ADRIENA ŠIMOTOVÁ 1926 - 2014: A TABLE FOR ANGELS 1991 Paper, plywood, paperboard 66 x 100 x 104 cm Adriena Šimotová’s A Table for Angels was included in the Czech Light and Spirit exhibition in Spain, where the artist presented three “table” installations (A Table from Somewhere, A Magic Table and A Table for Angels). Various iterations of both subjects, whether the table (as a place for rituals and meetings) or angels (our guides and messengers of God), were treated often in her work. Multifaceted work with the nature of an image and the opportunities presented by visual communication were also basic elements in Šimotová’s work. At the turn of the 1970s, after she, as a respected painter, abandoned traditional painting, the defining moments of her art form became perforation, transparency, and layering. She applied frottage in a unique way in her works when depicting people and objects, and worked with stencils, photography and its transforming role in relation to the individual or collective memory.Adriena Šimotová was one of the most respected figures in Czech art and culture in the second half of the 20th and early 21st centuries. Born in a Czech-French family connected with the Masarykian traditions of the First Czechoslovak Republic, she studied at the School of Applied Arts in Prague under Josef Kaplický, where she also met her later husband, Jiøí John, a distinguished printmaker and painter. They belonged to the UB 12 art group alongside Václav Boštík, Stanislav Kolíbal, Vìra Janoušková and Vladimír Janoušek, Alena Kuèerová and others.Adriena Šimotová received many awards for her work in her native country and abroad. Her works are represented in the Albertina and mumok in Vienna, Bibliotheque National and Centre Pompidou in Paris, and in Florence, Geneva, Washington D.C., Chicago and many other galleries and private collections.Restored and filled, consulted with Mgr. Pavel Brunclík from the Adriena Šimotová and Jiøí John Foundation.
We found 534325 price guide item(s) matching your search
There are 534325 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
534325 item(s)/page
CORNELIS LIESTE 1817 - 1861: LANDSCAPE WITH RIDERS First half of 19th century Oil on canvas 24 x 30 cm Signed lower right: "C. Lieste" Landscape with Riders by the important Dutch painter Cornelis Lieste is an excellent example of painting from the Romantic period. At the age of 23 he made a study trip to Belgium and Germany, and he soon established himself as a landscape painter, often painting sketches right in the dunes of northern Holland. His open expanses with low horizons and frequent use of dramatic backlighting, earning him the name “painter of light”, are typical for his work. In addition to moors, he also painted winter and forest landscapes with minute leaf details. In 1846 he was made a member of the Teeken-Kollegie – Kunst zij ons Doel art club in Haarlem and a member of the Royal Academy of Fine Arts in Amsterdam. Lieste also created lithographs. His work is represented in the collections of the Rijksmuseum Amsterdam, Teylers Museum in Haarlem, Museum Boijmans Van Beuningen in Rotterdam, Stedelijk Museum Zwolle and Museum B.C. Koekkoek-Haus in Kleve.
ANTONÍN CHITTUSSI 1847 - 1891: FOREST LANDSCAPE WITH AVIFAUNA IN WINTER Cca 1880 Oil on canvas 24 x 36,5 cm Forest Landscape with Avifauna in Winter is an exceptional and authentic work by Antonín Chittussi. The advanced painting technique, overall composition and emphasis on a specific mood of the landscape most likely dates this painting to the period following the painter’s arrival in France. As explained in the expert assessment by Prof. PhDr. Roman Prahl, CSc: “... the light and color of twilight is very characteristic for this painter ... Likewise, the motif of birds flying overhead as well as the winter period appear frequently in his work.”Antonín Chittussi’s impressive and inimitable painting point to his sensitive approach to the landscape and his roots in the plein air masters of the Barbizon school.The grandson of a trader from Ferrara, Italy, Chittussi studied at the academies in Prague, Munich, Vienna and Paris. From 1879 he worked in Paris. He primarily focused on outdoor landscape painting and he earned acclaim for his work exhibited at the Salon. Already during his lifetime he was considered Bohemia’s leading modern landscape artist with an international perspective. His first collected exhibition was held in Prague in 1885.Restoration report: Pavel Blatný, MFA and restoration expert
LUDOLF BAKHUIZEN 1630 - 1708: STORM AT SEA 1660-1670 Oil on canvas 74 x 134,5 cm The seascapes of Ludolf Bakhuizen (also referred to in English literature as Backhuisen, Backhuysen and Bakhuysen) are often characterized by a dramatic atmosphere, as can be seen in this painting, a gallery-quality example of this important Dutch painter’s oeuvre. In this battle with turbulent waves one can spot three ships amongst the cliffs, bows tilting and sails billowing under the force of the hurricane. Dutch flags wave from the two-mast and three-mast schooners in the foreground. In the background on the right a lighthouse stands above the cliffs, which threaten to tear the boats to pieces at any moment. In this dramatic scene Bakhuizen made excellent use of the contrast of light and dark: the dark sky in the right section, the sky in the middle, and waves illuminated with beautiful white light. The alternating sections – dark waves in the foreground, clearly illuminated waves in the center – create the illusion of depth. The open space to the left with a ship in the background further amplifies this effect.Although Ludolf Bakhuizen also painted other subjects and created a large number of drawings, he is mainly viewed as a painter of large, stormy seascapes, such as Ships in Distress off a Rocky Coast (1667, National Gallery of Art in Washington D.C.). Before he started painting, he worked as a clerk and calligrapher, initially in his native Emden and later in Amsterdam. His first known painting dates from approximately 1658. It is believed his teachers were Allart van Everdingen and Hendrick Dubbels. Willem van de Velde the Younger also had a strong influence on him and was his rival, but after he and his father emigrated to England (late 1672/early 1673), Bakhuizen became one of the leading painters of seascapes and battle scenes, both historical and imaginary. His most important paintings include View of Amsterdam with Ships on the IJ (1665, Louvre, Paris), which was commissioned by the City Council of Amsterdam and given to the French statesman Hugues de Lionne, and his monumental stormy scenes hanging at the Royal Museum of Fine Arts in Brussels and at the National Maritime Museum in London. His works were extremely popular, with clientele includingnumerous emperors and princesses (Peter the Great of Russia and later Frederick the Great of Prussia owned some of his paintings).Consulted with PhDr. Hana Seifertová.
GUSTAVE LOISEAU 1865 - 1935: CLIFFS IN ÉTRETAT 1901 Oil on canvas and paperboard 63 x 80 cm Stamp on back: "Coll . Dr. Stefan Ossusky/ 17 Av. Charl. Floquet/ Paris" Cliffs in Étretat is a unique example of French Post-impressionism and represents the oeuvre of one of its leading exponents, Gustave Loiseau. Works by this artist, attractive for collectors and viewers alike, appears only rarely on the Czech art market.Since the 1890s the name of this exceptionally sensitive landscape artist has been connected with the Brittany artists’ colony surrounding Paul Gauguin, known as the Pont-Aven School. However, Loiseau never built on its modern artistic vision and new directions (Synthetism and Cloisonnism); on the contrary, he remained faithful to Impressionism in its purest form. He continued the tradition of outdoor landscape painting, discovering the fleeting magic of the landscape in its transience, transformations in color, and light and dark moods in an effort to capture its natural beauty, as seen in paintings by Claude Monet and Camille Pissarro. He gradually created his own specific style of pointillist painting, the characteristic application of pure spots of color one next to another, emphasizing the essential interaction of light, clear, bright and yet unburdened color, and the airy mood of the depicted scene. He developed these principles in seemingly everyday scenes of the Breton and Norman landscapes, where he spentthe summer months. Loiseau is often called a natural talent who did not follow the directions of the period or the recommendations of others, instead carving his own path of unique sensual experience from the seen world. His extraordinary talent and painterly qualities earned him many admirers in 1890s Paris, including the prominent gallerist and primary patron of the French Impressionists Paul Durand-Ruel. He fully defended his uniqueness in around 1910, when he sparked a sensation with his special method of cross-like brushstrokes reminiscent of hatching (“en treillis” / “touche croisée”).The painting offered here, from the collection of an important Czechoslovak diplomat during the First Republic and ambassador in Paris, Stefan Osuský, may be considered a beautiful, profoundly poignant and highly valuable work that corresponds to a unique understanding of Impressionism in all respects, corresponding to the artist’s expression “I am led by instinct and I am proud that I am not like the others.”
ALOIS KALVODA 1875 - 1934: SUMMER LANDSCAPE 1903 Oil on canvas 110 x 110 cm Signed lower left: "-AL. KALVODA-" This lightly toned painting of a summer landscape in an Art Nouveau square format is a prestigious work by Alois Kalvoda, a student of Mařák's landscape painting class. In this composition featuring a low horizon, Kalvoda amplifies the expansiveness of the field by using harmonious pastel colors. Clouds with alternating areas of light and shadow arch over the entire plain.After studying at the Academy of Fine Arts, he went on study trips to Paris and Munich. He eventually departed from Mařák’s school of painting melancholic landscapes, moving instead towards a more decorative interpretation of the landscape through both colors and motifs. He painted simple motifs of the Bohemian countryside: meadows, hillsides, birches, glimpses of the landscape through the trunks of trees standing in the foreground or on the background of a hill. His work from the areas around Rohatce, Strážnice, and the Bøeclav area are superb. Kalvoda also taught. Following the untimely death of Ludìk Marold, he took over his studio and took on many of his pupils. From 1897 he continuously exhibited in Prague and Brno as well as Vienna, Berlin, Hamburg, Warsaw, Munich and even Russia, Italy and the United States.
JAN HÁLA 1890 - 1959: GIRL IN FOLK COSTUME Early 1920s Oil on canvas 85 x 78,5 cm Signed lower left: "J. Hála" Jan Hála studied at Ferdinand Engelmüller’s private painting school and the Academy of Fine Arts in Prague under ProfessorsVlaho Bukovac and Maximilián Pirner in 1910–1915. In 1923 he permanently settled in the village of Važec in the foothills of the Tatra Mountains, which was an inexhaustible source of inspiration for him. Although he was Czech, Hála joined the Slovak Modernism movement, which was represented by Benka, Bazovský, Fulla and others. In 1925 he became a member of the Union of Slovak Visual Artists. In addition to painting, he also wrote and illustrated books and is one of the founders of modern Slovak illustration for children. Figurative motifs, often interpreted as ethnographic studies, initially dominated his work; a large part of his work as a painter was devoted to documenting Slovak folklore. This is also the case in this painting, in which he portrays a young woman in a brightly colored folk costume standing by the window in a traditional village interior. Hála’s painterly execution uniquely works with light and color to achieve an inimitable, at times expressively relaxed style. The acclaimed oeuvre of Jan Hála was exhibited abroad during his lifetime (in New York and at the Venice Biennale).
VÁCLAV ŠPÁLA 1885 - 1946: THE BEROUNKA RIVER AND HILLS 1925 Oil on canvas 54 x 73 cm Signed lower left: "V Špála 25"; numbered on back: 116.C. As PhDr. Rea Michalová, PhD explains in her expert assessment, “The painting under assessment, The Berounka River and Hills, is an original, exceedingly typical, melodic landscape painting by Václav Špála, one of the foremost exponents of the Czech avant-garde movement and a member of the Group of Fine Artists, the Tvrdošíjní (“Stubborn Ones”) art group, and Mánes Union of Fine Artists. His painting was direct and vibrant, expressing sensual urgency. … From the very outset his Fauvist inclinations set him apart from his colleagues in the Osma group, whose work was oriented more towards Expressionism.Špála’s paintings always uniquely reflected a sense of immediacy and unrestrained joy from the painting process, as well as an essential sense for order, a feeling for pure color tone, and emancipation from agonizing existential questions. Through his new interpretation of the landscape and still lifes with flowers or fruits, Václav Špála became the main exponent of Bohemian painters’ affinity for the sensual hedonism of the ‘Golden’ Twenties. In his search for a striking, immediately potent expression, Špála did not hesitate to apply the principles of Post-Cubist deformation of form and to reduce the colors to two or three contrasting tones without denying his elementary relationship to the real natural world. His 'green period' lasted from 1923 to 1926, followed by his blue period in 1927–1930, when he painted in shades of aquamarine and Prussian blue, although this color retained its heraldic significance in his work until the end of his life. Špála’s hymn to nature is exemplarily reflected in his landscape paintings, which he approached with a sense of monumentality. One such painting is The Berounka River and Hills, an enchanting specimen from Špála’s famed 'green period'that, in line with the period movements of the 1920s, marked a peak in his renewed contact with the reality of the seen world. Karel Teige aptly called Václav Špála a 'lyricist of nature … a broadcaster of the sun and life' intoxicated from the colors of joy. The most characteristic and most coherent group from this vitalist direction in terms of expression are his paintings from the area around Srbsko, a village on the Berounka River that the artist painted in 1925–1926. The painting was executed face-to-face with nature, en plein air. The Berounka River and Hills is an unusually pure and generous painting in which Špála masterfully captured the majesty of the cliffs, the smoothly flowing river, and the lush vegetation surrounding the meander under an azure summer sky. It is the fascinating visual rhythm of land, sky, and water, transformed in the natural order of the painting. (…)"In the painting under assessment, the artist achieved an entirely original modification of the principles of Fauvist painting. The style uses the compelling rhythm of aggregate forms, defined by pure color which Špála treats as an element, interacting through its intrinsic, immanent light qualities; it is not the medium of light seen in Impressionism, where objects dissolve and vaporize.In this colorful arche he intentionally leaves traces of his masterful brushwork. The precise, succinct yet curt expression with the brush is the thread connecting the deep harmony of his senses with the power of natural phenomena."The Berounka River and Hills gives beautiful voice to Špála’s distinctive creative testimony, which rests in the inimitable synthesis of 'high'avant-garde expression with the 'humble', but all the more so passionate world of Home." Provinence: originally owned by Hugo Rottenberga (1896-1944), a Jewish art and rug dealer who moved from Krakow to Prague in around 1915.
JAROSLAV HERBST 1887 - 1971: AUTUMN 1939 Oil on canvas 80,5 x 60 cm Signed lower left: "JHerbst/ 39." Inscription on back: "Podzim / Jaroslav Herbst" (Autumn/Jaroslav Herbst) As Jaroslav Herbst’s painting of two nude young women in an apple orchard demonstrates, over time Herbst developed his own entirely unique interpretation of painting based in bold contrasts of light and color and in a concept of space derived from Cubism. His oeuvre, which made its public debut at an exhibition at Galerie Hugo Feigl in Prague in 1934, enjoyed unexpected acclaim and positive reviews from critics. Feigl held another Herbst exhibition in 1937, but afterwards the painter fell into oblivion. He was not commemorated until 1995, when his work was exhibited at Galerie Ztichlá klika in Prague and a Revolver Revue article presented a series of reproductions.
NO RESERVE Baskerville.- Virgilius Maro (Publius) The Works, sole Baskerville edition, occasional spotting, some light browning, contemporary polished calf, gilt, upper joint split, but holding firm, spine ends and corners worn, rubbed, [Gaskell 32], Birmingham, John Baskerville for the Author, 1766 § The History of Tom Jones the foundling, in his married state, stained, contemporary calf-backed boards, worn, but holding firm, for J. Barker, 1786 § Blackmore (Sir Richard) Essays upon several Subjects, first edition, title with woodcut ornament, some staining, contemporary panelled calf, joints splitting, but holding firm, corners worn, rubbed and scuffed, for E. Curll, 1716; and c.25 others, English Literature & History, mostly Shakespeare Society Publications, v.s. (c.28)
Eliot (George) The Mill on the Floss, 3 vol., first edition, half-titles, vol. 1 without the advertisement leaf, faint spotting to the first and last few leaves, contemporary half calf, gilt, lightly faded spines, slight bumping to extremities, 1860 § Collins (Wilkie) The Woman in White, 2 vol., light spotting to endpapers, contemporary half morocco, Leipzig, Bernhard Tauchnitz, 1860 § [Johnson (Samuel)] The Idler, ink inscription to preliminary blank, occasional faint spotting and soiling, contemporary morocco, gilt, 1816; and 6 others, similar, 8vo & 12mo (12)
Horses.- Farriery.- Veterinary.- Wood (John) A new compendious treatise of farriery. Wherein are set forth in a plain, familiar, and natural manner the disorders incident to horses, and their respective cures, 2 parts in 1, including appendix, first edition, half-title, a little light browning, contemporary mottled calf, rebacked in modern calf gilt in compartments, preserving original red morocco label, [Smith, Early Veterinary Lit. II, pp.96-97], printed for the author, at Mr. Hewett's, a sadler in New Charles-Street, Berkley-Square, 1757; and another on Farriery, by Osmer, 8vo (2)⁂ Wood was one of the first to propose a publicly-funded hospital for horses.
NO RESERVE Birds.- Barlow (Manner of Francis, 1626-1702) Study of wild birds, red chalk with pen and brown ink, on laid paper with a late 17th early 18th century etching and engraving verso, published by Nicolas Guerard, sheet 172 x 225 mm. (6 7/8 x 8 7/8 in), surface dirt and light browning, unframed, [probably late 17th early 18th century]⁂ The present composition borrows several different birds from various Barlow prints, all of which featured in the artist's 'Multae et diversae avium species' publication from circa 1650-1655.
Futurism.- Russolo (Luigi) L'Arte dei rumori, first edition , photographic portrait frontispiece and 1 plate, original printed wrappers, little spotting / light browning to outer edges, still a very good copy, [Salaris p.64], 8vo, Milan, Edizioni Futuriste di "Poesdia", 1916.⁂ L'Arte dei Rumori [ The Art of Noises ] is considered to be one of the most important and influential 20th century works on musical aesthetics. In this manifesto Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape, requiring a new approach to musical instrumentation and composition.
Medals & decorations.- Rochemont (G.L. de) and J. Bischoff. Afbeeldingen der Oudere en nieuwere thans bestaande Ridderorden, hand-coloured engraved pictorial title and 49 (of 50) plates, plate 49 with short repaired tear, a few other repairs to versos, lightly browned, some damp-staining, contemporary half calf, spine gilt, spine ends little frayed, outer edges worn, rubbed, Amsterdam, 1843 § Elvin (Charles Norton) A Hand-book of the Orders of Chivalry. War Medals with their clasps & ribbons, chromolithographed plates, original pictorial cloth, gilt, rebacked, some fading and light soiling, 1892; and 3 others, 2 on Knighthoods and another on medals, v.s. (5)
Embroidery patterns.- Scrap Albums.- An album of original designs and printed patterns for embroidery, including over 50 leaves of pen and ink designs, 8 inserted single sheets of Chinese woodblock embroidery patterns, printed on chinese paper, and 11 loose printed patterns on prepared yellow-coloured papers, owner's intials 'LK' and 'Louise' feature on front endpaper, one album leaf with watermark date of '1825', each album leaf approx. 245 x 200 mm. (9 5/8 x 7 7/8 in), occasional surface dirt and light browning, a few loose leaves, 4to [1820s]; together with five scrap albums and loose material, and a defective 17th century book on horse tack [mainly 19th century] (7).
Estienne.- Major (Georg) and Antonio Mancinelli. Sententiae veterum poetarum, per locos communes digestae, ac tandem post authoris supremam manum, multum auctae ac locupletae. Poetica virtute libellus, title with woodcut printer's device, some foxing and light browning, 18th century polished calf, gilt, spine in compartments and with black morocco label, g.e., [Not in Adams; Renouard, Estienne, 80:7], Paris, Robert Estienne, 1551; and a defective Cicero, printed by Robert Estienne, 8vo & 12mo (2)⁂ First Estienne edition of this collection of excerpts from classical writers (including Catullus), arranged by topics. Provenance: Lucien d'Ursin, Antwerp (armorial bookplate).
NO RESERVE Elzevier.- Sleidanus (Johannes) De quatuor summis imperiis libri tres, engraved historiated title, woodcut head- and tail-pieces and decorative initials, light marginal water-staining at foot, lightly browned, contemporary calf, with later gilt arms, rubbed, [Willems 358], Leiden, Elzevier, 1631; and 2 others, Elzevier, 12mo (3)
![[Hay du Chastelet (Paul)] Traitté de la politique de France, 2 parts in 1, woodcut ornament to titles, woodcut head-pieces an](https://cdn.globalauctionplatform.com/9ed714ba-ffd4-48f0-9431-aa5700c2085c/9f7292ed-7bf5-40d3-b62b-aa5700edae0b/468x382.jpg)
[Hay du Chastelet (Paul)] Traitté de la politique de France, 2 parts in 1, woodcut ornament to titles, woodcut head-pieces and decorative initials, errata f. at end, contemporary mottled calf, richly gilt spine in compartments, Cologne, Pierre du Marteau, 1677 § [Holbach (Paul Henri Dietrich, Baron d')] La Politique Naturelle, ou Discours sur les vrais principes du Gouvernement. Par un Ancien Magistrat, 2 vol., half-titles, occasional spotting, some light browning, later wrappers, 'Londres', 1774; and 5 others, Continental, v.s. (8)
NO RESERVE French Literature.- , Memoires de Hollande, first edition, woodcut head-pieces and decorative initials, water-stained, small areas of worming to margins, occasionally just touching the odd letter, contemporary mottled calf, richly gilt spine in compartments, Paris, Estienne Michallet, 1678 § Boileau (Nicolas Edmé) Oeuvres, 4 vol., titles in red and black, engraved frontispiece, plates and tail-pieces, some light browning, contemporary green morocco, spines darkened and chipped at ends, corners worn, rubbed, g.e., The Hague, Vaillant [and others], 1722; and 7 others, French, v.s. (12)
NO RESERVE Maritime.- Masefield (John) A Mainsail Haul, first edition, frontispiece by Jack B.Yeats, original cloth, uncut, 1905; The Bird of Dawning, one of 300 copies signed by the author and artist, inscribed by the author to his son Lewis on front free endpaper, colour plates by Claude Muncaster, light spotting, original buckram, t.e.g., others uncut, spine faded, wrapper defective, slip-case (faded), 1933, both from the author's library with his ticket; and 3 others, poetry, one inscribed to Alan Villiers, 8vo (5)
Three early 20th century Chinese coat pinafores for children, two made from coarse hand woven cotton, with light blue cotton trim, one of finer cotton, together with child's Chinese pyjama jacket, in pink silky fabric printed with bamboo, and drawer-string trousers in emerald version of the print.
A SILVER AND MOONSTONE ABSTRACT WIREWORK NECKLACE the seven graduated round and oval moonstone cabochons of varying hues from the usual silvery-grey through to light orange and a 'grey-ish example, each rub-over set within an open abstract wirework surround decorated with gilt-beads, on a bolt ring clasp, London 1982 (?), the marks obscured, approx. 38cm long overall (15 in)
A SILVER MOUNTED SCENT BOTTLE AND OTHER ITEMS, comprising; a clear cut glass barrel-shaped scent bottle, the silver and tortoiseshell pique cover depicting the Prince of Wales feathers and ribbon motto, Birmingham 1915 by Spurrier & Co, 6.75cm high overall (2 5/8 in); an Edwardian silver Regimental badge brooch for Prince Albert's Somerset Light Infantry, Birmingham 1902 by Joseph Jennens & Co.; a vintage silver part foliate engraved hollow hinged bangle, Birmingham 1962; and a silver and pale blue enamelled fob watch, the white dial with black Arabic numerals and red 12, the case with import marks for Birmingham 1917, lever movement; on a later belcher long chain with a bolt-ring clasp, stamped 'Sterling'
POSTCARDS - ASSORTED Approximately fifty-five cards, including real photographic views of Churchinford (by Montague Cooper, Taunton); Churchstanton church (exterior and interior); Steart Farm, Timberscombe; Cheddar Gorge; The Lion Rock, Cheddar; Lydeard Hill, Quantocks (by Whitby, Light & Lane, Bridgwater); and Welcome Stranger Caravan Park, Dawlish Warren (by Chapman, Dawlish); with views of the Old Cross, Cheddar; Watchet Harbour; The Cross Roads, Misterton; King John's Hunting Lodge, Axbridge; a Somerset Light Infantry woven silk; and others; together with a small quantity of modern cards; and approximately fifty-seven lettercards, most of West Country interest.
A PAIR OF CULTURED PEARL AND DIAMOND FLOWER-HEAD CLUSTER STUD EARRINGS each centred with a light-cream cultured pearl approx.7.5mm diameter, within a round brilliant diamond eight stone surround approx. 1.60cts total (3.20cts the pair), all millegrain set in white, unmarked, approx. 15mm wide overall; in an 'Asprey PLC London' box
A VICTORIAN DIAMOND HEXAFOIL PENDANT WITH A PEAR-SHAPED DIAMOND DROP cut-away collet set throughout with old-cut diamonds in silver and gold, the principle round stone at the centred approx. 0.94cts, within a 12 stone surround and six further stones within open surrounds each approx. 0.25cts, all within a graduated diamond 36 stone border, the 61 stones approx. 4.20cts total, with a hinged hoop and a small diamond three stone suspension loop, and also suspending a pear-shaped old-cut diamond swing drop approx. 0.77cts, claw set below small diamond single stone knife-edge bar, the hexafoil 28mm wide, the pendant approx.. 54mm high overall (2 ¼ in), 7.8g gross; in a gilt tooled light green-ish brown fitted case marked 'Goldsmiths and Silversmiths Company Ltd., 112 Regent street London W'
Kuntz, Bob and Wilson, Mark - signed - "Antique Golf Clubs: Their Restoration and Preservation" published New York 1990, deluxe limited ed no 238/500, bound in full Morocco and signed by both authors to the limitation page, comes c/w a light brown cloth fitted slip case, fully illustrated with easy to follow instructions - a must for anyone interested in club restoration, appears unread hence (VG)
1954 Official Open Golf Championship programme - played at Royal Birkdale for the final day c/w draw sheet and won by Peter Thomson the 1st of 5 Open Championship wins - as well as defending his championship for the following two years - some light pocket wear draw sheet slightly tatty with hand written scores (F/G)
Collection of official Ryder Cup Golf programmes from 1965 onwards (6) to incl 1965 Royal Birkdale Golf Club (F/G); 1977 Royal Lytham and St Anne (G); 1981 Walton Heath Golf Club (G); 1989 The Belfry (G); 1997 Valderrama Golf Club some light damp stains to the front cover and some of the internal pages otherwise clean; and 1999 played at The Country Club Brookline Massachusetts in near mint condition (VG)
1987 Official Walker Cup Golf programme and related items (4) - played at Sunningdale Golf Club - much larger edition programme than the regular smaller programme plus Official Stewards Armband, "Quiet Please" Stewards hand held sign and official Walker Cup 1987 stewards white light weight jacket made by Snowgoose
Loading...-
534325 item(s)/page