We found 40842 price guide item(s) matching your search

A box of good hardback books to include Folio Society: George Eliot, Middle-March and mill on the Floss; British Myths and Legends (3 vols), Graham Greene Travels with my Aunt, Shakespeare Classic Plays (4 vols), etc

GRAHAM NASH - Life on the Road 2013 original promotional poster Signed in Person by Graham Nash in black sharpie. Obtained at a Book Launch at Proud Gallery  in Camden. It measures 16.5 inches by 23.5 inches. In excellent condition.

Vinyl - The Prisoners / Thee Milkshakes and related - 9 albums to include The Prisoners - A Taste Of Pink (UK Limited Re-issue Pink Vinyl, Own-Up Records, Own-Up U2) EX / EX, In From The Cold (UK 2020 Re-issue Red Vinyl, Acid Jazz Records, AJXLP496) Still Sealed and Mint. Thee Milkshakes - After School Session (Original UK 1st Pressing, Upright Records – UP LP 1) EX / EX. 20 Rock And Roll Hits Of The 50's And 60’s (UK Re-Issue) Still Sealed and Mint. They Came They Saw They Conquered (Original 1984 UK) EX / EX. The 107 Tapes (Early Demos And Live Recordings) (UK 1986 Original Double album) EX / EX. Graham Day & The Gaolers – Triple Distilled (UK 2017 Limited Edition White Vinyl) EX / EX. Graham Day & The Forefathers – Good Things (UK 2014) EX / EX. Billy Childish – Punk Rock Ist Nicht Tot! The Billy Childish Story 1977 - 2018 (UK Triple Vinyl album, Damage Goods Records, DAMGOOD 499LP) sealed

Textiles - William Gear (Scottish 1915 - 1997) for Horrockses, a fabric panel, Idiom, 222cm x 114cmReference: This design is based on a painting by Gear that appeared at the 'Painting into Textiles' exhibition held at the ICA in London in 1953 and is illustrated in the exhibition catalogue. Horrockses developed prints from several of the paintings exhibited, also using work by Graham Sutherland and Eduardo Paolozzi.

Copoclephily - a George V silver presentation key, of Scottish interest, Opening of the Ex-Serviceman's Hut, Moffat, Presented to Miss Graham, June 1923, 11.5cm long, Birmingham 1922, 46g, cased; another, The Opening of Bassalleg Wesleyan Church by Viscount Tredegar, Chester 1908, 38g, cased; another, Wesley Hall, Hayle, 1908, 20g, cased; another, New Dairy of the O.E.C.S, 1923, 48g, cased (4) [152g]

A Selection of signed military aviation related books to include, 'Aviation Sketchbook' by Nicolas Trudgian, multi signed by WW2 RAF & USAAF Aircrew including Flt/Sgt Lou Crabbe 49 Sqn., Sqn/Ldr Benny Goodmann 617 Sqn., Air Commodore John Ellacombe 151 Sqn., W/Cdr John Bell 617 Sqn., Air Commodore John Langston 617 Sqn., Sqn/Ldr Tony Pickering 501 Sqn., Major General Don Straight 356th Fighter Group USAAF, Flt/Lt Murray Valentine 617 Sqn., F/O Ken Wilkinson 19 Sqn., etc, 'Fighting High, World War Two Air Battle Europe, Volumes One & Two' by Steve Darlow, Vol. 2 multi signed by WW2 Aircrew including W/O Peter Green 102 Sqn, W/O Cliff Caley RAAF 460 Sqn., F/O John Elliot 550 Sqn., W/O Harry Irons 9, 462, 466, & 158 Sqn., Flt/Lt Terry Clarke 219 Sqn., etc, 'Wimpy, A Detailed Illustrated History of the Vickers Wellington in Service' by Steve Bond, multi signed by the author and WW2 RAF Pilots including Graham Harrison 172 & 612 Sqns., Geoff Paine, John Elliot, Clifford Hobbs 104 Sqn., etc, 'Wings of the Luftwaffe' by Captain Eric 'Winkle' Brown, signed by the author, a renowned WW2 Royal Navy Fighter and Test Pilot, 'Ted the Lad, a Schoolboy Who Went to War' by Ted Cachart, signed by the author, a WW2 veteran who joined the RAF underage and went on to serve in Bomber Command on Lancasters, 'Fighter Pilot' by Bob Doe, signed by the author a Battle of Britain Fighter Pilot, 'Faster Than the Sun' by Peter Twiss, signed by the author who served with the Fleet Air Arm in WW2 and went on to become a record breaking test pilot, (8)

A Little Homes of England 1:12 scale dolls house modelled as a thatched cottage by Graham Wood, two storeys with four rooms, hinged front, the exterior finished in a brick effect, the interior with beams, exposed plaster and wooden and stone flooring, and outdoor toilet, furnished, length 91cm, height 76cm, depth 46cm.

Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLandschaft im Licht eines späten Nachmittags mit antikem Tempel der SibylleÖl auf Leinwand.57 x 65 cm.Rechts unten auf einem Stein signiert „N Berchem“.Dieses Gemälde gehört zu einer Gruppe von Bildern im italienischen Stil, die kurz nach der Mitte seiner Laufbahn entstanden. Deutlich inspiriert von den südlichen Landschaften seiner Kollegen und unter Vorbild früherer holländischer Italianisten, insbesondere Jan Asselijn und Jan Both, in Berchems eigener reifer italienischer Manier entstanden. Die Landschaft ist typisch für diesen neuen Stil, vor allem in der Verwendung von Licht und Farbe. Die allgegenwärtigen bernsteinfarbene und braune Tonalität von Berchems Werken aus den 1640er-Jahren wurde durch eine vielfältigere, buntere und hellere Palette mit reich gesättigten Farbtönen und einer größeren Klarheit der Details ersetzt. Die Verwendung von starken Kontrasten von Licht und Schatten evoziert die Intensität des abendlichen Sonnenlichts und lenkt die Aufmerksamkeit des Betrachters auf die Figuren- und Tiergruppe im Vordergrund. Diese Landschaft ist eine unbekümmerte Welt der pastoralen Glückseligkeit, die ein Ideal des Landlebens verkörpert, wie es sich in der zeitgenössischen niederländischen Literatur wiederfindet. Der Anschlag ist schnell und lebendig; bei den Tieren ist eine gewisse Unterzeichnung erkennbar.Das vorliegende Gemälde ist wohl um 1660/70 zu datieren (nach Berchems eventueller Italienreise). In der Mitte seiner Laufbahn hatte er eine Vorliebe für porzellanblaue Himmel und Horizonte, die von einem goldenen Schimmer durchdrungen sind. Später arbeitete er mit seinem Sohn zusammen.Eine Federzeichnung in Verbindung mit ähnlichen Figuren in einer anderen Position wie auf dem vorliegenden Gemälde, befindet sich in der Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, Nr 33).Um eine ähnliche Komposition zu studieren, aber mit Figuren in einer anderen Position, siehe die Zeichnung aus der Sammlung Abrams, Boston (150 x 195 oder 15,7 x 20,1 cm, Soth, 09/07/1968, Nr. 33).Es gibt fünf weitere bekannte Versionen (nicht-autografisches Atelier) oder Kopien:1. Eine alte Kopie nach dem vorliegenden Gemälde (mit einer späteren Signatur unten links) befindet sich in der Glasgow Art Gallery, Graham-Gilbert-Nachlass, 1877 (HdG 118, Öl auf Leinwand, 53 x 64 cm, Kat. 1961, Nr. 569).2. Hofstede de Groot als „autre version“ erwähnt, kopiert nach dem vorliegenden Gemälde mit kleinen Abweichungen: war bei Sotheby´s, London, 19. April 1972, Nr. 54 (Öl auf Leinwand, 21 ¾ x 25 ¼ inch; 56 x 61,5 cm), Landschaft mit Bauern und Vieh, aus der Sammlung Baronne de Rotschild; zuvor in der Versteigerung Sedelmayer, 1897, 16. November Berlin.3. Lempertz-Auktion, Köln, 3./8. Juni 1959, Nr. 11, Repro, 57 x 63 cm, signiert unten rechts, „Berchem f“. Diese Version weist kleine Unterschiede im Himmel und in den Bäumen auf.4. Dieselbe Gruppe von zwei Frauen und vier Ziegen in einer anderen Landschaft mit Kühen in einer anderen Position, rechts von der stehenden Frau, erscheint auf dem Gemälde im Nationalmuseum in Warschau.5. Sammlung Holscher-Stumpf, Berlin (Verkauf am 05.07.1918 bei Lepke Nr. 88, Taf. 30), signiert unten links auf Felsen im Wasser, Berchem (Öl auf Leinwand, 53,5 x 61 cm)- prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London- Ausgestellt. Burlington Haus, 1871.Provenienz:Wahrscheinlich Sammlung Linart de Neuville, 1765.Sammlung Charles Offley Esq., 1809.Sammlung Artis Esq., Ramsgate, Esq.Sammlung Dr Max Wassermann, Paris, 1834.Privatsammlung, Gent.Privatsammlung, Luxemburg.Literatur:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, Bd. 5, London 1834, S. 48, Nr. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting) n° 118.WAAGEN, suppl., p. 291.Bildarchiv Foto Marburg, F 4017, Negativ Nr. 1069426. (13403519) (18)Nicolaes Berchem, 1620 Haarlem – 1683 AmsterdamLANDSCAPE IN LATE AFTERNOON LIGHT WITH ANCIENT TEMPLE OF SYBIL Oil on canvas.57 x 65 cm.Signed “N Berchem“ on stone lower right.This painting is one of a group of Italian-style paintings created shortly after the artist´s mid-career. Clearly inspired by the southern landscapes of his colleagues and modelled on earlier Dutch Italianates, notably Jan Asselijn and Jan Both and executed in Berchem´s own mature Italian manner. The present painting can probably be dated to ca. 1660/70 (after Berchem´s possible trip to Italy). Midway through his career he preferred porcelain blue skies and horizons steeped in a golden glow. He later worked with his son. A pen and ink drawing associated with similar figures in a different position from the present painting is held at the Georges & Maida Abrams Collection, Boston (157 x 201 mm, Soth 9/7/1968, no. 33).To study a similar composition, but with figures in a different position, see a drawing from the Abrams Collection, Boston (150 x 195 or 15.7 x 20.1 cm (Soth, 09/07/1968, no. 33). There are five further known versions (non-autograph workshop) or copies:1. An old copy after the present painting (with a later signature lower left) held at the Glasgow ArtGallery, Graham Gilbert Estate, 1877 (HdG 118, Oil on canvas, 53 x 64 cm, cat. 1961 no. 569).2. A version mentioned by Hofstede de Groot as “autre version“, copied from the present painting with minor alterations: was at Sotheby´s London, 19 April 1972, no. 54 (oil on canvas: 21 ¾ x 25 ¼ inch; 56 x 61.5 cm), Landscape with Peasants and Cattle, from the Baronne de Rotschild Collection; previously in the Sedelmayer auction, 16 November 1897, Berlin. 3. Lempertz auction, Cologne, 3/ 8 June 1959, no. 11, reproduction, 57 x 63 cm, signed lower right, “Berchem f“. This version shows minor differences in the sky and trees. 4. The same group of two women and four goats in another landscape with cows in a different position, to the right of the standing woman, appears in the painting held at the National Museum in Warsaw. 5. Holscher-Stumpf Collection, Berlin (sold on 5 July 1918 from Lepke no. 88, plate 30), signed lower left on rock in water, Berchem (oil on canvas, 53.5 x 61 cm) - prov. Coll. Scarisbrick, London, Coll. Earl of Dudley, London-exhibited, Burlington House, 1871.Provenance:Probably Linart de Neuville collection, 1765.Charles Offley Esq. collection, 1809.Artis Esq. collection, Ramsgate, Esq.Dr Max Wassermann collection, Paris, 1834.Private collection, Ghent.Private collection, Luxemburg.Literature:John Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters, vol. 5, London 1834, p. 48, no. 158.HOFSTEDE de GROOT, 1893, p. 137, Berchem, (copy after the present painting), no. 118WAAGEN, suppl., p. 291.Photo Bildarchiv Marburg, F 4017, negative no. 1069426.

Football Manchester United multi signed 1980s 12x8 FA Cup Winners photo includes 12 fantastic signatures such as Gordon McQueen, Mike Duxbury, Gary Bailey, Ashley Grimes, John Gidman, Kevin Moran, Lou Macari, Frank Stapleton, Arnold Muhren, Ron Atkinson, Arthur Graham and Arthur Albiston. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Wilhelmina Barns-Graham (1912-2004)Seven Lines (Porthmeor Series), 1975signed and dated (lower left)oil and pencil on paper51 x 60cm. Provenance:Christies, London, Twentieth Century British Art, 14 May 1998, lot 168.There is foxing marks - prominently to the top and bottom lighter strips. Alot of the smaller marks are to the underside of the glass, so would be easy to fix. One side of the back board has been exposed to damp, which is probably the source of the foxing.

Wilhelmina Barns-Graham (1912-2004)Sandra Blow 75th Birthday Card, 1995inscribed 'For Sandra, Happy Birthday, with love Willie, 13/9/95' (to reverse)gouache and collage34x 21cm. Provenance:The Jonathan Grimble Estate;Sandra Blow Estate.Appears to be in good condition with no sign of damage or any problems. Frame a little worn.

Don't Just Lie There, Say Something! a 10x8 film photo. Signed by Brian Rix, who played Brian Ovis, Joanna Lumley as Giselle Parkyn, Anita Graham as Wendy and Myra Frances as Jean. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Gary Graham. Alien Nation actor signed 10x8 colour photo. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

FORMULA ONE; a vintage silver Stadium Achilles crash helmet signed by twenty motor sport personalities to include, Jackie Stewart, Richard Attwood, John Surtees, Derek Bell, Martin Brundle, Stuart Graham, Tiff Niddell, Barry 'Whizzo' Williams, Sterling Moss, James Haydon, Hans Hermann, Giacomo Augustini, etc, these were collected at the Goodwood Revival and Festival of Speed over a four-year period between 2010 and 2013, also a photocopy of the helmet being signed by one of the personalities.

Graham Isom (b.1945). Study of heads of Old English Fox Hounds, pastel on paper, 36.5cm x 43cm.

John Constable R.A., 1776 (East Bergholt, Suffolk) - 1837 (Hampstead, London), titled verso 'The Trunk of a Tree on the banks of a stream, the roots overhanging the water', 'Inscribed: 20 April, 1821', 'pencil drawing -4-3/4 x 3-1/2''', 'Tree Studies (Three on one mount)', all on the same typewritten label verso, Thomas Agnew & Sons Ltd label verso 'No 42031', octagonal label verso listing from the 'Dr. H.A.C Gregory' and 'David M.Freudenthal' collections and exhibited at the 'Wildenstein Constable Centenary Exhibition, 1937 (133)' and the 'Arts Council John Constable, 1949 (38)', pencil drawing, 11.9cm x 9.1cm, frame 27.8 x 23.6cmDr H.A.C. Gregory. M.C. David M.Freudenthal. Purchased from Thomas Agnew & Sons in April 1979 by a Midlands' collector. Thence by descent.Exhibited:- Wildenstein - Constable Centenary Exhibition, 1937 (133); Arts Council - John Constable, 1949 (38).H.A.C.Gregory, M.C. was a well-respected connoisseur, noted for collecting the best examples by Constable. The Agnew’s label lists this work as having been exhibit number 38 in the Arts Council exhibition of Constable’s works in 1949. It is also listed as being in the Wildenstein Constable’s centenary exhibition in 1937.This work encapsulates Constable’s passion for trees in particular and the English countryside in general. Unusually, it is dated ’20 April 1821’. Research has revealed that the Suffolk Records Society (SRS) has a letter dated on this very day, written to his wife, Maria, in London. It was written in the latter part of the 20th from his birthplace, East Bergholt. So, this would have been drawn in the environs. Again, unusually we know the locale. He records in his letter that he called on the Godfreys in the morning and remarks that the hot cross buns he brought from London were ‘’quite acceptable’’ (1). This letter is a charming insight into this man’s character, who comes across as humane and engaging. The plight and travails of some mutual acquaintances are recounted, along with his visits and his love of the countryside, which is particularly evident "How sweet and beautiful is every place & I visit my old haunts with renewed delight. . . Nothing can exceed the beautiful green of the meadows, which are beginning to fill with buttercups, & various flowers – the birds are singing from morning till night but most of all the sky larks. How delightful is the country, but I long to get back to what is still more dear to me…'' (2)This drawing is listed in Charles Rhyne’s chronology and is mentioned in a footnote on page 266 of John Constable's Correspondence (JCCI) in the SRS. Also, it is illustrated in Graham Reynolds book/raisonne ‘The Later paintings and Drawings of John Constable’ (see plate 224), where it is listed as ‘Whereabouts unknown’ (3).One thing that is not known and that is from which sketchbook this study originates. Maybe it is from the same one as another drawing of a willow stump which was also drawn in April 1821 at East Bergholt (4). Could this be one of ‘The Three on one mount’ that is on an old typewritten label verso on this work. There is another with different subject matter, depicting a gentleman on a bank, which might come from the same book too. It is ostensibly slightly larger, measuring 9.1 x 12.4cm and dated ‘7Sepr 1820’ (5), but could this difference in size be due to the mounting for Halls Fine Art’s example, which is framed and mounted, for we don’t know how much of the work on paper is concealed by the mount.1-2. Beckett, R, M. John Constable Correspondence II (JCCII), pp. 266-67 and JCC I, pp. 195-96.3.Reynolds, G. The Later Paintings and Drawings of John Constable’, published 1984, p74. plate 224.4.Ibid. p.74.5.Ibid. p60, plate 190.See Chiswick Auctions sale on the 19th of June 2019, lot 89. This drawing (18 x 30cm) made a hammer price of £70,000. It's provenance included being sold as part of the Gregory Collection at Sotheby's on the 20th of July 1949.Another, sketchier, example (Worcester Cathedral from the meadows), 22 x 28.5cm and estimated at £20,000-30,000 sold for £36,000 at Bonhams' sale on the 6th of December 2017.There is some general surface discolouration staining (both in fore and background) that has probably come through the backing.Very probably laid down. Sold Unexamined out of frame.Frame - overall in sound condition, but minor dents, scratches and chips, including a 1.5cm chip on upper left corner.

A WORLD WAR I FRAMED DEATH PLAQUE AWARDED TO SECOND LIEUTENANT FRANK GRAHAM EDWARDS RAF. FRANK EDWARDS WAS KILLED IN A PLANE ACCIDENT ON 26TH APRIL 1918 AGED 18

1 X 70CL BOTTLE - LABROT & GRAHAM WOODFORD RESERVE BOURBON WHISKEY

40 assorted postcards etc, many signed and most with a corresponding programme from Liverpool Pavillion Theatre. To inc: Frankie Howerd, Hylda Baker, Graham Bros, Joan Rhodes, Harry Lester, Sid and Max Harrison.

A sheet of A3 tracing paper of the original preliminary cutaway artwork depicting the iconic Armoured Personnel Carrier vehicle from James Cameron's 1986 masterpiece Aliens. Drawn by by John R. Mullaney in 2014.Commissioned by Insight Editions and 20th Century Fox Studios, the artwork formed a crucial stage of the approval process between studio and artist for the eventual art's publication in the high-end collectible title Alien : The Weyland-Yutani Report. Hand-drawn by John, the original artwork was approved by the studio and publisher as well as by a project Brain Trust of franchise consultants, comprising of prominent collectors, archivists and enthusiasts from the fan community. The artwork is as screen-accurate as available reference allowed, with the artist piecing together all the details using rare on-set production photography and film-stills to ensure a definitively canon reproduction of the vehicle's layout. The artwork evolved over an extensive series of approval versions, as John worked closely with project collaborator and 2D artist Graham J. Langridge to hone the detail. The artwork was then reproduced at large format size and carefully traced to form the set-up for the final full colour artwork which appears on pages 114-115 of The Weyland-Yutani Report.The artwork's evolution can be seen in a special making-of film produced by the artist who is also an award-winning film-maker. The time-lapse film has currently received over 60,000 views on Youtube, and continues to wow fans and viewersAbout the ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Valuation note: the full colour artwork later sold to a private collector for £3,500. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers. John is a fellow and council member of the Society of Architectural Illustration, and is also an award-winning film-maker.

Cuala Press:  Tagore (Rabindranath) The Post Office: A Play, Translated by Devabrata Mukerjea. 8vo Dundrum 1914. Lim. Edn. No. 197 of 400 Copies Only; also Brindley (Louis H.) Poems, 8vo Dublin 1945. Lim. Edn. No. 53 of 100 Copies Only Presentation Copy 'To My friend Mr. Graham Nott..' Signed. both orig. cloth backed boards. V. good. (2)

HUXLEY, Aldus - Brave New World : org. cloth (no d/w), 8vo, Chatto & Windus, second impression, 1932. With - Waugh, Evelyn. Unconditional Surrender, org. cloth in complete d/w, 8vo, first, 1961. With - Greene, Graham, The Comedians, org. cloth in torn and price-clipped d/w. 8vo. First edit. 1966. With 3 others.(6)

GRAHAM, Maria - Journal of a Residence in India : 16 plates (the two folding plates have been carelessly folded, one being defective), cont. diced calf joints weak, 4to, printed by George Ramsay, Edinburgh, second edit, 1813.* sold with all faults not subject to return

Graham Oakley [b.1929]-Once Upon a Time, A Prince's Fantastic Journey, p.8,'I think we've found Aladdin's magic lamp';'At that moment there was a terrific flash of light and, glancing back, we saw a very surprising thing. For the rest of the day Prince Alfred was rather quiet'., :-two, both signed, watercolour, pen and ink drawing heightened with white, 12 x 8.5cm & 13 x 19cm, unframed. [2]

Graham Oakley [b.1929]-The Church Mice at Bay, p.1:-signed, watercolour, bodycolour, pen and ink drawing16x 25cm, mounted, unframed."One July morning in Wortlethorpe, a few of the vicar's friends gathered outside the vicarage to see him off on his Summer holiday."

Graham Oakley [b.1929]-The Church Mice at Bay, p.13,Respect Rodent Rights,:-signed, watercolour and bodycolour, 17.5 x 25.5cm, mounted, unframed."In fact things were so bad that they were even willing to listen to Humphrey. He said that speaking as a chap who kept his Finger on the Pulse of the Times, he thought what was needed was a Protest March. As no one had any other ideas, they decided to give it a try.'

Graham Oakley [b.1929]-The Church Mice at Bay, p.20,Wortlethorpe Canine & Feline Resettlement Department,:-signed, watercolour, bodycolour, pen and ink drawing17.5 x 11.5cm, unframed.

Graham Oakley [b.1929]-The Church Mice at Bay, p.3, p.7,Teach Yourself Yoga; Onward Christian Soldiers,:-two, both signed, watercolour, bodycolour, pen and ink drawings14.5 x 11cm & 17 x 11cm, unframed. [2]

Graham Oakley [b.1929]-The Church Mice at Bay, p.9, p.25, p.26,mouse phobia, '..he had left the bathroom door open .... that was a mistake,:- three, each signed, watercolour, bodycolour, pen and ink drawings, 8.5 x 13cm, 17 x 11.5cm & 18 x 7.5cm, unframed. [3]

Graham Oakley [b.1929]-The Church Mouse, p.21, 23, 26,'...something very fishy was going on.', 'A man was taking the candlestick off the altar. They knew he must be a terrible chap because he hadn't bothered to take his hat off in church', '...he dropped his sack, spun round and took a great stride. Or rather, he would have if his bootlaces hadn't been tied together.', four, all signed, pen, ink and watercolour drawings, largest 10 x 25.5cm, unframed. [4]

Graham Oakley [b.1929]-The Church Mouse, p.32,'When they saw how near they had come to losing their beautiful candlesticks, the townsfolk got very peevish with the burglar',:-signed, watercolour, pen and ink drawing heightened with white, 17 x 25.5cm, unframed. * The Church Mouse, was first published in 1972. These are the first illustrations; executed in coloured ink. The character of the illustrations changed over the years, many consider improved, however many collectors prefer his early illustrations.

Graham Oakley [b.1929]-The Church Mouse, p.7,'..what an awful place the town was...',:-signed, watercolour, pen and ink drawing, 7 x 12cm, unfarmed.

Graham Oakley [b.1929]-Once Upon a Time, A Prince's Fantastic Journey, p.15,'Super ... Fantastic...' he burbled and his ears went very pink. 'In that case you could, um, sort of, I mean ...er...in other words come away with me... um ... er ...us.'. Right' said Beauty. 'Let's get moving' and off we went.',:- signed, watercolour, pen and ink drawing heightened with white, 14 x 19cm, unframed.

Graham Oakley [b.1929]-Once Upon a Time, A Prince's Fantastic Journey, p.16 &17,'...after a few hours we saw a curious thing ahead of us. It turned out to be the great Beanstalk ....'; ' It was a lot higher than I'd thought. The whole day was spent climbing and when it got too dark to climb any more I ate the sandwiches which Jack's mum had given me and then curled up on a leaf and got some sleep.',:- two, both signed, watercolour drawings heightened with white, 25 x 10cm & 11 x 19cm, unframed. [2]

Graham Oakley [b.1929]-The Church Mouse, p.1,'In a busy little town, not very far away, there is a church',:-signed, watercolour, pen and ink drawing,19.5 x 25cm, unframed.

Graham Oakley [b.1929]-The Church Mouse, p.31,'The townsfolk tumbled out of bed shouting things like Earthquake!, Martians!, Flood!, Plague!, Escaped Rhinoceros!, Anarchists!, Apaches!, Fire!, The end of the World!, Locusts!, Vikings!, Burst Pipe!, Students!, Mad Hedgehogs!, Icebergs!, but soon everybody was racing towards the church.',:-signed, watercolour, pen and ink drawing, 16 x 25.5cm, unframed.

FARLEIGH, JOHN The Wood Engravings of John FarleighHenley-on-Thames: Gresham Books, 1985.By Monica Poole. Foreword by HRH The Duke of Edinburgh. Designed by Graham Williams. Printed in red and black. Number 77 of 110 special edition copies signed by Monica Poole and including a hand-printed proof of John Farleigh's wood engraving "Milk Thistle". Printed from the wood by Graham Williams and inserted in a pocket on the paste-down endpaper. 14 X 10 ins. 137 pp. Quarter brown morocco with ochre cloth covered boards. Title on spine and artist's monogram on upper cover in gilt. Over 150 wood engravings by John Farleigh; considered his catalogue raisonne. A fine copy in original cloth covered slip case.

A fine pair of George III carved giltwood girandolesIn the manner of William France and John Bradburn, circa 1765-70The heart shaped plates surmounted by a pierced foliate anthemion crest and enclosed by a scrolled acanthus leaf carved frame above a pair of scrolling candle arms, 54cm wide x 28cm deep x 88cm high, (21in wide x 11in deep x 34 1/2in high) (2)Footnotes:Provenance: Ronald Phillips Ltd. The design of this pair of mirrors can be compared to girandoles supplied by William France and John Bradburn to Sir Lawrence Dundas for his London home at 19 Arlington Street. They were part of an extensive renovation and refurbishment of all the Dundas properties carried out under the direction of Robert Adam who employed the most renowned cabinetmakers, and resulted in what is now recognised as the one of the greatest collections of 18th century furniture. These mirrors are now at Aske Hall in Yorkshire.William France started his career working for Vile and Cobb (first recorded in Cobbs's accounts in 1759), before taking over the business in 1764 when Vile retired. Although Cobb continued in business on his own account, William France and his colleague, the cabinet maker John Bradburn, took over the business. This proved to be a successful partnership and their customers included the royal family who subsequently granted them the Royal Warrant in July 1764. Other commissions included for Kenwood House, Syon House, Burlington House and The Vyne. Literature: Graham Child, 'World Mirrors 1650-1900', 1990, p. 138, illus. 218. for a comparable.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

J C GRAHAM ILLINGWORTH (born 1953); limited edition 'Before the Cock Crows Twice'. signed in pencil and no. 5/295, 53 x 53cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

Seltener quadratischer Spiegel aus Bronze mit feuervergoldetem Drachendekor in ReliefChina, Tang-Dynastie9,3 x 9,2 cmBedeutende österreichische Privatsammlung, gekauft in Österreich in den 1990er JahrenPubl. Zeileis, 'Von Shang bis Qing - Dreieinhalb Jahrtausende chinesische Bronze', 1999, Nr. 160, S. 280-281Quadratische Spiegel, von denen dieser ein schönes Beispiel ist, sind in der Tang-Zeit selten. Im 8. Jahrhundert unterbrachen die zunehmende Unsicherheit an den Grenzen und die innere Notlage die Einfuhr und den Abbau von Edelmetallen, was im Jahr 756 zu einem Edikt führte, das die Herstellung von Gegenständen mit vergoldeten oder eingelegten Verzierungen verbot. Das Edikt markierte einen Rückgang der Edelmetallverarbeitung, was die Wertschätzung für die Herstellung von Metallgegenständen erhöhte.Siehe einen ähnlich verzierten Spiegel, abgebildet in T. Nakano et al., Bronze Mirrors from Ancient China: Donald H. Graham Jr. Collection, 1994, S. 230-1, Nr. 85, wo die Autoren anmerken, dass die Praxis, die Rückseiten von Bronzespiegeln mit Silber oder vergoldetem Silberblech mit Repoussé-Dekoration zu verzieren, erstmals in der Sui-Dynastie zu beobachten ist, aber in der Mitte des achten Jahrhunderts bei gelappten Spiegeln am beliebtesten warBerieben, teilweise korrodiert

Published in conjunction with an exhibition organized by Lippard at The Vancouver Art Gallery, January 13 to February 8, 1970. Landmark catalogue consisting of 138 loose index cards, each 10 x 15.5 cm, plus thin yellow sheet. First catalogue in an ongoing series by Lippard, with the title referring to the population number of the city where the exhibition took place. This issue goes with Vancouver (in addition to Seattle 557,087 and Buenos Aires 2,972,453).Randomly-distributed cards containing introduction, bibliography, artists' proposals and conceptual works. Among the 62 artists in the exhibition were: Acconci, Artschwager, Baldessari, Barry, Darboven, Dibbets, Graham, Hesse, Kawara, Le Va, LeWitt, Nauman, Piper, Ruscha, Weiner. In unmarked manilla envelope, which is heavily creased. The cards are in fine condition.

Poster for a series of performances and activities by Vito Acconci, Terry Fox, Dan Graham, Dennis Oppenheim, Bruce Nauman, Richard Serra, Michael Snow.56 x 43 cm, folded twice as issued, four staple holes at right and left edges, light crease along fold, else a fine unmailed copy.

(1) Dan Graham, Films. Geneva, Éditions Centre d'Art Contemporain and Écart Publications, 1977. Softcover, 23 x 18 cm, 28 pp. Edition of 1000. Booklet featuring descriptions and illustrations of eight early film and slide pieces by the renown artist. This is the scarce original copy, a reprint was made by Marian Goodman Gallery in 2001. Minimal toning on cover, else very good. 2) Dan Graham. Video-Architecture-Television. Writings on Video and Video Works 1970-1978. Halifax/New York, The Press of the Nova Scotia College of Art & Design/New York University Press, 1979. Edited by the artist and Benjamin Buchloh. Includes contributions by Michael Asher and Dara Birnbaum. Rubbing on cover and spine, interior fine. (total 2)

Paris, Association Pour l'avenir de l'art actuel, 1986. Softcover, 29 x 21 cm, 126 pp. Exhibition catalogue for a 2 year project featuring artists' interventions in an abandoned church in Paris, curated by Michel Claura. Text by Robert Filliou and Michel Claura in French and English.Works by Michael Asher, Robert Barry, Stanley Brouwn, Daniel Buren, Sophie Calle, Dan Graham, Gloria Friedmann, General Idea, Jenny Holzer, Louise Lawler, Jean Le Gaç and many more. Added are 3 different invitation cards for the extensive project. Book and cards are mint. (total 4)

Includes: (1) Artists & Photographs, published by Multiples Inc. New York, 1970. Poster, 51 x 50 cm printed both sides. Announces a new concept in editions: a miniature boxed exhibition with photo based works by Bochner, Christo, Graham, Lewitt, Nauman, Ruscha, Warhol et al. Folded copy with age wear. (2) Two posters for The Press of the Nova Scotia College of Art and Design, 57.5 x 43 cm, undated ca. 1983. Printed both sides, features work by Leslie Shedden and Jenny Holzer amongst others. Folded copies, some pencil marks. (3) Poster for Word of Mouth,a set of boxed LP records with artists' talks produced by Crown Point Press, 1980. 61 x 44 cm, folded, pinholes on corners. Features Laurie Anderson, Chris Burden, Daniel Buren, John Cage, Ulay/Abramovic. (total 3)

Buenos Aires, CAYC Centro de Arte y Comunicación/Museo de arte moderno de la ciudad de Buenos Aires Buenos Aires, 1971. Catalogue edited by Jorge Glusberg for a large group show he organized at the CAYC. Yellow folder, 23 x 17 cm, containing 106 loose pages. Text in Spanish. Contributing artists include Eleanor Antin, Dan Graham, Vito Acconci, John Baldessari, On Kawara, Allan Kaprow, David Lamelas, Stanley Brouwn, Peter Hutchinson, Agnes Denes, Mirtha Dermisache, J.H. Kocman et al. Cover of folder toned, some tears along the spine and folds, the cards are fine.

Halifax Canada, Nova Scotia College of Art and Design, 1969. Set of 12 loose cards, 13 x 18 cm, in rubber-stamped manila envelope. Edited by David Askevold, who invited an illustrious group of artists to submit proposals for students at his Projects Class to manifest. Each card consists of one project proposal. Artists include: Robert Barry, Mel Bochner, James Lee Byars, Jan Dibbets, Dan Graham, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Lucy R. Lippard, N.E. Thing Co. LTD., Robert Smithson, Lawrence Weiner. Unmailed envelope with mild spot on verso, light creasing along edges, cards are mint. Extremely rare.

Includes: (1) Dan Graham, For Publication. New York, Marian Goodman Gallery, 1991. Reprint of the artists' book from 1975 published by Otis Los Angeles. Staple-bound, 27.5 x 22.5 cm, 14 pp. Reproduces a series of Dan Graham's projects from the 1960s. Moderate toning on cover, else flawless. (2) Dan Graham, Works 1965 - 2000. Dusseldorf, Richter Verlag, 2001. Softcover, 21.5 x 27.5 cm, 420 pp. Catalogue raisonné with essays by Marianne Brouwer, Benjamin H.D. Buchloh, Corinne Diserens et al. Moderate shelf wear. (3) Dan Graham, One. Multiple, 9 x 7.5 cm. Issued in 1991 by Yves Gevaert in Brussels. A conceptual pocket game with just one solution. In mint state. (total 3)

12 BOTTLES WHITE AND ROSÉ SPARKLING WINEGraham Beck Brut Rosé, Cuvée Clive Prestige and Pinot Noir Rosé; Jacques Bruere Cuvée Rosé Brut 2012; Kanu Angelina Rosé Brut; Aurora Procedencias Blanc de Blanc; Van Hunks Brut Rosé; Steenberg Lady R Cap Classique 2016; Boschendal Chardonnay Pinot Noir Brut and Brut Rosé; Hazeldal 23.5 Blanc de Noir 2018; Newstead Annabelle's Rosé 2017

A pair of modern Graham & Green upholstered open armchairs, each 67cm wide x 62cm deep x 79cm high

A graham & green button upholstered stool with cabriole legs, 120cm wide x 74cm deep x 38cm highOverall wear, some scratches and scuffs. Slight marks to the upholstery. Would benefit from a light clean. Wear to the lower legs and corners, consistent with age and use.

Doctor Who: Two figure sets, Third Doctor, Jo Grant, Brigadier, Sgt.Benton; and The Thirteenth Doctor, Ryan, Yaz and Graham. Please study pictures (2)

Collection of ten Graham Payne Studios Worcester hand decorated enamel napkin rings painted with British birds, together with Garrard & Co outer box, packing note and compliment slip

A Large Glasgow silver plaid brooch. Designed with a large clear ball/ sphere to the centre, engraved round the sphere 'The Hevin Babaif Serve and Haif' Produced by Leckie & Graham & Co Glasgow. Dated 1887. [14cm in diameter]

Graham Clarke (born 1941) - Limited edition coloured etching - "Modus Cantiana" - an historical aspect of the city of Canterbury, herewith in 1990, 16.75ins x 21.5ins, No. 121 of edition of 300, signed, titled and numbered in pencil to lower margin, unframed

JAMIE BEEDEN ARR. GRAHAM COXON (BLUR) SIGNED LIMITED EDITION BLACK AND WHITE PHOTOGRAPHIC PRINT 2/50. 42x53cms

TOM SHEEAN. ARR. GRAHAM COXON (BLUR) SIGNED COLOUR PHOTOGRAPHIC PRINT, 47x46cms

A Minitrix N gauge class 31 model railway locomotive and rolling stock by Graham Farish and Lima with a Wade Whimsey-on-Why model village

A Graham Farish model raliway N gauge pannier tank engine and three coaches (boxed)

British School (19th century)Portrait of a lady, thought to be Mrs Mary Watson of North CaveOil on canvas, together with two pencil and watercolour studies depicting two of Mary Watson's daughters, 49cm by 37.5cm and 9cm dia. (oval) respectively (3)Provenance: By family descent to The Right Reverend Dr Alec Graham, Bishop of Newcastle