionplatform.com/dcdfb2a2-ff68-4e77-89d0-b23500e1190f/062e5487-62cc-446e-8f51-b2370105b4cc/468x382.jpg)
Lot 56
[Japanese Lilies]. Picture[s] of the various kinds of Japanese Lilies by N. Uchiyama [so titled on upper cover], manuscript, [?Tokyo], late 19th century, 25 full-page ink and watercolour drawings on laid rice paper, entirely uncaptioned and without text, some blank interleaving, original stitched blue wrappers with manuscript paper label to upper cover, slightly rubbed and faded, folio (385 x 275 mm)QTY: (1)NOTE:Rare. A typed list of all the specimens is included with the lot, identified in a letter sent by Moto’o Shimizu on headed paper of Aichi Prefecture Horticultural Experiment Station, 19 April 1954. The letter to an unidentified recipient begins by stating that ‘It is regrettable that is quite unknown when this book was published’ but speculating late 19th or early 20th century.‘The English title suggests that this catalogue was targeted at nurseries overseas. The manuscript, made on very large paper, was distributed by Uchiyama Nursery, a successful establishment in Sugamo, Tokyo. Uchiyama Cyotaro, the nursery owner in the mid-1800s, introduced many flowers which remain familiar to us today. Among them is ‘Chotaro yuri’, a compact form of Lilium longiflorum with white striped leaves.’ (Flower Obsession. Plant Collecting in East Asia 1600s-1900s. Botanical Art Gallery, 23 April – 23 October 2022, Curated by Michele Rodda, Edited by Yeo Wei Wei, Singapore Botanic Gardens, (2022), copy in a Private Collection, p. 103.
Loading...-
15822 item(s)/page