We found 16093 price guide item(s) matching your search

ASHRAF HANNA (EGYPTIAN, B.1967)BOWL FORM, CIRCA 2011 in terracotta and black, incised artist's mark13cm high, 25cm across, 26cm deep (5.12in high, 9.75in across, 10.25in deep)Note:The present work was made around 2011, shortly after Ashraf Hanna finished his MA at the Royal College of Art. Two or three of these works were shown at his solo show at the Contemporary Ceramics Centre in the autumn of 2011.We are grateful to Ashraf Hanna for his kind assistance with the cataloguing of the present work.

REBECCA JOSELYN (BRITISH, CONTEMPORARY)'BAG' VASE, SHEFFIELD 2017 silver and gilt15cm high, 12cm across (5.9in high, 4.7in across)Note:Rebecca Joselyn is based at Yorkshire Art Space in the heart of Sheffield City Centre. She has worked on a number of awards and commissions. This includes a large oil container which was on show in the Museum of Modern Art in Kuwait, and the packaging for the world's most expensive coffee. She has featured in articles in the Sunday Times 'Home' and Financial Times 'How to Spend It', and her work is now in a number of important collections including the Pearson Silver Collection and the collection of the Duke of Devonshire.

AN EMERALD AND DIAMOND DRESS RING BY GEORGE WEIL, designed as a tiered abstract flowerhead, centred with a cluster of oval cabochon emeralds framed by round brilliant-cut diamonds in scatter formation, above a tapered panelled hoop, 18ct gold mounted, signed G. Weil and hallmarked for London 1975, with maker's mark WJ LD for Weil Jewellery Ltd, also stamped '18ct' and 'plat', total diamond weight approximately 0.35ct, ring size M½ George Weil was born in Vienna in 1938 to a Jewish family of jewellers, who left Antwerp the following year at the outbreak of the Second World War. Weil trained as a jeweller and studied at St Martins' School of Art in London. A contemporary of Andrew Grima, he was also a painter and sculptor, producing portrait busts of iconic figures such as Winston Churchill and Sammy Davis Junior, and the influence of this background can be found in his bold jewellery designs. Weil's Hatton Garden jewellery studio closed in 1979 and he later emigrated to Israel, where he continued to work as an artist.

A TIGER'S EYE AND DIAMOND DRESS RING BY GEORGE WEIL, circa 1970-75, the oval cabochon tiger's eye claw set to a tapered mount of pierced and textured abstract design, highlighted with a border of round brilliant-cut diamonds, 18ct gold mounted, signed G. Weil and WJ LD for Weil Jewellery Ltd, with London hallmark and indistinct date letter, also stamped '18ct' and 'plat', total diamond weight approximately 0.30ct, ring size approximately K-L George Weil was born in Vienna in 1938 to a Jewish family of jewellers, who left Antwerp the following year at the outbreak of the Second World War. Weil trained as a jeweller and studied at St Martins' School of Art in London. A contemporary of Andrew Grima, he was also a painter and sculptor, producing portrait busts of iconic figures such as Winston Churchill and Sammy Davis Junior, and the influence of this background can be found in his bold jewellery designs. Weil's Hatton Garden jewellery studio closed in 1979 and he later emigrated to Israel, where he continued to work as an artist.

A tray of two contemporary Art Deco style figures, a brass figure of a horse on wooden stand, brass Harrier jump jet, figure of a coal miner, two Egyptian Sphinx

Stuart James (20th/21st century) - View of the Percuil River at Gerrans, Cornwall, watercolour and bodycolour on paper, signed and dated 98, 33 x 52cm, together with a 19th century embroidered and beadwork study of a child in highland dress riding a pony, 41 x 52cm in burr wood frame, and a set of four contemporary embroideries of William Morris style subjects, together with The Art of William Morris in Cross Stitch by Barbara Hammet, all framed

KEVIN BANDEE (CONTEMPORARY) 'Dragonfly Rainbow I', a mixed media 3D work of art, signed bottom left, high gloss black frame, approximate size 79cm x 39cm, slight damage to frame, two dragonfly wings are missing (A)

NICKY BELTON (BRITISH CONTEMPORARY) 'FASHION DIVAS', a mixed media Work of Art, signed centre bottom edge, mounted, unframed, approximate size 39cm x 12cm, together with 'Loves Journey' 271/350 by Adam Barsby, unmounted, unframed, approximate size 46cm x 46cm and 'Reflections of London' by Darren Baker, artist proof 14/20, with certificate, approximate size 35cm x 86cm (3) (A)

A French Art Deco wrought iron floor lamp, modelled as a bird perched on a column upon spiral work circular base, with twin hanging orange globe shades with carved geometric design, h.188cm. Privately consigned 'over the counter'.The hangers and shades are later (probably relatively contemporary).We believe the column and bird to be late Art Deco period, 1930s/40s.Area of surface discolouration to front of column.

A contemporary art glass pedestal vase, the blue glass top of conical form, raised on integral clear heavy glass column to four ball feet, with cased and trailing white glass spiral decoration, indistinct etched signature, h.16.5cm

A Good Collection Of Boxed Vintage Faux Pearls Costume Jewellery Mixed Coins And Yellow Metal Pocket Watch A varied lot to include three pearl necklaces by 'Lotus Pearls' each boxed and with silver clasps, unmarked yellow metal pocket watch with white ceramic dial and black Roman numerals, long fine strand French jet necklace, carved bone necklace and contemporary boxed To faux pearl collar necklace, brooch and earrings suite in Art Nouveau style. Along with a mixed collection of commemorative coins and cigarette cards etc. Please see accompanying image.

A contemporary 9ct gold gentleman's signet ring, the tablet decorated with Birmingham hallmarks and stylised leaf design shoulders, ring size S, 4g, in art deco bakelite boxsome light scratches, no signs of repair

A contemporary 9ct gold and onyx gentleman's signet ring, the oval onyx slightly raised on a yellow gold mount and shank, ring size R, 6g in art deco bakelite jewellery box

Large Contemporary "Chihuly Style" Art Glass Bowl. Artist signature (illegible). Measures 14" H x 16" W. Condition: Good condition. Estimate: $150.00 - $250.00 Domestic Shipping: Third party

A PAIR OF NORTH AMERICAN ART NOUVEAU BRITANNIA METAL PLAQUES BY BRADLEY & HUBBARD, C1910 stamped with a semi-naked young woman, 13 x 13cm, maker's mark, in contemporary early 20th c stained wood frames++Good condition

Art - Britain Off 'Pat': More than 200 drawings of bygone Britain from the pen of Frank Patterson (1871 - 1952), Flying Scot Publications, St Leonards on Sea 1993, floppy pictorial covers as issued, 4to; Baker (C.H. Collins), Catalogue of the Principal Pictures in the Royal Collection at Windsor Castle, limited edition of 750, with one hundred collotype plates, Constable & Co Ltd, London 1937, contemporary brown calf spine lettered in gilt, drab buckram boards with gilt cypher of George VI to upper cover, top edge gilt, plastic wrap, slipcased, thick 4to; The Drawings of Holbein at Windsor Castle, second edition, 1945, red buckram gilt, 4to; Dimier (Louis), Les Peintres Français du XVIIIe Siècle: Histoire des Vies et Catalogue des Œuvres, two-volume set, Les Éditions G. van Oest, Paris and Brussels, 1928 - 1930, alternating blue and red buckram, large 4to, (2); Auction Catalogues, Christie's: The Italian Sale: Style and Dynamism in the 20th Centtury, December 2000; 19th Century Pictures and Continental Watercolours, June 1989; Sotheby's: The Robert von Hirsch Collection, Volume V: The Collector, his house and bequests only, 1979, h/b, d/j; Nineteenth Century European Paintings Part I, Spanish ;Paintings Part II, February 1990; Castle Howard, Yorkshire, November 1991; Impressionist & Modern Art, Part One, June 2001; Contemporary Art Day Auction, 12 November 2014, New York, two-volume set: Morning and Afternoon, pictorial wrap, (2); Monet, Picasso, Cézanne, Matisse, (4); Saatchi Gallery, 2005, pictorial h/b, square 4to; Lee (Sherman E.), A History of Far Eastern Art, h/b, d/j, large 4to; etc

A CONTEMPORARY WALL ART ABSTRACT PLAQUE made of gilt metal and applied resin, unsigned 80cm wide x 121cm overall

Medieval Viking era necklace with stone and glass beads with silver attachments. Professionally restrung, suitable for contemporary wear. - 640mm, 104 grams - ca.900AD - Property of a Central London gallery, purchased on the European art market in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Medieval Viking era necklace with stone and glass beads; Professionally restrung, suitable for contemporary wear. - 540mm, 34 grams - ca.900-1100AD - Property of a Central London gallery, purchased on the European art market in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Medieval Viking era necklace with stone and glass bead Iincluding lapis lazuli. Professionally restrung, suitable for contemporary wear. - 630mm, 46 grams - ca.900-1100AD - Property of a Central London gallery, purchased on the European art market in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Medieval Viking era necklace with stone and glass beads; Professionally restrung, suitable for contemporary wear. - 600mm, 91 grams - ca.900-1100AD - Property of a Central London gallery, purchased on the European art market in the 1980s. - All items come with Free International postage, accompanied by a signed Certificate of Authenticity .

Catherine McGrath (Irish Contemporary): 'Canal Bridge', acrylic impasto triptych on canvas monogrammed, titled and dated 2009 verso 61cm x 92cmProvenance: purchased by the vendor from Lupton Square Gallery HolmfirthNotes: Born in Co. Tipperary, Ireland, Catherine McGrath was brought up in West Yorkshire. Taking early retirement in 2005 from her career as a Languages Lecturer in Further Education, to concentrate on her art. She has pursued various creative interests throughout her life including textiles, pottery and sculpture, all of which influence her work. She has exhibited at a number of art shows and galleries in Yorkshire and in Southern France.DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Five 18th-Century Italian books from the library of Francesco Berio, marchese di Salza Comprising Porco, Filippo Storia Dell'Illustrisima Archiconfraternita di Nostra Dama. Messina: Nella. Reg.Officina di D. Michele de'Chiaramonnti, ed Amico, 1741. 8vo, contemporary vellum, spine with contrasting morocco lettering-piece, red and black speckled edges, green silk marker; pp. [8], 131, [1 (Errata); frontis., floriated initial; provenance: Francesco Berio (armorial bookplate upper pastedown) - William, 3rd Viscount Dudley and Ward (armorial bookplate lower pastedown). Minischalci, comte Aloysius Mororum Libri III. Carminum Liber. Veronae: Apud Haeredem Augustini Carattoni Typographum Seminarii, 1769. 8vo, full contemporary vellum, boards with double-blind fillet borders with floral cornerpieces enclosing central blind-blocked lozenge, spine with contrasting morocco lettering piece, red edges, star-patterned endpapers, green silk marker; pp. [6], 186; title with eng. vignette, eng. head- and tail-pieces to three books by Dionigi Valesio after D. Cignaroli, inhabited capitals; provenance: vide supra. Adami, Anton Filippo Prospetto di una Nouva Compilazione Della Storia Fiorentina…Pisa: Per Gio. Paolo Giovannelli, e Compagni, 1758. 8vo, full contemporary vellum, spine with contrasting morocco lettering piece, red and black speckled edges, green silk marker; xxiv, 175, [1]; one folding plate, inhabited initial; provenance: vide supra. Pecorone, Bonifacio Memorie dell' abate D. Bonifacio Pecorone…[Napoli : Nella stamperia nuova di Angelo Vocola a Fontana Medina, 1729]. 8vo, full contemporary vellum, contrasting morocco lettering piece to spine, red and black speckled edges, green silk marker; possibly lacking title, floriated initals, elaborate tail-piece to first part; provenance: vide supra but without bookplate of Ward (though likely from his library). and Dritto della Corona di Napoli sopra Piombino. n.d. but c. 1760 bound with Dritto del re delle Sicilie. 8vo, full vellum, red edges, red star endpapers; provenance: vide supra. Berio was renowned as a man of culture and taste. In 1791, he inherited the title of marchese, along with the famous library and art collection of his father. Francesco added to the library, although his acquisitions for the art collection were of greater significance. In the early 1800s, his literary salons were celebrated, attracting many notable figures including Gabriele Rossetti and Gioacchino Rossino. Berio wrote libretti for several Rossini operas including Otello and Ricciardo and Zoraide. After his death the greater part of the library was sold to William Ward, 3rd Viscount Dudley and Ward.

Contemporary Art Deco style bronzed figure of a dancer raised on marble column base, 56cm tall

Contemporary art glass table lamp with tapering triangular green twist column, glass section 35cm tall

Kosta Boda of Sweden contemporary art glass vase of tapering cylindrical form with green and purple swirl decoration, 19.5cm tall

Evolution by Waterford contemporary art glass vase of thistle green and purple colour and swirl design, 20 cm tall

Contemporary black art glass vase of hourglass form with silver "ring" onlay, 34cm tall

Contemporary Murano style art glass vase of bottle form with orange, red and yellow striations, 32cm

Holmegaard contemporary art glass dish with blue tinge, signed to base and dated 1962, 33cm wide

Contemporary Art, 'Waiting for Sunset 1, Woolwell, Estuary 2009', titles and inscribed verso Rame Head Peninsula, Cornwall, monogrammed A.R, image size 101cm x 100cm in a light wood frame, overall size 104cm x 111cm.

JAZZ - (UK) VOGUE/CONTEMPORARY RARITY LPs. Delightful selection of 4 x seldom seen original UK pressing LPs. Titles are Art Pepper - Meets The Rhythm Section (LAC 12066 - Ex also stamped side 1 'Sample Copy Not For Sale'/VG+ light paper tear on top tab of the reverse flipback) and Intensity (LAC 553 - a very minor scuff mark at the start of side 1/Ex a lovely sleeve), Chet Baker - Sings... (LAE 12018 - VG many surface marks/scuffs, no heavier scratches/VG noted some shelfwear, otherwise a neat example) and Sadi-Solal Quartet (LAE 12043 - Ex+/Ex a quite lovely copy all round!)

JAZZ - BOP/HARD/POST BOP INTO CONTEMPORARY - LPs. Wicked collection of 42 x LPs loaded with real rarities! Artists/titles include Red Garland - At The Prelude (Esquire 32-126 - VG+, Ex playing surfaces, tape residue on side 1/VG solid sleeve, some foxing on the reverse), The Tony Kinsey Quintet - Time Gentlemen Please (Decca LK 4274 - VG copy), Jazz Couriers featuring Tubby Hayes - The Last Word (UK Tempo original TAP 26 - VG+ clean record showing only a couple of light markings/please note unfortunately missing the sleeve!), Bill Perkins - On Stage (LAE 12078) and Grand Encounter (LAE 12065), The Jazz Messengers (BL 7121), The Modern Jazz Sextet, Claude Williamson - New Departure, Martial Solal - First American Recording, introducing Art Farmer - Tonl, Interaction and 'Live' At The Half-Note, Lucky Thompson, introducing Budd Powell - Bud's Blues and Sits In With The Oscar Peterson Trio, Max Roach Quintet, Bud Shank - Quartet and Jazz At Cal-Tech (LAE 12095), Lennie Niehaus and Jackie McLean - S/T (Steeplechase SCS 1001). Condition is generally VG to Ex.

1- Malcolm, F P: First Impressions or Sketches from Art, and Nature Animate & Inanimate. J Nichols, 1807, 1st. edn. with 20 steel engraved plates, 285pp + publisher's list. Full calf with marbled endpapers, book plate of Bryan Hall - further armorial bookplate. Foot of spine has small chip; 2- Gardiner, F: History of Wisbech & Neighbourhood During the Last Fifty Years - 1848-1898. Wisbech, Gardiner & Co, 1898, 1st. edn. Numerous black and white illustrations; But lacking the Map, 503pp inc list of subscribers. Later half leather gilt, aeg; 3- John Murray: Handbook for Essex, Suffolk, Norfolk and Cambridgeshire. 1875, 2nd. edn. Original publisher's cloth which has been relaid on matching modern cloth. Part of the original backstrip is missing. Publisher's lists on endpapers, two folding plans and folding map in pocket at end, 472pp inc index + 72 pp handbook advertiser for 1875; 4- Buckler, G: Twenty-Two of The Churches of Essex, Architecturally Described and Illustrated. Bell & Daldy, 1856, 1st. edn. Half calf; rubbed; 5- Inglis, H: The 'Contour' Road Book Of England. 1906. full leather; 6- The Lives of Eminent & Remarkable Characters, Born or Long Resident in the Counties of Essex, Suffolk & Norfolk. 1820. With 68 portraits from engravings. Contemporary half calf (6)

School of Wisdom (The); or Repository of the most Valuable Curiosities of Art & Nature. ... Compiled from Various Authors, occasional browning, occasional light damp-staining restricted to margins, contemporary sheep, rubbed and scuffed, 8vo, Gainsborough, John Mozley, 1776.⁂ Scarce.

*@Pacheco (Ana Maria, 1943-). Study for Painting, 1991, oil pastel on paper, 19.5 x 20.5 cm (7.75 x 8 ins), framed and glazed, with Contemporary Art Society Market label to verso (1)

*Cumberland (George, 1754-1848). A collection of 12 watercolour views of Bristol and its surroundings, including the artist's home in Culver Street, Bristol, the River Avon, Lawrence Weston, Leigh Woods, etc. twelve watercolours on paper, most likely previously mounted in an album, ten of which are inscribed by George Cumberland to verso, including one signed and one initialled, 15.5 x 25 cm (6.2 x 10 ins) and slightly smaller, plus two small unsigned watercolour studies of a pair of hunting dogs, and a bird of prey, probably from the same album, 13.5 x 17 cm and similar, all now contained in clear plastic sleeves in a ring binder The inscriptions are as follows: 'Copy from Mr Townley's Possession, G Cumberland', 'Flower Garden, Autumn Afternoon at Lawrence Weston near Bristol, upper little Garden of Old Jenkins's Cottage, G.C.', 'Windmill Hill and Princes Buildings from the Avon bank Ashton side, afternoon', 'Cottage Tea House - Mrs Hall, Leigh Wood gate', 'Tea House, Leigh Wood gate', 'near Mr Gutch's Villa, with a view of St George's Church near Bristol', 'Boat builders sheds Bristol', 'Boat Builders Sheds from Quay', and 'Old Piggots way from the barn at Weston with the old fashioned garden which you will remember'. The two uninscribed watercolours depict Cumberland's house in Culver Street (identified from comparisons with other Cumberland drawings held at Bristol Museum & Art Gallery) and an Entrance to a Tunnel Walk. These watercolour views, probably dating from the 1810's and early 1820's, throw new light on Cumberland's life and art following his move to Bristol in 1807. A number of other small-scale views by Cumberland, some featuring similar locations (including Mrs Sarah Hall's Tea House at Leigh Woods Gate, Culver Street and Lawrence Weston) are now in the collection of Bristol Museum and Art Gallery, where there is also a sketch by George Towneley (or Townley) of Cumberland sketching in the woods, dated July 1811. A close friend and contemporary of William Blake, George Cumberland was a writer, collector, connoisseur and amateur watercolourist, and early member of the Bristol School of artists. He purchased a large number of Blake's illuminated books (including The Book of Thel, America, Europe, The Song of Los, Visions of the Daughters of Albion and Songs of Innocence and Experience), commissioned Blake to produce engravings up to the very end of his life in 1827, and introduced him to many important contacts, including Townley, and John Linnell (through his son George Cumberland junior). In 1803 Cumberland moved to Weston-super-Mare, Somerset, before settling at 1 Culver Street, Bristol, in 1807, where he lived until his death. Blake and Cumberland maintained an interest in each other's work, particularly in the technicalities of printing. Both also disavowed the established academic style of painting of the time (each having encountered it at the Royal Academy schools). Cumberland believed that painting should be done directly from nature - his small landscape studies deliberately avoid the tradition of the picturesque, and bear a similarity in style to those of his friend John Linnell. An important group of similarly inscribed watercolours by Cumberland, formerly contained in an album, were offered at auction in 27 lots by Christie's London in their sale Fine British Watercolours and Drawings on Tuesday 11 July 1989 (lots 22-48). 'From his address at 10, Culver Street (recorded in the Bristol Directory of 1814) Cumberland also went on numerous sketching trips, recording the appearance of Bristol and its environs accompanying professional artists on their trips to likely sketching spots in Leigh Woods or at Stapleton'. Cumberland describes one such trip to Leigh Woods in a letter to his son George of June 1818: 'I rose at 5 o'clock and set off alone for a walk to avoid the great heat I crossed the ferry, wound up the happy valley reading Dante's Paradiso, and setting down at each shady tree it was then 7 o'clock and the rabbits ran about me like tame ones' (extracted from the introduction to the catalogue section). Further background information compiled by the present owner is included with the album. (14)

Local Interest - Derby, The Derby School Register, 1570 - 1901, edited by B. Tacchella, Bemrose & Sons, Limited, London 1902, full contemporary school prize binding of gilt calf, upper cover with school arms, marbled endpapers and edges, Plain Armorial bookplate to recto pastedown: Derby School arms, 8vo; County Borough of Derby: Celebration of the Eighty-Second Birthday of Alderman Sir Thomas Roe, M.P., Albert Hall, Derby, Saturday, July 12th, 1913; Reunion of Fellow Citizens, red buckram gilt, 8vo; Bemrose (H.H.), The House of Bemrose, 1826 - 1926, The Bemrose Press, Derby 1926, contemporary maroon cloth, 4to; Borough of Derby: Calendar of Ancient Records, Prepared by Mr I.H. Jeayes [...], J.W. Simpson, Derby 1904, contemporary buckram gilt, 8vo; The Alfred E. Goodey Collection of Old Derby Pictures, Given to His Fellow Townsmen, April 24th, 1936, County Borough of Derby Museum & Art Gallery, contemporary printed card boards, signed and dated 1936 in ink MS by Goodey, 8vo; Unsworth (W. Leslie), Seventy-five Years' Co-operation: A Historical Outline of the Birth, Growth and Development of The Derby Co-operative Provident Society Ltd., 1850 - 1925, Co-operative Wholesale Society, Manchester 1927, contemporary red buckram gilt, 12mo; The See of Derby: Being a Souvenir of its Foundation, edited by Canon A.W.F. Blunt, Issued by Authority of the Diocese Committee, [Printed by] Bemrose and Sons Ltd, Derby [n.d., 1927], blue buckram, gilt with the arms of the episcopal see, small 4to, (2); Davison (A.W.) Derby: Its Rise and Progress, signed by the author, Bemrose & Sons Ltd., London 1906, fold-out map, contemporary green buckram gilt, 12mo; Payne (Charles James), Derby Churches Old and New, and Derby's Golgotha, Illustrated, limited edition of 250, Frank Murray, Derby 1893, relaid contemporary buckram, 12mo; etc, [9]

Art - Britain Off 'Pat': More than 200 drawings of bygone Britain from the pen of Frank Patterson (1871 - 1952), Flying Scot Publications, St Leonards on Sea 1993, floppy pictorial covers as issued, 4to; Baker (C.H. Collins), Catalogue of the Principal Pictures in the Royal Collection at Windsor Castle, limited edition of 750, with one hundred collotype plates, Constable & Co Ltd, London 1937, contemporary brown calf spine lettered in gilt, drab buckram boards with gilt cypher of George VI to upper cover, top edge gilt, plastic wrap, slipcased, thick 4to; The Drawings of Holbein at Windsor Castle, second edition, 1945, red buckram gilt, 4to; Dimier (Louis), Les Peintres Français du XVIIIe Siècle: Histoire des Vies et Catalogue des Œuvres, two-volume set, Les Éditions G. van Oest, Paris and Brussels, 1928 - 1930, alternating blue and red buckram, large 4to, (2); Auction Catalogues, Christie's: The Italian Sale: Style and Dynamism in the 20th Centtury, December 2000; 19th Century Pictures and Continental Watercolours, June 1989; Sotheby's: The Robert von Hirsch Collection, Volume V: The Collector, his house and bequests only, 1979, h/b, d/j; Nineteenth Century European Paintings Part I, Spanish ;Paintings Part II, February 1990; Castle Howard, Yorkshire, November 1991; Impressionist & Modern Art, Part One, June 2001; Contemporary Art Day Auction, 12 November 2014, New York, two-volume set: Morning and Afternoon, pictorial wrap, (2); Monet, Picasso, Cézanne, Matisse, (4); Saatchi Gallery, 2005, pictorial h/b, square 4to; Lee (Sherman E.), A History of Far Eastern Art, h/b, d/j, large 4to; etc

Maritime Interest - Chapelle (Howard I.), The History of American Sailing Ships, With drawings by the author and George C. Wales and Henry Rusk, W.W. Norton & Company, Inc., New York 1935, Art Deco pictorial buckram as issued, 4to; Roosevelt (Theodore), The Naval War of 1812: or, The History of the United States Navy During the Last War with Great Britain; to which is appended an account of the Battle of New Orleans, fifth edition, G.P. Putnam's Sons, New York 1894, contemporary terracotta buckram gilt, thick 8vo; Longridge (C. Nepean), The Anatomy of Nelson's Ships, Percival Marshall & Company Ltd., 1955; Admiralty Manual of Hydroraphic Surveying, London 1938; etc, [7]

Local Interest - Miller Mundy of Shipley Hall Presentation Copy, Trueman (Edwin) & Marston (R. Westland), History of Ilkeston, together with Dale Abbey, Kirk Hallam, West Hallam, Shipley, and Cossall, Printed and Published by the Pioneer Printing Company, Limited, Ilkeston 1899, fold-out map and full-page plates, contemporary panelled calf gilt, well relaid contemporary spine, ilt edge, marbled endpapers, presentation inscription in ink MS: To Marie Phipps from G.M.M. 1899 [Phipps (née Miller Mundy), wife of Edmund Phipps, Secretary to the Embassy at Vienna, from Godfrey Miller Mundy], small crown folio; earlier 1880 edition in duodecimo, contemporary cloth, relaid, ownership calling card to recto endpaper: The Revd. R. Fosket,, The Vicarage, Ilkeston, Pictorial Seal bookplate to pastedown: Ex Libris Robert William Morell, 12mo; Ilkeston Sammelband, Foskett (The Rev. Canon R.), three pamphlets, bound with three further works, c. 1950, contemporary buckram, 8vo; Fox (Rev. Samuel), The History and Antiquities of the Parish Church of St. Matthew, Morley [...], with Seventeen Illustrations from Original Drawings by George Bailey, edited by Robert Bigsby, Bemrose and Sons, London 1872, contemporary maroon buckram gilt, small folio; Kerry (The Rev Charles): Smalley in the County of Derby: Its History & Legends, Bemrose & Sons Limited, London 1905, loosely inserted letter to the author from John Ward, F.S.A., on Museum and Art Gallery, Cardiff headed notepaper, dated '98; contemporary red cloth as issued, 8vo, & the supplementary volume, History and Antiquities of Smalley in the County of Derby, Chiefly Derived from Original Documents, Bemrose & Sons Limited, London 1907, bound en suite to the latter, 8vo, (2); Severn (Joseph Millott), My Village: Owd (sic) Codnor, Derbyshire and The Village Folk When I Was a Boy, Printed by the Westbourne Press, Hove 1935, contemporary blue buckram gilt, 12mo, [7]

Miscellaneous - Bindings - The Gentleman's Magazine, 1831, illustrated with full-page and some fold-out engravings, two-volume set, contemporary quarter-calf and papered boards, 8vo, (2); Rubáiyát of Omar Khayyám, The Astronomer-Poet of Persia, Rendered into English Verse, Macmillan and Co., Limited, London 1905, contemporary armorial calf binding gilt, raised bands to spine, gilt foliate dentelles to interior covers, printed Art Nouveau endpapers highlighted in gilt, 16mo; Folk-Lore Relics of Early Village Life, Elliot Stock, 1883; Plant Lore, Legends, and Lyrics [...], London 1884, from the library of the Linnean Society of London; Art Deco BBC prize binding, green half-morocco over marbled paper boards, 12mo; George Elliot, three volumes, 19th century black half-morocco gilt with marbled boards, 12mo, (3); Bulwer-Lytton (Edward), My Novel, two volumes, contemporary black quarter-calf over marbled boards, 16mo, (2); Associated Architectural Society Reports and Papers, 1867 - 68, contemporary green-stained quarter-calf and marbled boards, 8vo; Debrett's Peerage, volume II: Scotland and Ireland […], London 1828, contemporary red-stained quarter-calf and marbled boards, 12mo; other genealogical and heraldic works; Medieval Gothic Architecture, various; Theology - The Book of Common Prayer […], The Clarendon Press, Oxford 1796, contemporary red morocco, marbled endpapers, 8vo; Baxter (Richard), The Saints Everlafting (sic) Rest, four parts contemporaneously bound as one, mixed publishers, London 1676 - 1677, contemporary diced calf, raised bands to spines, traces of ink MS title to spine, 8vo; The Holy Bible […], [London 1682], engraved architectural title-page, bound with, A Small Cambridge Concordance to the Holy Bible […], Printed by John Hayes, Cambridge 1695, part-late 18th century black straight-grain morocco binding, gilt lettered spine, late 18th century ink MS annotations mainly in Greek but some English, ownership inscription: S.P. Hodgkins 1808, 16mo; Spencerus [Spencer] (Gulielmus [William]), Origenes Kata Kelsou, en tomois 8 ; tou autou: Origenis Contra Celsum, Libri Octo, ejusdem Philocalia, Joan. Field, Cantabrigiae [Cambridge] 1658, contemporary panelled calf upper board only (detached), square 8vo; Pearson's Exposition of the Creed, fourth revised and enlarged edition, J.M. for John Williams [...], London 1676, engraved portrait frontispiece of the author by Frederick Hendrik Van Hove (1628 - 1698) after Willem Sonmans (fl. 1670 - 1708), contemporary speckled calf with losses and repairs, small folio; [Newman (Samuel)], A Concordance to the Holy Scriptures: With the Various Readings both of Text and Margin, In A more Exact Method than hath hitherto been Extant, third edition, John Hayes, Printer to the Univerfity (sic): For Hannah Sawbridge at the Bible on Ludgate Hill in London, Cambridge 1682, contemporary speckled calf, gilt tooled spine, blind lettering, 4to; Biblical and Theological Dictionary, 1849, black-stained quarter calf and marbled boards, 16mo; other 18th and 19th century quartos with full-page engravings, various; etc

Edward Carpenter (1844 - 1929), Socialist and Gay Rites Activist - an important and previously undocumented archive of correspondence and ephemera, between the poet-philosopher radical Carpenter and the Ashmore family of Victoria Street and later Highfield Road, Newbold, Chesterfield, Derbyshire, from 1878 - 1913, the handwritten and signed gentle correspondence covering Carpenter's life and residency in Brighton, Chesterfield and Sheffield, with sojourns in between, and addressed to various generations of the family; two autographed carte de visite photograph portraits of Carpenter, as a student taken at Brighton and as a man taken at Sheffield, (2); informal garden scene of Carpenter and the Ashmores, c. 1900; daguerreotypes, carte de visites - including a small album - and later photographic portraits of the Ashmore family, various Midlands photographers; two-fold programme, Cambridge University Extension Scheme: Pioneers of Science, A Course of Twelve Lectures by Edward Carpenter, M.A., Late Fellow of Trinity Hall, Leader and Sons, Sheffield 1879; a nine-page ink MS account of a walking tour, by William Ashmore, with his friend Carpenter and other acquaintances in 1882, to the North West and from thence into the heart of Wales, humorous in places with scenes of everyday life, precise observations and details of local industry & the lives of the working-class, harlequin non-uniform loose sheets of paper; further and earlier correspondence and ephemera between Ashmores only, various, including an 1861 four-page ink MS letter from Richard Martin in Sheffield to his father, detailing life at his lodgings with his clock and alarum purchases as well as the troubled dealing with his landlady; one 1864 envelope with Penny Red franked 70 and with Sheffield post mark dated 64; Chesterfield Scrapbook, an album of early 20th century and later newspaper cuttings, with articles, notices and obituaries on socialism - local and at national political level, local coal mining meetings and associations, Chesterfield borough life, including notices of the clergy and magistracy, Chesterfield buildings and architectural improvements, outskirts mentioned including Glapwell, Brimington & Staveley, etc., loosely inserted ephemera, including a poster: Chesterfield & District Working-Men's Radical Association [...] Public Tea [...] Sept. 28th, 1885 [...], Chair to be taken by Mr. E. Carpenter, M.A., Camb., 26cm x 19cm (torn in half), another, Radical Demonstration!, etc., oblong 4to; Chesterfield School of Art and Crafts, Souvenir 1928, with designs by Miss L.G. Ashmore, of the Teaching Staff, pictorial card covers, 4to; some of Lucy's poems and verses; extensive ephemera relating to the Ashmore's architectural and plastering enterprise in Chesterfield and its environs, including plans, indentures, further legal and financial documents; etc, [archive collection] Presumably the acquaintanceship between Edward Carpenter and the Ashmore family, which bloomed into a profound friendship and familiar intimacy with the fullness of time, emanated from his contemporary Samuel Ashmore of Chesterfield, artisan plasterer and son of the architect William Ashmore, began during Carpenter's short year-long residency in Chesterfield 1881, before moving to Sheffield in 1882 and then, with his father's legacy, retired to the simple life of the market garden at Millthorpe, near Barlow, Derbyshire, which he tended with his long-term partner George Merrill (1891 - 1928). Their coupling and domesticity inspiring E.M. Forster, a friend and regular guest, and his novel Maurice. Provenance: the Ashmore Family, until extinct in the direct line; their last housekeeper, the mother of the present vendor.

Architecture and Building - Lloyd (Nathaniel), A History of English Brickwork [...], H. Greville Montgomery, London 1925, illustrated throughout with b/w illustrations, contemporary gilt pictorial green cloth, small folio; Lloyd (Nathaniel), A History of the English House [...], The Architectural Press, London 1931, illustrated with b/w plates and line engraved vignettes, green buckram, later in-keeping spine, small folio; Weaver (Lawrence), English Lead Work: Its Art & History, B.T. Batsford, London 1909, grey cloth, small folio; Robert Bakewell; others, 19th century and later; qty

Local Interest - The History and Antiquities of Haddon Hall: Illustrated by Thirty-Two Highly Finished Drawings; with An Account of the Hall in its Present State by S[amuel] Rayner, Published by Robert Moseley, Derby 1836, canted rectangular engraved trade white paper label to recto pastedown: R. Moseley [...] Derby, contemporary green cloth, upper cover titled in gilt within a shaped reserve, large paper copy, medium folio; 1837 Supplement, bound en suite, canted rectangular engraved trade carmine paper label to recto pastedown: R. Moseley [...] Derby, above a conforming ticket: Derbyshire Museum, No. 36 Corn Market, Derby, with obelisks and urns, large paper copy, medium folio; loosely inserted publication notice citing both 1836 & 1837 volumes; exhibition catalogue, The Rayners: A Family of Artists, Derby Museum & Art Gallery, 1996, [4]

Exhibition History - The Great Exhibition, 1851, The Art Journal Illustrated Catalogue, The Industry of All Nations 1851, Published for the Proprietors, by George Vertue, London [n.d., 1851], illustrated throughout with wood engravings, contemporary green-stained half-calf and watered cloth boards, gilt lettered and tooled spine, marbled endpapers, Plain Armorial bookplate: William Thomson, small folio; a Baxter print of the Crystal Palace, 14.5cm x 32.5cm, Hogarth frame; Festival of Britain, 1951, South Bank Exhibition, London, guide; Yachting Regatta prize medal, boxed, [4]

Ireland (Samuel). Picturesque Views on the River Thames, from its Source in Glocestershire to the Nore; with Observations on the Public Buildings and other Works of Art in its Vicinity, 2 vols., 1792, half-titles present, additional sepia aquatint titles, two single-page maps, 52 sepia aquatint plates with tissue guards, occasional light spotting, contemporary marbled calf, joints split, upper board of volume 1 near detached, spines worn with loss of leather at head & foot and to labels, board edges rubbed and showing, 8vo (Abbey Scenery 430), together with Turner (J.M.W.), The Harbours of England, engraved by Thomas Lupton, from original drawings made expressly for the work..., with illustrative text by J. Ruskin, 1856, half-title, 12 engraved plates on India paper, occasional spotting, original cloth gilt, rubbed and some fraying to extremities, slim folio, with McCarthy (Justin), The Grey River, 1889, 12 etched plates by Mortimer Mempes and signed in pencil to lower margin, edges rough trimmed, original cloth gilt, soiled, spine torn at head with loss, folio (manuscript limitation note, no. 78 of 230 copies printed), plus Taylor (James), Lord Jeffery and Craigcrook, a history of the Castle..., Edinburgh: David Douglas, 1892, black & white portrait, plates and plan, front free endpaper with mid/late 20th century inscription "Winnie from Douglas Croces Craigcrook Castle, Edinburgh", original cloth gilt, spine & board edges darkened, slim 4to (limited edition 139/150) (5)

*Oxford. Loggan (David), Collegium B: Mariae Magdalenae, [1675 or later], uncoloured engraving, torn with small area of loss to upper margin, replaced in facsimile, 305 x 410 mm, mounted, framed and glazed, together with Skelton (Joseph), Entrance to Magdalen College, [1826], hand coloured engraving after F. Mackenzie, 340 x 450 mm, mounted, framed and glazed, with Lewis (F. C.), Entrance to Oxford from the London Road, published R. Ackermann (The History of Oxford), 1813 [or later], aquatint after F. Nash, contemporary hand colouring, 250 x 300 mm, mounted, framed and glazed, plus Murray (C. D.), Untitled etching of Magdalen Tower, published The Fine Art Society, 1896, uncoloured etching, signed by artist in pencil to lower right, remarque of two choristers, blindstamp to lower left, toned overall, 490 x 325 mm, mounted, framed and glazed, and Lewis (G.), Magdalen Tower, published R. Ackermann, 1814, aquatint after F. Nash, contemporary hand colouring, 285 x 215 mm, mounted, with Le Keux (John), The Cloister Magdalen College, [1837], hand coloured engraving after F. Mackenzie, trimmed and laid on later paper, 105 x 140 mm (6)

Maw (George). A Monograph of the Genus Crocus, 1886, half-title, double-page coloured map, eighty-one hand-coloured lithograph plates (plate 17 was never published), double-page tables, letterpress vignette illustrations, some general light toning and occasional marks, marbled endpapers with front free endpaper detached and frayed to edges, later cloth hinges, all edges gilt, contemporary green morocco gilt, extremities slightly rubbed, large 4to Nissen 1316. Considered the finest work ever published on the Genus Crocus. George Maw was a polymath whose occupations included chemistry, geology, botany, archaeology, watercolour painting and gardening. He was a manufacturer of caustic and other tiles which were exported all over the world. Maw and Company also produced art pottery, employing well-known designers such as Walter Crane. Maw was an experienced plant-hunter and accompanied Sir Joseph Dalton Hooker on a plant-hunting exhibition to Morocco and the Atlas Mountains in 1871. He became an expert on the Crocus and illustrated his monograph - the result of ten years toil - with his own watercolours, of which John Ruskin wrote that they were "most exquisite... and quite beyond criticism". (1)

Kieffer (Ren‚, binder). Original illustrated manuscript by Henri Caruchet (1873-1948), for Le Pavillon Sur L'Eau, written by Th‚ophile Gautier and published in Paris by A. Ferroud, 1900, 48 pen, ink, and watercolour leaves, comprising a fly-leaf with vignette, a leaf lettered 'Pr‚face', and 46 numbered leaves written in calligraphic manuscript within elaborate borders depicting Chinese figures, animals and birds, buildings, dragons, floral motifs, etc., pencil markings to aid design and publication visible, preceded by three printed leaves (original front wrapper, half-title, and title-page), some spotting and marks throughout, sheet size 32 x 24cm (12.5 x 9.65ins), all edges gilt, contemporary brown morocco by Ren‚ Kieffer, signed on front doublure, a little rubbed to extremities, faded spine gilt lettered between two pairs of raised bands, and with leather onlay of bamboo leaves, upper cover with all-over onlaid design of bamboo trees, with smaller similar design on rear cover, triple gilt fillets on turn-ins, morocco pastedowns with onlaid design of stylised water lilies on a grey ground, free endpapers of gold and pale turquoise floral silk brocade, large square 4to, contained in marbled slipcase (worn) Painter and poet Henri Caruchet illustrated a number of books in the Art Nouveau style. His original artwork rarely comes onto the market. These beautiful illustrations, which make use of oriental imagery, show few deviations from the work as it was published, although the artist's calligraphic text was substituted for letterpress. The addition of a sumptuous Kieffer binding makes this a particularly attractive and unusual item. (1)

Bibliography Anker (Jean). Bird Books and Bird Art, 1st edition, Copenhagen: Levin & Munksgaard, 1938, original front wrapper bound in, bookplate to half-title, modern maroon cloth, 4to, together with: Mullens (William Herbert, & H. Kirke Swann), A Bibliography of British Ornithology, from the Earliest Times to 1912, 1st edition, Macmillan and Co., Limited, 1917, folding facsimiles to rear, bookplate, modern morocco-grain quarter cloth, 8vo, Mullens (William Herbert, & others), A Geographical Bibliographiy of British Ornithology from the Earliest Times to the End of 1918, 1st edition, Witherby & Co., 1920, original blue cloth, 8vo, Wood (Casey A.), An Introduction to the Literature of Verterbrate Zooology, 1st edition, Oxford University Press, 1931, original blue cloth, 4to, and Zimmer (John Todd), Catalogue of the Edward E. Ayer Ornithological Library, 1st edition, Chicago: Field Museum of Natural History, 1926, 2 volumes in 1, contemporary blue half morocco gilt, 8vo (5)

A tray of 20th century plated wares, glass comport, jug together with a contemporary Art Nouveau style box

A tray of two contemporary Art Deco style figures, a brass figure of a horse on wooden stand, brass Harrier jump jet, figure of a coal miner, two Egyptian Sphinx

Irish Art: Strickland - Dictionary of Irish Art, 2 vols. D. 1989 Reprint; Crookshank & Glin, The Watercolours of Ireland, folio L. 1994, Signed by Authors; Knowles (R.) Contemporary Irish Art, folio D. 1981; National Gallery of Ireland - Illustrated Summary Catalogues, 3 vols. D. 1981 - 1983 - 1988; Mc Conkey (K.) A Free Spirit - Irish Art 1860 to 1960, L. 1990; Bowe (N. Gordon) The Life and Work of Harry Clarke, 4to D. 1989; & 18 others, 27 items in all. A good lot. (1)

DEBORAH VALLANCE (BRITISH CONTEMPORARY) 'LADY IN WAITING' AND 'DINNER TABLE' mixed media art works of a female figure seated on a chair and dinner table seating plan, both signed bottom right, mounted, framed and glazed, largest size approximately 43cm x 29cm, together with a Helen Rhodes original work of art of a cat, acrylic on paper, signed to the margin, size 25cm x 23cm (3)

* LAETITIA GUILBAUD (FRENCH b 1980), ELEGANTE ink and wash on paper, signed 30cm x 21cm Mounted, framed and under glass. Note: Laetitia Guilbaud was a regular contributor to The Scottish Contemporary Art Auctions from 2009 until she returned home to France to continue her career in 2016. Her work is all about women. She is inspired by fashion and Pin-up art which is why she likes to depict them "with plenty of character and femininity". She started off exhibiting in bars, restaurants and art fairs and soon had several articles appear in the national press about her and her work. In 2009, she depicted the Scottish First Minister, Nicola Sturgeon, then Health Minister, in a provocative painting holding a whip and a pint. The painting was reported to have been enthusiastically purchased Ms Sturgeon's husband after being featured widely in the Scottish press and media. Laetitia continues to very successfully exhibit her work in galleries across France and Britain. During her seven years of selling through our auctions, she achieved an extremely high sell rate and received numerous private commissions.

* MURIEL BARCLAY (SCOTTISH), THE MADRID MANDOLIN oil on canvas, signed 61cm x 61cm Framed. Note: At the first Scottish Contemporary Art Auction staged by McTears on 22nd November 2008, "Pink Tutu Tune" by Muriel Barclay sold for £7475 (premium) which is widely believed to be a record price for any maiden painting at public auction by a Scottish artist (past or present). Collections include : Ernie Els, Sir Arnold Clark, Lord Harris, The Sultan of Brunei, Alex McLeish, Sir Jack Harvey, H.B.O.S., Biggart Baillie, Arisaig Partners, and numerous other prestigious corporate and private collections worldwide.

* JAMES S DAVIS DA PAI RSW FRSA, HOME FOR TEA mixed media on panel, signed 45cm x 50cm Mounted, framed and under glass. Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings, Singapore and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.

Tom McGuinness (1926-2006) ''Waiting for News'' Signed and dated (19)69, mixed media, 9.5cm by 41cm Provenance: Gallery 2, Darlington Exhibited: Exhibition of Mining Art at the National Trust House, Nunnington, 2006 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration Born in 1926 in Witton Park, County Durham Tom McGuinness showed a predilection towards sketching from an early age. After leaving school in 1940, he worked in the Meadow Dairy Grocery shop, and then the timber trade until 1944, when he was signed up to the coal industry, as part of the conscriptions enforced by the Bevin government, to counteract falling labour within the industry during World War II. His path to receiving formal training in art was initiated when his Colliery training officer found Tom sketching in chalk down the mines and suggested he join Darlington School of Art. Like his contemporary Norman Cornish, Tom McGuinness was greatly encouraged in his artistic endeavours by Bill Farrell and the Spennymoor Settlement which he joined in the 1940's. Bill Farrell suggested the two men should ''paint what they knew'' and of course this direction led to the evocative renditions of the mining community which we appreciate today, albeit in two highly distinctive styles. McGuinness exhibited annually at the Darlington Art Society, and held his first solo show in 1958, at the offices of the Coal Industry Social Welfare Organisation in Hobart House, London. His work was also exhibited at the Stone Gallery, Newcastle-upon-Tyne which brought him high critical acclaim. In 1983, he was made redundant from mining and finally turned to painting as a full time occupation. A major retrospective touring exhibition held in 1997 at the Bowes Museum ''Mines a McGuinness'' compounded his significance as a mining artist further. Throughout his career Tom exhibited in over 40 solo and over fifty joint exhibitions.

William Selby RSW RWS (b.1933) ''White Apple, Blue Fish'' Initialled, oil on board, 23cm by 18cm Provenance: Walker Galleries Contemporary Art, Harrogate Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business