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

HENRY FIELDING: THE HISTORY OF TOM JONES ..., London, Robert Riviere circa 1900 2 volumes, contemporary half calf gilt, top edge gilt plus JOHN RUSKIN: LECTURES ON ART DELIVERED BEFORE THE UNIVERSITY OF OXFORD ... 1870, Oxford 1875, 2nd edition, contemporary full calf gilt, prize binding worn, spine gilt in compartments plus JOHN HUGHES: HORAE BRITANNICAE ..., London 1818-1819, 2 volumes, old half calf gilt, morocco labels to spines plus ALFRED J CHURCH: THE STORY OF THE ILIAD, London 1900, 3rd edition, contemporary full morocco gilt prize bindings, spine gilt in compartments plus A P STANLEY: THE LIFE AND CORRESPONDENCE OF THOMAS ARNOLD, London 1898, 16th edition, 2 volumes, contemporary full morocco gilt prize binding slightly worn, plus W H FITCHETT: THE TALE OF THE GREAT MUTINY, London 1902 2nd impression, contemporary full morocco gilt prize binding, spine gilt in compartments plus SAMUEL SMILES: SELF-HELP ..., 1869 new edition, contemporary full morocco gilt worn plus CHARLES KINGSLEY: HEREWARD THE LAST OF THE ENGLISH, 1881 new edition, contemporary half morocco gilt worn (11)

THE ART JOURNAL, London, George Virtue, 1871, volume 10, 1872 volume 11, 1877 volume 16, volume 10 35 engraved plates as called for, volume 11 35 (of 36) engraved plates, volume 16 34 (of 36) engraved plates, each folio, contemporary half crimson morocco gilt very worn, inner joints weak (3)

MICHAEL FARCLOUGH: Four prints of the 'Hebridean Suite', series, each signed and No. 112/200 (and Certificates of Authentication from Christie's Contemporary Art) and similar pictures and a mirror with a floral frame (8)

CONTEMPORARY KILIM BY VENTIQUE, 300cm x 200cm, Art Deco block design, RRP £1920.

A contemporary Art Deco style bronze figure of a lady in an elegant pose, in Egyptian costume, raised on a red and black marble base, signed D.H. Chiparus

A contemporary Art Deco style bronze figure of a semi-clad lady in an elegant pose, raised on a red and black marble base, signed D.H.Chiparus

The Ancestor. A Quarterly Review of County and Family History, Heraldry and Antiquities, Nos. 1-12, April 1902-Jan. 1905, numerous black and white illustrations, adverts front and rear, some light spotting and minor loss, uniform contemporary red boards, covers and spines faded and rubbed with some loss to head and foot, 8vo, together with Wyatt (M. Digby), The Art of Illuminating..., circa 1900, 93 colour plates plus colour title, some minor spotting, later green morocco binding, boards slightly rubbed, spine faded, 8vo, and other late 19th-century and early 20th-century heraldry reference and miscellaneous literature, all original cloth, some in dust jackets, G/VG, 8vo/folio (3 shelves)

Sami-Azar (A. R.). The International Collection of the Tehran Museum of Contemporary Art, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations, original publisher's cloth in dust jacket, folio, plus Javaherian (Faryar), Gardens of Iran, Ancient Wisdom, New Visions, Tehran: Institute for Promotion of Visual Arts, numerous colour illustrations throughout, original publisher's printed wrappers, folio, plus other reference titles on Iranian art and contemporary art in Iran (27)

Campbell (John). A Political Survey of Britain; being a Series of Reflections on the Situation, Lands, Inhabitants, Revenues, Colonies, and Commerce of this Island. Intended to shew that we have not as yet approached near the summit of improvement, but that it will afford employment to many generations before they push to their utmost extent the natural advantages of Great Britain, 2 volumes, 1st edition, 1774, some damp-staining to the fore-edge margins of a few leaves in both volumes, contemporary speckled calf, spines gilt with contrasting labels, corners bumped, extremities worn, joints of volume 1 cracked, upper joint of volume 2 rubbed, lower joint starting, 4to, (first edition, complete with the indices that are often missing. Goldsmiths' 11082; Kress 6997; Sabin 10239), together with Bagehot (Walter), Estimates of Some Englishmen and Scotchmen, a series of articles reprinted by permission principally from the National Review, 1st edition, 1858, author's first book, publisher's advert leaf at rear, uncut and largely unopened, two leaves slightly browned, original cloth gilt, a little rubbed and faded at extremeties, 8vo, plus Wakefield (Edward Gibbon, editor), A View of the Art of Colonization, with present reference to the British Empire, in letters between a Statesman and a Columnist, 1st edition, 1849, errata slip after contents and 60 pp. adverts at rear, contemporary quarter roan, wear to spine and joints, 8vo, plus Reid (George Archdall O'Brien), Alcoholism, a study in heredity, 1st edition, 1901, 6 pp. adverts at rear, some spotting, author's presentation inscription to the American philosopher and pyschologist William James to front pastedown, hinges cracked, original cloth gilt, rubbed and a little frayed at head and foot of spine, 8vo, plus other 19th and 20th-century English language, social sciences interest First edition, complete with the indices that are often missing. Goldsmiths' 11082; Kress 6997; Sabin 10239. (20)

Ramler (Karl Wilhelm). Salomon Gessners auserlesene Idyllen in Verse gebracht von Karl Wilhelm Ramler, 1st separate edition, Berlin, 1787, printed on thick paper, engraved title with vignette by J. W. Meil, without the half-title, occasional light spotting, small piece cut from outer margin of title, armorial bookplate, and book label of the German art historian Edwin Redslob (1884-1973), and ownership note of the Uechtritz family on front endpaper, German contemporary red half morocco gilt, 8vo, together with Schlegel (August Wilhelm & Tieck, Ludwig, editors),Musen-Almanach für das Jahr 1802, 1st edition, Tübingen, 1802, small paper flaw at foot of title, uncut and partially unopened in the original drab paper wrappers, a little worn and spotted, printed paper lettering-piece on spine, small 8vo in a folding cloth box, plus Tieck (Ludwig), Dramaturgische Blätter. Nebst einem Anhange noch ungedruckter Aufsätze über das deutsche Theater und Berichten über die englische Bühne, geschrieben auf einer Reise im Jahre 1817, 3 volumes, 1st edition, Breslau, 1852, occasional light spotting, errata leaf at rear of volume 2, uncut in the original green printed wrappers, a few minor repairs, 12mo in a folding cloth box (5)

Ruskin (John). The Art of England, lectures given in Oxford, 1884, The Storm Cloud of the Nineteenth Century, two lectures delivered at the London Institution, in Mantibus Sanctis, 2 volumes bound in 1, both 1884, some light marks, uniform contemporary gilt-decorated green quarter morocco, spines slightly rubbed and faded, 4to (2 volumes in total), together with Stillman (Damie), English Neo-classical Architecture, volumes 1 & 2, 1988, numerous black and white illustrations, original blue cloth in dust jackets, spines faded, large 8vo, plus Peill (James & Glin, Knight of), Irish Furniture, Woodworking and Carving in Ireland from the Earliest Times to the Act of Union, 2007, numerous colour and black and white illustrations, original blue cloth in dust jacket, spine slightly faded, large 4to, plus other late 19th-century and modern art reference, mostly original cloth in dust jackets, G/VG, 8vo/4to (6 shelves)

The Studio. An Illustrated Magazine of Fine and Applied Art, volumes 1-106 bound in 54, 1894-1933, numerous black and white and colour illustrations and plates, all with bookplates to front pastedowns, some minor toning, uniform contemporary red cloth, spines slightly faded, some partially detached, large 8vo (54)

* GWEN HARDIE,FACE 09.17.05oil on canvas64cm x 58.5cm (25 x 23 inches)FramedProvenance: The artist. Private London collection.Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

* ALICE KETTLE,BLUE SPLASH BATHERmultimedia on fabric, signed, titled and dated 1994 verso 54cm x 73cm approx.Mounted, framed and under glassNote: Alice Kettle is a contemporary textile/fibre artist based in the UK. She has established a unique area of practice by her use of a craft medium, consistently and on an unparalleled scale. Her stitched works, many the size of huge figurative tapestries, exploit the textures and effects made possible through the harnessing of a mechanical process to intuitive and creative ends. She is currently a Professor in Textile Arts in MIRIAD Manchester School of Art at Manchester Metropolitan University. Her work is represented in various public collections such as the Crafts Council London, the Whitworth Art Gallery in Manchester, the Museo Internationale delle Arti Applicate Oggi, Turin, Italy. Commissions include the National Library of Australia, the Scottish High Court in Edinburgh, Gloucester and Winchester Cathedrals and the School of Music & Drama at Manchester University

* GRAHAM H D MCKEAN, OOR WULLIE ON HOLIDAY DOON THE WATERoil on canvas, signed57cm x 46cmFramedNote: The sister painting of lot 1357 from The Scottish Contemporary Art Auction of 12th May 2011 which sold for £4800 (hammer).

DERHAM, WILLIAM (1657-1737): "The Artificial Clock-Maker, A Treatise of Watch & Clock-work, wherein The Art of Calculating Numbers for most sorts of Movements is explained, to the Capacity of the Unlearned, Also, the History of Watch and Clockwork, Both Ancient and Modern With other Useful Matters never before Publish'd", the second edition enlarged, with additional supplement in the same volume, printed for James Knapton at the Crown in St Paul's Church-yard in 1700, with two musical notations for chimes to the main book (one separate) and two fold out illustration plates to the supplement, with two final pages of advertisements, including prices, of other books printed by Knapton, in contemporary binding (binding af), plus a Russian travelling clock and another. CONDITION REPORT: Volume appears to be complete as all the catchwords are intact. Also the pagination is correct except for page 13 of the supplement which appears to be erroneously numbered 31. Binding split and separate to front and thus both front cover and endpaper are separate but present. Split to binding at the back. Wear and foxing to the edges of the pages.

Brunner (Gisbert) - 'Heuer & Tag Heuer - Mastering Time', published by Editions Assouline, Paris, 1997 and Clerizo (Michael) - two volumes - 'Masters of Contemporary Watchmaking' and 'George Daniels, A Master Watchmaker & His Art' (three hardbound volumes with dustwrappers) All volumes with some wear

Valerie Thornton (1931-1991) Aquatint "Hill Village, Navarre" view of town with fields in foreground, 50/150, signed, 29cm x 37cm (please note there is a certificate of authenticity from the Director of Chrsties Contemporary Art)

A LIMITED EDITION WATERCOLOUR PRINT by Freda (surname indistinct) numbered to the left hand corner and signed lower right, possibly from a Christie's contemporary art sale, 64cm x 49cm and another contemporary Chinese watercolour with seal mark to the lower right hand side 53cm x 68cm, framed and glazed (2)

A contemporary silver plated Art Nouveau style dressing table mirror, 51 x 30cm

A pair of contemporary table lamps in the Art Deco style, with one shade, 57cm high

NICK HAMPER (b. 1956) A framed and glazed ink and wash entitled "Sea view with prawn" contemporary Art Society Market label verso, monogram and dated '88 bottom left, 19cm x 12.5cm

A contemporary art glass vase by Erika Hoglund for Maleras of Sweden of flared circular form with roll rim, cased in clear crystal over blue with silver inclusions, engraved signature, height 13.5cm.

The Art Journal, a broken run from 1871-1888, lacking 1882 and 1884, but with duplicates for 1871 and 1873, together 18 volumes, wood-engraved illustrations, contemporary half calf, spines gilt, 4to, London: Virtue & Co. (18) sold as a periodical, not subject to return

Renee Halpern (20th Century) - A La Campagne, lithograph, 179/200, signed and numbered, 39.5 x 56; Thomas Kruger (20th Century) - The Dawn, lithograph, ed. 33/200, signed and numbered, 54 x 45 cm; Fanch Ledan - "Parc Monceau sur la Neige", lithograph, signed and numbered 85/200, with blindstamp, 58 x 79 cm, all three with certificates from Christie's Contemporary Art; and Modern British School - Abstract in greens and blacks, print, 55 x 75 cm (4)

EDWARD ATKINSON HORNEL (SCOTTISH 1864 - 1933), SPRING FLOWERS oil on canvas, signed and dated 1913 63.5cm x 77cm (25 x 30 inches) Framed (original) Label verso: Robert Macindoe, Carver, Gilder and Picture Frame Maker, West Regent Street, Glasgow. Provenance: The late James Craig of Glasgow and by descent. This exceptional picture was originally purchased in the early 1900's by James Craig of James Craig's Bakeries and Tea Rooms (Glasgow). The business was started around 1870 by James Craig Snr and his two eldest children James and Jessie grew up in the business and continued to expand it after the death of James Snr in 1908. It was around this time that Harry Lauder would get a round of approving applause for confiding to his audience that he'd been away buying "a cookie frae Jimmy Craig's in the Wood-lands Ro-ad." There were twenty James Craig's Tea Rooms in Glasgow and the most prominent were The Ruhl at 123, Sauchiehall Street and The Gordon in Gordon Street. These were multi storey purpose built premises described as "the most luxurious and up-to-date in the city." In 1936 it was reported that James Craig's employed around 1100 people and were "known for never having had an industrial dispute." It was in The Ruhl and The Gordon that the majority of Craig's famous pictures hung and they became known as "the unofficial Art Galleries of Glasgow". T.J. Honeyman (the eminent Director of Glasgow's official Art Galleries) in an undated document describes Craig's collection as "first rate examples of the work of well-known Scottish artists." "Jas Craig's policy of exhibiting paintings so that all his customers might see them has given delight to a great number of people. I salute the pictures and Craig's for the opportunity they give to enlarge our experience." Craig bought generously and according to the Daily Record in 1932 the paintings which hung in the smoke rooms at Gordon Street alone were worth "£3000 - £4000." The artists he bought included George Houston and David Gauld, who acted as advisors, Hornel, William Wells, Stuart Park, D.Y. Cameron, Zorn, James McBey and J. Campbell Mitchell. In the early decades of the 20th century, there was probably no finer collection of "contemporary" Scottish paintings in private hands. It is believed that "Spring Flowers" was retained in the Craig family private collection and was never hung in any of the Tea Rooms.

‡SIR LAWRENCE BURNETT GOWING CBE (1918-1991)Mare Street, Hackney, 1937oil on canvas28 x 36 in (71.2 x 91.4cm)Exhibited:The Storran Gallery, Piccadilly, London 1938 The Ashmolean Gallery, Oxford 'Members of the Euston Road Group' May-June 1941 no.17 Royal Academy of Arts, London 'British Art in the Twentieth Century' Jan-April 1987, no.162 Musee D'Arte Moderne, Paris. 'Annees 30's en Europe' Feb-May 1997Literature: Bruce Laughton. The Euston Road School. Scolar Press. 1986 (col. ill plate 7)For another London view by the artist cf. 'A view of Wellington Square (Chelsea)', sold Bearne's, Hampton and Littlewood, 4th Sept 1991Laughton wrote that 'Mare Street Hackney' was the best known work that Gowing executed while a pupil at the Euston Road School in 1937/38. It was painted over the winter of 1937-8 as the artist recorded 'mostly before Christmas'. 'Mare Street, Hackney' was exhibited as one of the 'Fifteen Paintings of London' shown at the Storran Gallery, Piccadilly in October 1938, in the company of other works by founding members of the School including William Coldstream, Victor Pasmore and Claude Rogers. Claude Rogers is said to have referred to the painting with affection as 'Lawrence's Tram'.The painting features a no 31 double decker London tram car negotiating a bend in the main street of the Borough of Hackney. It was singled out by Clive Bell in his review of the Exhibition as 'the surprise of a surprising Exhibition'. Recognising it as a significant work by a student of the School, Clive Bell wrote in 'The Statesman and Nation' in November 1938 that if 'Rogers is sensitive, Gowing is supersensitive' by which he meant the delicacy of Gowing's perception of colour.Laughton also noted of the painting 'The artist's apprehension of the subject and place is highly lyrical- in spite of the ostensible drabness of the venue, he paints it as a Venetian might have painted The Grand Canal. But the light is not that of Venice. Grey and Shadowless, it gives the houses of predominantly yellow-grey London brick, dense and tangible surfaces within their sharp silhouettes. Against these grey planes unusual details such as the white lozenge of awning over a shop front, the odd geometric structures of the red and ochre tram,and the two non-conforming house facades (a cream by a red) stand out with increased luminosity'. The various foot passengers, and the belisha beacons (introduced by Mr Hare-Belisha, Minister of Transport in Neville Chamberlain's Government of 1938) are recorded with a provision surely inspired by Coldstream and comparable to the details in the latter's 'St. Pancras Station' which was also displayed in the 1938 Exhibition.Claude Rogers noted in his Memoirs that the Tram itself was slightly 'askew' in the road, a feature which pleased him because compositionally it acted as a stabiliser to the thrust of the orthogonal lines in the picture. 'On the skyline every black chimney-pot is measured in relation to its stack, point by point. the sky is pale and of a grey transparency, giving the whole illumination a feeling of the kind of clarity that occurs after rain' (Laughton, op. cit)The painting also had a profound impact on Graham Bell, one of his fellow artists in the Euston Road School. In the early war years when the prospect of a German victory in Europe loomed, Bell reproduced 'Mare Street, Hackney' in a late 1940 edition of The Studio. He included it within an article that he termed 'Art in the Island Fortress, a survey of contemporary British Art from Walter Sickert and Ethel Walker to Graham Sutherland and Lawrence Gowing'

‡The following three lots are sold on the instructionsof Shrewsbury College of Arts and TechnologyROBERT MEDLEY, CBE. RA. (1905-1994)Red Street Scene with Figuresoil on canvas30 1/2 x 40 1/4 in (77.4 x 102.3cm)Exhibited:Robert Medley Retrospective Exhibition, paintings, drawings and sculpture 1928-1963. Whitechapel Art Gallery, London November-December 1963, no 6'Red Street Scene' is mentioned in the Whitechapel exhibition catalogue - "1938. Painted Red Street Scene, a more social-realist picture with expressionist-caricature elements of distortion and 'artificial' invented colour" and (he) "began to feel the need to eliminate elements of fantasy from his work. Medley feared sentimentality and started to mistrust surrealist fantasy"'Robert Medley Exhibition' 1984 no.10. Museum of Modern Art, Oxford. The frame bears a 'Contemporary Art Society. Art Exhibitions Bureau, London'label on the reverse.For a smaller study for the painting in this auction.cf Dreweatts & Bloomsbury Auctions, Oct 2014. lot 342 Medley included in the 39th Exhibition, New Burlington Galleries, London. Oct-Nov 1937 , ,no.38 a painting titled 'Men, Women and Children talking and Playing'. 50 gns.He was however also working on a number of other paintings at this time. In the same year 1937, Medley exhibited six pictures including 'Tenement Buildings' and 'Jokers' at Agnews Robert Medley studied at the Byam Shaw and RA Schools, London in the early nineteen twenties, and later in Paris from 1926-1928. In the period 1929-1934 he worked with both Duncan Grant and Vanessa Bell. He showed with the London Group from 1929 becoming a Member in 1937. As art Director of the Group Theatre 1935-1939 he designed the settings and costumes for a number of Productions. In 1938 he won the commission to paint the safety curtain for the Old Vic , and from about the same time he was working on another street scene known as the 'Butcher's Shop'.

A set of three Riccardo Wolfson artist's proof prints, and a related Christies Contemporary Art poster (4)

Contemporary Glazed Art Pottery Ceramic Vase. Signed Evelyn Kitty Unger 1981. Good condition. Measures 10-1/4" H. Shipping $75.00 (estimate $100-$150)

Contemporary Raku Art Pottery Tea Pot. Signed (illegible). Losses to spout. Measures 13-1/4" H x 9" W. Shipping $65.00 (estimate $150-$250)

Bindings. Letters to His Son by the Earl of Chesterfield on the Fine Art of Becoming a Man of the World and a Gentleman, Beau Brummel Edition, 2 volumes, New York, 1925, monochrome plates, top edge gilt, contemporary gilt-decorated blue full morocco (by Whitman Bennett, New Jersey), some marks and spines lightly discoloured, 8vo, limited edition 904/1999, together with Bury (Adrian), Shadow of Eros, a biographical and critical study of the life and works of Sir Alfred Gilbert, Dropmore Press, 1952, monochrome plates, partly untrimmed, original brown half morocco gilt, large 8vo, limited edition 105/300, plus Borrow (George), Lavengro the Scholar, The Gypsy, The Priest, illustrated by Edmund J. Sullivan, T.N. Foulis, 1914, tipped-in colour plates, all edges gilt, contemporary green full morocco gilt (by Sangorski & Sutcliffe), some minor marks and spine lightly faded, 8vo, and other later 19th and early 20th century morocco bindings by Zaehnsdorf, Sangorski, Hatchards, Asprey and others, various, including The Pageant of London by Richard Davey, 1906, Childe Harold's Pilgrimage by Byron, 1841, Works of Dante Gabriele Rossetti, 1911, The Story of the Coronation by Randolph S. Churchill, 1953, Phoenix at Coventry, by Basil Spence, 1962, etc., generally in very good condition, mostly 8vo (25)

Hansard (George Agar, Gwent Bowman). The Book of Archery, being the Complete History and Practice of the Art, Ancient and Modern, Interspersed with Numerous Interesting Anecdotes, and an Account of the Existing Toxophilite Societies, 1st edition, 3rd issue, 1841[1845], engraved frontispiece, additional title (dated 1845), and thirty-seven plates, first and final leaves spotted, hinges split, bookplate of J & U Brass on front pastedown, all edges gilt, contemporary gilt decorated red morocco, extremities rubbed and spine a little darkened, 8vo (1)

Richardson (Benjamin Ward). The Asclepiad. A book of original research and observation in the Science, Art, and Literature of Medicine, preventive and curative, (2nd series), 1884-1895, black and white plates, contemporary half calf gilt with leather labels to spines, rubbed, several joints cracked and upper cover to volume 11 detached, 8vo The Asclepiad was originally published by Richardson in 1861 with the subtitle of 'Clinical Essays'. This was originally intended as a periodical but Richardson's other activities led to the abandonment of this project. Richardson re-founded The Asclepiad with the new subtitle here and this run continued for 11 volumes from 1884 to 1895. An uncommon set with wide-ranging content as the subtitle suggest including many literary articles on subjects such as Keats's medical training. (11)

Keynes (Geoffrey). William Blake's Laocoon. A Last Testament..., Trianon Press, 1976, black & white frontispiece and plates, publisher's brown morocco gilt, 4to, contained in original slipcase, (special copy no. XVI of 32, signed by Geoffrey Keynes, in an edition of 438 copies), together with Hewitt (Graily), The Pen and Type-Design, London: The First Edition Club, 1928, Ken Tomkinson bookplate, top edge gilt, remainder untrimmed, contemporary red morocco with Art Deco gilt design, large 8vo, contained in original drop back box, (limited edition of 250 copies), with Morison (Stanley), On Type Faces, Examples of the use of type for the printing of books..., London: Medici Society & The Fleuron, 1923, edges untrimmed, original cloth-backed marbled boards, folio, (limited edition 111/750), with Godman (Ernest), Norman Architecture in Essex, published by the author at Sunnyside, Banstead, Surrey, 1905, etched frontispiece, black & white plates and illustrations, signature of Elizabeth Ashbee, 1906 to front free endpaper, edges untrimmed, original green cloth gilt, 8vo, plus other private press and printing reference related etc. (20)

Pinelli (Bartolomeo). Raccolta di Cinquanta Costumi Pittoreschi incisi al acqua forte, Rome, Lorenzo Lazzari, 1809, engraved title, and 49 (of 50) etched plates of Italian costume and rustic figures, etc., bound with Nuova Raccolta di Cinquanta Costumi de contorni di Roma compresi diversi fatti di briganti, Rome, Giovanni Scudellari, 1823, printed title, with contemporary ownership signature at head, 47 (of 50) etched plates only of brigands, some scattered spotting, mainly to margins, waterstain to upper margin throughout, gilt gauffered edges, marbled endpapers, near-contemporary gilt-decorated full vellum over wooden boards (by T.H. Reilly Fine Art Gallery, Dublin), a few marks and small stain to upper cover, oblong folio (1)

Watelet (C.H. & Levesque, P.C.). Dictionnaire des arts de peinture, sculpture et gravure, 5 volumes, Paris, L.F. Prault, 1792, folding table to first volume, modern half morocco gilt, 8vo, together with Dufresnoy (C.A.), The Art of Painting: by C.A. Dufresnoy: with remarks. Translated into English, with an original preface, containing a parallel between painting and poetry, by Mr. Dryden. Also a short account of the most eminent painters, both ancient and modern: by Richard Graham, printed for Henry Lintot, 1750, engraved frontispiece by Samuel Gribelin, modern calf, 8vo, plus Burke (Edmund), A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 8th edition, with an introductory discourse concerning taste, and several other additions, printed for J. Dodsley, 1776, bookplate of Henry Augustus Leicester to front pastedown, with his ownership inscription in ink to head of title, contemporary calf, rubbed and scuffed with joints partly cracked at head and foot, 8vo (7)

Dore (Gustave & Jerrold, Blanchard). London, 1872, wood-engraved plates throughout, some minor spotting, all edges gilt, contemporary red half morocco gilt, boards a little rubbed and soiled, folio, together with Hall (S.C., editor), Gems of European Art: The Best Pictures of the Best Schools, 1st and 2nd series in 2 volumes, no date, circa 1870, engraved plates, all edges gilt, original red morocco richly gilt, slightly rubbed, folio, plus 10 other large-format illustrated volumes and scrap albums (a carton)

Moore (George). Peronnik the Fool, London: George G. Harrap & Co. Ltd., 1933, engraved frontispiece, title, two plates and few illustrations by Stephen Gooden, top edge gilt, remainder untrimmed, original full vellum gilt, 4to, (limited editon 215/525, signed by author & illustrator), together with Folio Society, The Getty Apocalypse, facsimile of MS Ludwig III in the J. Paul Getty Museum, with Commentary volume by Nigel J. Morgan, 2011, together 2 volumes, colour facsimile pages heightened in gilt, and black & white plates, original quarter morocco and full maroon buckran, folio, contained together in original drop back box, (limited edition 143/1020), with Worcester (Edward Somerset, Marquis of), [A Century of the Names and Scantlings of such Inventions, as at present I can call to mind to have tried and perfected: (which my former Notes being lost) I have, at the instance of a powerful Friend, endeavoured now in the Year 1655, Glasgow: printed by R. and A. Foulis, 1767], lacking title, some light dampstaining and dust-soiling, contemporary marbled sheep, joints cracked, 12mo, plus other miscellaneous antiquarian, modern first editions and art reference etc. including, Diary of Travels in France and Spain, Chiefly in the Year 1844, by Rev. Francis Trench, 2 vols., 1845, Vathek: An Arabian Tale, by William Beckford, London: Lawrence & Bullen, 1893, (limited edition 426/450), Scoop by Evelyn Waugh, 1st edition, 1938, Keynotes by George Egerton, 1893, and Water-Colour Painting in Britain, by Martin Hardie, 3 vols., mixed editions, 1967-68 (a carton)

Walton (Isaak & Cotton, Charles). The Complete Angler; or, Contemplative Man's Recreation: being a discourse on rivers, fish-ponds, fish, and fishing, with the lives of the authors: and notes historical, critical, supplmentary and explanatory; by Sir John Hawkins, printed for Samuel Baxter, 1808, half-title and engraved frontispiece (now bound after title), extra-illustrated, with numerous related engravings, including views, portraits, etc., mostly late 18th and early 19th century, some light spotting, contemporary calf, with 20th century gilt reback, boards rubbed and scuffed, 8vo, together with The Complete Angler, 3rd John Major edition, 1835, engraved plates, wood engraved illustrations to text, marbled edges and endpapers, contemporary half calf, later reback, small 8vo, plus Salter (T.F.), The Angler's Guide: being a plain and complete practical treatise on the art of angling for sea, river, and pond fish, 7th edition, with the author's last corrections, John Wicksteed, 1830, wood engraved plates and illustrations, some spotting and preliminary leaves with some browning, contemporary dark green half morocco gilt, rubbed and scuffed, and Wilson (James), The Rod and the Gun, being two treatises on angling and shooting, Edinburgh, 1840, engraved plates, illustrations to text, top edge gilt, contemporary green gilt-decorated straight-grained morocco, later reback, a little rubbed, plus three others related (Robert Blakey, Shooting: Manual of practical information on this branch of field sports, 6th edition, 1856, Robert Hartman, About Fishing, 1st edition, Arthur Barker, 1935, & Benedict-Henry Revoil, Peches dans l'Anerique du Nord, nouvelle edition, Tours, 1870), all leather bound, the final title with one or two public library inkstamps, all 8vo (7)

Books: Bracken, Henry M.D., ‘Farriery Improved: or a Compleat Treatise upon the Art of Farriery’, first edition, full contemporary leather, book plate for Richard Vesey, 1748, title page and ten further pages professionally restored, London 1737; Gibson, W., ‘The Farrier’s Dispensatory’, second edition, rebound with original calf boards, London 1727; Pick, W., ‘The Sportsman & Breeder’s Vade Mecum’, volume X, board cover (spine and edges worn), advertisement frontispiece, dated 1795 (3)

ALI MUHAMMAD: (1942-2016) American Boxer, World Heavyweight Champion. Bold blue ink signature ('M. Ali') to the blank verso of a slim 8vo printed brochure issued by the Museum of Contemporary Art in Chicago, Illinois. VG

QABUL CONTEMPORARY CARPET, 310cm x 245cm, Art Deco geometric design.

Wilfred Lang (1954 - ); Chinese; New York; acrylic on canvas; signed lower leftWilfred Lang was born in 1954 in Shanghai and began his artistic career at the incredible age of only seven years. From 1972 to 1976, he attended the University of Shanghai’s College of Fine Arts. In 1977, he emigrated to Hawaii after graduation where he continued his artistic journey between Europe and United Sates.He is an award winning artist, his art is known worldwide for its famous urban abstract, revealing a sense of keen aesthetic combined with a three - dimensional exciting.The work of Alfred Lang’s unique and immediately recognizable style is constantly growing and in high demand, reveals a clever use of color integration techniques and combined elements of Eastern and Western European culture. According to famous art critic F. Mayer, he manages to obtain "a sophisticated and original transition between realism and abstraction".Wilfred Lang exhibits his works at major contemporary art galleries in New York, Barcelona, Hong Kong, Hawaii and many European Capitals.He participates annually with the Palma Art Gallery at the most prestigious international contemporary art fairs in Europe and Great Britain.Wilfred Lang’s "exciting look at the urban metropolis" leads the observer to a careful intriguing three-dimensional reflection. Many collectors are discovering him and industry devoted magazines are giving more space to this incredible artist.

Wilfred Lang (1954 - ); Chinese; New York; acrylic on canvas; signed lower left   Wilfred Lang was born in 1954 in Shanghai and began his artistic career at the incredible age of only seven years. From 1972 to 1976, he attended the University of Shanghai’s College of Fine Arts. In 1977, he emigrated to Hawaii after graduation where he continued his artistic journey between Europe and United Sates.He is an award winning artist, his art is known worldwide for its famous urban abstract, revealing a sense of keen aesthetic combined with a three - dimensional exciting.The work of Alfred Lang’s unique and immediately recognizable style is constantly growing and in high demand, reveals a clever use of color integration techniques and combined elements of Eastern and Western European culture. According to famous art critic F. Mayer, he manages to obtain "a sophisticated and original transition between realism and abstraction".Wilfred Lang exhibits his works at major contemporary art galleries in New York, Barcelona, Hong Kong, Hawaii and many European Capitals.He participates annually with the Palma Art Gallery at the most prestigious international contemporary art fairs in Europe and Great Britain.Wilfred Lang’s "exciting look at the urban metropolis" leads the observer to a careful intriguing three-dimensional reflection. Many collectors are discovering him and industry devoted magazines are giving more space to this incredible artist.

A contemporary art glass dish in the form of a shell

A contemporary Art Deco style bronze figure Muse of the Woods after Edouard Drouot (1859 - 1945) with foundry coin mark - 16.5 inches tall on marble base

BURN (Robert), Rome and the Campagna, Cambridge: Deighton and Bell, 1871, 4to, illustrations by Jewitt, folding maps and plans, decorative cloth; SCHOENER (Dr R.), Rome, London and New York 1898, illustrations; DUNBAR (Margaret J. M.) Art and Nature under an Italian Sky, London: Thomas Nelson & Sons, 1860, engraved frontispiece, illustrations, a.e.g., contemporary purple cloth blindstamped and gilt; VASI (Mariano) and NIBBY (Antonio) Guide of Rome and the Environs, third edition, Rome 1847, plates, lacking a map at rear, cloth (4)

Literature, leather bound. BYRON (Lord) Complete Works, four vols., Paris 1832, 8vo, half calf; FINDEN (Edward) Finden's Illustrations of the Life and Works of Lord Byron, three volumes, 1833-34, small 4to, plates, half bound (rubbed); [COLLIER, (Jane)] An Essay on the Art of Ingeniously Tormenting; with proper rules.., London 1753, 8vo, first edition, frontispiece, thick paper, contemporary cracked calf; STANHOPE (G) Epictetus His Morals with Simplicius his Comment, 2nd edition 1700, 8vo, calf; few others later (15)

SMITH (W), Dictionary of the Bible, three volumes, London 1863, 8vo, contemporary full calf (gilt spine); The Art Bible, illustrated, 1896, half calf (4)

ANDY WARHOL - SOUP CAN - a 'Campbells Soup Can (Tomato)' by Warhol (1928-87) published by The Institute of Contemporary Art in Boston c1966, by Guild Paper Products Company on the occasion of a Warhol exhibition in October and November 1966. Features a screen print in colour on a paper shopping bag, measuring approx 19.5"x17".

* IAN HUGHES (SCOTTISH 1958 - 2014), CANCRE oil on photograph on board, signed and titled verso 135cm x 122.5cm Framed Note: Ian Hughes, who has died aged 55, was a well known, inspirational artist producing dramatic paintings on serious themes. Glasgow born, he graduated from Dundee College of Art in 1980, and after various travelling scholarships and awards, settled in Edinburgh. He was a courageous painter and a kind man. Throughout his career he tackled the difficult issue of mental instability in a most impressive way, both in his pictures and as a psychiatric nurse, never deviating from his cause, never painting for the market place, never sensationalising his subject. His work was recognised with major exhibitions at the Scottish National Gallery, and in Rostov-on-the-Don. He is also represented in many UK public museums, including The Whitworth Museum Manchester, Talbot Rice Edinburgh, Tate Gallery, Fleming Collection London, Coutts Bank and Shell. Abroad, his work is found in France, the US, Russia and Poland, and Sean Connery, Bob Geldof, Nick Nairn, Madonna, Peter Gabriel and Lord Maclennan MP are among his many collectors. In 1986, Hughes and his friend Phil Braham showed together at Main Fine Art, Glasgow in Double Vision. It was a memorable year. The pair had objected to the lack of Scottish art in the festival programme and decided to stir things up by hanging pictures on the railings of Edinburgh's Royal Scottish Academy. Festival director Frank Dunlop took up the challenge with a show of young emerging Scottish artists, which evolved into two big official festival exhibitions, Artists at Work in 1986, and 1987's The Vigorous Imagination, a seminal exhibition which finally asserted the vitality and diverse potency of contemporary Scottish art. It is an added poignancy that Hughes died on the eve of the opening of Generation, the biggest celebration of Scottish art ever.

* GWEN HARDIE, FACE 09.17.05 oil on canvas 64cm x 58.5cm (25 x 23 inches) Framed Provenance: The artist. Private London collection. Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings are currently included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

* ALICE KETTLE, BLUE SPLASH BATHER multimedia on fabric, signed, titled and dated 1994 verso 54cm x 73cm approx Mounted, framed and under glass Note: Alice Kettle is a contemporary textile/fibre artist based in the UK. She has established a unique area of practice by her use of a craft medium, consistently and on an unparalleled scale. Her stitched works, many the size of huge figurative tapestries, exploit the textures and effects made possible through the harnessing of a mechanical process to intuitive and creative ends. She is currently a Professor in Textile Arts in MIRIAD Manchester School of Art at Manchester Metropolitan University. Her work is represented in various public collections such as the Crafts Council London, the Whitworth Art Gallery in Manchester, the Museo Internationale delle Arti Applicate Oggi, Turin, Italy. Commissions include the National Library of Australia, the Scottish High Court in Edinburgh, Gloucester and Winchester Cathedrals and the School of Music & Drama at Manchester University

* DRONMA, SKY FIRE oil on canvas, signed, further signed and titled verso 30.5cm x 30.5cm Framed and under glass Note: Dronma was born in Glasgow in 1947 and studied at Laurel Bank and then Glasgow School of Art, where she graduated in 1969. After her studies at Jordanhill College of Education, and a period of teaching she was appointed Art Director of Glasgow Arts Centre. Until April 2008 Drӧnma was a part time lecturer at Forth valley College. She now devotes her time fully to her painting, and a member of the Glasgow Society of Women Artists.(GSWA). Awarded Scottish Amicable Award 2007 at their 125th Anniversary Exhibition. Dronma's vibrant landscapes have gained her a fine reputation amongst discerning buyers of contemporary art, as a modern Scottish colourist. Her bold expressive style evokes the character inherent in Scotland's mountains and shores. Dronma has been a Tibetan Buddhist since 1976. Her landscapes may be wild and wind swept, but they also gleam with an inner light. Her work has been exhibited all over the United Kingdom, and in private collections world-wide. She recently took part in "Primavera Art" Rotterdam

* GWEN HARDIE (SCOTTISH), FACE 06.22.04 oil on canvas 65cm x 59cm, inscribed verso Framed Note: Hardie is the youngest artist ever to be awarded a solo show at The Scottish National Gallery of Modern Art in Edinburgh, Scotland (1990).Gwen Hardie is represented in many private and public art collections in Britain, Europe and America including two major works in The Scottish National Gallery Of Modern Art. Since moving to New York in 2000, she has shown with The Lennon Weinberg Gallery, Dinter Fine Art and has been awarded Residencies at Yaddo in 2004, 2005 and 2006 in a Bogliasco Fellowship at The Liguria Study Center in Italy. She lived in London between 1990 and 2000 and had 6 solo shows with galleries such as Annely Juda Fine Art, Beaux Arts and Fischer fine Art. In 1997 her painting was awarded a prize at the John Moores biennial, Liverpool and was included in the New British Painting'' which toured America in 1986. Hardie left her native Scotland in 1984 when she was awarded a DAAD Scholarship to study with Georg Baselitz in Berlin. A documentary was broadcast on Scottish Television about her in Berlin in 1987. At Edinburgh College of art she was awarded the Richard Ford Award to study the paintings of Velasquez at the Prado Museum and received a first class honours degree in 1983. '' Three of Gwen Hardie's paintings were included in ''REALITY; Modern and Contemporary British Painting'' at The Walker Art Gallery (until 29th November 2015) alongside the work of Walter Sickert, Lucien Freud, Francis Bacon, L S Lowry, Jenny Saville, Ken Currie, George Shaw, David Hockney, Alison Watt, Paula Rego and other important 20th century and contemporary artists.

* STEPHEN MANGAN,THE PROMENADEoil on canvas, signed91cm x 91cm (36 x 36 inches)FramedNote: Born in Edinburgh in 1964. In 1988 he graduated with a BA Hons degree in Fine Art from Duncan of Jordanstone Art College, Dundee. Since a post-graduate diploma in 1989 his work has been shown in numerous solo and group exhibitions throughout the UK and in New York, Hong Kong and Holland. Well-known for scenes of the race-course, the beach, the station, the fairground and the theatre,his work is instantly recognizable . Stephen Mangan paintings are held in many private, corporate and public collections globally, including the Metropolitan Museum of Art in New York In The Scottish Contemporary Art Auction of 5th June 2016 "Homeward Bound" a much smaller 60 x 60cm Stephen Mangan oil on canvas sold for £3600 (lot 2191)

ALI MUHAMMAD: (1942-2016) American Boxer, World Heavyweight Champion. Bold blue ink signature ('M. Ali') to the blank verso of a slim 8vo printed brochure issued by the Museum of Contemporary Art in Chicago, Illinois. VG

JOAN MIRÓ (1893 - 1983) Framed, 1964 lithographic poster, for The Institute of Contemporary Art 'Thirty years of graphic art', 75cm x 52cm.

NICK HAMPER (b1956) A framed and glazed ink and wash entitled "Sea view with prawn" contemporary Art Society Market label verso, monogram and dated '88 bottom left, 19cm x 12.5cm