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

After D.H.Chiparus ; A contemporary Art Deco style brown patinated cast bronze figure of a Phoenician Dancer, base with cast signature , raised on a stepped marble and slate plinth, H 49 cm.

A large contemporary Art Nouveau style jardiniere by Blakeny, 11" diameter x 9 1/4" tall.

Sudeshna Chattopadhyay (Indian/Yorkshire Contemporary): 'Wise Friend', folk art inspired acrylic on board signed 41cm x 41cm

A contemporary Kris Heaton for Neo Art studio glass sculpture, of organic ribbed ovoid form with a pulled prong and central aperture, decorated with multicoloured iridescent mottled spots over clear crystal, scratch signed, retains original paper label, together with a similar small sculpture with in amethyst by the same hand, tallest height 18cm. (2)

‘B. L.’ [Batty Langley].The City and Country Builder's and Workman's Treasury of Designs: Or the Art of Drawing and Working The Ornamental Parts of Architecture …S. Harding, 1750, quarto in twos, [ii], 22 pages, two-hundred plates as called for, light pencil marks to plates 67 and 153, plate 105 with frayed margins, gutter gaping after page 2, B2 partially detached, contemporary calf (worn). [Not found in Archer]

Nine contemporary art books, Modern Masters Of Etching, including G L Brocklehurst, Charles Meryon, James McNeil Whistler, H Rushbury, etc (9)

A lot comprising contemporary mangowood occasional table, Charles Rennie Mackintosh style framed wall art  and a contemporary sunburst style wall mirror, 76cm diameter (3) Condition Report:Available upon request

Waring (John Burley). Masterpieces of Industrial Art and Sculpture at the International Exhibition, 1862, volume I and II, 1st edition, London: Day & Son, 1863, additional chromolithograph title pages and numerous chromolithograph plates (including frontispiece), occasional scattered spotting, all edges gilt, contemporary gilt-decorated full morocco, upper and lower boards and preliminaries detached, folio, together withAudsley (W. & G.). Polychromatic Decoration, as applied to Buildings in the Mediaeval Styles, 1st ed., Henry Sotheran, 1882, half-title, numerous plates in colours and gold, bookplate of Mark Girouard to front pastedown, top edge gilt, original brown gilt boards, some rubbing to extremities, folio, plusWyatt (Digby). Metal-Work and its Artistic Design, London: Day & Son, 1852, numerous chromolithographic plates including frontispiece heightened in gold, original dark brown half morocco, lacking spine, folio QTY: (4)

Pugin (Augustus Welby). The Present State of Ecclesiastical Architecture in England, 1st edition, London: Charles Dolman, 1843, 32 etched and engraved plates, illustrations, advertisements and catalogues bound at rear, a few light stains, bookplate of Mark Girouard and bookseller ticket of W. Montignani, Edinburgh, original blindstamped cloth, spine a little faded, a few small stains, 8vo, together with Pugin (Edward Welby). Who Was the Art Architect of the Houses of Parliament. A statement of facts, founded on the letters of Sir Charles Barry and the diaries of Augustus Welby Pugin, 1st edition, London: Longmans, Green and Co., 1867, 11 mounted albumen photographic prints, including a portrait of A. W. Pugin, 120 pp., plus a 4 pp. pamphlet 'Pugin v. Barry', reviewed in the Building News, November 15th, 1867 (paginated pp. 120-123), bound with Barry (Alfred). The Architect of the New Palace at Westminster. A Reply to a Pamphlet by E. Pugin, Esq., entitled "Who was the Art-Architect of the Houses of Parliament?", 2nd edition, London: John Murray, 1868, mounted albumen print frontispiece, 120 pp. addendum leaf, bound with Pugin (Edward Welby). Notes on the Reply of the Rev. Alfred Barry, D. D. Principal of Cheltenham College to the "Infatuated Statements" made by E. W. Pugin on the Houses of Parliament, 2nd edition, revised and enlarged, London: Longmans, Green & Co., 1868, 29 pp., together 3 works bound together, blank leaves bound at end, some light spotting, inscribed at front 'E. Welby Pugin, March 11th, 1868', additional signature beneath, bookplate of Mark Girouard, contemporary morocco with Gothic design in gilt to covers and titled 'The Barry and Pugin Controversy' to upper cover, upper joint split and front cover detached, spine and edges rubbed, 8vo, plus Recollections of A. N. Welby Pugin and his father Augustus Pugin, by Benjamin Ferrey, [1861], ex-libris with stamps and lacking front endpaper QTY: (3)NOTE:First work Fowler 267.

Plumier (Charles). L'Art de Tourner, ou de faire en perfection toutes sortes d'ouvrages au Tour. Dans lequel, outre les principes & élemens du Tour qu'on y enseigne méthodiquement pour tourner tant le bois, l'ivore & c. que le fer & tous les autres métaux, on voit encour plusieurs belles machines à faire des Ovales..., 1st edition, Lyon: Jean Certe, 1701, 14 preliminary leaves including title, 187pp., 73 mostly full-page engraved plates (one folding), engraved head-pieces, text in double column, pale water stain to blank fore margins of final few leaves, occasional minor marks, title and several other leaves lightly toned (title with closed tear repaired to lower margin, without loss), title with ink stamp to verso 'duplicate 1837', contemporary calf, re-backed with original spine laid down, boards heavily rubbed, folioQTY: (1)NOTE:Berlin Katalog 1246.First edition of the first treatise on the art of turning in wood, metal and ivory. Charles Plumier (1646-1704) is best known as an explorer and botanist who published a Description des plantes de l'Amerique in 1693. His Art of Turning was reissued in an enlarged second edition in 1749.

Hawkins (John Sidney). An History of the Origin and Establishment of Gothic Architecture;..., 1st edition, London: printed by S. Gosnell, 1813, 11 engraved plates, advertisements to the rear, bookplate to the front endpaper, some light toning & spotting, contemporary blue paper boards, slightly rubbed to head & foot, 8vo, together with:Richardson (C. J.), Picturesque Designs for Mansions, Villas, Lodges, &c. &c..., 1st edition, London: Atchley and Co., 1870, numerous engraved illustrations, bookplates to the front pastedown, some light toning, top edge gilt, original gilt decorated plum cloth, front board & spine partially detached, boards & spine faded & rubbed, 8vo, plusCox (Edward Young), The Art of Garnishing Churches at Christmas and other Festivals, 2nd edition, London: Cox & Son, 1869, 30 monochrome plates, bookplate to the front pastedown, front & rear gutters cracked, period inscriptions to the front & rear endpapers, original gilt decorated red cloth, boards & spine slightly toned & rubbed, 8vo, and other 19th century architecture reference & related, some contemporary leather bindings, mostly original cloth, overall condition is generally fair/good, 8voQTY: (3 shelves)

Cescinsky (Herbert). English Furniture of the Eighteenth Century, 3 volumes, London: The Waverley Book Company, circa 1909, numerous monochrome illustrations, later endpapers with re-enforced gutters, some light marginal toning, top edge gilt, contemporary uniform half morocco, spines slightly faded & rubbed, boards lightly rubbed to head & foot, folio, together with:Wasmuth (Günther), Wasmuths Lexicon der Baukunst, 5 volumes, Berlin: Verlag Ernst Wasmuth, circa 1929, numerous monochrome illustrations, some minor marginal toning, original quarter blue morocco to cloth boards, lightly rubbed to head & foot, folio, plusHofstatter (Hans H.), Gustav Klimt, Erotic Drawing, London: Thames and Hudson, 1979, 35 colour plates, original cloth in glassine wrapper & slipcase, boards lightly spotted, folio, limited edition 995/1000, andMawson (Thomas H.), The Art & Craft of Garden Making, 5th edition, London: B. T. Batsford, 1926, numerous colour & monochrome plates & illustrations, some light marks & minor marginal toning, original gilt decorated green cloth, spine & boards slightly faded & rubbed to head & foot, folio, plus other art, crafts, architecture & bibliography reference, mostly original cloth, many in dust jackets, some paperback editions, G/VG, 8vo/folioQTY: (6 shelves)

Maund (Benjamin). The Botanic Garden: Consisting of Highly Finished Representations of Hardy Ornamental Flowering Plants, Cultivated in Great Britain... , volumes 3-5 bound as 1, 1830-33, incomplete, 47 hand-coloured plates, each divided into 4 plants (nos. 221-408), contemporary calf, covers detached and backstrip deficient, 4to, together with:Tombleson (William), Tombleson's Views of the Rhine Edited by W. G. Fearnside, 1st & 2nd series (Lower & Upper Rhine), 1832, 68 & 60 steel-engraved plates, some heavy spotting, engraved title to second volume cut down, slightly frayed and rehinged, inner hinges cracked, contemporary black calf stamped in gilt and blind with red morocco labels to spines, slightly rubbed, 8vo, plusBurnet (John), The Discourses of Sir Joshua Reynolds, Illustrated by Explanatory Notes & Plates, London: James Carpenter, 1842, etched vignette frontispiece and etched plates on india paper, publisher's advert leaf at front, some spotting, top edge gilt, contemporary green half morocco gilt over cloth, minor rubbing, 4to, plus other mostly antiquarian illustrated works including Goldsmith's Animated Nature, 4 volumes with hand-coloured fashion plates, Finden's Royal Gallery of British Art, 2 scrap albums (1 empty), and a family photograph album containing cabinet cards and cartes de visite of unidentified men and womenQTY: (18)

Architectural pamphlets. A collection of 15 London-related architectural pamphlets, bound in one volume, 1857-63:1. Public Offices, and Metropolitan Improvements, by Alexander James B. Beresford Hope, London: James Ridgeway, 1857, 34 pp.2. The Expense of the Government and of Mr. Beresford Hope's Plan of Public Offices Compared, London: James Ridgeway, 1857, 8 pp., folding colour plan, autograph letter fragment by the author?3. On the Designs for the Wellington Monument. By One of the People, London: Chapman and Hall, 1857, 28 pp. 4. Public Competitions Public Works. A Letter to the Right Honourable the First Commissioner of Her Majesty's Works and Public Buildings, by A Bystander, London: John Edward Taylor, 1858, 12 pp. 5. New Government Offices. Remarks Appertaining to the Designs, No. 146, sent to Westminster Hall, March 20th, 1857, and impressed with the following motto "Ut Apes Geometriam", London: George Nichols, [1857], 16 pp. 6.The New Palaces of Administration. An earnest appeal to the competitors, the Public and the Committee, by a Cambridge Man, Cambridge: Macmillan and Co., 1857, half-title, 21 pp. 7. An Address Delivered at the First Meeting of the Royal Institute of British Architects in the New Rooms in Conduit Street, on Monday, November 7th, 1859, by William Tite, M. P., F. R. S. the Right Honourable the Earl de Grey President, in the Chair, London: 1859 [not published], 37 pp., errata leaf 8. Lord Palmerston and the Designs for the Foreign Office; or, Classical versus Gothic, 7 pp., reprinted from the Gentleman's Magazine 9. Shall the New Foreign Office be Gothic or Classical? A Plea for the Former: Addressed to the Members of the House of Commons, by Sir Francis E. Scott, London: Bell and Dandy, 1860, 70 pp., presentation inscription to Richard Monckton Milnes, 1st Baron Houghton (1809-1885), MP and author 10. The Gothic Renaissance: Its Origin, Progress, and Principles, London: Saunders, Otley & Co., 1860, 32 pp. 11. Notes on Art, British Sculptors, Sculpture, and our Public Monuments, London: Edward Stanford, 1861, 80 pp., inscribed to title to Richard Monckton Milnes from the author 12. Strictures on the Report of Her Majesty's Commissioners for the Concentration of the Law Courts and Offices, and on their recommendations as regards site, by Harvey Gem, London: W. Heath, 1861, 24 pp., folding map 13. Railway Communication in London and the Thames Embankment, by C. B. Lane, 2nd edition, London: James Ridgeway, 1861, 24 pp. 14. On the Egyptian Obelisks in Rome and Monoliths as Ornaments of Great Cities, read at the Ordinary General Meeting of the Royal Institute of British Architects, May 31st, 1858, by the Rev. Richard Burgess, followed by remarks on the application of the entasis to the obelisk by John Bell,,,, reprinted with the sanction of the council, [1858], 42 pp., folding plate 15. The Condition and Prospects of Architectural Art. Inaugural Lecture of the Session of 1863 of the Architectural Museum, delivered March 23, 1863, by A. J. B. Beresford Hope, President, London: John Murray, 1863, 34 pp., a few minor spots, bookplates of Robert Crewe-Milnes, 1st Marquess of Crewe (1858-1945) and Mark Girouard, contemporary green half morocco, small gilt stamp to upper cover, joints and edges rubbed and scuffed, 8vo QTY: (1)

Chambers (William). Plans, Elevations, Sections, and Perspective Views of the Gardens and Buildings at Kew in Surry, the Seat of Her Royal Highness the Princess Dowager of Wales, 1st edition, London: J. Haberkorn, 1763, 34 engraved plates (of 43), a few plates damp-stained at head (touching a few plates), title and preliminaries damp-stained to gutter, ownership stamps to title and many leaves (within plate margins but not affecting image), erased contemporary ownership inscription at head of title, contemporary calf-backed marbled boards, heavily worn, stained, spine deficient, folio, together with:Muthesius (Hermann). Die Englische Baukunst der Gegenwart, beispiele neuer Englischer profanbauten, Leipzig and Berlin: Cosmos, 1900, 110 photographic plates, lightly spotted, contemporary crushed brown half morocco gilt, some wear to extremities, folio, plusLeyburn (William). The Mirror of Architecture: or the Ground-Rules of the Art of Building. Exactly laid down by Vincent Scamozzi, master-builder of Venice, 6th edition, London: J. and B. Sprint, 1721, engraved frontispiece, engraved plates throughout, neat ownership inscriptions to front blank, spotting, bound with Architectionice: Or, a compendium of the art of building, London: J. and B. Sprint, 1721, engraved plate, spotting, both works bound in modern brown half morocco gilt, 8voQTY: (3)NOTE:Berlin Kat. 2337; Fowler 87; Harris 121 (for first work).

Leonardo da Vinci. A Treatise on Painting, by Leonardo da Vinci. Translated from the Original Italian, and adorn'd with a great number of cuts. To which is prefix'd, The Author's Life; done from the last edition of the French, 1st English edition, London: Printed for J. Senex and W. Taylor, 1721, engraved portrait frontispiece, title printed in red and black, woodcut head-pieces, 35 engraved plates, including 3 folding, after Nicolas Poussin, one additional engraved plate bound in facing page 17 (Joconda by J. B. Michel after Leonardo, published by Boydell, March 25th 1775, close-trimmed to fore-edge, touching plate margin), 3pp. advertisements at end for Senex and Taylor, and a further 16-page catalogue of books printed for, and sold by W. Taylor at end, early owner's inscription in brown ink to verso of portrait frontispiece: 'Danl. Daulby Jun. Liverpool from M Turner, Novr. 9th 1789', and further ownership signature below in ink: 'Edward Walter, May 22d 1841', etched bookplate of Daniel Daulby to front pastedown, with further bookplate of Patricia Milne-Henderson above, endpapers with minor discolouration, a good, clean copy, contemporary panelled full calf, gilt-decorated spine with black morocco gilt title label (neatly rebacked retaining original spine), 8voQTY: (1)NOTE:Provenance: Daniel Daulby (1745/6-1798); Edward Walter; Patricia Jaffé, née Milne-Henderson (1925-2018).Daniel Daulby (1745/6-1798), a Liverpool brewer and collector of prints and drawings, was celebrated in his own lifetime as perhaps the greatest British collector of Rembrandt etchings, of which he published a catalogue: A Descriptive catalogue of the works of Rembrandt, and of his scholars Bol, Livens and van Vriet, compiled from the original etchings and from the catalogues of de Burgy, Gersaint, Helle and Glomy, Marcus and Yver (1796). Daulby was the brother-in-law of the historian, poet, art collector, lawyer, politician and philanthropist, William Roscoe. His posthumous sales took place at Thomas Vernon's, Liverpool on 12 August 1799 and eight following days; his prints were sold at Christie's on 14 May and three following days.ESTC T174885; Lowndes VII, 2774.First edition in English of Leonardo da Vinci's Trattato della Pittura, compiled from manuscripts written during his lifetime, but only first published in Italian in 1651. Da Vinci lays out his theories regarding anatomical drawing, perspective, and elements of composition for artists, in a text that was very influential in its attempt to define and understand the laws of painting within a scientific framework.

Four: Surgeon W. Y. Jeeves, Royal Artillery, late 38th Foot Crimea 1854-56, 3 clasps, Alma, Inkermann, Sebastopol, unnamed as issued; Indian Mutiny 1857-59, no clasp (Asst. Surgn. W. Y. Jeeves, 11th Bde. Rl. Art.); France, Second Empire, Legion of Honour, Knight’s breast badge, silver, gold and enamel, damage to tips of points, and enamel damage in parts; Turkish Crimea 1855, British issue, unnamed as issued, plugged and fitted with a Crimea-style suspension, all fitted with top silver riband buckles and mounted on a contemporary carved wood frame, the last with enamel damage, otherwise toned, good very fine (4) £1,000-£1,400 --- William Younge Jeeves was born at Sharrow Grange, Yorkshire, in February 1829, and was appointed an Assistant Surgeon in the 38th Foot on 7 April 1854. He served in the Eastern Campaign of 1854-55, including the battles of Alma, Inkermann and siege of Sebastopol, seeing service in the trenches, and also took part in the assault and capture of the cemetery, 18 June 1855, for which he was Mentioned in Despatches (Medal and three clasps, Turkish Medal, and Knight of the Legion of Honour). Major-General Eyre’s despatch stated ‘Assistant Surgeon Jeeves of the 38th, whilst exposed to a most galling fire, having exerted himself in the field in attending to the wounded in so zealous and humane a manner as to call forth special notice’. Jeeves was appointed on the Staff in August 1856, and to the Royal Artillery in January 1857, subsequently seeing service with the 11th Brigade R.A. during the Indian Mutiny. He became Surgeon in November 1864, was appointed to the 2/25th Foot in 1865, and retired on half-pay in 1872. He died at Northallerton, Yorkshire, on 7 March 1875. Sold with 3 original commissions as Assistant Surgeon to the Forces (1 August 1856), Assistant Surgeon in the Royal Artillery (9 January 1857), and Surgeon to the Forces (21 November 1864); two letters of thanks for services in the Crimea, one signed by Sir John Hall, Inspector General of Medical services in the Crimea; and three portraits of the recipient’s father, John Jeeves of Sheffield, one particularly fine in oils on card and contained in a contemporary carved wood frame.

SHIRLEY CRAVEN F(BRITISH B.1934) FOR HULL TRADERS: A length of 'Curtain Up' fabric, printed 'A TIME PRESENT FABRIC / HAND PRINTED BY HULL TRADERS LTD / CURTAIN UP DESIGNED BY CRAVE'; together with a length of 'Connection' fabric, printed 'A TIME PRESENT FABRIC / CONNECTION DESIGNED BY CRAVE'.Curtain Up: 144 x 126 cm Connection: 160 x 124 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

PAULE VEZELAY (BRITISH 1892-1984) FOR HEALS: A length of 'Elegance' fabric, designed 1960s, in the green colourway, sewn as a curtain panel, printed "ELEGANCE" BY PAULE VEZELAY' to the border.250 x 105 cmReference: See Victoria & Albert Museum, London, accession number T.533:3-1999 for another example of this fabric. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

DONALD HAMILTON FRASER (BRITISH 1929-2009) FOR DAVID WHITEHEAD LTD: A length of 'Cyclade' fabric, circa 1960s, in the blue colourway, sewn into two curtain panels, printed 'Designed for David Whitehead by Donald Hamilton Fraser' to the border.Each panel: 115 x 121 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

FRANCIS PRICE (BRITISH 20TH CENTURY): A length of 'Daysping' fabric, sewn into a curtain panel, printed 'A Francis Price Screenprint "DAYSPRING" Printed in Vat Colours' to the border; together with two lengths of 'Vortex' fabric, printed 'A Francis Price Screenprint "Vortex" to the border. (3)Dayspring: 208 x 115 cm Vortex: 133 x 120 cm and 120 x 115 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

A GROUP OF DAVID WHTEHEAD FABRICS, in various polychrome foliate and geometric patterns, the panels of varying sizes, printed 'A David Whitehead guaranteed fabric' to the border. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

MARIANE MEHLER (AUSTRIAN 1911-1983) FOR DAVID WHITEHEAD: A length of 'Bird and Chair' fabric, sewn as a curtain panel; and a length of 'Flanders' fabric, sewn as a curtain panel. (2)Bird and Chair: 135 x 115 cm Flanders: 135 x 114 cmReference: See Victoria & Albert Museum, London, accession number CIRC.14B-1953 (Flanders) for another example of this fabric. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

FELIKS TOPOLSKI (POLISH 1907-1989) FOR DAVID WHITEHEAD: A length of fabric, circa 1950s, sewn as two curtain panels.Each panel approx 164 x 114 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

ROBERT TIERNEY (BRITISH 20TH CENTURY) FOR GRAFTON FABRICS: A length of 'Montrose' fabric, circa 1960s, sewn into two large curtain panels, printed "MONTROSE" design by Robert Tierney / a GRAFTON screenprint'. (2)263 x 224 cm 236 x 163 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

JANE DANIELS (BRITISH 20TH CENTURY) FOR DAVID WHITEHEAD: A length of 'Sargasso' fabric, in the blue colourway, in two unevenly cut panels, printed 'SARGASSO by Jane Daniels'; together with a length of 'Sargasso' fabric, in the white colourway, sewn into one curtain panel, printed 'SARGASSO by Jane Daniels'. (3)Sargasso blue: approx 104 x 60 cm and 103 x 55cm Sargasso white: 122 x 139 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

NEIL BRADBURN (BRITISH 20TH CENTURY) FOR HEALS: A length of 'Small Elephants' fabric, designed in 1974, sewn into two curtain panels, printed 'HEAL FABRIC OF LONDON / DESIGNED BY NEIL BRADBURN'.Each panel approx 146 x 135 cmReference: See Victoria & Albert Museum, London, accession number T.268:3-1999 for another example of this fabric. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

A GROUP OF MID-CENTURY FABRICS, to include a length of 'Corrida' fabric, designed by Peter Hall for Heals, sewn into three curtain panels; a length of 'Cherry Orchard' fabric, designed by Imgard Krebs, sewn into two pillow cases; a length of 'Manhattan' fabric, designed by Gordon Crook for Rosebank Fabrics, circa 1963, sewn into two curtain panels; and a length of red geometric fabric, possibly attributed to David Whitehead, printed 'A GUARANTEED FABRIC, MADE IN ENGLAND'.Corrida: each panel approx 112 x 110 Cherry Orchard: each case 70 x 57 cm Manhattan: each panel approx 110 x 110 cm Red fabric: 179 x 115 cm From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

A GROUP OF MID-CENTURY FIGURAL FABRICS, decorated with various geometric and figural polychrome patterns, in various sizes, some uncut fabric, and some sewn into curtain panels. (7) From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

A GROUP OF MID-CENTURY FABRICS, graphic prints, in various colourways, mostly un-cut fabrics, some sewn into curtains panels, of various sizes. (12) From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

PETER HALL (BRITISH 20TH CENTURY) FOR HEALS: A length of 'Verdure' fabric, designed in 1965, printed 'HEALS "VERDURE" BY PETER HALL / WOVEN AND PRINTED IN ENGLAND' to the border, together with a length of 'Tivoll' fabric, designed in 1967, sewn into two curtain panels, printed 'HEALS "TIVOLL" DESIGNED BY PETER HALL / WOVEN AND PRINTED IN ENGLAND' to the borderVerdure: 124 x 115 cm Tivoll: each panel approx 145 x 133 cmReference: See Victoria & Albert Museum, London, accession numbers CIRC.257-1967 (Verdure) and CIRC.27-1968 (Tivoli) for other examples of these fabrics. From the V&A: The late 1940s to the 1970s was a remarkably creative era in British textile design. Aided by post-war confidence and growth, a new wave of designs was produced, influenced by art and design from around the world. Designers created markedly contemporary, buoyant styles that elevated textile design to new heights, lifted public spirits and transformed the home.

The WWII MM group of five of George Henry Stone taken prisoner during the Italian Campaign, Military Medal GVIR 6479588 Fssr G H Stone R FUS, 1939-1945 Star, Africa Star, 8th Army Clasp, Italy Star and Defence Medal, with press cutting, Buckingham Palace investiture ticket dated 8 May 1945, aluminium 'trench art' cigarette tin dated 1944, photograph of Fusilier Stone and six air letters to and from Fusilier G H Stone, three with rectangular boxed purple ink stamp IT IS REGRETTED THAT THIS ITEM COULD NOT BE DELIVERED BECAUSE THE ADRESSEE IS REPORTED MISSING and a contemporary postcard format photograph of Fusilier Stone standing on the steps of the Cleopatra Monument at Midan Tahir, Alexandria and WWI pair British War Medal and Victory Medal 5590 Pte A Atkins Notts & Derby R and British War Medal 202310 Pte A W Atkins N Staff R  Fusilier Stone was awarded the Military Medal for gallantry in the face of the enemy on Anzio beachhead, January 1944. He was wounded and taken prisoner a few days later, being repatriated in September 1944

Poole Pottery - A large contemporary wall hanging display plate, in an orange ground with floral and foliate pattern. Together with a Bursley ware bowl, Shelley vase and another studio art pottery vase. Measures approx. 36cm poole pottery plate. 

A contemporary studio art glass ornament in the form of a peacock bird. Having green and blue feathers in a mating display stance, with square stepped base. Measures approx. 20cm tall.

A contemporary studio art glass ornament in the form of a peacock bird. Having green and blue feathers in a mating display stance, with square stepped base. Measures approx. 20cm tall. 

James Maberly (Contemporary) - Three Heron, signed below, pastel on paper, 59.5 x 42 cm, mounted, glazed and framed, frame dimensions: 70 x 85 cm. Maberly was born in Kenya and grew up in Zimbabwe. He studied art at both Ipswich and Norwich schools of fine art, where he specialised in sculpture and drawing.

Patricia Govezensky (Israel, b. 1961) - Friends by the Bayside - 2003 - A contemporary limited edition hand pulled silkscreen serigraph. Edition 128 / 375. Signed & numbered in pencil. Mounted, framed & glazed. Measures approx. 25cm x 20cm (10" x 8"). Patricia Govezensky was born, raised and educated in Israel, where she also studied art. She graduated with distinction in her art studies at the Avni Institute and the Art Academy at Ramat Hasharon. These two institutes are the most venerable and well known art academies in Israel. After studying for six years she went to Paris for two years, there establishing herself a studio where she devoted herself to painting.

David Dodsworth (British b. 1952) - Sonnara II -a carborundum etching with metal foil on embossed on handmade paper. A/P, titled and signed in pencil on margins. Framed. Measures approx. 106 x 60cm (41.5" x 24"). David Dodsworth (British, b 1962) is a contemporary artist working in a graphic medium of his own invention. After earning a Bachelor of Fine Arts degree, he set up a studio to experiment with printmaking methods and materials as well as paper-making. He works with thick paints, gold leaf, and other metals that he cuts with a jigsaw. He then casts his exotic papers and carborundum aquatint to develop original intaglio prints in a silicon carbide mixture built onto the surface of copper plates. His unique mixture he presses against the plate to obtain highly textured relief works of art. His imagery is basically abstract. Dodsworth has received a number of prizes – some in Japan and Germany. He was accepted into the Royal Society of Painter Etchers in England. Many large corporations throughout the world own his work-- especially in the U.S., Canada and Europe. Dodsworth is represented by the Park West Gallery, Southfield, Michigan. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Ted Jones (Irish, 1952) - Sloth - 2003 - A contemporary limited edition print on paper painting. Limited edition number 148 / 250. Signed & numbered in pencil. Published by Killarney Art Gallery, Ireland. Framed & glazed. Measures approx. 41.5 x 33cm (16.5" x 13"). Ted Jones was born in Dublin in 1952. Apart from early instruction from his father, Ted was a completely self taught painter. He was encouraged to draw from a very early age and has nurtured and developed his immense talent into a style, which is unmistakably his own. His unique style likely owes a lot to the fact that he never attended Art College, instead left to his own devices his style evolved without influence, save the work of the great painters he admired so much, Klimt, Rossetti & Caravaggio. His first (and only) one-man exhibition in Killarney in 2005 sold out completely in a matter of hours, hitting the headlines in many Irish newspapers. 2006 saw the publication, by Killarney Art Gallery, of "A Life, Wrapped up" a signed limited edition book on his life and work.

David Dodsworth (British, b. 1952) - Sonnara I - A carborundum etching with metal foil on embossed on handmade paper. A/P, titled and signed in pencil on margins. Framed. Measures approx. 106 x 60cm (41.5" x 24"). David Dodsworth (British, b 1962) is a contemporary artist working in a graphic medium of his own invention. After earning a Bachelor of Fine Arts degree, he set up a studio to experiment with printmaking methods and materials as well as paper-making. He works with thick paints, gold leaf, and other metals that he cuts with a jigsaw. He then casts his exotic papers and carborundum aquatint to develop original intaglio prints in a silicon carbide mixture built onto the surface of copper plates. His unique mixture he presses against the plate to obtain highly textured relief works of art. His imagery is basically abstract. Dodsworth has received a number of prizes – some in Japan and Germany. He was accepted into the Royal Society of Painter Etchers in England. Many large corporations throughout the world own his work-- especially in the U.S., Canada and Europe. Dodsworth is represented by the Park West Gallery, Southfield, Michigan. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

A LARGE QUANTITY OF CUT CRYSTAL AND GLASSWARE, comprising a boxed Dartington Crystal contemporary decanter, a boxed set of six Royal Doulton Crystal wine glasses, a boxed Royal Mint limited edition of 500 George and the Dragon laser art glass paperweight, a boxed set of six Majesty Crystal tumblers, a Victorian hand painted pink frilled vase, grilled rose bowl, a pink Selkirk glass vase, two RCR dolphin figurines, etc. (s.d) (Qty)

Pair of contemporary Contessa Savanna range oviform table lamps and shades, the lamps moulded with Art Nouveau style lilies, the cream shades with leaf design, approx. 32cm high exc. fittings 

Contemporary large opaque glass globe-shaped pendant light with gilt-metal fittings, in the Art Deco style, the shade marbled in white and green tints, the shade approx. 25 cm high exc. fittings

Pair of contemporary composite gilt and blue japanned table lamps, each with Art Deco graduating column stem, on spreading base, 31 cm high exc. fittings

Large contemporary Art Deco style opaque glass fly catcher pendant and gilt-metal fittings, with gilt-metal palmette and wreath-cast mount, the opaque shade in orange and white tints, suspended from chain and ceiling rose, the shade approx. 30 cm diam. 

Contemporary bronzed cast metal Art Nouveau style table lamp and opaque glass shade, cast as a stylised bird of prey suspending a red and blue cased glass shade from its beak, 32.5cm high

Large contemporary bronzed metal Art Nouveau-style figural three-light table lamp, cast as a maiden holding a basket of fruit before three leafy tendril branches issuing three pink-tinted petal-moulded glass shades, on domed base, 81cm high overall

λ&nbspEMERSON MAYES (BRITISH B. 1972) IN FADING LIGHT Oil on board 35 x 38cm (13¾ x 14¾ in.)Provenance: MacLean Modern & Contemporary Fine Art, London Please note measurements do not include the frame unless otherwise stated. Condition Report: Appears to be in good original condition. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report Disclaimer

† TULLY CROOK (British, born 1938); a screen print, 'Travelling - Monterey', limited edition no. 139/200, signed and numbered, originally purchased from Christie's Contemporary Art, 48 x 48cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

† TULLY CROOK (British, born 1938); a screen print, 'Travelling - Blue Cougar', limited edition no. 139/200, signed and numbered, originally purchased from Christie's Contemporary Art, 48 x 48cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgFrame 69.5 x 69cm

ART CATALOGUES: two boxes of modern, post-modern and contemporary art catalogues including Robyn Denny, Christo, The Turner Prize and others, from the collection of one of the world's foremost buyers of Contemporary Art.

ART CATALOGUES: two boxes of catalogues and other art books, including modern and contemporary art. A number on photography. From the collection of one of the world's foremost collectoiors of comntemoporary art.

ART CATALOGUES: a box of contemporary art catalogues. Some are signed by the artist including Gilbert and George. From the collection of one of the world's foremost buyers of comtemporary art.

ART CATALOGUES: two boxes of catalogues and other art books, to include Max Ernst, Joseph Albers, Duchamp, Man Ray etc. From the collection of one of the world's foremost collectors of contemporary art.

ART CATALOGUES: two boxes of modern, post-modern and contemporary art catalogues including Damien Hirst, from the collection of one of the world's foremost buyers of Contemporary Art.

AUCTION CATALOGUES: Christies etc. Modern and Contemporary Art and others. Two boxes.

ART CATALOGUES: two boxes of catalogues and other art books, including modern and contemporary art. Including Malcolm Morley and others. From the collection of one of the world's foremost collectors of contemporary art.

AUCTION CATALOGUES: Sotheby's, Christies's etc. Mostly on Modern and Contemporary Art. Two boxes including some high-end magazines (Gagosian etc.).

ART CATALOGUES: two boxes of catalogues and other art books, including modern and contemporary art. Sean Scully, Antonio Tapies, David Hockney and many others. From the collection of one of the world's foremost collectors of contemporary art.

ART CATALOGUES: two boxes of modern, post-modern and contemporary art catalogues including Willem de Kooning, from the collection of one of the world's foremost buyers of Contemporary Art.