Collection of One Hundred Obsolete USA Police Cloth Patch Badges, including: Missouri State Highway patrol, State of Kansas Highway patrol, Baltimore police, Utah Highway patrol, Ohio Highway patrol, San Diego police, FBI, Wisconsin Highway patrol, Honolulu police, Las Vegas Metropolitan police, Los Angeles police, Sarasota police, City of New York police dept, California Highway patrol, Washington state patrol, Texas Highway patrol, Montana Highway patrol, Seattle police, Orlando police, Capital state police, Austin police, Louisiana state police, Jersey city police, Illinois state trooper, West Virginia state police, Florida Highway patrol, Vermont state police, Colorado state patrol, Wyoming Highway patrol, plus others, all in very good to excellent condition.(approx. 100 items)
We found 9689 price guide item(s) matching your search
There are 9689 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
9689 item(s)/page
Thailand, Kingdom, Commemorative Medal for the 150th Anniversary of Bangkok as Capital 1932 (2), silver, one lightly gilded; Commemorative Medal for the Investiture of H.R.H. Prince Vajiralongkorn as Crown Prince 1972, silver; Red Cross Appreciation Medal, Third Class in blackened bronze, named to reverse, with Red Cross device to riband; together five miniature medals for the Safeguarding of the Constitution 1933, bronze; and a pair of mounted miniature awards comprising the Chakra Mala Medal and a Royal Cypher Medal, generally very fine (11) £100-£140
Seutter (Matthaus). Clagenfurtum Ducatus Carinthiae Metropolis..., Clagenfurt die Haupt Stadt des Herzogthums Karnthen..., Augsburg, circa 1740, engraved city plan of Clagenfurt the capital of the Duchy of Carinthia, with contemporary hand-colouring, and an uncoloured panorama of the city below the map, slight creasing, 505 x 560 mmQty: (1)
Biggs (Thomas, Hope, Theodore C & Fergusson, James). Architecture at Ahmedabad, The Capital of Goozerat, 1st edition, London: John Murray, 1866, half-title, wood-engraved frontispiece and illustrations, 2 maps, 120 albumen prints, occasional spotting, light dust-soiling, first 3 leaves stuck down at gutter, text block separated from backstrip, bookseller's ticket to rear pastedown, one plate loosely tipped-in, one plate reinserted on stub, original publisher's green pictorial cloth gilt, lacking head and tail caps, joints cracked, some wear to extremities, 4toQty: (1)Footnote: Gernsheim 332. An early and important photographic record extensively documenting the architecture of Ahmedabad, some of which no longer exists. The photographer, Thomas Biggs, was the official photographer to the Government of India, the first to hold the position.
Karo (Georg). Die Schachtgräber von Mykenai, 2 volumes of text & portfolio of plates, Munich: F. Bruckmann, 1930, original portfolio containing 169 monochrome plates (lower flap of portfolio torn away), text volumes in original printed wrappers, loosely contained within original cloth covered boards (joints torn), folio, together with: Mylonas (George E.), Ancient Mycenae, the capital city of Agamemnon (the Page-Barbour Lectures for 1955 at the University of Virginia), London: Routledge & Kegan Paul Ltd., 1957, monochrome plates, original cloth, 8vo, Mylonas (George E.), [Grave Circle B of Mycenae], 2 volumes A & B, Archaeological Society of Athens Library, No. 73, Athens, 1972-73, title and text in Greek, monochrome plates & illustrations, few folding plans and tables, original printed wrappers, some fading, small folio, and three othersQty: (8)
Neale (Frederick Arthur). Narrative of a Residence at the Capital of the Kingdom of Siam; with a description of the manners, customs and laws of the modern Siamese, 1st edition, London: Office of the National Illustrated Library, 1852, wood-engraved portrait frontispiece, additional title with vignette, map, illustrations, advertisements at end, frontispiece, additional title and one plate detached, a little light spotting, previous owner signature, hinges broken, textblock detached, original blindstamped cloth gilt, spine faded, light dust soiling to margins, 8vo, together with Thomas Witlam Atkinson's Oriental and Western Siberia, 1858 (defective, lacking several text leaves at end, although all 20 lithographed plates and the map are present), original green cloth gilt, some stains and wear, thick 8voQty: (2)
A 19th century Chippendale design mahogany library bookcase on stand, outswept cornice with dentil capital above a pair of glazed doors enclosing two adjustable shelves, the projecting base with rectangular top above a blind fretwork frieze, tapered square legs, spade feet, 181.5cm high, 106.5cm wide, 50.5cm deep
FRANCISCO BORES LÓPEZ (Madrid, 1898 - Paris, 1972)."Femme au citron", 1947.Gouache on paper.Signed and dated in the lower right corner.Preserves the Sala Dalmau label.It has a small tear on the left side.Measurements: 49 x 65.5 cm; 52 x 68.5 cm (frame).In spite of the evident avant-garde language of this work, Bores offers us an image that comes from the pictorial tradition. Both in the subject matter and in the composition of the scene. In the case of the theme, the author resorts to the classic still life structured around a table. The figure of a woman in profile can be seen in the right-hand corner, with her face turned towards the viewer. With regard to the above-mentioned composition, it is worth noting the frontalism with which the artist configures the scene, as well as the fact that the woman seems to be sticking out one of her legs through a frame delimited by the artist's painting. A device that creates a trompe l'oeil, typical of Baroque aesthetics.A contemporary Spanish painter belonging to the so-called New School of Paris, Francisco Bores trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927, contracted by the Percier gallery. During these years, and through his friendship with Picasso, he began his relationship with the art critic Tériade, who devoted an extensive article to him in "Cahiers d'Art". It was at this point that his artistic career began to take off. In 1929 he took part in the exhibition "Pintores y escultores españoles residentes en París" (Spanish Painters and Sculptors Resident in Paris), held at the Botanical Gardens in Madrid. Around this time he also contributed to avant-garde magazines such as "Litoral", "La Bête Noire", "Martín Fierro", etc. In 1931 he had a solo exhibition at the Georges Bernheim gallery in Paris, and at the same time he signed a contract with the Swiss gallery owner Max Esiherberger. In 1932 and 1933 he exhibited at the Vavin-Raspail gallery in Paris, coinciding with the appearance of the first monograph on his painting. In the mid-1930s he was contracted by the Zwemmer gallery in London, where he held a solo exhibition. His work is influenced by Picasso's Cubism and, on occasions, by Surrealism and abstraction. Francisco Bores became a master in the use of colour, the application of which sometimes follows abstract criteria, to such an extent that it replaces drawing or line in defining objects, figures and the space in which they are inserted. There is also a clear tendency in his language towards experimentation with colour, which led him to pamper the chromatic semitones. In the 1930s, Bores himself defined his painting as "lyricism and sensuality (...) within a composition organised in pursuit of a synthesis analogous to the impression produced by a single visual instant". After the Second World War Bores resumed his exhibition activity, and in 1947 the French state acquired a work by Bores for the first time. In 1949 the Museum of Modern Art in New York bought his paintings. In the 1950s he continued to exhibit his works in many European galleries.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Silkscreen on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, to the desired and the necessary". This is a silkscreen belonging to the book by Eduardo Chillida made up of five etchings, three woodcuts, two relief silkscreen prints, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Aromas", 2000.Woodcut on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is a woodcut from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Leizarán", 1987.Etching and aquatint on Rives paper, copy 24/50.Publisher: Galería Theo, Madrid. Printed by Hatz Workshop.Work published in "Eduardo Chillida: Opus III". Verlag 1996, pg.100-101. num. 87018.Provenance: Elvira González Gallery, Madrid.Signed and numbered in pencil.Measurements: 95 x 67 cm.(plate); 99 x 64 cm.(paper)."Leizarán", dedicated to the valley of the same name, has been one of Chillida's most acclaimed engravings, having even been granted its use (by Andoain Town Council) as the logo for the Leitzaran bisitarien etxea Centre in 2008. Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
FRANCISCO BORES LÓPEZ (Madrid, 1898- Paris, 1972)."Le cafe du commerce", Paris, 1929.Oil on canvas.Signed and dated in the lower left corner. Signed, dated and titled on the back.Measurements: 46,5 x 55 cm; 66 x 75 cm (frame).In this work, dated 1929, Bores offers us a view of the interior of the Parisian Café du Commerce made up of a synthetic aesthetic in its forms and, at the same time, of great expressive intensity, established through broad brushstrokes with an energetic stroke.Francisco Borés trained at Cecilio Pla's painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz and Joaquín Peinado, among others. He also frequented the literary gatherings in Madrid associated with ultraism. During this period he made engravings for a large number of magazines, such as "Horizonte" and "Revista de Occidente", and attended Julio Moisés's Academia Libre, where he coincided with Dalí and Benjamín Palencia. In 1922 he took part for the first time in the National Exhibition of Fine Arts, and three years later he showed his work at the first Exhibition of the Society of Iberian Artists, but the Madrid public's lack of interest in young art prompted him to leave for Paris. In the French capital he came into contact with Picasso and Juan Gris, and made his individual debut in 1927. The following year he held his first solo exhibition in the United States, and in 1930 he exhibited again, this time as part of a group show at the Museum of Modern Art in New York. During the following years he continued to hold solo exhibitions at leading galleries in Paris and London, including the Georges Petit and Zwemmer galleries. After the Second World War he resumed his exhibition activity, and in 1947 the French state acquired a work by Borés for the first time. In 1949 his paintings were bought by the Museum of Modern Art in New York. In 1969 he exhibited at the Galería Theo in Madrid, which brought him closer to the Spanish public, who were practically unaware of his work except in professional circles where, on the other hand, it was highly appreciated. In 1971 he exhibited again at the same Galería Theo, and died in Paris in 1972. The critic Joaquín de la Puente points out several stages in Borés's production: renewed classicism (1923-25), neo-cubism (1925-29), fruit-painting (1929-33), interior scenes (1934-1949) and white style (1949-69). Francisco Borés is represented in the most important museums all over the world, including the Centre Georges Pompidou in Paris, the Fine Arts Museums of Bilbao, Buenos Aires, Jerusalem, Gothenburg and Baltimore, the MOMA in New York, the Museo Nacional Centro de Arte Reina Sofía, the National Galleries of Athens and Edinburgh, the Museo Patio Herreriano in Valladolid, and the Modern Art Museums of Stockholm, Turin and Madrid.
JOSÉ GARCÍA CORDERO (Dominican Republic, 1951)."Mediodía montecristi II".Acrylic on canvas.With certificate of authenticity issued by the Lyle O. Reitzel Gallery (Dominican Republic).Signed in the lower right corner.Measurements: 149,5 x 232 cm.This work has a certificate of authenticity issued by the Lyle O. Reitzel Gallery, which represents the artist. Close to a realist aesthetic, José García Cordero introduces distorting elements in his works, which lead to images of a highly enigmatic content that catch the spectator's interest. Through his habitual use of bichrome, black and white as an indispensable resource in his artistic production, García Cordero, brings us closer to an image populated by fish heads, which are structured around an empty and infinite space.José García Cordero is a Dominican artist who began his artistic training in his native country under the guidance of Gilberto Hernández Ortega, his first teacher, although he also studied architecture. However, due to the tense political situation in the Dominican Republic, José García Cordero moved to Paris because of his disagreement with the Balaguer government. In the French capital, García Codero continued his artistic education by enrolling at the University of Paris, where he studied Contemporary History. Throughout his long career, he has held numerous exhibitions both nationally and internationally, among which the following stand out; His solo exhibition "Caribbean Visions", held at the Smithsonian Museum in 1995, "Human Conditions", Museum of Latin American Art, Long Beach, California in 2007 and also at the MoLAA-Museum of Latin American Art, Long Beach, California. He has also participated in numerous international art fairs such as ARCO, Art Basel Miami Beach, Context Art Miami, Art Basel, ArteBA Buenos Aires, Argentina, MIArt Milan, Italy, Scope NY, and Scope Miami. Today his works are part of important art collections including the Permanent Collection of the Salon Vitry-Sur Seine, the collection of the Fondo Regional de Arte Contemporáneo, Martinique, the Fundación Colección Cortés, Old San Juan, Puerto Rico, the Museo de Arte Moderno, Santo Domingo, the Fundación Ortiz Gurdian, León, Nicaragua and the collection of the Museum of Latin American Art (MoLAA), among many others.
° Johannes de Verdena Sermones Dormi secure de tempore et de sanctis Speyer Peter Drach 1492?Chancery 4to double column, 42 lines + headline, initial spaces, 299 of 302 leaves. 210 x 150mm, rubricated in first few leaves only, initials, paragraph marks and capital strokes in red. Binding: contemporary blind-stamped deerskin over unbevelled wooden boards, lacking two clasps and catches, edges plain (Kyriss shop 130: Heidelberg) PROVENANCE Joannes Gallus Hibler (inscription) Villingen, Franciscans (inscription) REFERENCES H 15955*, Goff J -464, Not in BMC. Donau Inc. 437Provenance: Sotheby's Incunabula from the Court Library at Donaueschingen London Friday 1st July 1994
Mixed Lot: pair of silver dwarf candlesticks on square bases with beaded edge, the fluted centre column leading to a Corinthian capital, both damaged and part loaded, London 1900, pair of Georgian silver cauldron salts (no liners), together with a silver mug of plain polished design, engraved with initials P.L.T., Birmingham 1931, 7cm tall
EXPOSURE METERS. Three clip-on meters: Metraphot 2 in box with instructions, Bertram Bewi Piccoli II with case, instructions & worn box (as new) & Capital in box with case. CONDITION. See Lot 725 for conditions of sale. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
A pair of late Victorian silver three-light candelabra, by Walker & Hall, Sheffield,1898, in classical manner, tapering fluted column, urn shaped capitals with rams' heads, medallions and swags, our foliate scroll arms, each supporting a capital and with a central capital, on a raised tapering square base with bead borders, also with the possibility of making one five light candelabrum, height 45.5cm, approx. weight of branches 63.6oz. (2)
An Edwardian silver three-light candelabrum, by the Goldsmiths and Silversmiths Company, London 1906, tapering fluted oval form, with two scroll arms, each supporting an urn finial, and with a central urn capital with an urn finial, on a raised fluted oval base with a reeded border, height 56.5cm, approx. weight of branches 26oz.
A matched pair of William IV and Victorian silver chamber sticks, by William Eley or William Eaton, London 1836 and 1838, shaped circular form, foliate scroll and shell border, leaf capped scroll handle, lobed capital, detachable drips pans and with conical snuffers, engraved with two crests, diameter 15cm, approx. weight 26oz. (2) The crests are that of Royds and possibly Hudson.
A set of four Victorian silver candlesticks with a matching four-light candelabra branch, by Hawksworth, Eyre and Co., Sheffield 1880, tapering square columns, with foliate medallions and swag decoration, beaded borders, on raised square bases, the branch with three reeded scroll arms, each supporting a capital and with a central capital and finial, height 27.8cm, height with branch 41.2cm, approx. weight of branch 40oz. (5)
A pair of modern silver five-light candelabra, by the Barker Ellis Silver Co., Birmingham 1967, tapering circular columns, foliate scroll shoulders, spool shaped capitals, with four reeded and foliate scroll arms, each supporting a capital, and with a central light, with a detachable flame finial, on raised shaped square bases with a foliate scroll border, height 54.8cm, approx. weight of branches 130oz. (2)
A George III silver chamber stick, by Craddock and Reid, London 1818, circular form, gadroon borders, urn shaped capital, leaf capped scroll handle, with a conical snuffer, engraved with a crest, diameter 15cm, approx. weight 9.9oz. The crest is that of Burness, Williams-Drummond, Drummond, Ellyot, Harris and others. Provenance: A Private Collection. Peter Francis Auctioneers, Carmarthen, 23 September 2014.
A George IV silver chamber stick, by John Watson, Sheffield 1824, circular form, acanthus leaf border, urn shaped capital, the scroll handle with a gadroon border, and with a conical snuffer, diameter 15cm, approx. weight 9.9oz. Provenance: A Private Collection. Warwick Auctions Ltd., Coventry, 30 July 2014, lot 419.
A late-Victorian silver five-light candelabrum, by Elkington and Co., London 1900, tapering oval column, fluted and ribbon-tied decoration, reeded scroll arms, each supporting a fluted capital, with the ability to make either a five-light or three light combination, with a central light, thread worn, on a raised oval fluted base, inscribed 'Ploughboy 1903', height 41.8cm, approx. weight of branches 42.5oz.
An Edwardian silver five-light candelabrum. by Mappin and Webb, Sheffield 1907, Corinthian column form, on a stepped square base with a gadroon border, with a central capital on a fluted baluster stem, and with four foliate scroll arms, each supporting a capital, removable drip pans, height 47.5cm, approx. weight of branches 47oz.
A pair of George III and Victorian silver three-light candelabra with associated branches, the bases by Parker and Wakelin, London 1768, the branch capitals by Wakelin and Taylor, London 1778/79, and the branches by Robert Garrard, London 1858, tapering fluted circular form, applied with rams' heads and garlands, with detachable drip pans, on raised circular bases with a stiff leaf border, engraved with a crest, the undersides inscribed 'No1 33=5' and 'No3 32=2', the branches with three scroll arms, each supporting a capital, engraved with a crest, and with a central urn with drip ring handles and a flame finial, engraved 'No.1' and 'No.2', height 38.5cm, approx. weight 134.5oz. (2) The crest is that of Frappe and Forte.
A pair of old Sheffield plated two-light candelabra, unmarked circa 1800, tapering oval form, plain scroll arms, each supporting an urn capital, reeded borders, re-plated, plus a pair of modern silver candlesticks, London 1972, tapering oval columns, on raised oval bases, plus a pair of matching old Sheffield plated candlesticks, height of candelabra 39cm, height of silver candlesticks 30cm. (6)
A large pair of George III silver and old Sheffield plate three-light candelabra, the silver columns by Matthew Boulton, Birmingham 1814, the old Sheffield plated branches unmarked, tapering circular form, part-fluted decoration, with stylised scroll gadroon borders, reeded scroll branches each supporting an urn capital, and with a central capital, detachable drip pans, height 60cm. (2)
* GERARD BURNS (SCOTTISH b. 1961),UNTITLEDoil on canvas, signedimage size 120cm x 88cm, overall size 148cm x 117cmFramed.Note: Gerard Burns is one of Scotland's best known and most successful living artists. He trained at Glasgow School of Art and achieved UK wide acclaim as Winner of the Daily Mail ''Not the Turner'' Competition in 2003 with a £20,000 first prize. His many private collectors include The Malaysian Royal Family, Ewan McGregor, Sir Tom Hunter and numerous celebrities from the worlds of entertainment, sport and politics. Exhibiting Galleries include Thompson's Gallery, London; Contemporary Fine Art Gallery Eton; Richmond Hill Gallery, Loch Gallery, Toronto; Robertson's Fine Art Gallery, Edinburgh. Works in Corporate Collections include Aberdeen Asset Management New York and Aberdeen, RBS Scotland, Standard Charter Bank, West Coast Capital, Accenture, Dublin, Stagecoach Group, Norwood Club, New York. National Public Collections include Hunterian Art Gallery, Glasgow; Kelvingrove Art Gallery, Glasgow; Burns Museum Alloway, Ayr; Scottish National Portrait Gallery (Portraits of former Scottish First Minister Alex Salmond, and author Denise Mina entered into the permanent collection at the Scottish National Portrait Gallery in 2015). The Scottish Parliament (''The Rowan'' hung in the former First Minister Alex Salmond's office for the duration of his tenure and Portrait of Margo McDonald entered into the permanent collection and was installed at the Scottish Parliament in Sept 2016). Glasgow Caledonian University Portrait of Chancellor Professor Yunus installed 2016, Royal College of Physicians and Surgeons Glasgow. Portrait of former President Frank Dunn installed April 2016. Recent portraits include Judy Murray, Nicola Sturgeon (First Minister, Scotland), Neil Lennon, Kirsty Wark, Alan Cumming, Billy Connolly, Elaine C Smith, Doddie Weir & Sir Brian and Lady Soutar.
* TOM MACKENZIE (SCOTTISH 1947 - 2018),LOCH FADA, QUIRANGEcoloured etching on paper, signed, titled and numbered artist's proof I from an edition of 75image size 45cm x 60cm, overall size 64cm x 82cmMounted, framed and under glass.Note: Tom MacKenzie was educated at Portree High School and at 17 left home to enrol at Duncan of Jordanstone School of Art in Dundee. This did not work out and after a year he went to London. His pursuit of art continued at evening classes in life drawing while working in a variety of jobs by day. In 1976 he moved back to Scotland, joining a team of many talents at the Glasgow Print Studio. John Taylor, a colleague and long-time friend, says: "Tom MacKenzie’s art was made from the Isle of Skye’s unique cornucopia of visual riches: the huge, notched and jagged coastline; sea lochs with many rocky islands; the Cuillins, the most awesome mountains in Britain." Living and working on the lovely Isle of Skye, Tom MacKenzie was renowned for his wonderful colour etchings of the island and the West Coast of Scotland. These large and very stylish etchings are appreciated and collected worldwide. Working from his studio and workshop in Portree, the island’s capital, Mackenzie used three steel plates to produce his etchings and limited the editions to 75 or less, printed on 300gm, Arches waterleaf paper. He was a very popular figure in Portree where he lived and worked and a much-respected artist throughout Scotland and far beyond.
Tomy - Mattel - Waddingtons - 5 x boxed vintage games, Tomy Super Cup Football, Capital Adventure, Cluedo, Go For Broke and a Constructo Model Truck building set. They all show signs of age and use and are unchecked for completeness. The Tomy Football game appears Very Good with a clean battery compartment. The boxes are in Fair condition with storage wear. (This does not constitute a guarantee) (5)
Collection of Boxed Cabinet Plates, to include Disney Pinocchio by Kenleys, Snow White Christmas 1987, 'To Boldly Go' No. 1908A from the Space, The Final Frontier series, Captain Sisko No. 0819A, Admiral Kirk No. 1146A, Captain Janeway, Star Trek 25th Anniversary Commemorative Plate, Statue of Liberty 'The Immigrants' No. 4169/10,000, two boxed Bing & Grondahl Statue of Liberty, Nao plate Christopher Colombus, US Capital Washington, Declaration of Independence, Wedgwood American Independence plate, and two others.
BUDDHIST BRASS BUDDHA & COW a small brass figure of a buddha or monk, seated on a horned cow. The cow with small patches of different colours metal, 12.5cms high. *This comes with a hand written note, From the ruins of Ayatthaya the ancient capital of Siam, April 1865. This came from the Buddhist monastery of Chimlie in Tibet.
A Victorian Gilt and Gesso Overmantel Mirror, late 19th century, in Regency style, with ball surmounted breakfront cornice above a relief decorated frieze of classical Roman figures and lions, the bevelled glass triple plate with ebonised and reeded slip, all between fluted pilasters, 134cm by 84cmCondition report: This mirror has been re-gilded, therefore in good cosmetic condition. However, there are some natural small cracks throughout the frieze, this is mainly around the lions. There are small losses around the moulded cornice and also further natural ? cracks to the leaves on the capital columns (see images). The mirror plate has some tarnishing.
A Victorian Green and Gold Painted Wrought-Iron and Lead Weather Vane, with scroll cresting, wreath-applied scroll branches terminating in capital letters, on a ribbed domed base, 260cm high approxCondition report: Extensive paint loss throughout, iron frame and arms with extensive rusting, including some holes and losses, lead foliate terminals in poor condition, with damage and losses, domed base and boss in poor condition, with losses and splits, base in half
Management Science.- Webb (Sidney) The Works Manager To-Day, some cracking to gutter, light foxing, 1917 § Taylor (Sedley) Profit-Sharing Between Capital and Labour, Six Essays, 1884 § Ford (Henry) My Philosophy of Industry, ink ownership inscription, label to pastedown, fading to spine, dust-jacket price-clipped, chipped and worn with loss to spine, 1929, first or first English editions, original cloth, light rubbing; and 3 others, scientific management, 8vo (6)
A 19th century Chippendale design mahogany library bookcase on stand, outswept cornice with dentil capital above a pair of glazed doors enclosing two adjustable shelves, the projecting base with rectangular top above a blind fretwork frieze, tapered square legs, spade feet, 181.5cm high, 106.5cm wide, 50.5cm deep
A PAIR OF LATE VICTORIAN SILVER CORINTHIAN COLUMN CANDLESTICKS HAWKSWORTH, EYRE & CO. LTD, SHEFFIELD 1900 With detachable bead outlined sconces and lower beaded borders 24cm (9 1/2in) high Loaded Condition Report: Candlestick 1 - Marks clear, slightly wobbles, stands true, pinprick sized dents throughout, dent to the capital Candlestick 2 - Marks slightly rubbed, stands well and true, pinprick sized dents throughout Light scratches and wear commensurate with age and use Condition Report Disclaimer
ROYAL INTEREST. A LARGE PAIR OF MID-19TH CENTURY QUEEN ADELAIDE COACHING PANELS C.1837-49 each painted with Queen Adelaide of Saxe-Meiningen's coat of arms (2) 49.7 x 63.8cm Catalogue Note Adelaide of Saxe-Meiningen (Adelaide Amelia Louise Theresa Caroline, 13th August 1792-2nd December 1849) was Queen of the United Kingdom and Hanover from 26th June 1830 to 20th June 1837 as the wife of King William IV. Adelaide was the daughter of George I, Duke of Saxe-Meiningen and Luise Eleonore of Hohenlohe-Langenburg. Adelaide, the capital city of South Australia is named after her.
A BRONZE AND MALACHITE TAZZA POSSIBLY RUSSIAN, SECOND QUARTER 19TH CENTURY the patinated bowl cast with portrait medallions and ribbon tied laurel wreaths, one centred with a crowned 'H' and the other with interlinked capital 'D's, the stepped plinth applied with empire style stars, wreaths and rosettes 42.2cm high, 26cm diameter
PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973).Untitled, Vallauris, 4-1-1953.Lithograph, copy 7/50.Signed and justified by hand. Dated and located by hand.Measurements: 56 x 38 cm.Creator of Cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first individual exhibition in the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. Painting in these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. As with Goya, Picasso was also greatly influenced in his work by his personal and social situation. His often tumultuous relationships with women had a serious impact on his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colours and strange shapes. Picasso is represented in major museums around the world, including the Metropolitan, MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London and the Reina Sofia in Madrid.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Barcelona I", 1971.Lithograph, copy P.A.Signed and justified in pencil.Work registered in the catalogue of the Complete Graphic Work of Eduardo Chillida, p. 46, n. 113.Sizes: 72 x 49 cm; 84 x 62 cm (frame).Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris when he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002).Untitled, from the book "Aromas", 2000.Etching on thick Velin paper, copy 60/120.Ed. Edouard Weiss, Paris.Signed and justified by hand.Size: 54 x 43 cm."Guided by a scent", the final sentence in the book "Aromas" by Chillida, sums up the artist's spirit when working, allowing himself to be guided by the materials, by their essence. As the sculptor himself explained it: "The form, at the beginning, is almost like an undefined aroma that imposes itself as it becomes more precise. This pre-knowledge or aroma is my guide to the unknown, the desired and the necessary". This is an engraving from the book by Eduardo Chillida made up of five etchings, three woodcuts, two silkscreen prints with relief, together with 38 pages of text that, through graphic work, poems, reflections and philosophical quotations, both by the artist himself and by various thinkers, brings us closer to the Basque artist's thought and work through the keys that have marked his career: time, space, music, freedom, matter, light and the sea. Published on the occasion of the artist's 76th birthday. In "Aromas" Chillida the plastic artist and Chillida the writer join hands to reveal the poet, the philosopher and the profound thinker. The edition consists of 160 graphic series with the numbering; 1-120; I-IX (suite); I-IX (suite in grey Eskulan); H. C. 1-10; E. A. 1-12.Chillida began drawing at the Círculo de Bellas Artes in Madrid, and his interest in sculpture gradually grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize, the Rembrandt Prize, the Wolf Foundation Prize for the Arts and the Prince of Asturias Prize for the Arts. He was also an academician of San Fernando, and a member of the American Academy of Arts and Sciences, Honorary of the Royal Academy of Arts in London and of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.
Loading...-
9689 item(s)/page