Children's Books - Blyton (Enid): The Put-Em Rights, first edition, 1946, h/b only; The Mountain of Adventure, second impression, 1949, h/b, pictorial dustjacket; Last Term at Malory Towers, first edition, 1951, h/b, pictorial dustjacket; Five on a Treasure Island, seventh impression, 1950, h/b, pictorial dustjacket, (4); other stories, all h/b, most with pictorial dustjackets; Baum (L. Frank), The Wizard of Oz, second edition, London: Hutchinson's Books for Young People, 1947, pictorial boards; children's annuals, various, 1950s and onwards; etc
We found 596772 price guide item(s) matching your search
There are 596772 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596772 item(s)/page
A BRUSSELS STYLE WALL HANGING, 17/18th century, the rectangular centre depicting the Baptism of Clovis by Saint Remigius in the Abbey of Saint-Remi, Reims, contained within a broad border of interwoven rosettes, picked out in deep blue and earthen tones. 293 x 309cmClovis I (466 - 511AD) was the first King of the Franks to unite all the Frankish tribes under one ruler by transforming the original mode of governance from tribal chieftaincy to a hereditary monarchy. His father, Childeric I had founded the Merovingian Dynasty in c.457 but it was his son who succeeded in creating of a stable and in turn sustainable dynasty which would rule for a further three hundred years. Clovis is also renowned for his important relationship to Christianity and is often referred to as the first Christian king of France. A pagan at birth, Clovis converted to Christianity, mostly on the bequest of his wife Clotilde, in 496. His conversion is significant in its rejection of Arian Christianity, the prevailing faith of most other Germanic tribes of the period. The conversion is widely reflected upon in literary and decorative works such as this present example. Gregory of Tours, a Gallo-Roman historian was the first to produce a written record of the event, in which he describes the baptism taking place on Christmas Day 508AD following Clovis’ defeat of the Alamanni in the Battle of Tolbiac. In a small church, which would subsequently become the Abbey of Saint-Remi in Reims, Clovis is baptized by Saint Remigius (c.437 - 533 AD); a statue commemorating the occasion can still be seen today in the cloister of the church. Niamh Corcoran The inspiration for such tapestries often came from existing engravings or manuscript illustrations. The linear quality of engravings is reflected in the woven pattern of the tapestries in which a sense of depth or texture is expressed through line. A close point of reference for the compositional arrangement of this tapestry is a print contained in Right Rev. Richard Gilmour’s Bible History: Containing the Most Remarkable Events of the Old and New Testaments. Similar examples of tapestries can be found in the ‘Salle du Conseil Communal’ in the Hotel de Ville in Brussels. The town hall, a gothic building constructed in the 15th century is home to wonderful 17th and 18th century verdure wall tapestries. Belgium was an important center of production for verdure tapestries from the medieval period onwards producing pictorially sophisticated works in which numerous individuals were involved in the process from the original design, to preparatory charcoal cartoon and the final woven product. The representation of Clovis varies, from a Christ-like figure, nude but for swaddling in the baptismal font, or as in this present example, dressed in heraldry and armour - following his victorious battle- as a solider of Christ, kneeling before Remigius and attendants. The history of rulers converting to the Christian faith before or subsequent to a battle is not unique to Clovis, as Constantine had done a century earlier after the Battle of Milvian Bridge. These representations reflect the broad appeal for the tradition of public acts of piety, termed religion royale, in which the ruler is presented as a Christ-like figure enacting divine rituals. Such iconography reinforced the royal claim to a divinely sanctioned authority to rule.
AN EARLY 19TH CENTURY JAMAICAN SATINWOOD, ROSEWOOD AND SPECIMEN-WOOD WORK TABLE, attributed to Ralph Turnbull of Kingston, Jamaica, the rectangular top with spiral bound decoration centered with a star, above three drawers, the top drawer with a secretaire writing surface, the middle drawer with an arrangement of lidded compartments above a well drawer, all with turned timber knop handles raised on a carved leaf and berry scroll quatrefoil base and carved paw feet. 66 x 48cmBorn in Scotland in 1788, Ralph Turnbull appears to have moved to Jamaica with this two brothers, Thomas and Cuthbert, in the early 19th century. An advertisement in the Kingston Chronicle in 1819 indicates that he was in partnership with his brothers at that time, though they would appear to have had separate businesses by 1823. He was also married about this time and he and his wife Jane had three children.Ralph Turnbull is best known for his idiosyncratic furniture, with its unusual exotic veneers. It appears that he was the only one of the Turnbull’s to actually label his work. Such was the quality of his work that he was awarded a most prestigious commission - a large suite of furniture for the Governor, the Marquis of Sligo. Peter Howe Browne (1788 - 1845) was the son and heir of John Browne, 1st Marquess of Sligo. He was educated at Eton and Cambridge and on the death of his father in 1809 he became 2nd Marquess of Sligo inheriting his father’s titles and immense fortunes, including over 130,000 acres of County Mayo. He also inherited two plantations in Jamaica from his Kelly grandmother. In 1834-35 he was Governor and Vice-Admiral of Jamaica and set about reforming the status of slaves on the island and improving the work and living conditions they had had to endure. Sligo was the first plantation owner to initiate a wage system for black workers and later, after emancipation, to divide his lands into numerous farms to be leased to the former slaves. The planters, who were dead set against him for initiating such reforms, commenced a campaign of vilification against him culminating in his removal from office in late 1836. His work towards the emancipation of slaves continued however and his pamphlet, ‘Jamaica Under the Apprenticeship System’ greatly influenced the debate on emancipation in the British parliament in 1838. Sligo is renowned widely as one of the principal influences in the abolition of slavery and his public announcement in March 1838 that he would free all apprentices on his own estates in Jamaica drove the government to declaring full emancipation on August 1838. Sligo is acknowledged as “Champion of the Slaves”, and the town of Sligoville, Jamaica, the first free slave village in the world, still bears his name.
A SET OF FOUR PERSPEX CASED DIORAMA, each modelled period interiors of 18th and 19th century rooms, signed Broun-Morison, each 22 x 26 x 20 cm. The first dollhouses appeared in Northern Europe in the 17th century and, unlike the modern toys which so delight children today, they were objects to be taken seriously. Delicately carved furniture sat against backdrops of silk wallpaper which, in turn, were spotted by impeccably executed oil paintings. Dining rooms were equipped with full china dinner services whilst genuine silver candlesticks would hold aloft tiny candles and the house’s occupants would sit dressed in the finest fashions of the day. These miniature rooms were curated by the matron of the house and were a way in which to display the opulence and grandeur of her own household. Inadvertently, the dollhouse morphed into an historical record of interior design and gave rise to the production of period dioramas, such as the ones shown here.As with the original dollhouses, the purpose of the diorama is display. However, in contrast to the dollhouse, the diorama does not offer itself up to change and instead is a perfect box of preservation. The current lot spans three hundred years of design, encompassing the Queen Anne, Georgian, Regency and Victorian eras respectively, with each one quintessentially decorated to the tastes of their time.
A RARE IRISH VICTORIAN YACHTING TROPHY, Dublin 1866, mark of John Smyth, in the form of an oversized beer flagon with hinged lid, the finial with cast figure of a sailor, the body profusely decorated with repousse and chased foliate scrolls, framed by shamrocks, thistles, with engraved reserve inscribed THE PRINCE ALFRED YACHT CLUB KINGSTOWN, WON BY THE AQUILINE, 1866 THE WORLD'S OLDEST SPECIFICALLY AMATEUR YACHT CLUB, 1857, (c. 44 troy ozs). 36cm highFounded in Dublin in 1857, the Royal Alfred Yacht Club, then known as the Irish Model Yacht Club, was established to put an end to the passive ownership of sailing boats. The club provided Victorian men with the skills necessary for manning their vessels and encouraged the practice of good seamanship. This was completely against the norm as, prior to this, yacht clubs had essentially taken the form of social clubs in which very few sailing events were actually held. Furthermore, when races did take place, the boats were manned by professional seamen, not the owners. In rebelling against this tradition, the club became the first specifically amateur yacht club in the world.For the first time, yacht owners could proudly call themselves sailors, with the Model Yacht Club being so named in order to encourage others to follow in their stead. As active organisers and partakers in amateur races, the club called for a regulated set of rules to be enforced. This led to the current Yacht Racing Association’s Racing Rules, for which the principal authorship can be accredited to Henry Crawford and George Thomson, two flag officers of the Royal Alfred.Whilst the Royal Alfred’s members were gentleman and would not entertain the idea of being paid to sail, it is recorded that they were more than happy to accept prizes in the form of money or beautiful silverware, with the current lot being an excellent example.
HENRY RICHARD GRAVES (1818-1882)Portrait of Frederick, Earl of BelfastOil on canvas, 43 x 36cmInscribed verso on stretcher 'Frederick Earl of Belfast by Hon. H. Graves 1851'Frederick Richard Chichester (1827-53), called by courtesy Earl of Belfast, was the second son of George Hamilton Chichester, 3rd Marquess of Donegal and his first wife Lady Harriet Anne Butler.He was educated at Eton and was a highly artistic and gifted young man, passionate about literature and music. From an early age, he was composing music and eventually became President of the Classical Harmonists Society in Belfast in 1852.The proceeds of his earliest compositions, £100, were donated to a fund to assist in the relief of famine in Ireland, 1846-47.He was greatly interested in education in Belfast and gave a series of lectures on ‘Poets and Poetry of the 19th Century’ to the Belfast Working Classes’ Association (of which he was patron) in 1852. He hoped to give a further series on the poetesses of the same period but died before carrying them out. His health was not good and he spent the winter of 1852-53 on the Continent, dying in Naples in February 1853 aged only 26.His remains were later brought back to Belfast and were eventually placed in the Chapel of the Resurrection, on the Cave Hill, near Belfast Castle. A statue of him stood in Wellington Place until 1875 and now in the City Hall. He was a published author of numerous books- including novels.There are at least three other portraits of the sitter (a) by Orazio de Manara in the collection of the National Museums Northern Ireland (b) two by Richard Rothwell in Belfast City Hall and Ulster Museum respectively. There are portraits exhibited by Henry Richard Graves of the 6th Marquess of Londonderry at Mount Stewart, County Down and one of the Countess of Enniskillen at Florence Court, County Fermanagh-both National Trust properties.
Andy Warhol (after), a square coffee table, painted wood, the top inset with a silkscreen of Marylin Monroe after Warhol, published by Sunday B Morning, late 20th century, edition number 31 of 150, 34cm high, 91cm x 91cm Provenance: Lamberty Art & Design, selected items from the storages.A similar table by Sunday B Morning, was sold at Christie's Paris, First Open Home, 23 November 2016, lot 83
Hubert le Gall (French, b. 1961), Youyou Sous Les Etoiles, a bronze gueridon, with a stylised cloud top, limited edition 3 of 8, signed, 63cm high, 48cm wide It was not until Lyon-born designer Hubert le Gall was 25 that he decided to abandon his finance studies and follow his passion for making art. Though playful and poetic in nature, the French designer's sculptural creations are always functional. Inspired by all-encompassing 'total art' movements such as the Arts and Crafts movement in Britain, Le Gall aims to tell stories through usable objects. His designs, often inspired by nature and the animal kingdom, are exhibited internationally, including during a recent retrospective at Twenty First Gallery in Tribeca, New York. A monograph of the designer written by art historian Jean-Louis Gaillemin was published by Editions Norma, 2016. Another gueridon by Le Gall was recently sold at Tajan, Design, 4 June 2019, Lot 152
COLLECTION OF FIRST DAY COVERS with some medal examples and a London 2012 Olympic £5.00 commemorative coin, circa 1980 onwards including a Royal Mail Millennium presentation case with dates up to 2001, a Royal Mail Millennium Moment commemorative document and a Christmas 2005 Christmas coin set
λ Mark Brazier-Jones (b.1956), three designs for tables, pencil and coloured chalks on paper, each monogrammed and dated 2010, two 30.5cm x 45.5cm; one 45.5cm x 30.5cm, the first two in clip frames, the latter with no glass (3) Provenance: Lamberty Art & Design, selected items from the storages. λ Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.
TWO VIETNAMESE MOTHER-OF-PEARL INLAID ARTICLES LATE 19TH/EARLY 20TH CENTURY the first an oval box and cover, the cover inlaid in mother-of-pearl with a scholar standing in front of the walls surrounding a temple complex; the second a rectangular hanging panel, inlaid with landscape vignettes (2) (Dimensions: largest 51cm wide) (Qty: 2)(largest 51cm wide)Footnote: Provenance: Private Edinburgh collectionCondition report: - Good overall condition. - Some small chips to the mother-of-pearl inlay, not affecting the appearance
THREE BRONZE CENSERS XUANDE MARK BUT QING DYNASTY finely cast with a compressed globular body rising from a short foot to a gently flared rim, set with a pair of lion-head handles, the base with an apocryphal six-character Xuande reign mark in a recessed rectangular panel, together with a similar smaller bowl, similar handles and seal mark; and a similar sized bronze bowl, dark patination, plain angular lug handles, similar mark (3) (Dimensions: widths: 17cm, 12cm and 13.5cm) (Qty: 3)(widths: 17cm, 12cm and 13.5cm)Footnote: Provenance: From the collection of Sir Robert Stodart Lorimer, KBE (1864– 1929); thence by direct family descent & previously on loan to Kellie Castle FifeCondition report: First Good overall appearance - Surface tarnishing and general wear as consistent with age and use Second similar condition, handles a bit finer and crisper Third, good patination, dirty, seal mark not overly clear, 6 small holes, old repairs
TWO EMBROIDERED PANELS QING DYNASTY, 19TH-20TH CENTURY one decorated with a large peony in the centre, surrounded by various plants and birds in flight; a narrower tapestry adorned with a peony and various antiques, both in wooden frames (2) (Dimensions: first: 44.5x34cm; second: 44x13cm) (Qty: 2)(first: 44.5x34cm; second: 44x13cm)
COLLECTION OF THREE WOOD NETSUKE MEIJI PERIOD the first as a turtle with a chicken on its back, each with small glass eyes, the base incised with a two-character signature; the second as a curled coy carp with a young boy astride, a ruyi sceptre on his back, inset mother-of-pearl disc with two-character 'Masatsugu' mark; the third as a horse with curled in legs and a seated monkey holding a gold ingot on its back, unsigned (3) . (Dimensions: widths: 50mm, 40mm, 42mm) (Qty: 3)(widths: 50mm, 40mm, 42mm)
COLLECTION OF FIVE WOOD NETSUKE 20TH CENTURY the first in fine grained soft wood of a seated monkey with a frog, with a two-character 'Jiro' signature; a horse with head turned and legs curled under, with 'Gyokuseki' signature; a mouse grasping its tail with four paws, pale fine grained wood, with 'Masakatsu' signature; a carved turtle shell with a grotesque beast on its back, with 'Hozan' mark; and another boar (5) (Dimensions: widths: 38mm to 42mm) (Qty: 5)(widths: 38mm to 42mm)
A World War Two Naval Medal group, awarded to Stoker W. Pearce First Class, comprising War, 1939-45 Star, Burma Star and Atlantic Star, together with a framed black and white photograph of Pearce and the two ships that he was on, HMS Glenroy and HMS Franklin, plus framed certificate and copies of records (parcel)generally good condition, no obvious signs of significant damage or repair
SS Canberra First Class Dinner and Tea Ware, ceramic tea and dinner ware with a geometric blue pattern designed by Lady Casson for SS Canberra, by Ashworth Bros, including plates, comport, bowls, lidded tureen, tea and coffee pots, cups and saucers and other items of table ware, some crazing, no obvious damage, some minor wear, G, (28)
Carreras and Australian Liqorice Movie Themes, three sets Australian Liqorice Film Stars (grey) first and second series (48) and Carreras (Australia) Personality Series Film Stars (72), together with Carreras Smile Away Tobacco Film Stars 62/72 and Australian Liqorice 1937 Shirley Temple Film Scenes 17/36, mostly F-G, some P, (4)
A 19th Century Tower flintlock blunderbuss pistol, having crown stamp to the lock plate, wooden body with applied brass octagonal barrel with fluted end, brass trigger guard and butt plate, complete with ram rod, AF missing opposite plate to mechanism, mechanism very stiff but holds in the first position, wood in generally good condition, some minor knocks, no visible sign of worm, lock plate rusted, barrel some minor knocks and scratches, would need some work and TLCmissing opposite plate to mechanism, mechanism very stiff but holds in the first position, wood in generally good condition, some minor knocks, no visible sign of worm, lock plate rusted, barrel some minor knocks and scratches, would need some work and TLC
A World War Two Royal Artillery Medal group, awarded to Gunner John Kines Hall (1084571) 1st Air Landing Light Regiment, fighting throughout Italy and dropped into Arnham 1944 on the first landing, he was one of three other gunners and two pilots of the Horsa Glider with gun and trailer, killed in action of the second day whilst part of the defence around Oosterbeek, medal comprising War, Defence, 1939-45 Star, Italy Star and France and Germany Star, with RA cap badge, complete with original medal box and researchthe original medal slip is in the medal box, these are not miniature medals, we can post to a UK address for approx £30 + VAT because of the glass, without the frame can be less approx £15, however for numerous lots or value of the lot(s) the price will also increase.
Susie Cooper, a green glaze jar with pressed floral design, 9cm high, a Wedgwood cup and saucer of ribbed form in yellow glaze, NW2334, from the Robin Reilly Collection of Wedgwood (collection no. RR258) and a Wedgwood bowl CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk/The first with hairline crack and associated chips, the cup, saucer and bowl all in good condition
Three Derby coffee cups c.1756-60, of bell shape with wishbone handles, one painted with confronting cockerels and a Chinese family, another with a bird perched on flowering peony, the last with European flowers, some faults, 6.5cm. (3) Provenance: the Jean Lucas Collection. The first with a paper label for the Watney Collection.
WW2 British Steel Combat Helmet with Camouflaged Net, fine example of a standard WW2 British steel combat helmet complete with its original camouflage netting cover, first aid pouch under the cover, webbing chinstrap and leather interior liner which is dated 1939. Missing interior liner pad but otherwise good condition example.
Stamps: The Movaleaf Stamp album, containing a school boy collection of World stamps, stock books with GB Mint stamps,Stanley Gibbons Devon Album, containing interesting GB collection, including a penny black, a few First Day Covers and collectors packs, together with three small albums of FDC's.
A Newhall famille rose hardpaste cream jug and one similar: the first of pedestal helmet shape, painted in iron-red, green and puce with pendant sprays and scattered sprigs, pat. no.121, circa 1785-90, 9.5 cm high; the second painted in the pink ribbon pat. no.186, circa 1790-95, 9.5 cm high [2].
A Factory Z bat printed 'marine subject' teabowl and a New Hall bat printed tea cup and saucer: the first printed in black with a three-masted man-o-war, two figures and a dog on the shore, circa 1800, 9 cm [hair cracks]; the second printed in black with 'Adam Buck' vignettes of mothers and children within gilt borders, iron-red V mark to saucer, circa 1810, saucer 14 cm diameter [3].
A New Hall bone china teapot stand, a similar teacup and saucer and two other tea cups and saucers: the first painted with a band of pink roses and pansies, printed 'New Hall' mark, pat.no.1571, 19 cm wide; the second with similar decoration, pat.no.1498 [hair crack]; the last two painted with flowers and foliage, one in pat.no.U593 [7] all circa 1815-25.
Gontard & Bolviller a Paris, a striking carriage clock: the eight-day duration movement striking the hours and half-hours on a bell with push button repeat of the last hour at will, with a replaced platform lever escapement, the backplate stamped with the trademark for Bolviller, Paris and numbered W 513, the white enamel dial having black Roman hour numerals, fine blued steel moon hands and signed Gontard & Bolviller, Paris, the cast brass case with floral decoration, with a fully engraved shuttered rear door, height 19.5cms handle up, 17cms handle down.* Biography Moïse Bolviller, born August 1800 in Metz, was a maker of French carriage clocks first recorded in Paris in 1829. He often used blancs roulants (rough movements) supplied to him by the well-known makers Holingue frères as well as those from Japy frères, the latter usually having a sweep seconds hand. In circa 1847 Bolviller went into partnership with the well-known escapement maker Celestine Phillipe Gontard with whom he was awarded a patent in the following year for a detent escapement, the patent registered at the Gontard address 12 rue St, Hyacinthe, St. Honoré, whereas Bolviller is recorded working at rue Vendome 12 at this time. The partnership would seem to have ended in 1851 and Moïse Bolviller died in December 1874. * Note Reference Leigh Extence Early Carriage Clocks Pub. NAWCC May 2019
A New Hall bone china coffee can and saucer and two New Hall teabowls and saucers: the first decorated in the Imari palette with a river scene including a man carrying panniers over a bridge, a pavillion and trees, pattern 1163, circa 1810; a bone china teabowl and saucer painted in pattern 1180 with floral sprays and pink bands; the other hardpaste in pattern 467 with iron-red ribbon bands and floral sprays [6].
T. Lake & Son, Taunton, a striking wall clock: the double fusee, eight-day duration, five-pillar movement striking the hours on a bell, the painted twelve inch round convex dial having black Roman numerals and signed T. Lake & Son, Taunton, the cast dial falseplate stamped with the dialmaker's name Walker & Hughes, Birmingham and with blued steel spade hands, the round mahogany case having a cast brass bezel to the dial, diameter 38cms.* Biography Thomas Lake is recorded as working in Taunton from circa 1793 appearing as a watchmaker in both the 1793 and 1798 Universal British Directories, being still described as the same in the poll book of 1818 before describing himself as a clock and watchmaker and optician working in East Street from 1822 until at least 1839, becoming Lake & Sons until 1842 and then Lake & Son until 1852. He took various apprentices in the early 19th century and the Taunton St. James church records of 1828 show a payment to him for the sum of £5-5-0 for half years care of the clock. * Note Reference A.J. Moore The Clockmakers of Somerset 1650-1900 Pub. The Author 1998.* Note Walker & Hughes were well known makers of dials having both worked singularly and in partnership with other dialmakers at some time. They first worked together in 1812 at 15, Lower Priory, Birmingham and then Fisher Street until disbanding in 1835. . It has been noted that 'there were obviously several very good artists employed by Walker & Hughes'. It is also noted that they 'can be considered to have been a very important firm in the history of dial making not just because of the quantity and quality of dials they produced, but for their original and innovative ideas'. * Note Reference M.F. Tennant The Art of the Painted Clock Dial Pub. Mayfield Books 2009.

-
596772 item(s)/page