We found 71174 price guide item(s) matching your search
There are 71174 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
71174 item(s)/page
Lot 867
A Light Infantry Officer's Sword, by W Jones of London, with etching along the blade, single edged, single fullered, 82cm long blade, complete with scabbard Condition Report:looks to be victorian, tip slightly blunt, cutting edge slightly blunt, blade appears straight, some minor discolouration to the blade, needs a clean, grip slightly worn, all still tightly fitting, otherwise, generally good conditon, no obvious signs of significant damage or repair
Lot 14
Bleak House, By Charles Dickens, in the original monthly parts as issued, complete with the original 20 parts bound in 19, in blue wrappers, with illustrations by H. K. Browne, London: Bradbury & Evans, Bouverie Street, first edition, first issue. The bottom of the front wrapper of No. I reads “Agents: J. Menzies, Edinburgh; Murray And Son, Glasgow; J. M’Glashan, Dublin” and “Notice is hereby given that the Author of ‘Bleak House’ reserves to himself the right of publishing a Translation in France”, and the notice about publishing rights is in heavier type than the line about the agents; this is altered in No. V and subsequent numbers to read “The Author of this work notifies that it is his intention to reserve the right of translating it.” There are 40 plates altogether and all the plates are present, including the Dark Plates, and the parts are housed in a custom slipcase. The book was Dickens’ ninth novel and was published in monthly installments that ran from March 1852 through September 1853. The last installment had two parts - No. 19 and 20 - bound as one and cost 2 shillings, instead of the usual 1 shilling for each of the parts. The outer slipcase measures 9 1/2 x 6 1/2 in. wide and has “Bleak House, Charles Dickens, 1852 - 3, Original Parts” in gilt lettering on the spine, and the blue wrappers are 8vo. and measure 8 7/8 x 5 5/8 in. wide. There are two substantive innovations in this novel: Dickens used short titles instead of long ones, and he changed the wrappers from green to blue. All the plates, slips, and ads which are called for are present to make this a first edition, first issue. There are forty plates altogether, and No. IX has the white slip which reads “An accident having happened to the Plate, it has been necessary to cancel one of the Illustrations to the present Number. It will be supplied in the next Monthly part.” The accident happened because the illustrator made a mistake by introducing Grandmother Smallweed into the etching, instead of the fair “Judy”, and the plate was cancelled, then corrected and issued in the next number, so No. IX only has one plate and No. X has three plates, as called for. (See Hatton and Cleaver page 291.) The following also need to be present, according to Eckel, and they are here: Nos. XI and XIII have the mauve slips concerning “Handley Cross”; No. XV has an eight-page slip about the “Village Pastor”; Nos. XIX and XX have the announcement of the publication of the “The Newcomes” on a yellow slip of paper, and all the parts have the Bleak House Advertiser present at the beginning of each part. According to Hatton and Cleaver, two other ads called for are present here too: the scarce “Grace Aguilar’s Works” ad in Nos. XIII and XVI and the “New Geographical Educational Works” ad in No. XIV. (The Grace Aguilar ad in No. XVI has only 2 of the 8 pages it’s supposed to have, and that is the only lacking in all the parts.) The Dark Plates were the result of “machine-tinting” the steel engravings, which gave an effect of mezzo-tinting. The steel was first closely ruled with fine lines and then the design was etched over the ruling; after that, the plates were burnished and the sense of light and shadow was heightened. The Dark Plates here also have clear lines on the captions, instead of fuzzy or smudged lines, and these clear lines indicate earlier plates and printings. (See Eckel page 73, when Eckel speaks about the captions for the plates in Dombey and Son - this makes a critical difference in understanding whether you have an early printing or a later printing of a Dickens work.) There are other indications of an early printing here too. No. I has uncut pages in the ad for Norton’s Camomile Pills in the rear; page 2 in the front ads of No. IV and VII are not paginated, as well as page 4 of the front ads in No. XVII; the “10” on page 10 of the front ads in No. XI and XIV has bold I’s; the slip for Household Words in No. X is inserted upside down, and a slip for Thomas Anderson & Son is inserted before the Bleak House Advertiser in No. XVII and this error is not mentioned in Hatton and Cleaver at all; and there are five lines of errata at the back of XIX - XX. There are tissue guards in between many of the plates, owners’ names at the top of four wrappers (Nos. VIII, IX, XIII, and XVIII) and light browning or foxing on some plates; some wrappers have numbers circled in pencil on the first page of the front ads (we don’t know why), one plate is loose (in No. XVI) and one plate has a one inch tear in the bottom margin (No. XIV). There is light wear on the heel of a few wrappers and some folds or light wear at the edges of a few wrappers, but the front of the wrappers are generally very clean and have no soiling. There is also a slight seam separation at the top of the outer slipcase, but it does not detract from the binding, and it is difficult to find a complete first edition set with all the points of issue called for, and overall this is a very attractive set of the first issue for Bleak House. See The First Editions Of Charles Dickens, Their Points and Values, John C. Eckel 1932 and A Bibliography of the Periodical Works of Charles Dickens: Bibliographical, Analytical & Statistical, by Thomas Hatton and Arthur Cleaver 1933 for identifying first editions and first issues in the periodicals of Dickens.
Lot 41
Hans of Iceland. London: J. Robins And Co. Ivy Lane, Paternoster Row 1825, with four original black-and-white plates by George Cruikshank. The author is unnamed, but it was written by Victor Hugo, and this is the first English edition of Hugo’s book. Hugo wrote it in French in 1821 under the title Han d’Islande, and It was Hugo’s first novel. It was published in French in 1823, then published in English in 1825, with the four etchings by Cruikshank. Victor-Marie Hugo (1802 - 1885) was a French Romantic writer and politician. During a literary career that spanned more than sixty years, he wrote in a variety of genres and forms, and is considered to be one of the greatest French writers of all time. The story has all the ingredients of a gothic novel: dreadful murders by the hand of a human monster, a young hero in love with the destitute heroine, royal court intrigues and a rebellious uprising, all set in dungeons, dark towers, and the untamed nature of Norway, back when it was part of Denmark. The book is 7 7/8 x 5 in. wide, in an exquisite maroon binding by Riviere. The spine has six gilt- ruled compartments, a gilt title, gilt devices, and “1825” in gilt at the bottom of the spine. There are gilt-ruled rectangular borders with fleur-de-lis designs at the corners, the binding is done in morocco, the endpapers are a stately blue, with the bookplate of Frank L. Hadley; we don’t know who he was, but there are oil wells on the bookplate, and we believe he was a man of means. The book is 225 pages long, with a leaf before the half-title that lists New Works, Illustrated by George Cruikshank, followed by the half title and a wonderful frontis by Cruikshank titled “Some say this Monster was a witch, Some say it was a devil”, then the title page and a notice complimenting Cruikshank for his “four very ingenious and spirited etchings”, and all four etchings by Cruikshank are present. The imprint of J. Robins follows the last page of text, and there are two pages of ads for works published by J. Robins at the rear, and the top edge is gilt. The binding is tight and secure and the text and etchings are very clean, except for the last plate, which has some light browning in the top left corner that doesn’t affect the etching; there only two titles of the first French edition that we could find online, and those are very expensive, and there are only three listings for this title in English, and they don’t have the same quality as this first English edition.
Lot 226
λ LAURA KNIGHT (BRITISH 1877-1970)STARGAZING Etching and aquatintSigned in pencil (lower right) and inscribed 'aquatint' (lower left)22.5 x 15cm (8¾ x 5¾ in.) (plate size)Please note measurements are excluding frame unless otherwise stated.Please note the measurements of this works have updated.
Lot 257
A group of five modern prints;to include Paul Beck, Partridge, signed, numbered 17/50, linocut, 55 x 42cm; Pamela Hughes, Butterfly Bush, signed, artist's proof, etching and aquatint, 37 x 32cm; Richard Sell, Farmer's Glory, signed and dated 1987, numbered 3/17 (3rd state), etching and aquatint, 37.5 x 30cm; and Nicholas Barnham, Norfolk Church, Interior, signed, numbered 24/50, linocut, 19 x 14.5cm; together with another print by the same hand
Lot 267
Three prints. Dolf Rieser, A framed Artist's Proof etching of a cityscape with orange wash, signed 'Dolf Rieser' lower right, 38 x 47cm; together with a coloured etching of a house in fields, edition print '112/150', signed indistinctly lower left, 49 x 46cm; A print of 'A Royal Salute', 45 x 72.5cm (3)
Lot 318
AFTER WALLIS JAMES "Moorland landscape with grouse in foreground", black and white etching, signed in pencil to margin, impression size 15 cm x 35.5 cm, AFTER M M RUDGE "Fishing village with boats in foreground", black and white etching, signed in pencil to the margin, 22 cm x 24 cm, AFTER JOHN DAVIDSON "Windmill", black and white etching, signed in pencil to margin, 12.3 cm x 17.2 cm, together with another by the same hand "Strand-on-the-Green, Kew", a river landscape with barges, black and white etching, titled and signed to the margin, 14 cm x 19 cm, another by the same hand "Village scene with church in background", black and white etching, signed in pencil to the margin, 17 cm x 12.5 cm, a framed and glazed "Perspective View of the City of Gloucester in Gloucestershire", engraved for The Complete English Traveller, black and white engraving, unsigned, 19 cm x 30 cm, AFTER C E HOLLOWAY "The Old Chelsea Church", a river landscape, black and white etching, circa 1890, 22 cm x 29 cm, a black and white engraving of "Coles Hill House, Berkshire" and a black and white engraved etching "Old Cheyne Walk", together with AFTER B TEMPEST "Niobe", study of buildings, coloured artist's proof etching, signed, titled and initialed "A/P" to the margin, 29.5 cm x 24.5 cm (unframed) together with three mixed media studies of street scenes, Russian, indistinctly signed and dated 2003/4, approx 29 cm x 39 cm (x 2) and 39 cm x 29 cm (x 1) (12)
Lot 6
MANOLO VALDÉS (Valencia, 1942).Untitled.Etching and collage, copy 32/35.Signed and justified in pencil.Size: 30 x 21 cm (print); 56,5 x 73,5 cm (paper); 85 x 66 cm (frame).Manolo Valdés, both through Equipo Crónica and on his own, considered that images from mass culture and high culture, decontextualised and recontextualised, were bearers of new meanings. The subject of advertising, as in this collage engraving, thus appears committed to unforeseen semantic contents.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the 2nd International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal of the International Festival of Fine Arts, and the medal of the International Festival of Fine Arts in Paris, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Lot 350
Edith Ilesseaux, French, early to mid 20th century, ‘A Tranquil River’, signed, dated 1956, watercolour, 39cm x 29cm; another by the same artist, ‘Cottage interior’; Hanquet, Fauvist study, French street scene; Jean-François Millet (1814-1875), by and after, French village, signed in pencil to margin, limited edition number 2/50, etching, 37.5cm x 27.5cm; Marcel Jacque (1906-1981), by and after, ‘The Woodsman’, etching; other engravings, (qty).
Lot 139
Alphonse Legros (1837-1911) 'Sans Titre', etching, 22cm x 15cm; Reginald Bush (1869-1956), 'The Grim Reaper', etching, signed in pencil and dated 1908, 31cm x 25cm; J. Jungtwo, 'Grim Reaper', print, 30cm x 27cm and 'Blossom and Decay', print (4)At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report
Lot 431
Hope, W.H. St John. The Stall Plates of the Order of Knights of the Garter 1348-1485 with ninety full sized coloured facsimiles. Archibald Constable, Westminster 1901. 4to. (340 x 210mm). Finely bound in red morocco by Zaehnsdorf 1905 with tipped in etching of St Georges Chapel, Windsor Castle by Herbert Railton and b/p for George Heath Viner (1864-1955) minor foxing and bumps
Lot 811
WW2 German Naval (Kriegsmarine) Officers Dress Dagger by E & F Horster Solingen, fine example with white celluloid grip with wire binding still in place. Gilt metal eagle pommel with swastika to the centre. Cross guard with press button release to the reverse. Housed in its original gilt metal scabbard with two hanging rings. Excellent condition double edged blade with standard pattern etching. Makers trademark to the base of the blade. The blade retains much of its original finish.
Lot 812
WW2 German Naval (Kriegsmarine) Officers Dress Dagger by Carl Eickhorn Solingen, example with denazified eagle pommel, white celluloid grip having wire binding, standard cross guard with press button to the reverse. Original Kriegsmarine issue officers portepee (knot). Housed in its original scabbard with two hanging rings. Blade etched with standard etching and Carl Eickhorn Solingen makers mark to the base. The blade tip has been rounded but otherwise good example.
Lot 120
Sir Alfred East RA (British, 1844-1913)'A Flooded River' ('The Swollen River'), c. 1908, etching signed in pencil lower right and bearing inscription lower left 'With kind regards from your **********', framed and mounted, together with a copy of the Alfred East Art Gallery Permanent Collection Guide bookoverall 39cm x 31cm, within frame 26.3cm x 19.3cm Condition: Unexamined out of frame - some browning to print edges, foxing to paper particularly visible to top right margin, frame later. For a similar example see Alfred East Art Gallery. This work is believed to have been a gift to the artists nephew - thence by descent.
Loading...-
71174 item(s)/page