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

*Richard Buckminster Fuller (American 1895-1983), SKETCH FOR A LARGE DOMED BUILDING INSCRIBED `1 KILOMETER OVERALL DIAMETER` Signed and dated 1970, felt pen, on `Institute of Contemporary Art` notepaper 20 x 17.5cm. Richard Buckminster ‘Bucky’ Fuller was an American systems theorist, architect, engineer, author, designer, inventor and futurist. Fuller published more than thirty books, inventing and popularising terms such as ‘Spaceship Earth’, ‘Ephemeralization’, and ‘Synergetic’. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres.

Charlie Parker Collections 'Ballads and Birdland/Bird Meets Birks/Star Eyes' 3 LP boxset Japanese Press EMI/Odeon label (EOR-9015C) complete with booklet and obi-strip, good to very good condition, together with Art Pepper Live at the Village Vanguard 3 LP boxset Japanese Press Contemporary label (GXH 3009-11) with obi-strip, still sealed

A contemporary water colour drawing by Harold Yates ( one time teacher of art at Reading University ) depicting a view of Windsor Castle across a park and another water colour by W. Parkyn of a rocky coastal headland.

Ten Victorian Scottish silver Kings pattern teaspoons, engraved initial (Edinburgh 1875), six Art Deco-style coffee spoons (Sheffield 1932) and six contemporary silver teaspoons (Sheffield 1955). All at approximately 10ozs (qty)

MORTIMER (J) - THE ART OF HUSBANDRY OR THE WAY OF IMPROVING LAND, ENGRAVED F`PIECE AND WOODCUT ILLUSTRATIONS IN THE TEXT, CONTEMPORARY CALF, WORN, WANTING TITLE WAF, JOHN FARLEY - THE LONDON ART OF COOKERY AND HOUSEKEEPER`S COMPLETE ASSISTANT ON A NEW PLAN, SEVENTH EDITION, ND, LATE 18TH C AND PIERCE EGAN - TOM AND JERRY LIFE IN LONDON OR THE DAY AND NIGHT SCENES OF JERRY HAWTHORN ESQR AND HIS ELEGANT FRIEND CORINTHIAN TOM IN THEIR RAMBLES AND SPREES THROUGH THE METROPOLIS, COLOURED ILLUSTRATIONS BY THE CRUIKSHANKS, BLUE CLOTH GILT (3)

Hunter (John, 1728-1793). Lecture Notes on Physiology & Surgery by John Hunter FRS, Taken by C.V. Webb, 1789, 2 volumes, contemporary original manuscript in a neat legible hand, 126 and 108 numbered leaves, the final leaf of the first volume misordered to be four leaves earlier by the author, both volumes broken on spine, spines and contents becoming loose, contemporary calf, covers detached and backstrips deficient, 8vo (230 x 150mm). Hunter’s ‘Lectures delivered in the early years at various venues, on the theory and practice of surgery, beginning in 1772, were works in progress, not infrequently changing viewpoints and correcting data from year to year. Unlike the shorter lecture series of his medical colleagues, Hunter’s more serious lectures were ambitious, consisting of eighty-six one-hour evening lectures three times a week from October to April. To these lectures he devoted a great deal of time and energy since they were designed to teach students not only the elements of their art but also the methods and results of the science from which it must proceed. He was not, however, a successful lecturer. Too uncomfortable as a public speaker and too much interested in detail, however animated he might be in informal conversation, his delivery, read nervously from his detailed notes and text, made him a dull lecturer. Few auditors began the course and fewer stayed on to the end. His metier as a teacher was to establish a working relationship with the student, to teach him through experience rather than by written word’ (DNB). The opening introduction as transcribed by Webb neatly gives a picture of Hunter as lecturer: ‘It is usual at the beginning of every course of lectures to give an introductory one as it is termed & and this is frequently with a view to display the oratory of the lecturer: but this is not my plan; as I do not give lectures to make myself known, I shall confine myself wholly to the subjects which are of the most importance to the practical surgeon. Most of the ideas are my own, not borrowed from books; and as they are founded on facts, I have reason to think them just, every art among mankind has its principles, from which we are enabled to account for old facts, establish new ones, the same holds good in surgery. I shall first consider the animal oeconomy. I mention chiefly the actions of the body in a morbid state, with their recovery and natural functions in health. I shall not give a full course of practical surgery, but principally attend to the rationale of practice. It would therefore be unnecessary to treat of the operations in every particular disease, this being shewn by anatomists who profess it’, p 1. (2)

Cowell (John). The Interpreter, containing the Genuine Signification of such Obscure Words and Terms used either in the Common or Statute Lawes of this Realm, 2nd edition, 1684, a few marks to title, later endpapers, modern half sheep, folio, together with Pignotti (Lorenzo), Storia della Toscana sino al Principato con Diversi Saggi sulle Scienze, Lettere e Arti, 5 parts in eight volumes, Pisa, 1813, engraved portrait frontispiece, marbled page edges and endpapers, contemporary half calf with marbled boards, the spines gilt decorated with maroon leather labels, 8vo, and Brewer (J.N.), The Picture of England; or, Historical and Descriptive Delineations of the Most Curious Works of Nature and Art in Each County, 2 volumes, 1820, numerous engraved plates, some damp-staining, contemporary half calf, modern rebacks, 12mo, plus other antiquarian (38)

A contemporary Galle style mushroom table lamp and an Art Nouveau inspired table lamp (2)

Robert Saunders, Scottish b.1950- "Ascot"; oil on canvas, signed with initials, 40x30cm, (may be subject to Droit de Suite) Provenance: with the Contemporary Fine Art Gallery, Eton, according to the label attached to the reverse

Duncan Grant (Scottish, 1885-1978) Ornamental urns in Charleston garden oil on canvas, signed and dated `D Grant \ 72` lower left, `No 2` in red chalk verso 20½ x 17½in. (52 x 44.5cm.) * Charleston was the East Sussex home of Duncan Grant and his wife Vanessa Bell (sister of Virginia Woolf), both pivotal figures within the Bloomsbury Group. Grant was also a founding member of the Camden Town Group in 1911, exhibited with the Grafton Group in 1913 and became a member of the London Group in 1919. He was represented at the Venice Biennale in 1926 and 1932, and his work was included in the Coronation Exhibition of Contemporary British Artists at Agnew and Sons, London, in 1937. The Tate Gallery held a retrospective of his work in 1959 and an exhibition at the Tate Gallery was held in 1975 in honour of his 90th birthday, together with an exhibition at the Scottish National Gallery of Modern Art. The urns in this painting can be seen in a photograph on the cover of `The Garden at Charleston: A Bloomsbury Garden through the Seasons` by Sue Snell, pub. 2010 by Frances Lincoln.

Lithographs, David Lance Goines(Lot of 5) Unframed lithograph advertising posters for Berkeley, California venues, by David Lance Goines (Californian, Contemporary), including International House; The Cine Art Ball; University Art Museum, among others, overall: 24``h x 16``wStarting Price: $100

Gwilym Pritchard (1931-), Ynys Môn, signed and titled on verso, oil on board, 60 x 90cm.; 23.75 x 35.5in. * Studied at Normal College, Bangor and Birmingham College of Art, 1960-64. Held several teaching posts, settling at Anglesey, an area of key importance to his painting. Decided to become a full time artist in 1973, commissioned work including some for the British Army in Belfast. Pritchard was a member of the Royal Cambrian Academy, also exhibiting with the Royal Eisteddfod; Welsh Arts Council; Society for Education in Art and North Wales Group. Had regular solo shows starting with Howard Roberts Gallery, Cardiff in 1961, other venues including New Art Centre and Heal`s Mansard Gallery. St. Michael`s Church, Ruabon, Clwyd has a mosaic by Pritchard whose work is in many public collections including University College of Wales, Aberystwyth; Welsh Arts Council and Contemporary Art Society for Wales. Artists` Resale Right ("droit de suite") may apply to this lot.

BINDINGS – William Makepeace THACKERAY. The Works [the Biographical Edition] London: Smith, Elder, & Co., 1906-1902. 13 vols., 8vo (200 x 128mm.) Plates. (Occasional spotting or browning.) Contemporary green half-morocco, by Bayntun, Bath, the spines gilt in six compartments with raised bands, lettered in the second and third compartments, the others with an art nouveau flower head motif in gilt, t.e.g. (spines faded to brown, a few chipped at head, seven vols. lacking front free endpapers).

ART REFERENCE. – Gustav Friedrich WAAGEN. Treasures of Art in Great Britain [and the supplement:] Galleries and Cabinets of Art in Great Britain. London: 1854-1857. Together 4 vols., 8vo (216 x 134mm.) (Occasional spotting.) Contemporary calf gilt, by Riviere, the spines in six compartments with raised bands, lettering pieces in the second and fourth compartments, the others with repeat decoration in gilt, gilt turn-ins (spines darkened and slightly rubbed). Provenance: John Drummond (armorial bookplate). – And twenty-seven other volumes of art reference interest (31).

ART REFERENCE. – Michael BRYAN. A Biographical and Critical Dictionary of Painters and Engravers… a new edition… by George Stanley. London: 1873. 8vo (260 x 172mm.) Portrait frontispiece, 9 plates bound at rear, occasional illustrations. (Some light browning, minor damp-staining to plates.) Contemporary red half-morocco (extremities slightly scuffed). – And fourteen others of art reference interest (15).

ART REFERENCE. – Lionel CUST (editor). The National Portrait Gallery. London, Paris, etc.: 1901. 2 vols., 4to (307 x 211mm.) Titles printed in red and black, numerous illustrations. (Some spotting and browning.) Contemporary half-morocco, t.e.g. (extremities slightly scuffed, spines slightly faded). – And a quantity of others, most art reference (a quantity).

A RARE VENETIAN PARADE SHIELD MADE FOR THE BODYGUARD OF WOLF DIETRICH VON RAITENAU, PRINCE ARCHBISHOP OF SALZBURG, LATE 16TH CENTURY of convex near circular form, constructed of two-ply wood covered with leather decorated on its front face, within an outer border of foliate chevrons and engrailing and an inner border of running foliage and flowerheads, with a pattern of foliate interlace and flowerheads all tooled and lacquered gold over silver, the ground of the main field additionally covered with translucent red lacquer, and the detail picked out throughout with red and green lacquer, the rear retaining its yellow-painted decoration, and a series of nails for attaching an arm-pad, and enarmes (some losses, expertly restored and in stable condition throughout) 57cm; 22 1/2in wideThis shield is one of a series made in the time of Wolf Dietrich von Raitenau, who ruled as Prince Archbishop of Salzburg, 1587-1612. An inventory of 1669, now in the archives of the Städtisches Museum, Salzburg, mentions 398 gilded and painted shields. Some seventy of these shields are still to be found in the Carolina-Augusteum Museum, Salzburg. When Salzburg was occupied by the Bavarian troops in 1809 a number of these shields were transferred to the main Zeughaus at Munich, and sold from there after the First World War.Other examples of this distinctive group of shields are to be found in the Metropolitan Museum of Art, New York (Acc. No. 29.158.586) the Philadelphia Museum of Art, the Art Institute, of Chicago, the Wallace Collection, London, the Historisches Museum, Dresden (Inv. No. N1), and Schloss Vaduz, Liechtenstein (cat. no. 871 & 881). In recent years a small number have been offered for sale at auction, including one sold in these rooms 8th December 2010, lot 126; another from the collection of Karsten Klingbeil at Pierre Bergé & Hermann Historica, Brussels, 13th December 2011, lot 88 and another was in the collection of Lord Astor of Hever, sold Sotheby`s, London, 5 May 1983, Lot 29.The fashion for Turkish-style arms is recorded in Europe as early as the middle years of the 16th century. King Philip II had a `Turkish` bodyguard for his entry into Milan in 1548. The influence of Turkish taste is evident in both the style and technique of decoration of the Salzburg shields which has its origins in Turkish bookbindings of the period. During the 16th Century Venice had its own leatherworkers guild and many bookbindings as well as helmets, shields and quivers were made in this manner.For a contemporary discussion on the Venetian technique of varnishing and gilding see Leonardo Fioravanti, Compendio de` Secreti Nationali, Venice 1562 and Tommaso Garzoni, La Piazza universale di tutte le professioni del mondo, Nuovamente ristampata, posta in luce da Thomaso Garzoni da Bagnacauallo, con l`aggiunta d`alcune bellissime annotationi a discorso per discorso, Venice 1589. See E.J. Grube, 2007, pp. 231-251.Related shields of this type, but not part of the Salzburg contract, are preserved in the armoury of the Palazzo Ducale, Venice (See U. Franzoi 1990, pp. 82-3). Another, set with a late 15th Century besagew in the centre and perhaps related to a group in the Correr Museum, Venice, was sold Sotheby`s, Milan, 14th October 2009, lot 1217.

Large quantity of good, mainly contemporary, hardback art books and catalogues

Jeff Koons, American b.1955- "Balloon Dog, blue", 2002; metallic porcelain, numbered 2046/2300 to the base, ed. Museum of Contemporary Art, Los Angeles, dia. 26.7cm, (boxed)

Attributed to Alan Wright, British 1864-1927- Study of a reclining woman; pencil on buff; dated June `88, bears signature to the reverse of the sheet, 10.3x13cm Note: Alan Wright was a London based landscape, figure painter and illustrator. He was a contemporary of James Abbot McNeill Whistler and exhibited at the Royal Academy from 1889-91, several times at the New English Art Club and the Royal Society of British Artists.

These prints and paintings were part of the collection of Derwent Wise (1933-2003). He was a student at King’s College, Durham University in the 1950s and then returned there as Master of Sculpture in 1963 to, what was by then, Newcastle University. As a student he was contemporary with Ian Stephenson RA and his early involvement spread over the years when Laurence Gowing was Professor and Victor Pasmore and Richard Hamilton lectured there. Victor Pasmore inaugurated the Basic Course philosophy of teaching art and practised Constructivism while Hamilton became the UK’s leading Pop Artist. The paintings and prints in this sale which are contemporary to the 1950s are typical of the work produced in the Fine Art Department at the time. The remainder of the collection is from a variety of periods and is of works of particular interest to the artist. Kenneth Rowntree (1915-1997), a watercolour, “Putney Reach”. 19 ins x 12.25 ins, framed, signed, labelled verso “Kenneth Rowntree 1915-1997, Putney Reach, circa 1955, Collection of Derwent & Elizabeth Wise, Exhibited Kenneth Rowntree Retrospective Hatton Gallery, University of Newcastle 2003”. A.R.R.

AN ALBUM OF POSTCARDSmainly topographical, including village and street scenes, Saltash (rp), Eddystone Lighthouse, Hampshire in particular Lymington, Lyndhurst, Southampton, Harting, many Scotland, Highlands and Islands, ships and several later cards, some pu, in contemporary Art Nouveau decorated album, early 20th c (approx 270)+++

AN ART NOUVEAU GARNET PENDANT in 9ct gold, the open scrollwork set with two circular and pear-shape faceted stones, on a contemporary figaro link chain

* BRODSKY, ISAAK (1884-1939) New Moon , signed and dated 1912. Oil on canvas, 62 by 80 cm. Provenance: Collection of E.I. Brodsky, the artist’s son, Leningrad.Private collection, St Petersburg.Private collection, Europe.Authenticity of the work has been confirmed by the expert V. Kruglov.Exhibited: Isaak Israilevich Brodsky. Vystavka proizvedenii. K 90-letiyu so dnya rozhdeniya, Museum of the Academy of Arts, Leningrad, 1974.Isaak Israilevich Brodsky. Vystavka k 100-letiyu so dnya rozhdeniya, Museum of the Academy of Arts, Leningrad, 1984.Literature: I.I. Brodsky, Sbornik statei, Leningrad, Izdanie yubileinogo komiteta, 1929, illustrated in black and white.Isaak Israilevich Brodsky. Stat’i, pis’ma, dokumenty, Moscow, Sovetskii khudozhnik, 1956, p. 179, listed under works from 1912.Exhibition catalogue, Isaak Israilevich Brodsky. Katalog vystavki proizvedenii. K 90-letiyu so dnya rozhdeniya, Leningrad, Iskusstvo, 1974, p. 32, listed.Exhibition catalogue, Isaak Israilevich Brodsky. Vystavka k 100-letiyu so dnya rozhdeniya, Leningrad, Iskusstvo, 1984, p. 42, listed.Isaak Brodsky painted New Moon soon after returning from his travels round Spain, France and Italy, and the painting has noticeable signs of the romanticised approach to nature which is characteristic of the artist’s work in the 1910s. The attraction of this painting is a poetry that tugs at the heartstrings and its lyrical image of evening. It is a work of symbolism, but at the same time it retains a sense of naturalism in its vision of nature.The moon is a pale sickle, the branches of the trees glint, and a softly diffused light shines on the ground. The generally subdued palette of this landscape and the delicate relationships between the cold and the slightly warmer blue-grey tones, with no sharp contrast between dark and light, create the feeling of a sonorous and transparently clear dewy autumn evening. The painting comprises several layers: against the delicate blue-grey background the foliage is painted in patches of Umber and Sienna and later the twigs are touched in with a fine round brush to add expressive detail. Brodsky made the transition from a relatively fluid, Italian use of paint to a slightly fuller-bodied technique on a “thinned out” background.In his recollections Arkadiy Rylov gives a very exact description of the artist’s landscape technique: “Brodsky - like a jeweller or a weaver - covers his landscapes in patterns... These colourful patterns are original and lovely. He does not paint, but rather he draws with a fine paintbrush”.In fact, among the various means of expression employed in New Moon it is drawing that plays the leading role. Everything is subordinated to a stylising delineation. It is easy to discern strong admiration for the creative alignment of two associations - the Union of Russian Artists and World of Art. The conventionality of the painting’s rendition and the accentuated decorativeness of the composition are reminiscent of a theatrical backcloth created by the brush of a virtuoso artist and glimpsed, as it were, through the branches of the wings and scenery borders.It is surprising that Brodsky never turned his hand to theatre design. It is hard to find landscapes more theatrically constructed than his. The tree canopies and branches in the wings guide the eye into the open space of the landscape, allowing the focus to fall on the delicate, fragile beauty of nature lapsing into sleep and the barely discernible village floating in the distance. The view through branches into a landscape’s depth was one of the artist’s favourite and oft-repeated devices: indeed, one of Brodsky’s paintings from the 1910s was called Through the Branches.A contemporary of Brodsky’s, the renowned painter Konstantin Yuon, recalled: “I always understood his landscapes as pieces of music, the fine violin part led by his drawing, ever melodious”. And the artist himself, giving rein to his thoughts at the time, wrote: “My favourite motifs have remained, as before, landscapes seen in breadth, with wide open spaces and a perspective receding into their depths. I have been striving to construct landscape as a compositional entity, as a picture, intuitively resisting preoccupation with landscape sketched from nature, as inspired by Impressionism, which the imitators of that school elevated to a value sufficient in itself, driving out the idea of composing large creative works of art”.During the period when New Moon was painted, and right up until the Revolution, the vast majority of critics described Brodsky primarily as a landscape painter, which was partly due to his exceptional productivity in this genre.

Helaine Blumenfeld, born New York 1942 Venus 1991 Travertine Marble Unique 203cm.; 80ins high by 70cm.; 27½ins wide Helaine Blumenfeld is recognized as one of Britain’s leading contemporary sculptors working in marble and bronze. In a career spanning more than four decades, her work has been shown in over 70 exhibitions worldwide. She has completed more than 80 commissions and her sculptures have been sited in public and private settings throughout the UK, Europe and the USA. Elected Vice-President of the Royal British Society of Sculptors (2004-2009), in 2007 she became the first and only female winner of the prestigious International Sculpture Prize, ‘Pietrasanta e la Versilia nel Mondo’. That year Blumenfeld exhibited at Het Depot Sculpture Gallery in Wageningen, The Netherlands. This was a major presentation which Helaine considers to be one of her most important public exhibitions. In 2010 ‘Blumenfeld in the Town Hall, Oslo’ took place under the curatorship of Anfinsen Kunst. Erik Anfinsen has represented Blumenfeld in Scandinavia since 1986. Blumenfeld has used her public profile to broaden access to and appreciation of her medium, initiating and organizing regular exhibitions at the Harold Martin Botanical Gardens in Leicester and at the Fitzwilliam Museum in Cambridge. In July 2011 she was one of the few non-British artists ever to have been awarded an Honorary OBE for her outstanding contribution to art.

Robert Ballagh (b.1943) DOLLY MIXTURES 9, 1971 mixed media with collage signed in pencil on reverse; with typed David Hendriks Gallery exhibition label on reverse; with Compass Gallery, Glasgow, exhibition label on reverse; also with Gorry Gallery exhibition label on reverse 13.25 by 19in. (33.66 by 48.26cm) Provenance: David Hendriks Gallery, Dublin; Private collection; Exhibited: David Hendriks Gallery, Dublin, 1971; `Three-man Show (Cecil King, Patrick Collins & Robert Ballagh), Compass Gallery, Glasgow, until November 1971; `Robert Ballagh Works from the Studio 1959-2006`, Gorry Gallery, Dublin, in association with Damien Matthews Fine Art, 20 September - 5 October 2006, catalogue no. 20 Literature: The Gorry Gallery in association with Damien Matthews Fine Art, Robert Ballagh Works from the Studio 1959-2006, Damien Matthews Fine Art Publications, 2006, p. 40 (illustrated) Tea Cakes and Dolly Mixtures were part of a series commenting on mass culture and popular taste, using very sweet subject matter. Other subject from 1971 included gob stoppers, liquorice comfits, iced caramels, chocolate beans and liquorice allsorts, all painted as literal examples of monumental contemporary kitsch against patterned backgrounds. Although these works may now appear to have a `retro style`, at the time they were quite shocking in their vulgarity, using as they did materials not yet appreciated for their kitsch qualities. The quite hallucinatory intensity with which Ballagh has portrayed his sweet subject is both amusing and disquieting. From Robert Ballagh Works from the Studio 1959-2006, p.39 (£1,620-£2,430 approx)

Michael Cullen RHA (1946) STUDY IN BLUE WITH THREE FIGURES, 2001 oil on linen signed, titled and dated on reverse 56 by 35.50in. (142.24 by 90.17cm) Provenance: deVere`s, Dublin, 12 April 2005, lot 151; Whence purchased by the present owner Michael Cullen was born in Kilcoole, Co. Wicklow in 1946. He studied art at the Central School of Art and Design, London in 1969 and the National College of Art and Design, Dublin from 1970 to 1973 before moving abroad for several years. Cullen`s work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velasquez and Picasso. With his multicoloured carnival palette, Cullen`s paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen`s work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists` Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen`s work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) (£2,430-£4,050 approx)

Toma Rosandic (Serbo-Croatian, 1878-1959) `La Pucelle` (A Vestal Virgin) bronze sculpture, signed `T Rosandic` to base 66¾in. (169.5cm.) high. 66¾in. (169.5cm.) high. * Toma Rosandic, the son of a stoneworker was born in Split, Serbia in 1878. He and his friend and contemporary Ivan Meštrovic were the most prominent Yugoslav sculptors of the day. During their early years in Split, Rosandic learnt to carve in wood and stone and was much inspired by the younger Meštrovic. With the advent of war Rosandic left for London where he exhibited at the Grafton Galleries in 1917 as well as in Brighton and Edinburgh. It was at the Grafton that he first exhibited La Pucelle in 1917, which he had carved from walnut and from which the current bronze was later cast. It is a very fine example of Rosandic`s originality and style, with a beauty and simplicity of line which foretell the clean, stylised sculptures of the forthcoming Art Deco period in the 1920s. The original walnut sculpture was later acquired for Sissinghurst Castle by the owners Sir Harold Nicholson and his wife Vita Sackville-West and is now located in the Long Room of the castle. A lead copy was made later in 1934 and placed in the famous White Garden created by Vita Sackville-West. Two bronze castings are known - the example at Priors and a second casting, originally owned by Sir Edward Maufe and sold in 1977 by Clifford Dann of Eastbourne in the Shepherds Hill, Buxted house contents sale. It was later shown at The Fine Art Society `Sculpture in Britain Between the Wars` exhibition in Summer 1986, cat. no. 89 and subsequently offered for sale as lot 264 at Sotheby`s sale 001292 on 2nd November 2001, realising a hammer price of £20,000. See Illustration.

A contemporary bespoke English wool carpet in Art Deco style with muted autumnal colours designed by David Bristow of Sedley Place Designs London, 270 x 270cm.

A large contemporary bespoke English wool carpet in Art Deco style with muted autumnal colours designed by David Bristow of Sedley Place Designs, London. 423 x 555cm.

ART UNION, 1839-48, 7 vols; -- ART JOURNAL/ART JOURNAL EXHIBITION CATALOGUES, 1849-75, 30 vols, 4to, contemporary red half morocco, aeg (most boards waterstained, some detached).

Michael Reynolds (British, 20th Century), Journey II, signed lower left "Michael R Reynolds", oil on board, 52 x 45cm (20 x 18in). William Packer writes of the artist Michael Reynolds in his obituary in The Guardian that he "was one of the most naturally gifted painters of his generation, with a full, confident command of whichever medium he chose to work in." Reynolds` artistic commitment was to the representation of the real and visible world, directly observed. Described again by Packer as "a brilliant draughtsman, he was no less distinguished in his work with the figure, building up over the years a deserved reputation as a master of the contemporary portrait." William Packer believed that "In a more rational and generous age, Reynolds would doubtless have become a prominent member of the Royal Academy, and indeed he regularly showed in the annual Summer Exhibition." Brought up in Brighton, Reynolds studied at Varndean Grammar School and at the Brighton College of Art (1951-56). After some intermittent teaching in art schools, and various jobs and commissions, in 1962 he won the engraving scholarship to the British School at Rome, where he stayed for two years. For a short time around 1970 he ran a wine shop in Norfolk. In 1989 Brian Sewell and Reynolds set up The Discerning Eye, a popular annual open-submission exhibition. Some eight years ago, Reynolds lost patience with the British art world altogether, taking himself into exile, between Italy and Holland. Besides the Royal Academy, Reynolds was a regular exhibitor with the other exhibiting societies, in particular the Royal Society of British Artists, and he was, for more than 30 years, a leading member of the Royal Society of Portrait Painters. Michael Reynolds is represented in many important collections and galleries, both private and public, notably the National Portrait Gallery and the Royal Collection.

Contemporary Pipe Tomahawk by Gary BirchThis pipe tomahawk has a tacked 20" haft and an 8.25" iron head made by Gary Birch. Gary is a self-taught artist whose works appear in private and museum collections around the country. Leaving a PhD. Program in physiological psychology in 1969, Gary began making things with his hands “to work on ideas that had been neglected too long.” Consequently, he has created scores of one-of-a-kind art objects in a variety of media. Condition: Excellent.Starting Price: $300

Deslandes, André François The art of being easy at all times, and in all places. Written chiefly for the use of a lady of quality. London: printed for C. Rivington, 1724. Second edition, 8vo, translated by Edward Combe, half title, contemporary calf, rubbed at edges

Donald Hamilton Fraser R.A. (b.1929) Scottish, Dancer-Reflected Light, signed and numbered 104/200 in pencil, screenprint, Advanced Graphics blindstamp, 64 x 44cm. Christie`s Contemporary Art paperwork included.

Contemporary Inuit greenstone carved models, a seal signed Noah Havranoolur, 19cm long, a seal calf signed Andrew Volukie, 15cm long, a seal, indistinctly signed, 16cm long and a loon, 9cm long, all bear Canada Eskimo Art label to underside (4).

D`après Andy WarholCampbell`s soup can (Tomato) Sérigraphie en couleurs sur sac en papierRéédition du sac réalisé pour l`exposition à l`Institute of Contemporary Art en 196649,5 x 43 cm - 19 1/2 x 16 7/8 in. Color silkscreen on paper bag

Bidloo (Govard). Anatomia humani corporis, centum & quinque tabulis... , 1st edition, Amsterdam; Widow of Joannes van Someren, Heirs of Joannes van Dyk, Henry and Widow of Theodore Boon, 1685, additional engraved title (somewhat soiled with marginal splits and losses to outer corners not affecting plate impression), relaid, engraved printer`s device to title, old ownership names of John Corrie(?), Geor. Bell (both struck through) and Jno. Carter to upper right corner, outer and lower margins partly strengthened to verso, following leaf (dedication) a little chipped along foremargin, engraved portrait of Bidloo by Abraham Bloteling after Gerarde de Lairesse, 105 numbered engraved plates (numbers 1-3 bound at rear), plate twenty-three partly folding (dust soiled and split at upper margin, small tear with loss and repair to verso of inner margin fold), library stamps to engraved title and all plates, some spotting, dust soiling and marginal browning throughout, occasional marginal splits and repairs not affecting text, contemporary calf, worn, large folio (600 x 355mm) One of the finest anatomical atlases of the Baroque period. The 105 plates were drawn by the painter Gerard de Lairesse, under whose influence the French style of Poussin and Lorraine became dominant in Holland... His illustrations brought the qualities of Dutch still-life painting into anatomical illustration, and gave a new, darker spiritual expression to the significance of the art of dissection` (Norman 231); Ayres 667, Choulant-Frank, pp. 251-252; G-M 385; Trevazzi 1238; Wellcome II, p. 165. (1)

Lowe (Peter). A Discourse of the Whole Art of Chyrurgerie..., Whereunto is added the Rule of making Remedies which chyrurgions doe commonly use: with the Presages of Divine Hippocrates, 3rd edition, corrected and much amended, Thomas Purfoot, 1634, title within ornamental border, woodcut illustrations to text including somefull-page, separate title and register to Presages`, library stamps to title and following leaf, some spotting and browning, title dust-soiled and with following leaf somewhat chipped and browned at margins not affecting text, bound with Clowes (William), A Profitable and Necessarie Booke of Observations for all those that are burned with the flame of Gun-powder, &c. and also for curing of wounds made with musket and caliver shot, and other weapons of warre..., Last of all is adioyned a short treatise, for the cure of Lues Venera by unctions and other approved wayes of curing..., 3rd edition, Printed by M. Dawson, 1637, four full-page woodcut illustrations (these leaves misgathered), woodcut initials, separate title to second part but with continuous register and pagination, some browning and soiling, X2 torn with loss at outer corner affecting last eight lines, a few small marginal splits and chips, contemporary ownership signature of Henry Yorke to preserved rear endpaper, Johnstone armorial bookplate to front pastedown, modern calf gilt, a little rubbed at extremities, 4to (193 x 138mm) STC 16871 & 5443 respectively. (1)

Ould (Sir Fielding). A Treatise of Midwifery. In Three Parts, 1st London edition, 1748, two engraved plates, occasional light water stains, library stamps, modern morooco-backed boards, 8vo, together with Chapman (Edmund), A Treatise on the Improvement of Midwifery, Chiefly with Regard to the Operation. To which are Added Fifty-Seven Cases, Selected from Upwards of Twenty-Seven Years Practice, 2nd edition, 1735, two engraved plates, 6pp. publisher`s list at end, a few spots, library stamp, contemporary mottled calf, spine rubbed, 8vo, plus Astruc (Jean), A Treatise on the Diseases of Women... Translated from the French Original, 3 volumes, 1st edition in English, 1762-67, two folding engraved plates, light water stains and spotting, library stamps, BMI presentation label from Dr Smallwood Savage, volumes I & II contemporary calf (rebacked), volume III library cloth, 8vo, with three others: John Friend`s Emmenologia, Translated into English by Thomas Dale, 2nd edition, 1752, Edmund Chapman`s A Treatise on the Improvement of Midwifery, 3rd edition, 1759 and Henry Daventer`s The Art of Midwifery Improv`d, 4th edition, 1746 (8)

Sharp (Jane). The Compleat Midwife`s Companion: Or, the Art of Midwifry Improv`d. Directing Child-Bearing Women how to order themselves in their Conception, Breeding, Bearing and Nursing of Children. In Six Books, Divided into Several Chapters from each Book. With Physical Descriptions for each Disease Incident to the Female Sex, whether Virgins, Wives or Widows: Adapted Chiefly for their use, 3rd edition, 1724, woodcut frontispiece, woodcut illustrations, 12pp. publisher`s list at end (final leaf repaired with loss), a few repaired tears, a few leaves close-trimmed to top margin, a few minor spots, endpapers renewed, contemporary panelled calf, rebacked, edges rubbed, 12mo. Scarce. The first book written by an English midwife` (G-M 6156.1). The first edition was published in 1671, and is drawn from the works of Nicholas Culpeper and others combined with her own experiences, and is divided into chronological sections covering conception, pregnancy, birth and post-natal care, with practical advice to parents and midwives. She strongly believed that the profession of midwifery should only be practised by women. (1)

Framed oil on canvas, "Now," by Harriette Frances (American, Contemporary) signed "H. Frances" lower left, bears artist`s stamp verso, overall: 48.75"h x 30.5"w. Provenance: Art Collection of the Curley Family Trust, Marin County, California Start Price $20

Andrey M Shirokov, Russian b.1960- "Winter Evening Vyatka"; oil on canvas, signed and dated `11, 30x55.5cm, (unframed) Note: Shirokov is a Russian contemporary impressionist artist and member of the Artists Union of Russia. He was born in Vyatka (formerly Kirov- small town 900 km east of Moscow) in 1960 into a family of painters. After graduating from the Kirov School of Painting he chose to remain in his home town and has become a central figure in the Vyatka art movement, which preserves traditions of realistic school of painting. Shirokov was influenced by the Russian artists, Repin, Serov and Nicolai Feshin. He found additional inspiration in the works of John Singer Sargent, Anders Zorn and Joaquin Sorola. Shirokov has participated in numerous artistic undertakings, both in Russia and internationally. His works have been exhibited widely in Russia and abroad including America, Italy, Greece, Japan and Poland. His paintings can be found in Russian museums and private collections, including the UK.

Richard Kirwan, British b.1969- "Economy of Meaning"; acrylic on canvas, signed and dated 1995 to verso, 180x240cm, (unframed) Note: Kirwan studied and received an MA from Goldsmiths College London, he has been involved in many international solo and group exhibitions including, `Modern Manner, Galerie Hollenbach, Stuttgart` 2007, `Mythomania: Double Use, Nunnery Fine Arts, London` 2008, `51st Venice Biennale of Contemporary Art` 2005, `Folio One, Royal Academy of Arts` 2004. Kirwan`s work employs simple, hard edged motifs using a limited palette of saturated colours and unsettled geometric repetition creating optical after effects, a juxtaposition between physical control and visual chaos (may be subject to Droit de Suite)

Blunt (Wilfrid). Georg Dionysius Ehert (1708-1770), pub. Traylen, 1953, 12 colour plates, occasional light spotting, contemporary red half morocco by Birdsall, spine with green label and gilt decoration, edges lightly rubbed, folio, together with Treasures of Art. Dutch Flower Pieces, pub. The Studio, c. 1950, eight mounted colour plates, some spotting, contemporary red morocco-backed boards, slightly rubbed, folio . (2)

Jean-Michel BASQUIAT (1960-1988) Jawbone of an Ass, 1984-2004 Sérigraphie en couleurs sur papier cartonné, épreuve numérotée 53/85, portant le cachet de l`Estate of Jean-Michel Basquiat et la signature de Gérard Basquiat au dos. Edition David DeSantis Contemporary Art à 85 exemplaires + 15 AP 109 x 153 cm

THOMPSON, Cooper, Men of Mark a Gallery of Contemporary Portraits of Men Distinguished in the Senate, the Church, in Science Literature and Art, The Army, Navy, Law, Medicine, etc, Sampson Low, Marston, Searle & Rivington, London 1876, first series, 4to, pp. 36 full page portraits of woodbury type photographs with facing brief biographical notes. Bound in original half leather with maroon grained cloth boards and with gilt titles and marbled endpapers. Photographs include those of William Burton, Traveller and Explorer, Samuel Plimsoll of the Plimsoll line and THOMPSON, Cooper, Men of Mark, A Gallery of Contemporary Portraits of Men Distinguished in the Senate, the Church, in Science Literature and Art, the Army, Navy, Law, Medicine, etc, Sampson Low, Marston, Searle and Rivington, London, 1878. Third Series, 4to pp, 36 full page portraits of woodbury type photographs with facing brief biographical notes. Original half leather, photographs include those of Anthony Trollope, Charles Darwin, Lord Napier and John Stainer, William Burton, Taveller and Explorer (2)

GEORGE ROBERTSON (contemporary), `Michael Caine: Red and Green; Pink and Green; Blue and Purple; Negative`, a suite of four signed and numbered photo prints, each 53cm x 53cm, unframed in archival, antistatic acid free fine art sleeves. (4)

Ushiku, Kenji (1922-) - limited edition etching, abstract, signed in pencil, 26/125 and dated 70, 17"x9" A contemporary Japanese etcher and lithographer, Kenji Ushiku studied art at the Tokyo School of Fine Arts. His first etchings and engravings were published in Japan in the mid 1950`s and since that time his graphic works has been included in major exhibitions in America, Europe and Japan. During the 1960`s and 1970`s Kenji Ushiku`s color etchings and aquatints were commissioned by both Japanese and American publishers

Ushiku, Kenji (1922-) - limited edition etching, abstract, signed in pencil, 13/125, 17"x 9" A contemporary Japanese etcher and lithographer, Kenji Ushiku studied art at the Tokyo School of Fine Arts. His first etchings and engravings were published in Japan in the mid 1950`s and since that time his graphic works has been included in major exhibitions in America, Europe and Japan. During the 1960`s and 1970`s Kenji Ushiku`s colour etchings and aquatints were commissioned by both Japanese and American publishers

GEORGE ROBERTSON (contemporary), `Madonna: Red, Blue and Green`, photo prints, 53cm x 53cm, signed and numbered, unframed in archival, antistatic acid free fine art sleeves; also one other. (4)

GEORGE ROBERTSON (Contemporary), `16 David Bowies`, photo print, 53cm x 53cm, in Fine Art Sleeve, plus two other studies of David Bowie. (3)

A Collection of 12 Books and Exhibition Catalogues Pertaining to Abstract and Contemporary Art, Including books on artists Elizabeth Murray, Martin Puyear and Robert Natkin. Minimum shipping costs apply, please request quote before bidding.

A Collection of Six Books Pertaining to Pop Art and Contemporary Art, Including books on artists Roy Lichtenstein, Richard Lindner, Ben Shahn, Georgia O`Keeffe and Louise Nevelson. Minimum shipping costs apply, please request quote before bidding.

A DEEP SANG DU BOEUF GLAZED VODRIAN POTTERY VASE, stamped "Dublin Vodrey Pottery" Frederick Vodrey (1845-1897) was a wholesaler, retailer and manufacturer of art pottery in Ireland. He was also a shrewd businessman and made a significant contribution to the promotion of Irish art pottery in the contemporary Arts & Crafts movement. He opened a retail outlet in Mary Street, a busy shopping district of Dublin city, producing pottery exclusively from Irish clays. Vodrian ware tended to be simple in form, with richly pigmented glazes, the decoration varied from Celtic, Arabic and Classical patterns. He also produced some blank and unglazed wares which he would present to his artistic friends to decorate themselves as they wished. His work gained critical acclaim from the public following the 1882 Dublin Exhibition - where he received acclaimed success and earned him a merit award.

Adrian Wiszniewski RSA, Scottish b.1958- "Little Allegory", 1988; oil on canvas, signed with initials, 73x73cm, (may be subject to Droit de Suite) Provenance: with Gruzelier Modern and Contemporary Art Gallery, London, according to label attached to the reverse of the canvas

Jack Butler Yeats RHA (1871-1957) ON THE COURTHOUSE STEPS, 1946 oil on canvas signed lower right; inscribed with title on stretcher on reverse; with typed Arts Council exhibition label affixed on reverse; also with Dawson Gallery framing label on reverse 35.56 by 45.72cm., 14 by 18in. L "Purchased directly from the artist by Leo Smith, April 1946; with the Dawson Gallery, Dublin; `The Irish Sale`, Christies, 12 May 2006, lot 74; Private collection" "`Contemporary Irish Art Society: Paintings and Sculpture from Private Collections`, Municipal Gallery, Dublin, July 1965, exhibition no. 72; `Modern Irish Painting, European Tour`, Arts Council of Ireland (An Chomhairle Ealaíon), Dublin, 1969-1971, exhibition no. 54, travelling exhibition: Helsinki, Gothenburg, Norköpping, Stockholm, Copenhagen, Bielefeld, Bonn, Saarbrücken, London, Leeds, Glasgow, Mayo and Donegal" Pyle, Hilary, Jack B. Yeats A Catalogue Raisonné of the Oil Paintings, Vol. II, p.672, no. 744 (illustrated, Vol. III, p.396) "Contained in its original hand-carved Waddington frame. The painting shows a vagrant resting on the steps of a court house, identified as that of Naas, Co. Kildare. (See footnote 1.) His stick and bundle of belongings are beside him. The man’s casual appearance is in marked contrast to the classical formality of the building which is typical of the grand-style architecture of Irish court houses. These were designed to project a sense of authority on to the surrounding streets and their inhabitants, although this is not evident in Yeats’ picture.

Exhibition catalogues. British Institution for Promoting the Fine Arts in thr United Kingdom, 37 issues, 1806-19, 1822-28, 1831, 1834, 1836, 1841, 1846-47, 1849, 1852, 1856, pub. W. Bulmar & Co., some years with two catalogues divided into Old Master and Contemporary works, each issue bound without wrappers as issued, circular library blindstamp to front endpaper and initial title, 19th century half morocco, rubbed and scuffed, 4to & 8vo. Exhibition catalogues from this period are very scarce and an invaluable tool for art historians. The rather lengthy-titled British Institution for Promoting the Fine Arts in the United Kingdom formed in 1805 and disbanded in 1867. (1)

*Nimr (Amy, 1898-). Abstract Composition, c. 1950s, oil on canvas, signed lower right, 61 x 46 cm (24 x 18 ins), contemporary frame. The Anglo-Egyptian Amy Nimr was the daughter of the famous Arab newspaper mogul Faris Nimr, the pro-British Syrian Nationalist. She studied Fine Art at the Slade in London, and held her first exhibition in 1925. In 1932 she married the English Walter Smollett, the Oriental Secretary at the British Residency, and brother-in-law of George Antonius, author of The Arab Awakening. The tragic loss of the couple`s only son in 1943 was recounted in disguised form in Olivia Manning`s The Danger Tree, the first of her Levant Triology. (1)

Mandey (Venterus) Mechanic Powers: or, the Mystery of Nature and Art Unvail`d... together, with a Treatise of Circular Motion artificially fitted to Mechanic use, and the making of Clock-work, and other Engines..., third edition, advertisement leaf at beginning, 17 folding engraved plates, 5pp. catalogue/errata at end, some plates rather foxed and browned, one or two soiled and frayed at edges where previously loose, some spotting to text, bookplate of Joseph Sternfeld, endpapers browned, contemporary panelled sheep, corners a little worn, rebacked in calf, rubbed, [Baillie p.124; Tardy p.169], 4to, for Tho.Shelmerdine, 1709.