Aviation.- Jungle Hiker (The), general edition, hand-coloured folding frontispiece, 9 plates, 8 fully or partially hand-coloured, illustrations, many full-page, contemporary ink ownership inscription to foot of title, a few leaves very lightly foxed, original pictorial wrappers, contemporary ink ownership inscription to spine, lower wrapper slightly soiled, Ceylon, A Royal Air Force Welfare Publication, 1942 § Macmillan (Captain Norman), The Pilot's Book on Advanced Flying, first edition, plates, original printed wrappers, spine ends and corners bumped, covers slightly creased, a few light stains, dust-jacket spine ends and corners frayed with minor loss, some surface wear and soiling to panels, upper edge slightly rubbed, 1942 § Bradshaw's International Air Guide, no.1, first edition, folding colour map loose in pocket at end, bookmark on blue string, very occasional light spotting, original printed wrappers, red pencil mark to upper wrapper, lightly foxed, November 1934, small 4to and 8vo (3)*** A guide for air-crews should they crash in the jungles of Sri Lanka, this rare and charming book contains vibrant illustrations of the regional flora and fauna such as pangolins and elephants, as well as translations of useful phrases into Sinhalese and Tamil. The second book is especially scarce with no previous appearance at auction that we can trace.
We found 596780 price guide item(s) matching your search
There are 596780 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
596780 item(s)/page
Canon law.- Vio (Tommaso de, Cardinal Cajetan) Questiones rare et religiosis, first edition, collation: A4, woodcut decorative initial, small wormholes in text, lightly browned, modern boards, small 4to (195 x 135mm.), [Cologne], [Quentell], [1515]. *** Rare little collection of six brief essays examining specific ‘cases of conscience’ concerning the application of canon law to situations in daily life, particularly religious vocations and adultery.Literature: VD 16 ZV 19182.
Burns (Robert) Poems, Chiefly in the Scottish Dialect, second (first Edinburgh) edition, 48pp. list of subscribers, bookplates of "Thomas Williams/ Painter" and "W. Carnochan/ Wigtown", the second loose, ink ownership inscription of "W. Carnochan, Bladnoch, Wigtownshire", lacking half-title, portrait frontispiece and pp.ix-xviii & xxiii-xxiv from list of subscribers, first few leaves loose, worming and light staining to first and last few leaves, some loss to margins not affecting text, light foxing, nineteenth century half calf, morocco spine label, a little rubbed, 8vo, Edinburgh, Printed for the author, and sold by William Creech, 1787. *** The Edinburgh edition is an enlarged collection of Burns' verse, with over twenty-two poems here appearing for the first time. This copy contains the first issue list of subscribers with the "Boxburgh" error on p.xxxvii and the addenda to the list on p.xlvi, but the later issue "stinking" on p.263 of the main text. Bladnoch is known for its whiskey with the notable distillery established in 1817, and as early as 1728 a public house which was known for its heavy drinking, rowdy behaviour, and fights.
![F[lavel] (J[ohn]) A Token for Mourners, first edition, longitudinal half-title, light water-staining, contemporary manuscript](https://cdn.globalauctionplatform.com/8e3ecf1b-8da3-4e3b-9f67-b1da00f62373/ff42c557-cc78-4ce6-8fb0-b1da00fbf256/468x382.jpg)
F[lavel] (J[ohn]) A Token for Mourners, first edition, longitudinal half-title, light water-staining, contemporary manuscript note to front free endpaper, lacking K7, L1 misnumbered as usual, [Wing F1197], Robert Boulter, 1674 § Spelman (Sir Henry) De non temerandis Ecclesis, Churches not to be Violated, fifth edition, longitudinal half-title, old ink manuscript inscription "Tittenhanger Library" to front pastedown and "Pret 1s" to head of title, [Wing S4923], Oxford, H.Hall for Amos Curteyn, 1676 § A[llen] (W[illiam]) A Serious and Friendly Address to the Non-Conformists, beginning with the Anabaptists..., imprimatur leaf, spotting and browning, [Wing A1073], Tho.Warren for Walter Kettilby, 1693 § [Assheton (William)] The Country-Parson's Admonition to his Parishioners, persuading them to continue in the Protestant Religion, imprimatur leaf, later calf-backed marbled boards, old ink manuscript label to upper cover, [Wing A4025A], R.Wilde, 1688, the first three contemporary sheep or calf, all rubbed, spine ends worn, 8vo et infra (4)
Book sale catalogues.- Sotheby & Co. Catalogue of the Library of the late Edward Gordon Duff ... sometime Sandars Reader in Bibliography at the University of Cambridge, First & Second portions, 2 vol., 16th-19th March, 1925 bound with 6 other 1925 sale catalogues, including 3 parts of Christie-Miller and a Royal Society sale, plates, some spotting or light foxing, original printed wrappers bound in, contemporary brown half crushed morocco over cloth, gilt spine in compartments, outer section of cloth of covers scuffed and discoloured, rubbed, t.e.g.; and a sammelband of 4 late 19th & early 20th century works on printed books, manuscripts and jewelled bindings, 4to & 8vo (2) *** A sammelband of important book sales.
Africa.- Churchill (Sir Winston Spencer) My African Journey, first edition, half-title, map and photographic plates, advertisements to rear, ink ownership inscription in blue crayon to front endpaper, light foxing, original pictorial cloth, spine discoloured and ends a little bumped, a couple of small marks to covers, 8vo, 1908.
Welsh reformed drunkard bookseller.- Williams (Thomas), "Capelulo". Hanes bywyd Thomas Williams, yr hwn a adwaenid wrth yr enw Thomas Capelulo A ysgrifenwyd o'i enau ef ei hun, first edition, wood-engraved portrait to title and small illustration to foot of final recto, occasional spotting, lightly browned, unopened, original light blue printed wrappers with portrait from title repeated on upper cover, a couple of minor nicks, little creasing, a very good copy, 8vo, Llanrwst, John Jones for Thomas Williams, 1854. *** Rare first and indeed only antiquarian edition (a reprint was done in 1982). We can trace only three copies between WorldCat and Library Hub (NLW, Harvard & Cardiff). Williams (c.1782-1855), known as Capelulo after the place of his father's birth, was a notorious drunkard and adulterer, who had variously been a carriage driver and soldier in South Africa, India and South America. He later earned money as a singer, storyteller, and beggar, until the Llanwrst printer John Jones offered him a living by selling his almanacks, songs, ballads and books.
David Shrigley (British 1968-) "I Loved You From the First Moment I Saw You" 2020, from a collaboration with London-based spectacle maker Cubitts to create a glasses cloth, the cloth was sold to raise money for Guide Dogs for the Blind Association, textile made from recycled plastic.21.5 x 13.5cm (framed 35 x 26cm)The cloth is in very good, original condition with only one or two natural creases showing across its surface. The cloth appears to be laid down. The cloth is framed and glazed. The frame has some minor knocks and losses.
Three Art Glass Vases Likely Scottish, all with profuse bubble inclusions, the first and largest in light brown colourway with aventurine inclusions, the second light green with polychrome inclusions, the third yellow with flared neck, all with polished pontil.The first and largest 28cm highPrivate collection, Welsh Borders.The largest with internal hairline to body, area of repair to base/foot, the smallest with blisters to rim and body, otherwise light generalised wear.
Geoffrey Baxter for Whitefriars Ruby and Clear Glass Cased "Greek Key" and "Mallet" Vases Both introduced 1972, from the "Textured" range, the former the larger of the two production sizes and retaining Whitefriars Made in England label, pattern nos. 9810 and 9818 respectively.The first 20cm high, the second 17.8cm highPrivate collection, Staffordshire.The "Greek Key" vase with some dirt but otherwise no issues to note, the "Mallet" vase with several small chips and nibbles to rim.
A Hallmarked Silver Twin Handled Trophy Cup, Birmingham 1935, of Art Deco style, tapering cylindrical form, engraved "Kingswood Walton & Tadworth Horticultural Society Presented by P.E. Millbourn, Esq", first winner engraved "1947 Rev. G. Millar", last winner "1952 F.E. Bristow", 20.5cm high (560grams) (dents), raised on black socle base (overall height 26.5cm).
BRITISH RED CROSS SOCIETY; a collection of items relating to Mrs I. M Yaxley of the West Lancs Detachment 104, to include two medals, one with 'Proficiency in Red Cross Nursing' bar, the other with 'Proficiency in Red Cross First Aid' bar, both boxed, with Proficiency Vouchers dated 13.07.43, a group of enamelled pin badges, various cloth badges and a quantity of ephemera, to include a 'Members' Hospital Attendance Register' dated 1939, 'First Aid' and 'Home Nursing' certificates dated 1939-1946, letters, invitations, First, Second and Third 'War Service' certificates, Discharge Certificate dated 30.9.47, etc.
Collectors' coins and coin covers to include 'Ancient to Modern British currency from 1551 to the Present day', 'Millennium Coin Collection 1999-2000', both framed and glazed, a Zambia 100 Kwacha 'Sir Francis Drake', a 2000 Australian silver 50 cents, both encapsulated with certificate of authenticity, UK crowns, 2000 Royal Australian Mint proof set, '1840 First Edition Two-Penny Blue', '1840 Penny Black', 'Great Britain 1962-1968 First Phosphor Issues', a £5 'Monarchs of the 20th Century' coin cover, etc.
MERSEY DOCKS AND HARBOUR COMPANY; a large bound plan of Liverpool Docks, each page backed with linen, the first two pages with fold-out sections, one inscribed 'Mersey Docks & Harbour Company Seaforth Works, Master Plan - General, Drawing No. :- SW4/AC/I...', with a group of loose maps and papers, also a quantity of c.1950s student's surveying drawings.Condition Report: - Please note that this lot is not suitable for our in-house postage service.We would recommend collecting this lot or contacting Mailboxes Etc for postage of this lot, their details can be found on https://www.adampartridge.co.uk/services/transport/
WESTMINSTER MINT; a collection of silver and other coins comprising Isle of Man Coronation 1937 crown, gold-plated silver, Isle of Man 'Fall of the Roman Empire' silver crown, a 2000 Guernsey silver proof £1, and a millennium silver £5 coin, a Gibraltar 2000 virenium £5, a Gibraltar 2000 titanium £5, two Sydney 2000 bronze alloy $5, fencing and rowing, and an Isle of Man Daughters 1931, all encapsulated and with certificates, together with a first day coin cover £5 The Centenary of Her Majesty the Queen Mother, and four other encapsulated crowns, in two Westminster mint collectors' boxes (14).
Boxed The Bradford Exchange First World War Centenary Armistice Sculpture, limited edition 305/4999 with certificate, H25cm; Russian police beret having a collection a Russian badges some Communist era; three Heritage Collection Special Edition pocket watches; two other gold plated pocket watches; two horse brasses; two glass paperweights and boxed EPNS napkin rings
Three letters from the Bishop of Durham, Hensley Henson, to Lord Londonderry, the first dated 9th Feb 1922 and relating to the 'Treaty' vote in the House of Lords; the second dated 16th June 1928 and relating to the 'No Popery frenzy' in the House of Commons; the third dated 21st June 1929 seeking support for missions to India and praising Lord Londonderry for his latest coal mine in Seaham, all with postmarked envelopes
A mahogany longcase clock, first quarter 20th century, with eight-day chiming movement striking on an arrangement of tubular gongs, the 13inch Roman numeral dial with moon phase automaton, the mahogany case with scrolled and basketwork to the hood, the trunk with astragal glazed door and flanking canted columns 247cm high overall
Harry BRITTON (1878-1958) Fishing Boats Oil on board, signed, 29 x 39cm, 45 x 55cm framedHarry Britton was a Canadian artist who first came to St Ives in 1911 and revisited West Penwith with his wife and fellow artist, Henrietta Hancock, whom he met in St Ives, a number of times. A number of his St Ives works are held in Canadian public collections.
David ANDREW (1934) Mediterranean View Mixed media, signed, 23.5cm x 24.5cm, 43.5cm x 44.5cm framed. internationally renowned artist, represented by Messums, David Andrew received enormous encouragement from the august Ben Nicholson during his lifetime. He was born in Redruth, and initially trained at the Falmouth School of Art and later at the Slade in London in 1958/59. During this period, he drew inspiration from artists like Ben Nicholson and Piet Mondrian and delved into the psychology of perception.He had his own personal connection with Nicholson; although Nicholson was not associated with Falmouth School of Art but, he became David's most important mentor, mainly during his fourth year at Falmouth, and his first year at the Slade. This good fortune came about when he sent Nicholson a copy of an essay which he had entered for a competition on 20th Century Painting, - in which David had referred to Nicholson. Ben invited David to his house, and with the brio of youth, he asked if he might bring a painting of his own along to show him. Nicholson, once shown David's work, talked obliquely around painting, making associations with expressive hand movements, influencing him more by enthusiasm for the “feeling” he valued in paintings, than by any facts or theories attaching to them. David found Nicolson’s energy and enthusiasm were as inspiring as his paintings, which stayed with him over the course of his lifetime.From time to time, Nicholson would drop David a card out of the blue, inviting him to come and see what he had been doing. He always asked for David's comments. He was never dismissive, whatever thoughts David happened to express about what he, Nicholson, was doing. He reciprocated with critical feedback on the paintings that David had lugged along with him on his motorbike.Following his student years, David taught at Bournemouth and Portsmouth Colleges of Art while spending summers painting in the vibrant Mediterranean light and along the coasts of the USA and Canada, using a converted recreational vehicle as a mobile studio. In 1971, he assumed a teaching position at Queen's University in Canada, where he served as Associate Professor until 1995.In 2004, David Andrew returned to Cornwall, where he continued his artistic pursuits in Mousehole. Internationally renowned, and represented by Messums, David received enormous encouragement from the august, Ben Nicholson during his lifetime. Born in Redruth, David Andrew initially trained at the Falmouth School of Art and later at the Slade School in London in 1958-59. During this period, he drew inspiration from artists like Nicholson and Piet Mondrian and delved into the psychology of perception, which is evident within his works. Indeed, he had his own personal connection with Nicholson; Nicholson was not associated with Falmouth School of Art but, none the less, he turned out to be David's most important mentor, mainly during his fourth year at Falmouth, and the first year at the Slade School, London. This good fortune came about when he sent Nicholson a copy of an essay which he had entered for a competition on 20th Century Painting, - in which Andrew had referred to Nicholson. Ben invited David to his house, and with the brio of youth, he asked if he might bring a painting of his own along to show him. Nicholson, once shown David's work, talked obliquely around painting, making associations with expressive hand movements, influencing him more by enthusiasm for the “feeling” he valued in paintings, than by any facts or theories attaching to them. His energy and enthusiasm were as inspiring as his paintings, which subsequently stayed with Andrew from then on. From time to time, Nicholson would drop David a card out of the blue, inviting him to come and see what he had been doing. Visits from then on were always made from Nicholson's invitation. He always asked for David's comments. He was never dismissive, whatever thoughts David happened to express about what he, Nicholson, was doing. He reciprocated by looking at the paintings that David had of course lugged along with him on his motorbike and reciprocated with critical feedback.Following his student years, he taught at Bournemouth and Portsmouth Colleges of Art while spending summers painting in the vibrant Mediterranean light and along the coasts of the USA and Canada, using a converted recreational vehicle as a mobile studio. In 1971, he assumed a teaching position at Queen's University in Canada, where he served as Associate Professor until 1995. In 2004, David Andrew returned to Cornwall, where he continued his artistic pursuits in Mousehole.
Frederick Leslie KENETT (1924-2012) Greece Four photographic prints of sculpture, each studio stamped to verso, 40 x 50.5cm. (4)Frederick Kenett is one of the most important and yet undervalued postwar British artists of the twentieth century. He was invited by the Egyptian government in the sixties to photograph the Tomb and artefacts of Tutankhamen*, and was the first person to photograph the treasures in the tomb housed in the museum in Cairo. He travelled widely in Europe photographing classical scenes and sculptures in Spain, France, Italy, Germany and Holland often negotiating with governments.In the early sixties Kenett befriended Henry Moore and instructed Moore on Photography in return Moore helped Kenett by instructing him on the methods and techniques around sculpting. It was during the early sixties that both Moore and Kennet toured together visiting France and the low countries. Following their time together and from the mid sixties Kenett transferred his skills to sculpture and started producing his own work. Comparing both the sculptures of Moore and Kenett it is clear to see the influence that Moore had on Kenett. Frederick Kenett has been described as ‘Unquestionably the greatest photographer of Sculpture in the World who himself became a scuplture’. The Listener, T.G Rosenthal* Sunday Times Colour Magazine Book Review 1963 Generally, these prints are in very good condition. This is slight evidence of silver mirroring to the extreme edges.
Frederick Leslie KENETT (1924-2012) Greece Four photographic prints of sculpture, three studio stamped to verso, 40 x 50.5cm. (4)Frederick Kenett is one of the most important and yet undervalued postwar British artists of the twentieth century. He was invited by the Egyptian government in the sixties to photograph the Tomb and artefacts of Tutankhamen*, and was the first person to photograph the treasures in the tomb housed in the museum in Cairo. He travelled widely in Europe photographing classical scenes and sculptures in Spain, France, Italy, Germany and Holland often negotiating with governments.In the early sixties Kenett befriended Henry Moore and instructed Moore on Photography in return Moore helped Kenett by instructing him on the methods and techniques around sculpting. It was during the early sixties that both Moore and Kennet toured together visiting France and the low countries. Following their time together and from the mid sixties Kenett transferred his skills to sculpture and started producing his own work. Comparing both the sculptures of Moore and Kenett it is clear to see the influence that Moore had on Kenett. Frederick Kenett has been described as ‘Unquestionably the greatest photographer of Sculpture in the World who himself became a scuplture’. The Listener, T.G Rosenthal* Sunday Times Colour Magazine Book Review 1963 Generally, these prints are in very good condition. This is slight evidence of silver mirroring to the extreme edges. There are two surface scratches to the image of The Jester, please see images. There is a crease in the lower left corner of the reclining Grecian sculpture image (see image). Each mount board is a little tired.
Ben Nicholson (1894-1982) & Margaret Gardiner (1904-2005) Letters, cards and brochures sent from Nicholson to the artist David Andrew during the 1950/60s. Handwritten letters (three letters, eight full pages with annotations) discussing art, the value of art school amongst other subjects. Two postcards from Nicholson and one from the radical and artistic philanthropist Margaret Gardiner, inviting David to join her for dinner with Ben and his son Simon. Also various exhibition brochures which Nicholson sent to David, also photographs and small prints of some of Nicholson's paintings.David Andrew received enormous encouragement from Ben Nicholson during his lifetime. Andrew was born in Redruth, and initially trained at the Falmouth School of Art and later at the Slade in London in 1958/59. During this period, he drew inspiration from artists like Ben Nicholson and Piet Mondrian and delved into the psychology of perception.He had his own personal connection with Nicholson; although Nicholson was not associated with Falmouth School of Art but, he became David's most important mentor, mainly during his fourth year at Falmouth, and his first year at the Slade. This good fortune came about when he sent Nicholson a copy of an essay which he had entered for a competition on 20th Century Painting, - in which David had referred to Nicholson. Ben invited David to his house, and with the brio of youth, he asked if he might bring a painting of his own along to show him. Nicholson, once shown David's work, talked obliquely around painting, making associations with expressive hand movements, influencing him more by enthusiasm for the “feeling” he valued in paintings, than by any facts or theories attaching to them. David found Nicolson’s energy and enthusiasm were as inspiring as his paintings, which stayed with him over the course of his lifetime.From time to time, Nicholson would drop David a card out of the blue, inviting him to come and see what he had been doing. He always asked for David's comments. He was never dismissive, whatever thoughts David happened to express about what he, Nicholson, was doing. He reciprocated with critical feedback on the paintings that David had lugged along with him on his motorbike.
A Fine Pair of Royal Worcester Hand Painted Number and Ltd Edition Figurines. Comprises 1/ First Dance, CW264, Sculptured by Brian Diment, This Figure Is No 1571, Date 1995. Height 9.5 Inches - 23.75 cms. 2/ Belle of the Ball, CW128. Sculptured by N. Stevens, This Figure Is No 320, Height 9.5 Inches - 23.75 cms. Both Figures with Certificates of Authenticity.
Box Containing a Quantity of Stamps, to include GB First Day Covers, foreign stamps, Royal Stamps & two Stock books, some Chinese. Some early most mid 20th Century. Stanley Gibbons GB stamp album partially filled, early 20th mostly Queen Elizabeth II, together with two Stanley Gibbons stamp catalogues.
Group of 19th century penwork hand held firescreens or face protectors; the first formed of a cartouche shaped satinwood screen painted with cyclamen to one side and chequerboard of flowers and butterflies on the other set on a turned giltwood handle; the second with lozenge shaped maple panel decorated with auriculas, poppies and roses, set on an ebonised handle; lastly a cartouche shape with roses, anemonies, fuschia, the reverse with all over stylised foliate and tendril design. Together with two further rosewood turned handles (5)Ex coll Stephen Long
SILVER PRESENTATION QUAICH BY HAMILTON & INCHESwith entwined Celtic motif and roundel detail to the rim, Edinburgh hallmarks for 1965, with inscription 'Presented by Scottish & Newcastle Brewery Limited for the U.K.B.G First All-Scotland Cocktail Competition. At the Kelvin Hall Glasgow. 12th September 1966. Second. C Cullen. Royal Stuart Hotel.', 346g/12.2oz, 15cm bowl diameter
Loading...-
596780 item(s)/page