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Lot 1

Four Royal Crown Derby Plates with blown gold edges, pattern 6988

Lot 1

A pair of upholstered easy armchairs, each with square back and outscrolled arms, back and seat squabs, square tapered stained beech feet with castors, striped upholstery and set of loose gold damask covers (2)

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BANNERMAN David Armitage The birds of tropical West Africa with special reference to those of Gambia, Sierra Leone, the Gold Coast and Nigeria ... 1st edition, 8 volumes, illus., black and white and col. plates, maps, publisher's cloth, t.e.g., others uncut, vols. 6-8 with dustwrappers, wrapper of vol. 6 a little water stained, 4to., London: Crown Agents for the Colonies, 1930-51 [8]

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OMEROD George The history of the county palatine and city of Chester ... 1st edition, 3 volumes, 48 engraved plates including 2 hand coloured reproductions of painted glass windows heightened with gold and 2 hand coloured maps (with 1 doublepage), with numerous costs of arms in the text hand painted and heightened with gold, contemporary diced calf, covers boarded with gilt filets and decorations in blind and gilt, spines decorated in gilt and blind in compartments, a.e.g., upper cover detached from vol. 1 and lower cover from vol. 3, some offsetting and spotting from prints, folio on large paper, London: Lackington, 1819 and 3 others [6]

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STRUTT Joseph A biographical dictionary containing an historical account of all the engravers from the earliest period ... to the present time and a short list of their most esteemed works with ciphers, monograms, and particular marks, used by each master ... to which is prefixed, An essay on the rise and progress of the art of engraving, both on copper and on wood ... 1st edition, 2 volumes extended to 4, with 19 original (of 20?) plates of which 2 are hand coloured, and extra illustrated by some 450 additional engravings, mezzotints, etchings, prints, portraits, etc. (mostly mounted, but with some loosely inserted), later full green morocco, gilt panelled, a.e.g., inner gilt dentelles, by Andrew Grieve of Edinburgh, 4to., London: Robert Faulder, 1785 [4] Note: With an extensive range of examples of the works of the various engravers produced at various periods, amongst which are An elephant and camel by Francis Barlow (Vol. 1 p. 62); 2 contemporary prints on gold silk by Jacques Callot from Les Miseres (there are 2 further prints by Callot, the 4th at Vol. 2 p. 283); The family of the Count Palatine by Crispin de Passe (Vol. 3 p. 204); "Minerva" after Golzius by Saenredam (loosely inserted opposite p. 290 on vol. 4); and 2 further prints on silk after Rembrandt by Thomas Worldige (after p. 248 in vol. 4). Loosely inserted at the front of vol. 1 is an AL from a bookseller (?), dated 16 August, 1872, to the effect that he has acquired the present set from Murthy Castle and that he proposes to have it rebound and the plates remounted. He notes that the original owner paid 110 guineas for it, but that he will be able to offer it at # 45.00.

Lot 1

Burton (Richard F.). The Gold-Mines of Midian and the Ruined Midianite Cities. A Fortnight's Tour in North-Western Arabia, 2nd ed., 1878, a few wood engs. to text, folding map and 31pp. pubs. ads. at rear, orig. cloth gilt, worn on spine, rear cover det., together with The Lake Regions of Central Africa. A Picture of Exploration, vol. 2 only (of 2), 1st ed. 1860, six chromoxylograph plts., wood engs. to text, folding map at rear (crudely repaired), orig. cloth gilt, soiled and some minor wear (ex-lib copy with paper label to upper cover and spine), plus Explorations of the Highlands of the Brazil; with a Full Account of the Gold and Diamond Mines, vol. 2 only (of 2), 1869, wood eng. frontis., folding map, contemp. half calf gilt, rubbed and a little worn, (ex-lib copy with paper label to upper cover and spine), all 8vo (3)

Lot 1

*Exhibition posters, Approx. sixty advertising posters for all the main London Museums, c.1970s, including the Victoria & Albert Museum, The Tate Gallery, The National Portrait Gallery, Imperial War Museum, etc., mostly hand-printed by the silk screen process, some on col. paper, some with gold lettering, various sizes, comprising approx. forty-six large format posters (approx. 80 x 54 cms.) and sixteen smaller. Many printed in a limited edition of 500. (approx. 60)

Lot 1

Film Memoribilia. A Silver Cigarette Box, c.1940, hinged lid, wooden interior and leather base, London hallmark, stamps, fore-edge engr. 'Roy, best wishes from Dawn Addams', slightly bumped and tarnished, 4in. x 3.5in. x 1in., together with a Gold Money Clip, c.1940, the circular medalion showing a relief design of St. Christopher carrying Jesus, the reverse engr. 'Roy, love Tallulah [Bankhead]', 2in. x 1.5in., plus a Black Papier Mache box with a hand-painted lid depicting a scene from the Magic Squirrel, c.1970s., with a handwritten card inside, 'Dearest Roy, thanks for all the fun - this comes from Kiev and is made from old Russian tails.... - don't throw it away - the're hard to find!, love David [Niven]', 6in. x 3.25in. x 1.5in. All three items were presented to Roy Ashton, the famous make-up artist of Hammer Horror Films. (4)

Lot 1

Early printed leaves. Two printed vellum leaves in Latin, c.1500, each double-sided with single column text of twenty-six lines, initials hand-decorated in red, blue and gold ink, text surrounded by finely engraved decoration on a crible background showing historical scenes and decorative motifs, approx. 175 x 110 mm (2)

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*Illuminated leaf. Manuscript vellum leaf in Latin, 15th century(?), double-sided with single column text of fourteen lines, written in brown ink, five capital initials in burnished gold with blue flourishes, and four in blue with red flourishes, six line-fillers in gold, red and blue, some spotting, 160 x 110 mm, framed and double-glazed (1)

Lot 1

Illuminated leaf. Manuscript vellum leaf in Latin, possibly French, 15th century, double-sided with a single column of eighteen lines, initials and line-fillers decorated in red, blue and gold, filigree floral decoration to each side, approx. 195 x 140 mm (1)

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Illuminated leaf. Manuscript vellum leaf in Latin, 15th century, double-sided with single column text of eighteen lines, brown and red ink with a single initial 'D' decorated with blue and gold, approx. 165 x 120 mm (1)

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Audsley (W. & G.). The Sermon on the Mount. Illuminated by W. and G. Audsley. Illustrated by Charles Rolt, [Day & Son, 1861], frontis and twenty-six pages, chromolithographed in cols. and gold by W. R. Tymms, each page mounted on thick card, within a double-line red rule, orig. brown cloth, with col. and chromolithographed cut-out paper onlays, blocked in gilt, lower cover in blind, a.e.g., now a little rubbed at extremities, folio. McLean, Design, p.133. McLean, Cloth, p.71. (1)

Lot 1

Bond (A. L.). Three Gems in One Setting, Ward, Lock & Tyler, [c.1860], eighteen stiff card leaves, printed on rectos only, borders and decorations chromolithographed in cols. and gold, green cloth, blocked in gilt and blind, sunken panel on the upper cover with red paper onlay, blocked in gilt, a.e.g., 8vo, together with eleven other illuminated books, by Albert H. Warren, Lewis Gruner, Owen Jones, and others, various bindings, includ. two Hayday gift book bindings. (12)

Lot 1

Durer (Albrecht). The Artist's Married Life; being that of Albert Durer, John Chapman, 1848, port. frontis., orig. yellow cloth on heavily bevelled boards, printed in gold and black, slightly rubbed, red edges, small 8vo. McLean, Cloth, p.37. (1)

Lot 1

Fry (Francis, ed.). The First New Testament Printed in the English Language (1525 or 1526) Translated from the Greek by William Tyndale. Reproduced in Facsimile with an Introd. by Francis Fry, Bristol, Printed for the Editor, 1862, the Introduction signed and dated by the editor, one page illuminated in cols. and gold, in an extraordinary binding of wooden boards, carved in high relief to a mediaeval heraldic design, with a silver clasp and cornerpieces, brown morocco spine lettered and blocked in gilt, red edges, 8vo. 177 copies only were printed. (1)

Lot 1

Gruner (Lewis). The Good Shunamite, [Longmans], 1847, eleven stiff card leaves, chromolithographed throughout in colours and gold, with ornate borders, and six illusts. of religious scenes, text slightly spotted, orig. black papier mache binding, black roan spine, a.e.g., the binding in excellent condition, small 8vo. McLean, Design, p.92 and McLean, Paper, p.52. (1)

Lot 1

Gruner (Lewis). The Good Shunamite, [Longmans], 1847, eleven stiff card leaves, chromolithographed throughout in colours and gold, with ornate borders, and six illusts. of religious scenes, orig. black papier-mache binding, black roan spine, very slightly rubbed, overall in good condition, a.e.g., small 8vo. McLean, Design, p.92 "probably printed in the establishment of Owen Jones, whose style the illuminations resemble". McLean, Paper, p.52. (1)

Lot 1

Hall (S.C., editor). The Book of British Ballads [First] and Second Series, 2 vols., Jeremiah How, 1842-44, 339 wood engr. vignettes after E. Corbould, A. Croquill, R. Dadd, W. P. Frith, W. B. Scott, J. Tenniel, H. J. Townsend and others, wood engr. borders and initials, some foxing, orig. white cloth, printed in blue and gold, now soiled and dull, large 8vo. McLean, Cloth, p.34. Roy, Illustrator and the Book in England, 61 "The great successes of the book.... are two excursions into the supernatural: Richard Dadd's" Robin Goodfellow", his one attempt at book illustration, and H. J. Townsend's "Glenfinlas"." (2)

Lot 1

Humphreys (Henry Noel). Parables of Our Lord, Longman & Co., 1847, sixteen stiff card leaves, richly chromolithographed in colours and gold, with a single leaf of printed descriptive text at the end, orig. black papier-mache binding, with a small central scene illustrating the parable of the sower, black roan spine with blind-blocked lettering, a.e.g., some leaves loose, but the fragile binding in excellent condition, small 8vo. McLean, Design p.99 et seq. McLean, Paper, p.51. One of the earliest of the papier-mache bindings. (1)

Lot 1

Humphreys (Henry Noel). Parables of Our Lord, Longman & Co., 1847, sixteen stiff card leaves, richly chromolithographed in colours and gold, without the printed leaf of text at the end, orig. black papier mache bindings, with a small central scene illustrating the parable of the sower, black roan spine with blind-blocked lettering, a.e.g., spine now slightly rubbed but the sides in excellent condition, small 8vo. McLean, Design, p.99 et esq. McLean, Paper, p.51. (1)

Lot 1

Humphreys (Henry Noel). Insect Changes. An Illuminated Present for Youth: Forming a First Lesson in Entomology, Grant and Griffith, 1847, 32pp., frontis and seven half-page illusts. richly chromolithographed in cols. and gold, 16-page publisher's catalogue at the end, slightly dust-soiled, orig. dec. cloth printed in gold, black and brown after a design by Holbein, slight wear, front free endpaper torn, contents almost loose in case, small 8vo. McLean, Design, pp.22-23 and 100. McLean, Cloth & Leather, p.37. (1)

Lot 1

Humphreys (Henry Noel). Sentiments and Similes of William Shakespeare, Longman, Brown, [etc], 1851, printed throughout in gold and black, first leaf of text within a chromolithographed border in colours and gold, orig. black papier-mache binding, central oval relief of a bust of Shakespeare on the upper cover, and a similar oval with his monogram on the lower cover, black roan spine, defective, sides slightly rubbed at corners, a.e.g., 8vo. McLean, Design, pp.108 and 110 "the single coloured plate.... is in fact very fine". McLean, Paper, p.56. (1)

Lot 1

Humphreys (Henry Noel). The Miracles of Our Lord, Longman & Co., 1848, sixteen stiff card leaves, richly chromolithographed in colours and gold, with two leaves of printed descriptive text, and an advert leaf for Noel Humphries' illuminated works, at the end, orig. black papier-mache binding, each cover with six small oval scenes depicting Christ performing miracles, black roan spine with blind-blocked lettering, a.e.g., spine just chipped at head, otherwise excellent, small 8vo. McLean, Design, pp.104-105. McLean, Paper, p.53. (1)

Lot 1

Humphreys (Henry Noel). Parables of Our Lord, [Longmans, 1847], sixteen stiff card leaves, richly chromolithographed in colours and gold, with a single leaf of printed text at the end, orig. black papier-mache binding, black road spine defective, together with seven other illuminated books by Noel Humphreys and Lewis Gruner, all in papier-mache bindings, including some duplicates, incomplete or with some damage to the fragile bindings. (8)

Lot 1

Humphreys (Henry Noel). The Coinage of the British Empire, David Boque, 1855, twelve litho. plts. in gold, silver and copper, and twelve uncol. litho. plts., orig. black papier-mache binding, with sides pierced to show a crimson paper background, the sides showing a large version of the Royal Arms used by Henry VII and VIII and Edward VI, black roan spine lettered and blocked in gilt, a.e.g., skilfully recased, utilising matching endpapers, with some other expertly-executed minor restoration, slipcase. McLean, Paper, p.59. (1)

Lot 1

Jerrard (Paul, publisher). The Floral Offering, Paul Jerrard, [1860's], lithographed frontis., title-page, and twelve plts., lavishly hand-col., the plts. faced by text lithographed in gold, slight soiling, orig. cream cloth binding, ornate chromolithographed design on paper laid down on the upper cover inside a gold-blocked rule, a.e.g., slightly soiled and rubbed, small red mark on the upper cover, loose in case, large 8vo. McLean, Paper, p.72, illustrating the binding of this copy. (1)

Lot 1

Jerrard (Paul, publisher). Shakesperian Tableux, Paul Jerrard, [1860's], twelve large oval chromolithographed scenes from Shakespeare, finished by hand, the decorative title-page, presentation leaf, borders and facing text lithographed in gold, orig. "porcelain" binding, the boards laminated with a shiny composition substance, upper cover blocked in gold, green cloth spine, a.e.g., boards now faded with slight wear, two corners chipped, loose in case, large 8vo. A similar style Jerrard binding is illustrated on p.72 of McLean, Paper. (1)

Lot 1

Jones (Owen). Ancient Spanish Ballads; Historical and Romantic. Translated with Notes, by J. G. Lockhart.... The Borders and Ornamental Vignettes by Owen Jones, John Murray, 1841, additional title-page and divisional title-pages chromolithographed in cols. and gold, borders and decorations by Owen Jones, printed in various cols., wood engr. illusts. and vignettes after David Roberts and others, slight foxing, orig. brown cloth, blocked in gilt, rubbed, slightly soiled, together with three later printings of the same, various bindings, 4to. McLean, Design, p.80 et seq. Ray, Illustrator and the Book in England, 226. The first of the illuminated gift books. (4)

Lot 1

Jones (Owen). The Preacher. Illuminated by Owen Jones, Longman, 1849, chromolithographed throughout in colours and gold, some soiling, inscription on title-page, in the orig. "carved" wooden binding by Remnant & Edmonds, achieved by "burning in the pattern" on to wooden boards, resulting in a high-relief binding, roan spine, upper cover detached, slightly chipped at two corners, a.e.g., small folio. McLean, Design, p.95 illustrater the binding. The unusual production method was used for some copies of "The Preacher" and a few smaller books only. (1)

Lot 1

Jones (Owen). Fruits from the Garden and Field. Poetry by M. A. Baron, Designs by Owen Jones, Longman, 1850, chromolithographed title-page and twelve plts. of fruit, text printed in gold throughout, drawn on stone by E. L. Bateman, orig. brown relievo leather, design by Owen Jones sunk into the surface of the leather, just slightly rubbed, a.e.g., large 8vo. McLean, Design, p.94. McLean, Cloth, p.11. (1)

Lot 1

Jones (Owen). Flowers and their Kindred Thoughts, Poetry by M. A. Bacon, Designs by Owen Jones, Longman, 1848, chromolithographed title-page, and 14 plts. of flowers, text printed in gold throughout, drawn on stone by E. L. Bateman, orig. brown relievo leather, design by Owen Jones sunk into the surface of the leather, just lightly rubbed, a.e.g., large 8vo. McLean, Design, pp.92-93. McLean, Cloth, p.32. (1)

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Jones (Owen). Gray's Elegy. Illuminated by Owen Jones, [Longman, 1946], thirty-six, chromolithographed throughout in cols. and gold, slight marginal soiling, orig. brown relievo leather, design by Owen Jones sunk into the surface of the leather, slightly rubbed, a.e.g., large 8vo. McLean, Design, p.91. McLean, Cloth, P.11. (1)

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Jones (Owen). The History of Joseph and his Brethren, Day & Son, [1865], twenty-six stiff card leaves, chromolithographed in cols. and gold, rebound in red cloth, the orig. decorated cloth from the upper cover and spine laid down, a.e.g., 4to. (1)

Lot 1

Jones (Owen). Paradise and the Peri, [by] Thos. Moore, Day & Son, [1860], twenty-seven stiff card leaves, illuminated by Owen Jones and Henry Warren, and chromolithographed in cols. and gold, a few leaves slightly soiled and frayed, orig. brown cloth, blocked in gilt to an ornate design, a little soiled and rubbed, a.e.g., folio. McLean, Design, pp.128-129 "Jones is exploiting the new medium of chromolithography to the full.... Here is a new conception of book design". (1)

Lot 1

Jones (Owen). The Sermon on the Mount, Longman, 1844, thirty-two stiff card pages, the text surrounded by col. borders chromolithographed in green, red, blue, black and gold, with a single chromolithographed illust. finished by hand, slight browning, orig. brown calf by Hayday, embossed in blind, with cut-out vellum panels on front and back titled calligraphically by hand, vellum panels and joints slightly rubbed, a.e.g., small 8vo. McLean, Design, pp.86 and 224. (1)

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Jones (Owen). The Song of Songs which is Solomon's, Longman, 1849, thirty-two pages illuminated by Owen Jones and chromolithographed in cols. and gold, orig. brown relievo leather, slightly rubbed, a.e.g., 8vo. McLean, Design, pp.92-94. McLean, Cloth, p.33. (1)

Lot 1

Mauchline Ware bindings Burns (Robert) The Complete Poetical Works, John Walker, [c.1860], wood-engr. illusts., some foxing, in a Mauchline binding, bevelled boards, chromolithographed floral design on upper cover on paper pasted beneath a glazed lamination, with the word "Burns" blocked in gold at the head, lower cover plain white with glazed lamination, brown road spine blocked in gilt, a.e.g., together with Milton (John) Poetical Works, John Walker, [c.1860], wood-engr. illusts., in a Mauchline binding, chromolithographed design of a vase of flowers with butterflies on paper stuck down over wood on the upper cover, lower cover plain wood, both covers with a glazed lamination, with the word "Milton" blocked in gold on the vase on the upper cover, blue roan spine blocked in gilt, a.e.g., both 8vo. McLean, Paper, p73 illustrates these actual copies. (2)

Lot 1

Stanesby (Samuel). The Bridal Souvenir, Griffith & Farran, [1857], chromolithographed throughout in cols. and gold by Ashbee & Dangerfield, the frontis. incorporating a pastedown photograph of the Princess Royal, orig. white parchment, blocked in gilt, with green cut-out paper onlays blocked in gilt on upper and lower covers, just a little soiled, a.e.g., 8vo. McLean, Design, p.134. McLean, Cloth, p.70. (1)

Lot 1

The Amulet; or Christian and Literary Remembrancer, W. Baynes & Son, 1828, steel-engr. plts, wood engrs. in the text, orig. purple watered silk, blocked in gilt on the spine, a.e.g., very slightly rubbed, otherwise excellent, in the orig. printed paper-on-boards slip-case (slightly rubbed), 12mo. Extensively illustrated by McLean. Cloth, p.20 "No examples of gold blocking on cloth on books of earlier date than this are known to exist". Paper, pp.10 and 24. (1)

Lot 1

[Humphreys (Henry Noel]). The Illuminated Calendar and Home Diary for 1845, [Designed by Henry Noel Humphreys], Longonman, [1844], title-page chromolithographed in colours and gold, four pages of letterpress in red and black, and forty-eight pages, all on thick card, the Calendar printed in red, with chromolithographed borders of flowers and insects, and twelve hand-col. lithographed reproductions of pages from the "Hours" of Anne of Brittany, in the orig. elaborate binding of white paper on boards with design painted in cols. and blocked in gilt, a.e.g., binding rubbed, loose in case, together with another copy, in the same binding, soiled and worn, and The Illuminated Calendar for 1848, being unsold sheets from the 1846 Calendar, with twelve reproductions from the "Hours" of the Duke of Anjou, updated to 1848 by means of pasted-down strips, in orig. cream cloth, upper cover blocked to an ornate design in red, blue and gold, a.e.g., binding soiled, slightly loose in case, large 8vo. McLean, Design, p.88 and coloured plate facing p.92. (3)

Lot 1

Essex House Press. Comus, A Mask, by John Milton, printed under the care of C. R. Ashbee, at the Essex House Press, 1901, printed on vellum throughout, hand-col. woodblock frontis. by Reginald Savage, single large initial in gold, num. small initials hand-painted in red, colophon at end with hand-col. illust., remains of label to front pastedown, orig. full vellum with blindstamped decoration to upper cover, some minor marks, sm. 8vo . Limited edition 25/150. (1)

Lot 1

A Moorcroft-Macintyre Florian Ware vase, twin handled, and decorated in green and gold with tulips, blue handles and inner rim, c.1904-1913, painted initials and printed mark, 11.75ins

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A pair of 20th century lined and interlined silk Damask curtains, decorated in red and gold with a woven scrolling foliate design, and two cream ground tasseled pelmets 7ft 9ins drop x 7ft 9ins width

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A modern Turkoman Tekke carpet, gold lustre wool field with repeating pattern of red and pale blue lozenge devices within a complementary border 9ft 3ins x 12ft

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A 19th century Dutch marquetry elbow chair, with gold dralon seat on sabre legs

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A George V 9ct gold vesta case, with engraved initials, London 1923, 2ins

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A George V 9ct gold circular vesta case, maker Goldsmiths & Silversmiths Co, London 1913, 1.75ins

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A George V tortoiseshell box, with 18ct gold hinges and white metal mounted lid, Sheffield 1933 and a mother of pearl trinket box, 7.25ins & 3.5ins

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A lady's 9ct gold Rolex wrist watch on textured bracelet.

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A lady's 9ct gold Rolex wrist watch, with octagonal case and seventeen jewel precision movement

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A gentleman's gold plated Longines wrist watch, and an 18k gold Oska wrist watch

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Two lady's 9ct gold wrist watches; Omega and Accurist

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A gent's gold plated Omega Automatic Seamaster Calendar wrist watch

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A lady's diamond set 14k white gold Tissot cocktail watch

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A gentleman's gold plated Movado Datron HS360 wrist watch

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A gold plated Omega keyless hunter, with 1913 prize inscription

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An Invicta 18k gold keyless quarter repeating pocket chronograph, hunter cased, with enamelled dial

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A gentleman's gold plated Le Coultre alarm wrist watch

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A gentleman's gold plated Vulcain wrist chronograph

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