We found 16097 price guide item(s) matching your search

A collection of auction catalogues dating from the 1970s/80s on 20th Century Decorative Arts (approx. 40 items), a small group of Journals of the Decorative Arts Society, various books on Art Nouveau and Art Deco: Schmutzier, Direrkens- Aubrey, The Art Nouveau Style, Art Nouveau and Art Deco Lighting, Naylor, Bloomsbury, The Arts and Crafts Movement, 1890-1930, The Decorative Thirties, The Decorative Twenties, The Twenties, The World of Art Deco, Art Deco Sculpture, The Aesthetic Movement, Lalique for Collectors, Contemporary Danish Glassware.

Clyne Farquharson, a cut glass broad rim bowl, signed to the base and dated 37 together with a contemporary iridescent Art glass bowl by Siddy Langley, dated 1992. (2)

A Pair Of Contemporary Art Deco Style Candle Holders

Contemporary bronze figure in the art deco style, modelled as a 1920`s flapper with outstretched arms, clad in beaded cloche and dress, raised on an ovular stepped marble base, 38.5cm in height

Contemporary bronze figure in the art deco style, modelled as a semi nude lady, her diaphanous gown draping from outstretched arms, raised on a circular stepped marble base, 35cm in height

A FRENCH ART DECO SHAGREEN TRIPLE PHOTOGRAPH FRAME with chromium plated mounts, 21cm w, a similar square clock with eight day timepiece and a contemporary gilt brass and shagreen cube cigarette dispenser, all c1930 (3) ++Triple frame in good condition, the clock faded and the plating on the metal dull, the fabric covered backing in poor condition. Cube shaped dispenser with some crease and other stains, the chagrin on the lid a little uneven but complete

THOMAS KERR FAIRLESS (1825-1853) A WINTER NIGHT IN THE HIGHLANDS signed and dated (Fairless pinxt 1850) with contemporary inscription verso T K Fairless A Winter Night in the Highlands Brt from Suffolk Street Exhibition 1850 (signed) G ..., artist`s board, 29.5 x 38cm, unframed Exhibited: (Royal) Society of British Art Suffolk Street Galleries 1850, No 191. Thomas Kerr Fairless was born at Hexham, Northumberland. He studied wood engraving at Newcastle on Tyne under Thomas Bewick`s pupil Isaac Nicholson. On moving to London he practised landscape painting. Between 1848 and 1851 his work was exhibited at The Royal Academy, British Institution and in the case of the present work, Suffolk Street. According to his biography (DNB) his works were executed "in a broad and vigorous manner, with a fine idea of colour and exquisite feeling of the beauties of country scenery". He returned to Hexham in 1851 due to poor health where he died two years later aged only 28 and as a result his oeuvre was small and his pictures are rarely offered for sale. ++Very dirty having long been stored in an attic or similar with much ingrained dirt in the varnish, some localised paint shrinkage and bitumen scorching and minor peripheral paint loss but entirely unrestored. In the original ornate Victorian giltwood and composition frame also showing the effects of damp.

Brownrigg (William). The Art of Making Common Salt, as now Practised in most parts of the World; with Several Improvements Proposed in that Art, for the use of the British Dominions, 1st ed., 1748, half-title, six folding engraved plates, errata leaf at rear, ink number stamp to lower margin of C3, some dampstaining, contemporary speckled calf, joints cracked and slight wear to extremities, 8vo. Kress 4887 -1

Fourcroy (Antoine-Francois de). A General System of Chemical Knowledge; and its Application to the Phenomena of Nature and Art, Translated by William Nicholson, 11 vols. in 10, 1804, lacking Atlas of Synoptic Tables (as often), a few spots, contemporary uniform half calf, spines with red labels and gilt decoration, a few covers detached, 8vo, together with Chymie Experimentale et Raisonnee, by Antoine Baume, 3 vols., 1st ed., Paris, 1773, half titles, engraved portrait frontis. to vol. I, titles with allegorical vignettes, 12 folding engraved plates, some light spotting and marginal waterstains, contemporary mottled calf, rubbed and scuffed, 8vo, plus Elements of Agricultural Chemistry, in a Course of Lectures for the Board of Agriculture, by Sir Humphrey Davy, 2nd ed., 1814, 10 folding engraved plates, a few spots, contemporary calf, loss at foot of spine, upper joint splitting, 8vo, with others on chemistry including William Nicholson’s A Dictionary of Practical and Theoretical Chemistry..., 1808, Joseph Priestley’s Experiments and Observations on Different Kinds of Air, vol. I only (of 3), 2nd ed., 1775, Michael Faraday’s Chemical Manipulation Being Instructions to Students in Chemistry, 3rd ed., 1842 and others by Jean-Baptiste Dumas, J. Jacob Berzelius, Caspar Neumann etc -54

Peacock (John). Observations upon the Composition and uses of the Water, at the New Sulphur Baths, at Dinsdale near Darlington, in the County of Durham, Newcastle: printed for the author by E. Walker, [1805], 79pp., front blank inscribed by the author to J.G. Lambton[?], to whom the volume is dedicated, red morocco hinges, a.e.g., contemporary gilt decorated diced red morocco, joints and extremities rubbed, 8vo, together with Linden (Diederick Wessel), A Treatise on the Three Medicinal Mineral Waters at Llandrindod, in Radnorshire, South Wales with some Remarks on Mineral and Fossel Mixtures, in their Native Veins and Beds; at least as far as respects their Influence on Water, 1756, title in red and black, slight dampstaining to last few leaves, 20th c. qtr. cloth (over earlier binding), 8vo, with Duchanoy (Claude-Francois), Essais sur l’art d’imiter les eaux Minerales..., Paris, 1780, one engraved plate, contemporary sheep, rubbed and some wear, 12mo, plus Bainbrigge (William Henry), The Droitwich Salt Springs their Medicinal Action and Curative Properties, pub. Worcester & London, 1873, folding table, front blank inscribed ‘from the author’, a.e.g., contemporary gilt decorated blue morocco, slightly rubbed and marked, slim 8vo, plus Freeman (Henry William), The Thermal Baths of Bath, Their History, Literature, Medical and Surgical Uses and Effects, pub. London & Bath, 1888, folding maps & plans, b & w plates, t.e.g., original green cloth gilt, 8vo -5

Malibran (Maria). Memoirs of Madame Malibran by the Countess de Merlin and other intimate friends, 2 vols., Henry Colburn, 1844, engraved portrait frontispiece, light toning throughout, later quater. cloth, together with Wagnalls (Mabel), Stars of the Opera, Funk and Wagnalls Co., 1899, t.e.g., original decorative cloth, slightly soiled, plus Cooke (James Francis), Great Singers on the Art of Singing, Educational Conferences with Foremost Artists, Philadelphia: Theo Presser, 1921, near-contemporary ownership inscription to front pastedown, original cloth gilt, 8vo, plus other titles, mostly 19th century, relating to female singers, especially Maria Malibran, mostly original cloth, mainly 8vo (2 shelves)

Schultz (Gladys Denny). Jenny Lind, A Swedish Nightingale, Philadelphia: Lippincott, 1962, b & w portrait frontispiece, orig. cloth in d.j., 8vo, together with Galatopoulos (Stelios), Maria Callas, Sacred Monster, 4th State, 1999, b & w portrait frontispiece, numerous b & w illustrations throughout, original cloth in d.j., 4to, plus Matheopoulos (Helena), Diva, Great Sopranos and Mezzos Discuss their Art, Gollancz, 1991, numerous b & w illustrations throughout, contemporary ownership inscription to front free endpaper, original cloth in d.j., 8vo, plus other titles relating to female singers, especially Maria Callas, Jenny Lind, and Joan Sutherland, mostly original cloth in d.j.s, mainly 8vo (3 shelves)

Archivo Espanol de Arte y Arqueologia, ed. M. Gomez-Marino & E. Tormo y Monzo, vols. 1-56, Madrid, 1925-83, an unbroken run of 83 vols., b&w illusts. from photos throughout, together with Index vol. (De Arte, I-XXV, 1925-52) & vol. 57 (De Arte, 1984), vols. Jan-13 & 14-57 plus Index (De Arte) contemporary qtr. or full vellum gilt, vols. 14-56 (De Arqueologia) contemporary blue qtr. morocco gilt (vols. 27-53 bound in 2s or 3s), minor rubbing and soiling, 4to. From 1940 (vol. 14) this periodical split into two companion periodicals for art and archaeology. -85

Auction Catalogues. A collection of approx. 300 Christie’s and Sotheby’s specialist art auction catalogues, c. 2000-2010, including Sotheby’s Impressionist & Modern Art, Christie’s London, post-war and contemporary, plus other modern art related, VG (8 cartons)

Miscellaneous books. including, The Old Road, by Hilaire Belloc, 1904, b & w plates, scattered spotting, t.e.g., remainder untrimmed, original cloth gilt, large 8vo, Men at Arms, A Novel by Evelyn Waugh, 1st ed., 1952, original cloth in frayed price-clipped d.j., 8vo, Survey of London edited by F.H.W. Sheppard, vol. 37 only, (Northern Kensington), pub. 1973, b & w plates and illustrations, original cloth in d.j., 4to, plus other topography, history & art reference etc. including a mid 19th century collection of sheet music with decorative lithograph titles pages, bound together in contemporary half calf, lacking spine, somewhat worn and covers detached, 4to (a carton)

Elaine.G.Kowalsky (Contemporary British School), 'Internal Vision Series I', signed lower right, Royal Academy of Art Summer Exhibition 1996 label to verso, monoprint. H.111cm W.76cm

JUDY FAIRLEDY, OIL ON CANVAS, C. 2000, H 36", W 24", FLORAL: Signed; Judy Fairledy. Contemporary Art. Framed.

PHIL GEORGE (b. 1960) Framed, signed, oil on board, 21st Century Contemporary scene showing figures playing in grassy clearing before busy summer caravan site. George`s work has been exhibited alongside L. S. Lowry, in the `Lowry and his Legacy` exhibition at Clark Art gallery, 2013, 23cm x 28cm.

Gerald French (1927-2001), STILL LIFE OF A CHAIR WITH A CABBAGE AND APPLES IN A BASKET Signed and dated '52, l.r., oil on canvas 53 x 41cm; and three others by the same hand TEASELS IN A JUG; RECLINING NUDE; STUDY OF CARROTS One signed and dated '53, oil on board, unframed (4) Gerald French was a contemporary of David Hockney at the Bradford School of Art. His painting style progressed from the 'Kitchen Sink' style of the 1950s into more abstract work later in his career. CONDITION REPORT: Still life cabbage - small losses to edges, dent to right side. Tea sets in a jug - 49cm x 41cm. Small paint loss. Reclining nude - corner damaged and loss to right side. 28cm x 38 cm. This picture is signed. Study of carrots - 28cm x 29cm. Paint losses to corner. Please view additional images (upon request).

A CONCISE TREATISE ON THE ART OF ANGLING... the fourth Edition, Thomas Best, 1798, B Crosby, xii, pp 155 [1] frontispiece. Contemporary sheep; front cover detached

A CONCISE TREATISE ON THE ART OF ANGLING... the third Edition, Thomas Best, 1794, B Crosby, xii, pp 155 [1] frontispiece. Contemporary sheep; both covers detached

Gordon Close (Contemporary British School, b.1958), 'Women with Sculpture', 1997, unsigned, gallery label to verso, exhibited 1997, mixed media, ink and gouache on board. H.32cm W.24cm Provenance: Sally Hunter Fine Art, London

A pair of contemporary cream leather open arm chairs in the Art Deco style.

An exceptional pair of gilt-bronze wall lights, modelled as winged caryatids holding milk glass shades with frilled edges, 47cm high (2) Wall lights of this large size are unusual and suggest that they may have been made for one of the numerous 19th century exhibitions. The most likely are the 1851 London 'Crystal Palace' or the 1867 Paris 'Universal', both of which depict, in their respective catalogues, comparable pieces. At the time, designers drew upon Greek mythology very strongly and the Nymph, which forms the body of each bracket, is probably Amphitrite, consort of Posiedon, God of the Sea. They could be either French or English, but the former is more likely. The brackets were originally made for gas and the tap bears the influence of the designer, Dr Christopher Dresser, which would confirm a later date of the 1860s. The milk glass shades are in art nouveau style and contemporary with the electricity conversion, around 1900. They were probably blown in Stourbridge by Thomas Webb.

GARETH SANSOM Australian Contemporary Art GARETH LAURENCE SANSOM (Australian born 1939) "Voss" Mixed media on masonite. 48 x 36 inches. Frame: 50 1/2 x 38 1/2 inches. Starting Price: $400

JANE KENOYER "Dragon`s Blood" Contemporary Portrait Art JANE KENOYER (American b.1977) "Dragon`s Blood" Oil on canvas. 13 x 10 inches. Initialed in pencil l/r. Starting Price: $120

Keith Colburn (Contemporary) 'Flower Piece' Oil on panel, signed bottom right, 45 x 30.5cm Footnote: The artist was Principal of Ravensbourne Art College in Kent. Created a stained glass window for St Mary the Virgin, Downe.

THOMAS MILLIE DOW RSW NEAC ROI (SCOTTISH 1848 - 1919), SPRINGTIME oil on canvas 34.5cm x 44cm Framed Provenance: This lot and the following two lots have been passed down directly through the artist`s family and are accompanied by a letter (copy) of authenticity from the great granddaughter of the artist. Thomas Millie Dow (28 October 1848 - 3 July 1919) was a member of the Glasgow Boys school. He was a member of The Royal Scottish Society of Painters in Watercolour and the New English Art Club. Dow painted in oils, watercolour and pastels. His subjects include flower studies, landscapes, portraits and decorative allegorical works. The geographical range of his landscapes extends through Scotland, the Northeastern United States, Morocco, northern Italy and Cornwall. Using a subtly refined palette he chose to depict the quiet moods of nature. The subjects of his compositions range from the intense stillness of woodland to the calm before a storm at sea; and from dusk deepening on a northern shore to the lifting haze of a Mediterranean spring morning. From 1877 to 1879 Dow spent the winters in the Paris studios and making occasional sketching excursions with fellow students Mann, Paterson, and Bell, to the villages of Barbizon and Grez-sur-Loing in the Forest of Fontainebleau. The summers, he spent painting in the towns and villages along the east coast of Scotland, travelling from Dysart through St Andrews and on up to Stonehaven, Cullen, Cowie, Collieston and Forvie Ness. It is for the work completed between 1885 and 1895 that Dow is most closely associated with that group of artists who later became affectionately known as the ""Glasgow Boys"". Dow is among the 21 Glasgow-based artists whose work is assessed in David Martin`s contemporary account entitled The Glasgow School of Painting (George Bell & Sons 1897). In his piece on Dow, Martin wrote as follows. ""His perception of colour is similar to his use of paint - keen and refined; and his observation of nature such as to give a true feeling of form, without a slavish imitation."" ]

David Brayne ARWS (Contemporary British school), 'West Bradley Orchard', signed lower right, mixed media oil on board. H.25cm W.36cm Provenance: Foss Fine Art

A good quality contemporary wicker picnic hamper containing an interesting worked copper and oak backed fireside brush with greenman facial detail in the Arts & Crafts style, a cast brass crumb tray with foliate and scroll decoration in the Art Nouveau style, a silver plated teapot together with a large selection of unsorted mostly silver plated cutlery

Eales (Mrs [Mary]) The Compleat Confectioner, or, the Art of Candying and Preserving in its utmost Perfection ..., 1733, contemporary calf

Graham Clarke (Contemporary British school, b.1941), 'Nethercott', designed to accompany the poem 'Miss Wirtles Revenge' by Michael Morpurgo, signed and blind stamp lower right, Christie's Contemporary Art certificate to verso, limited edition aquatint and etching on paper, numbered 57/300. H.63cm W.90cm

Graham Clarke (Contemporary British school, b.1941), 'Gruntled', 1982, signed and blind stamped lower right, Christie's contemporary art certificate to verso, limited edition aquatinted etching on paper, numbered 280/300. H.44cm W.63cm

Graham Clarke (Contemporary British school, b.1941), 'Crabbers Retreat', signed lower right in pencil, Christie's Contemporary Art certificate to verso, aquatint, limited edition etching on paper, numbered 214/350. H.37.5cm W.45cm

Graham Clarke (Contemporary British school, b.1941). 'The Nasty Tern' signed lower right, Christie's contemporary art label to verso, limited edition hand coloured etching on paper, numbered 73/250. H.64cm W.91cm

Graham Clarke (Contemporary British school, b.1941), 'Gout de Grenouille', signed and blind stamped lower right, Christie's contemporary art certificate together with further information to verso, limited edition hand coloured etching on paper, numbered 109/250. H.63cm W.92cm

Graham Clarke (Contemporary British school, b.1941). 'The Sailors Return', signed and blind stamped lower right, Christie's contemporary art certificate together with other information to verso, limited edition hand coloured etching on paper, numbered 77/200. H.64cm W.93cm

A pair of 'Contemporary Art' limited edition Prints, both signed lower right Sheila Oliver, 'Pinks for Rebecca' and 'Freesias for Fiona and Paul', both no. 68/120, 25" x 20"

A pair of ''Contemporary Art'' limited edition Prints, 'Woods End' no. 37/225 signed lower right and 'Harvests End', signed lower right, 10 1/2" x 7 1/2"

Two large ''Contemporary Art'' limited edition Prints, 'Meadow Gold' by Greenwood no. 34/250 and 'Sky Anvil', signed lower right 18 1/2" x 23"

A pair of limited edition 'Contemporary Art' Prints 'Lark Rise' no. 71/150 by Kenneth Leech and 'Still Waters', 16 1/2" x 12"

Edmond Lucchesi (Contemporary Continental School), study of a dancing nude in the Art Deco style, signed lower right in pencil, limited edition lithograph after the original woodcut numbered 1/29. H.32.5cm W.22cm

Contemporary French school, a Surrealist study of figures on a planet, rendered in the folk art manner, signed in pencil lower left, artist's proof, etching. H.52cm W.24cm

Graham Clarke (contemporary), Vita's White Garden, etching, signed in pencil and numbered 326/350, 27cm x 34cm Provenance: Christie's Contemporary Art

Three: Gunner A.W. Barrett, Royal ArtilleryCrimea 1854-56, one clasp, Sebastopol (A.W. Barrett. Gunner & Driver Royal Artillery.), contemporarily engraved in large serif capitals, suspension claw tightened; China 1857-60, two clasps, Taku Forts 1860, Pekin 1860 (Gunr. A.W. Barrett, No.6 B. 12th. Bde. R. Art.), Turkish Crimea, Sardinian die, unnamed as issued, plugged, with contemporary silver ball and ring suspension, heavy contact marks, otherwise very fine (3) Gunner Arthur William Barrett, served with the 1st (Seige) Battery Royal Artillery in the Crimea from 1855, and present at the bombardment, seige, and fall of Sebastopol; served with the 6th Battery, 12th Brigade in China in the action of the 21st August 1860 and the advance on Pekin.Subject to 20% VAT on Buyer’s Premium. For more information please view Terms and Conditions for Buyers.

Contemporary Art Deco style bronze figure - "Amazon Warrior", on a marble plinth, 42cms.

Jo Fox, British b.1967- "Talking Point"; mixed technique collage, signed, titled and dated '08 on the reverse of the frame, 37x53cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Outline"; mixed technique collage, signed, titled and dated '08 on the reverse of the frame, 42x52cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Tide In"; mixed technique collage, signed, titled and dated '08 on the reverse of the frame, 46x56cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Somewhere Else"; mixed technique collage, signed and dated '09, signed, titled and dated '09 on the reverse of the frame, 36x26cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Time to Wait"; mixed technique collage, signed and dated '09, signed, titled and dated '09 on the reverse of the frame, 26x24.5cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Market Sellers"; mixed technique collage, signed and dated '08, signed, titled and dated '08 on the reverse of the frame, 47.5x75.5cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jo Fox, British b.1967- "Secrets"; mixed technique collage, signed and dated '08, signed, titled and dated '08 on the reverse of the frame, 36x40cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art, according to the label attached to the reverse of the frame

Jacquie Denby, British b.1939- Two birds; acrylic on panel, signed and dated '08 on the reverse, 30x26cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art according to the label attached to the reverse of the frame

Jacquie Denby, British b.1939- "Flying leaves"; acrylic on panel, signed and dated '09 on the reverse, 28x28cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art according to the label attached to the reverse of the frame

Jacquie Denby, British b.1939- In the hills; acrylic on panel, signed and dated '09 on the reverse, 51x43.5cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art according to the label attached to the reverse of the frame

Kate Montgomery, British, late 20th/early 21st century- "Hot Afternoon"; oil on panel, signed, titled and dated 2007/8 on the reverse, 38.2x30.5cm, (may be subject to Droit de Suite) Provenance: with Quantum Contemporary Art according to the label attached to the reverse of the frame

Judith Bridgland, British b.1962- "Sun and Shadows"; oil on canvas, signed and dated, 36x41cm, (may be subject to Droit de Suite) Provenance: with Ainscough Contemporary Art according to the label attached to the reverse of the frame

Anon, Der durchlauchtigen Welt..... Geschichts - Geschlechts und Wappen - Kalender auf das Jahr …. Auf …. 1750, numerous engraved heraldic illustrations in the text, most full page, title in red and black, later half roan (rubbed), 8 vols, (1749). Menestrier, Francois. Abrégé Methodique ou du véritable art du Blason, several engraved plates (a little spotting), contemporary sprinkled calf (hinges and corners worn) 12 no Lyon, 1678. Fielding, John, Fielding's Origin, Progress and Present State of the Peerage, engraved title and several plates, contemporary tree calf, gilt spine (a little rubbed) 12 in total, London, 1784 (3)

Boonzajer (F.J.) (Manuscript Atlas) ATLAS VAN DE KAAP DE GOEDE HOOP 8vo (120 x 140 mm) ESTANANDE UIT ALGEMEENE KAART, EN 42 AANEENSLUITENDE KAARTJES; GETEKEND DOOR F.T. BOONZAJER. 43 manuscript maps comprising a general map of the Cape of Good Hope and 42 maps of the Cape in sequence according to the key marked on the general map, hand coloured and annotated with place names, mountains and rivers. The maps are finely drawn within hand coloured borders showing latitude and longitude, each 232 x 183 mm with a central fold and bound into the album on hinges. Laid paper with what is thought to be the watermark of the Dutch papermaker De Erwen de Blauw but unfortunately the watermark is not complete on any of the pages. Contemporary quarter brown leather with a red title label on the spine, and brown paper sides, bookplate on the front paste-down endpaper and a corresponding small stamp on the manuscript title page. The maps are in excellent condition. The atlas is not dated but the general map is possibly a copy of the map in Barrow’s Travels (1801-1804) or Bouchenroeder’s Reize in de Binnenland van Zuid-Afrika,1803 (1806). Boonzajer mentions Colonel Gordon’s discovery of the Orange River. Worcester, which was established in 1819, does not appear. Although he has apparently used official survey maps of the time some of the notes do appear to be from actual observation. The maps include extensive notes on game, “De witte Rhinoceros, Springbokken, Hartebeesten en Elanden worden hier veel gevonden.” Also mentioned are vegetation, geology, rock art and farming. Very good No place No date (circa 1810?) Click here to view further details and to bid