We found 2275 price guide item(s) matching your search

A collection of 5 Brass Wagon/Cart Axle Hubs to include Ogram of Lund and Harrison of Hull along with a scratch built model of a Wolds Wagon approx. 64cm long x 20cm w.

§ Dame Elisabeth Frink CH, RA (1930-1993) Horse, 1972signed 'Frink' (lower right); numbered 59/75etching, published by Lund Humphrey's, London28.5 x 23cmProvenance:Sale; Bonhams, 8 June 2016, lot 36Not examined out of the frame, margins obscured by mount so not available for inspection. Some very slight undulation of the paper support and one negligible instance of foxing to the right of the numbering (image four), the lower left of the plate with some small blemishes, possibly intrinsic to the work. Overall appears in nice, clean condition.

A Lund lever corkscrew, circa 1880, with side badges and tee corkscrew and a Wolverson tangent lever corkscrew (2)

Kinderpaar und Mädchen mit Reh. Unterglasurbemalung. 1x Heubach, 1905-1945, Modell-Nr. 10543: Auf einem Ovalsockel kniendes Mädchen mit Reh, am Sockel bezeichnet "Brüderlein und Schwesterlein" (H 16,5 cm). / 1x Goebel Wilhelmsfeld, 1919-1936, Modell-Nr. 828, bezeichnet "Lund": einem schmollenden Knaben einen Apfel reichendes Mädchen (H 20,5 cm). Aufrufzeit 23. | Feb 2024 | voraussichtlich 19:38 Uhr (CET)Couple of children and girl with deer. Painted underglaze. 1x Heubach, 1905-1945, model no. 10543: Girl kneeling with a deer on an oval base, marked "Brüderlein und Schwesterlein" (H 16.5 cm) on the base. / 1x Goebel Wilhelmsfeld, 1919-1936, model no. 828, marked "Lund": girl handing an apple to a pouting boy (h 20.5 cm). Call time 23 Feb 2024 | presumably 19:38 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

LUND, Johann Ludvig - zugeschrieben (1777 Kiel - 1867 Kopenhagen) Porträt eines KnabenÖl/Leinwand. Unsigniert, verso als "Studie efter Naturen. Malet of H. Lund" bezeichnet. 1834. 26 x 21,5 cm. Gerahmt : 32,2 x 26,7 cm (Goldrahmen). Bildnis eines Jungen mit lockigen Haaren, blauer Jacke und weißem Hemd. Altersspuren. Wenn Johan Ludvig Lund, dann: Deutsch-dänischer Maler, studierte in Kopenhagen bei Abildgaard. Befreundet mit Caspar David Friedrich. Später im Atelier von David sowie an der École des Beaux-Arts in Paris tätig. Literatur : Weilbach. Provenienz : Sammlungsnachlass aus Hannover. Aufrufzeit 24. | Feb 2024 | voraussichtlich 13:07 Uhr (CET) LUND, Johann Ludvig - attributed (1777 Kiel - 1867 Copenhagen) Portrait of a boyOil/canvas. Unsigned, verso as "Studie efter Naturen. Painting of H. Lund". 1834.26 x 21.5 cm. Framed : 32.2 x 26.7 cm (gold frame). Portrait of a boy with curly hair, blue jacket and white shirt. Traces of age. If Johan Ludvig Lund, then: German-Danish painter, studied in Copenhagen under Abildgaard. Friend of Caspar David Friedrich. Later worked in David's studio and at the École des Beaux-Arts in Paris. Literature : Weilbach. Provenance : Collection estate from Hanover. Aufrufzeit 24. | Feb 2024 | probably 13:07 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Barraud & Lund Savage two-pin lever silver hunter pocket watch, London 1880, the gilt frosted fusee movement signed Barraud & Lund, Cornhill, London, no. 2/4586, with Savage two-pin escapement, plain balance cock, flat gilt three arm balance and silvered regulating scale, signed and numbered dial with Roman numerals, minute track and subsidiary seconds, gilt hands, within an associated engine turned case, case maker 'G.J.T' (George James Thickbroom), 51mm; key-Movement - currently functioning.Dial - light surface marks.Glass - good.Hands - good.Case - later associated case, generally good, one small indentation mark to the front cover.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained 

Barraud & Lund, London Victorian 18ct quarter repeating lever pocket watch, London 1862, signed gilt movement, no. 2/8637, with engraved balance cock with diamond endstone, compensated balance, regulator, hammers striking a gong and repeat slide at the one position, 18ct hinged cuvette with presentation inscription, signed and numbered enamel dial with Roman numerals, minute track and subsidiary seconds, blued steel 'Breguet' style hands, within an engine turned case engraved with a crest to the back, case maker 'FM', 79.2gm, 47mm, with key-Movement - currently functioning, repeat functioning although appears to be chiming one hour less than set so requires the hand to be re-set correctly.Dial - good, a very faint hairline from the centre hole to the subsidiary seconds.Glass - light surface marks.Hands - some light mild surface corrosion.Case - light surface marks and some mild rubbing but generally good, cuvette inscription reads 'Presented To R. C. Else Esquire C.E. By His Sincere Friend and Partner Daniel Spink 1863'.-Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. 

Twelve fusee lever pocket watch movements including a Centre Seconds and an 'Up/Down' power reserve movement, to include makers Lautier, Bath; E.J. Dent, London; Josh Pentington, Liverpool; Jas Ritchie & Son, Edinburgh; J.W. Benson, London; Barraud & Lund, London; John Forrest, London; J.H. Shepheard, Congleton; Cooper, Huddersfield (one lacking dial, faults)

Bill of Fare: Gropius Dinner, March 9th, 1937 - Original menu the Walter Gropius farewell dinner held at the Trocadero restaurant, London, hosted by Julian Huxley; The menu, designed by László Moholy-Nagy, printed by Lund Humphries, patterned parchment in three-colour, three column alphabetical list of guests, black and white portrait photograph of Gropius, list of the toasts and menu. Everyone from the design community attended the event to bid farewell to Gropius and his wife Ise, (nicknamed Pia) who had decided to move to the United States, the guest list included Noel Carrington, Serge Chermayeff, Wells Coates, Geoffrey Faber, E. Maxwell Fry, Siegfried Giedion, John Gloag, V. H. Goldsmith, Ashley Havinden, R. S. Lambert, Henry Moore, László Moholy-Nagy, Christopher Nicholson, Nicholas Pevsner, J. Craven [Jack] Pritchard, Herbert Read, Arthur Upham Pope, J. M. Richards, Gordon Russell, P. Morton Shand, and H. G. Wells and others, 9 x 23 .5 cm. (1)Walter Adolph Georg Gropius (1883-1969) was a German American architect and founder of the Bauhaus School in Weimar, Germany (1919). He is regarded as one of the pioneering masters of modernist architecture along with Alvar Aalto, Ludwig Miles van der Rohe and Frank Lloyd Wright. Walter Gropius was also a leading architect of the International Style. László Moholy-Nagy (Hungarian 1895-1946) joined the staff of the Bauhaus in 1923, and in 1937 accepted an invitation of a group of Midwest business leaders to set up an Industrial Design school in Chicago. The New Bauhaus opened in the Fall of 1937 financed by the Association of Arts and Industries as a recreation of the Bauhaus curriculum with its workshops and holistic vision in the United States.Provenance: by descent from the family of Richard Carr (1935-2018) Journalist and Design Historian. Condition Report: light marks to front cover with some darkening to part of the rear cover, otherwise overall bright and clean condition.

* COLIN FRASER (SCOTTISH b. 1956), BREAKING WAVES egg tempera on panel, signed, titled and dated 2000 label versoframed and under glassimage size 78cm x 108cm, overall size 107cm x 137cm Label verso: The Gatehouse Gallery, GlasgowComment: An outstanding and very large work by Colin Fraser and probably the largest example to be offered at auction.Note 1: By repute, the lady is the artist's wife. Colin Fraser's work rarely appears at auction but in 2021 Bonhams, London sold "Warm Light" (61 x 65cm egg tempera) by Fraser for £3000 (hammer) - lot 153, Modern British & Irish Art 28th April 2021 and in The Scottish Contemporary Art Auction of 10th November 2022 lot 61 "Early Morning Light" (a 67 x 46cm egg tempera) by Colin Fraser sold for £2200 (hammer).Note 2: Colin Fraser was born in Glasgow in 1956. He studied art in Brighton while in his twenties before moving to Lund in southern Sweden, where he lives with his wife and children. He exhibits regularly at the Royal Academy Summer Show, Catto Gallery and Petley Fine Art in London, Mira Godard Gallery in Canada as well as at galleries in New York and Glasgow. His work is held in numerous private and corporate collections throughout North America, the UK, Europe and Asia. Ever since his first exhibition in Brighton in 1978, Colin Fraser has worked almost exclusively in egg tempera, which has the benefit of being very long lasting, with examples over two thousand years old still in existence, and was the most widely used painting medium until the sixteenth century, when it was superseded by oils. However, it is also extraordinarily time-consuming. The painted surface must be built up layer by translucent layer, with the paint drying instantaneously and not amenable to manipulation afterwards, unlike oil paints. Although a notoriously difficult medium, it has become a firm favourite of Fraser’s, who says that the “restrictions have been paramount in helping me be more direct in my approach to the work, with the instant drying and transparency of the paint actively contributing to a higher level of spontaneity of execution”. Colin Fraser is particularly drawn to its vitality which reminds him “of the dynamism of the sun – never static, always changing”. “Observed light is usually what attracts me into the process of painting,” he says. “The surface of a work painted in tempera simply has a unique glow which cannot be imitated in other mediums”. Constructing each painting is an arduous process, each beginning with an idea or a chance observation followed by weeks of experimentation with arrangements and preparatory drawings. Many of his scenes are staged with strategic placement of chairs, diaphanous textiles and trays of fruit. He believes that the painter “chooses the content and the arrangement, and then it becomes a question of striving to achieve a particular mood”. The prestigious Catto Gallery (London) has staged highly succesful solo shows for Colin Fraser in 2015, 2017, 2019 & 2022.

Frederick Lund Ottesen (1913-1975) Space Abstract, circa 1960 signed (lower right) mixed media with oil and newspaper 45 x 37cm.

Henry Moore (1898 - 1986) Thin Standing Figure 1965, cast in 1968 Inscribed to base, '6/6' LH 539 Bronze  Literature: Alan lowness, Henry Moore complete sculpture, volume 4, Lund Humphries, London, 1977. Illustrated page 43.  Dimensions: 7.75 in. (H) (Base) 2 in. (H) x 2 in. (W)

A collection of good quality pocket watch movements, all removed from 18ct gold watch cases, various makers including Benson, a Barraud and Lund of London up and down movement, etc. (32)

An Edwardian silver goblet, James Dixon and sons, Sheffield 1901, retailed by Lund & Blockley, Bombay & Poona, 17cm high, approximately 172g

A Lund St George pattern style boxwood and ebony chess set. Late 19th century, with a mahogany casket and a small competition log book Previously owned by Bernard Leach's sister, Hilda. The height of the king is 11.5cm. Three black pawns have no condition issues, the others have damage ranging from tiny chips to larger chips. All white pawns have no damage.  Black pieces: King - Chip to lower ring. Queen - Tiny chip to top ring. Bishop - One of the bishops has a couple of very tiny chips, the other has no condition issues.  Rook - One rook has multiple tiny chips, the other is heavily damaged Knight - One knight has a very small chip to mouth, the other has a possible repair, otherwise no issues.  White pieces:  King - No signs of damage or repairs.  Queen - No signs of damage or repairs.  Bishop - One bishops has a very small chip to top, otherwise both in good condition.  Rook - One rook has VERY tiny chips to rim, otherwise both in good condition.  Knight - One knight has a large chip to top ring, no other condition issues.  We have now uploaded images of all defects to our website, thankyou.

MisterAitch (British, b.1967) The Augazing Ba-gg Jee-gus! Print on canvas Measures approx. 76cm x 55m (30" x 21 5/8") . Misteraitch’s (British, b 1967) first verified exhibition was ’Rank’: picturing the social order 1516 – 2009 at Northern Gallery for Contemporary Art in Sunderland in 2009, and the most recent exhibition was Hints to Workmen at Northern Gallery for Contemporary Art in Sunderland in 2010. Misteraitch is exclusively exhibited in United Kingdom. Misteraitch has at least no solo shows but 3 group shows over the last one years (for more information, see biography). A notable show was Rank - Picturing the social order 1516-2009 at Grundy Art Gallery in Blackpool, Lancashire in 2009. Another notable show was at Northern Gallery for Contemporary Art in Sunderland. Misteraitch has been exhibited with Nina Beier & Marie Lund and Chad McCail.

James Cauty (British, b.1956) collaboration with Mister Aitch WAR H£LL TO PAY - GWB What - Me Serve? Poster Limited edition numbered 6/10 Signed by artist Mister Aitch official stamp Measures approx. 29cm x 20m (11 1/2" x 8") . Misteraitch’s (British, b 1967) first verified exhibition was ’Rank’: picturing the social order 1516 – 2009 at Northern Gallery for Contemporary Art in Sunderland in 2009, and the most recent exhibition was Hints to Workmen at Northern Gallery for Contemporary Art in Sunderland in 2010. Misteraitch is exclusively exhibited in United Kingdom. Misteraitch has at least no solo shows but 3 group shows over the last one years (for more information, see biography). A notable show was Rank - Picturing the social order 1516-2009 at Grundy Art Gallery in Blackpool, Lancashire in 2009. Another notable show was at Northern Gallery for Contemporary Art in Sunderland. Misteraitch has been exhibited with Nina Beier & Marie Lund and Chad McCail.

A LUND CORNHILL MINIATURE TORTOISESHELL KNIFE BOX. 2ins high.

* Liber Amicorum of Richard Tate. Compiled while a student at the University of Copenhagen, April to October 1648, 112 leaves including blanks, a total of 41 leaves (50 pages) with manuscript inscriptions, signed ownership inscription to front pastedown, 'Amicorum, Fautorumque Danorum Album, R Tatij' [Album of the Danish friends and patrons of R[ichard] Tate], later pencil note beneath, ‘to the care of the Rector of Kirby Misperton, Pickering, Yorkshire’, burgundy morocco gilt bookplate of W. A. Foyle (detached), contemporary vellum with yapp edges, embossed ownership name in capitals of Richard Tatius and Latin date 1648 to upper cover, rubbed and soiled, oblong 8vo (108 x 140 mm)QTY: (1)NOTE:Provenance: Richard Tate (c. 1625-1680), ownership inscription and embossed name to upper cover. Inserted in the volume is a note of c. 1920 that this is one of two books – ‘the other is in the church chest’ – given to Archdeacon [Willliam Henry] Hutchings, rector of Kirby Misperton in Yorkshire from 1884 to [19]19 ‘concerning the Rev Richard Tate rector of Kirby Misperton in the 16th century. They are interesting and should be kept in the church chest’. Tate was in fact never rector of Kirby, but did serve there as schoolmaster from 1661. W. A. Foyle, Beeleigh Abbey (bookplate).The volume contains brief messages from the faculty of Copenhagen University, the staff of colleges at Roskilde and Køge, five bishops and the incumbents of churches in the city of Copenhagen. Most signatories identify themselves by their office but when they fail to do, Tate had added that information in his distinctive hand.Among the signatories is Ole Worm (13 May 1588 – 31 August 1654), a Danish physician and polymath and founder of the Wormian Museum, who taught Greek, Latin, physics and medicine; Thomas Bang (1600-1661), professor of Hebrew and then of theology, and in his later years Keeper of the Royal Library; the bishops of Aalborg, Lund (Skåne), Ribe, Viborg and Zealand, and Thomas Lindeman, the German pastor at Copenhagen. Almost all the contributors display their erudition by heading their entry with a biblical or classical quotation in Latin, Greek, Hebrew or Arabic.The inscriptions are generally flattering of Tate’s character and learning, and some describe him as a candidate of philosophy and theology. Tate maintained the book during the first ten months of 1648, and almost from the beginning the signatories express good wishes for his safe return to England. Unless he made several journeys home, it should perhaps be assumed that Tate spent what was perhaps his last year in Denmark collecting the signatures.On 1 September 1648 Thomas Bang wrote introducing himself to John Selden (1584–1654, lawyer and historical and linguistic scholar). The letter was to be carried by Richard Tate, a student of sound learning, an Englishman ‘but hitherto a Dane by residence, and by breeding in liberal studies’; he assures Selden will not regret any favour shown to Tate, to whom any reply can be entrusted. The entries in Tate’s Liber show little space for a journey to England and back in the September of 1648. Bang wrote again to Selden on 2 May 1652, expressing Tate’s desire again to be his messenger, to which he has agreed on account of Tate’s ‘irreproachable life among them’ (Seaton).If the identification in Alumni is correct, Richard Tate matriculated at King's Cambridge in 1640, received a BA in 1645 and an MA from Magdalene in 1649, and was licensed as a schoolmaster at Kirby Misperton in Yorkshire (to which the book was presented under the misapprehension that he had been its rector) on 2 August 1661. He was ordained priest by archbishop Accepted Frewen on 17 August 1662, licensed to preach as curate on 23 September and on 14 November inducted as rector of Bilton, just outside York; he was buried there on 1 May 1680. Tate was the father of Matthew Tate (1662-1759), who served several livings in Berkshire, Buckinghamshire and Wiltshire. The origins of the family have not been established.See Ethel Seaton, ‘John Selden in contact with Scandinavia’; Saga-Book of the Viking Society for Northern Research 12 (1937-1945), 261-71.

Victorian Fine Bindings. The Book of Church Services. Oxford University Press, 1859, burgundy morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey to front pastedown, elaborate gauffered edges, late 19th-century velum by Hayday, spines gilt with contrasting morocco labels to all compartments, boards gilt and heavily decorated with multiple onlaid red, green, yellow, and navy morocco, gilt turn-ins, 16mo, together with:Stephens (Frederic. G). English Children as painted by Sir Joshua Reynolds…, London: Remington and Co, 2nd Edition, 1884, 31 engraved plates (some with marginal foxing), silk endpapers, book ticket of John Hely-Hutchinson of Chippenham Lodge, Ely, 1946, to verso of front endpaper, all edges gilt, red morocco by Zaehnsdorf, signed on front turn-in and dated 1910, spine and boards elaborately gilt with wide borders and green morocco onlays, elaborate gilt dentelles, 4to, plusShakespeare (William). Romeo and Juliet with an introduction by Richard Henry Stoddard, New York: Duprat & Co, 1892, numerous illustrations (some full-page) by Jacques Wagrez and Louis Titz, silk endpapers, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, to front pastedown, top edge gilt, remainder untrimmed, near contemporary pale blue morocco by H. S. Nichols, spine elaborately gilt, sides decorated with triple ornamented panels, some fading to spine and board margins, lower edges a little rubbed, upper cover with single graze, elaborate gilt dentelles, tall 8vo, plusLund (T. W. M.). Como and the Italian Lake-Land, London: W. H. Fallen & Co, 1887, 11 plates, folding lithograph map bound to rear, red morocco gilt bookplate of W. A. Foyle, Beeleigh Abbey, to front pastedown, all edges gilt, 20th-century green morocco by Bumpus, Oxford, elaborately gilt tooled borders and titles to boards and spine, slight fading to spine, gilt turn-ins, 8vo, and 5 others, comprising: Carols of Cockayne by Henry S. Leigh, John Camden Hotten, 1869, modern blue morocco by Ramage, 8vo; Proverbial Philosophy by Martin F. Tupper, T. Hatchard, 1857, contemporary tan morocco with coloured onlays, 8vo; Poems by James Young, Johnstone and Hunter, 1854, 20th-century gilt decorated green morocco, 8vo; The Romance of the Rose..., by Lorris and Clopinel, J.M. Dent and Co, 1900, 20th-century gilt decorated red morocco by Bumpus, small 8vo; Sacra Privata, by Thomas Wilson, J.H.Parker, 1840, elaborate gauffered edges, contemporary gilt decorated black morocco, small 8vo QTY: (9)NOTE:Provenance: W. A. Foyle, Beeleigh Abbey (bookplate) for Shakespeare, The Book of Church Services, Lund, Leigh, Tupper, Lorris and Wilson.Alexander Stone (bookplate) for Young.John Hely-Hutchinson (bookplate) for Stephens.Shakespeare's volume limited to 300 copiesJohn Hely-Hutschinson (1881–1955) was a celebrated bibliophile whose fine collection of historic bindings was sold by Sotheby’s in 1956.

FOOTBALL, signed Notts County yearbooks, inc. 1990/91, 1991/92, 1995/96 annual, 2000/01 handbook; Neil Warnock, Craig Short, Steve Cherry, Charlie Palmer, Dean Yates, Kevin Bartlett, Nigel Jemson, Devon White, Richard Walker, Gary Strodder, Gary Lund, Ian Richardson, Dennis Pearce etc., sold with 2012/13 County Direct shop brochure, signed by 8, VG to EX, 5

10 x antique / vintage jewellery boxes inc Mappin & Webb, Goldsmiths & Silversmiths, William Lund, Harvey & Gore (9.5cm long and has gold tooling) etc

Helixophilia - a 19th century steel T-type direct pull corkscrew, marked J Wheelen, turned handle, 16.5cm long; another, marked Lund, London, turned lignum vitae handle, 13.5cm long; another, marked Chantry, Archimedean helix, 14.5cm long; others, similar, unmarked (6)

A 19th century tortoiseshell thimble case, hinged sloping cover enclosing a fitted interior, 5.5cm high, retailed by Lund, Cornhill, c.1840

Helixophilia - a 19th century steel lever-hole direct pull corkscrew, by Lund, marked, turned rosewood handle with brush, 14cm long; another direct-pull corkscrew, turned ebony handle, 13.5cm long (2)

Helixophilia - a 19th century Lund's Patent London Rack mechanical corkscrew, by Lund, Maker, Cornhill and Fleet St London, turned rosewood handle with brush, 20cm long

Helixophilia - a 19th century patent two-part lever corkscrew, by Lund, Patentee & Maker, 24 Fleet St & 57 Cornhill, London traces of copper varnish, 21cm long; another (2)

Helixophilia - a 19th century Lund's Patent London Rack mechanical corkscrew, by Lund, Maker, Cornhill and Fleet St London, bottle grip to lower section, turned rosewood handle with brush, 21cm long

A Lund single lever corkscrew, marked 'LUND PATENTEE & LONDON' to one side, the other '24 FLEET ST & 57 CORNHILL LONDON', 20.7cm long;   a nickel plated compound lever corkscrew, marked PERFECT BREVETE S.G.D.G. (2)

Friedrich August Schlegel (1828-1895), Landschaftsstudie, Öl auf Papier, verso der Nachlaßstempel des Künstlers, 11,2 x 16,8 cm, beigegeben eine Lithographie, Johann Ludwig Lund zugeschrieben, 14 x 8,5 cm

Two antique Lund single lever corkscrews 21cm wide approx

John Cecil Lund (British 1932-): 'Stray View Cottages Saxton', watercolour signed and titled 20cm x 30cm

Henry Moore: Sculpture and Drawings Herbert Read Revisted and enlarged edition, published 1949 by Lund Humphries & Company Limited. Hardback. Signed with illustrations from Patrick Heron to Denis Mitchell, inscribed 'May 1951, St. Ives'.Loose boards, but not fully detached, and first ten pages also beginning to loosen. The book has been consigned by a descendant of Denis Mitchell's.

Terry Frost David Lewis Published 2000 by Lund Humphries. Paperback. Signed with illustration by Terry Frost.

figürlicher Taschenuhrenständer Bronzefigur Schäferhund, H ca. 11 cm, auf rechteckigem Serpentin Sockel von ca. 12 x 7 cm stehend, Gesamthöhe ca. 13,5 cm, um die Schnauze ist der Haken für die Taschenuhr montiert, diese in fein graviertem Silbergehäuse mit weißem Emaillezifferblatt, gemarkt *Lund Odense*, Schlüsselaufzugswerk läuft an, 2 Schlüssel, Tragesp.

Schnupftabaksdose 830er Silber. Rechteckige Form, Scharnierdeckel mit Schmuckmonogramm, innen vergoldet. Meister: AB, Lund 1888. 7 x 3,8x 2 cm.

A Victorian Lund patent 'The Lever Signet' corkscrew.

* COLIN FRASER (SCOTTISH b. 1956), BREAKING WAVES egg tempera on panel, signed, titled and dated 2000 label versoframed and under glassimage size 78cm x 108cm, overall size 107cm x 137cm Label verso: The Gatehouse Gallery, GlasgowComment: An outstanding and very large work by Colin Fraser and probably the largest example to be offered at auction.Note 1: By repute, the lady is the artist's wife. Colin Fraser's work rarely appears at auction but in 2021 Bonhams, London sold "Warm Light" (61 x 65cm egg tempera) by Fraser for £3000 (hammer) - lot 153, Modern British & Irish Art 28th April 2021 and in The Scottish Contemporary Art Auction of 10th November 2022 lot 61 "Early Morning Light" (a 67 x 46cm egg tempera) by Colin Fraser sold for £2200 (hammer).Note 2: Colin Fraser was born in Glasgow in 1956. He studied art in Brighton while in his twenties before moving to Lund in southern Sweden, where he lives with his wife and children. He exhibits regularly at the Royal Academy Summer Show, Catto Gallery and Petley Fine Art in London, Mira Godard Gallery in Canada as well as at galleries in New York and Glasgow. His work is held in numerous private and corporate collections throughout North America, the UK, Europe and Asia. Ever since his first exhibition in Brighton in 1978, Colin Fraser has worked almost exclusively in egg tempera, which has the benefit of being very long lasting, with examples over two thousand years old still in existence, and was the most widely used painting medium until the sixteenth century, when it was superseded by oils. However, it is also extraordinarily time-consuming. The painted surface must be built up layer by translucent layer, with the paint drying instantaneously and not amenable to manipulation afterwards, unlike oil paints. Although a notoriously difficult medium, it has become a firm favourite of Fraser’s, who says that the “restrictions have been paramount in helping me be more direct in my approach to the work, with the instant drying and transparency of the paint actively contributing to a higher level of spontaneity of execution”. Colin Fraser is particularly drawn to its vitality which reminds him “of the dynamism of the sun – never static, always changing”. “Observed light is usually what attracts me into the process of painting,” he says. “The surface of a work painted in tempera simply has a unique glow which cannot be imitated in other mediums”. Constructing each painting is an arduous process, each beginning with an idea or a chance observation followed by weeks of experimentation with arrangements and preparatory drawings. Many of his scenes are staged with strategic placement of chairs, diaphanous textiles and trays of fruit. He believes that the painter “chooses the content and the arrangement, and then it becomes a question of striving to achieve a particular mood”. The prestigious Catto Gallery (London) has staged highly succesful solo shows for Colin Fraser in 2015, 2017, 2019 & 2022.

Schiller (Gertrud). Iconography of Christian Art, 2 volumes, 1st English edition, Lund Humphries, 1971, monochrome plates, original black cloth in dustwrappers, slightly frayed, square 4to, together with:Robertson (Martin). A History of Greek Art, 2 volumes, Cambridge University Press, 1975, monochrome plates, original cloth in dustwrappers, 4to, plusAshmole (Bernard). Architecture and Sculpture in Classical Greece, The Wrightsman Lectures, 1st edition, Phaidon, 1972, monochrome illustrations, original cloth in dustwrapper, 4to, and others on ancient medieval and far eastern art, including Les Grandes Heures de Jean Duc de Berry, Thames and Hudson, 1971 (folio in slipcase), Emile Male, The Early Churches of Rome, 1960, Jack Hillier, The Art of Hokusai in Book Illustration, University of California Press,1980, J. Eric Hunt, English and Welsh Crucifixes 670-1550, S.P.C.K. 1956, G. Marchini, Italian Stained Glass Windows, Thames and Hudson, 1957, C. R. Dodwell, Anglo-Saxon Art, A New Perspective, Manchester University Press, 1982, G. B. Waywell, The Free-Standing Sculptures of the Mausoleum at Halicarnassus in the British Museum, 1978, British Museum Reproductions from Illuminated Manuscripts, Series I-V, 5 volumes, 1923-65, etc., mostly original cloth, including some paperbound editions, many in dustwrappers, mainly 4to/8voQTY: (5 shelves)

Kahnweiler (Daniel-Henry). Juan Gris, His Life and Work, translated by Douglas Cooper, 1st English edition, Lund Humphries, 1947, tipped-in colour plate, monochrome illustrations, original cloth, 4to, together with:Bardi (P. M., introduction). Marino Marini, Graphic Work and Paintings, 1st English edition, Thames & Hudson, 1960, colour and monochrome plates, original cloth in dustwrapper (designed by the artist), square 4to, plusKlee (Paul). Paul Klee: the thinking eye, the notebook of Paul Klee edited by Jurg Spiller, 1st English edition, Lund Humphries, 1961, original cloth-backed boards, small square 4to, with typed letter signed from Norbert Lynton to Lawrence Gowing dated 8 April 1960, writing in detail about Paul Klee, loosely inserted, and others on 20th-century European art and artists, including Roseline Bacou, Odilon Redon Pastels, 1st edition, Thames Hudson, 1987, Peter De Francia, Fernand Leger, Yale University Press, 1987, Louis Aragon, Henri Matisse, 2 volumes, 1st English edition, 1972, Kenneth Silver, Esprit de Corps, The Art of the Parisian Avant-Guarde and the First World War 1914-1925, Princeton University Press, 1989, etc., mostly original cloth including many paperbound editions and catalogues, some in dustwrappers, 4to/8voQTY: (5 shelves)

Bernt (Walther). The Netherlandish Painters of the 17th Century, 3 volumes, 1st English edition, Phaidon, 1969, monochrome plates, original dark blue cloth gilt in dustwrappers, spines somewhat faded, together with:Slive (Seymour). Frans Hals, 2 volumes, 1ste edition, Phaidon, 1970, some colour and numerous monochrome plates, both original brown cloth gilt in dustwrappers, spines faded, plusNicolson (Benedict). Hendrick Terbrugghen, 1st edition, Lund Humphries, 1958, colour frontispiece, monochrome plates, original cloth in dustwrapper, a little rubbed and frayed to edges, and others on 17th-century Dutch painters, including Erwin Panofsky, Early Netherlanish Painting, its origins and character, 2 volumes, 1st edition, Harvard University Press, 1953, Christopher Brown, Carel Fabritius, Complete Edition, with a catalogue raisonné, 1st edition, Phaidon, 1981, William S. Heckscher, Rembrandt's Anatomy of Dr. Nicolaas Tulp, an iconological study, 1st edition, New York University Press, 1958, etc.QTY: (12)

Duchamp (Marcel). The Bride Stripped Bare by Her Bachelors, Even, a typographic version by Richard Hamilton of Marcel Duchamp's Green Box, translated by George Heard Hamilton, 1st English edition, London; Lund Humphries & Co., [1960], facsimile signature printed in blue of Marcel Duchamp to final leaf (before the Appendices), and with autograph presentation inscription from Richard Hamilton to Lawrence Gowing to front endpaper 'I'd never have made this if you hadn't persuaded me to work with you in Newcastle, Love Richard', monochrome plates and illustrations, a few small pale spots to fore-edges, original green boards, lightly toned to spine and outer edges, 8vo, together with Hamilton (Richard). Collected Words, 1953-1982, 1st edition, London: Thames & Hudson, 1982, colour and monochrome illustrations, original cloth in dustwrapper, square 8vo, with a typed letter signed form Mary Castle of Thames & Hudson to Sir Lawrence Gowing dated 25 October 1982, stating that Hamilton had told that Gowing would like a copy of the book for review, loosely inserted, as well as a promotional postcard for the exhibition of Hamilton's Recent Prints at Waddington Graphics, 27 October-20 November 1982QTY: (2)NOTE:First edition of the English translation and typographic interpretation of Duchamp's Green Box, a collection of documents charting the development and function of his famous work The Large Glass (1915-1923), famously 'definitively unfinished'.Richard Hamilton taught at the University of Newcastle alongside Lawrence Gowing, from 1953 to 1965.

Read (Herbert, introduction). Henry Moore Sculpture and Drawings, 1921-1948, 1949-1954, & 1955-64, 3 volumes, London: Lund Humphries/Zwemmer, 1957-65, monochrome plates, original cloth, second and third volumes in dustwrappers, 4to, together with Ben Nicholson, work since 1947, volume 2, with an introduction by Herbert Read, 1st edition, London: Lund Humphries, 1956, colour and monochrome illustrations, original cloth-backed pictorial boards, 4to, plus Lewis (Wyndham). Wyndham Lewis the Artist form 'Blast' to Burlington House, 1st edition, London: Laidlaw & Laidlaw, 1939, original green cloth gilt, 8vo, and others on 20th-century British art and artists including Lillian Browse, Sickert, 1st edition, 1960, Margot Eates, Paul Nash The Master of the Image 1889-1946, 1st edition, John Murray, 1973, Andrew Causey, Paul Nash, 1st edition, Oxford University Press, 1980, Michel Leiris, Francis Bacon, Full Face and in Profile, Phaidon, 1983, John Rothenstein & Ronald Alley, Francis Bacon, 1st edition, Tames & Hudson, 1964, Richard Cork, Art Beyond the Gallery in early 20th century England, Yale University Press, 1985, and Vorticism and Abstract Art in the First Machine Age, volume I only, 1976, etc., mostly original cloth, but including some paperbound editions many in dustwrappers, 4to/8voQTY: (6 shelves)

Grohmann (Will). Paul Klee, 1st English edition, London: Lund Humphries, 1954, colour and monochrome plates, original black cloth in dustwrapper, a little rubbed, together with:Wingler (Hans Maria). Oskar Kokoschka, The Work of the Painter, Gallerie Welz/Faber & Faber, 1958, tipped-in colour plates, monochrome illustrations, original cream cloth in dustwrapper, rubbed and a little frayed to edges, plusSeuphor (Michel). Piet Mondrian, Life and Work, 1st English edition, New York: Harry N. Abrams, circa 1960, tipped-in colour plates, monochrome plates and illustrations, original red cloth in dustwrapper, and other monographs on 20th century artists, including Bryan Robertson, Jackson Pollock, 1st English edition, Thames & Hudson, 1960, Reinhold Hohl, Giacometti, Sculpture Painting Drawing, 1st English edition, Thames & Hudson, 1972, H. H. Arnason, Robert Motherwell, 1st edition, New York, Harry N. Abhams, 1977, Lawrence Rubin, Frank Stella, Paintings 1958 to 1965, A Catalogue Raisonné, 1st edition, New York, 1986, Yves Klein 1928-1962, A Retrospective, 1982 (inscribed to Lawrence Gowing by Nan Rosenthal), Hans Hess, Lyonel Feininger, 1st English edition, Thames & Hudson, 1961, Michel Seuphor, Abstract Painting in Flanders, 2nd edition, 1974, Thomas B. Hess, Barnett Newman, Museum of Modern Art, 1971, Frank Stella, Working Space, The Charles Eliot Norton Lectures 1983-84, Harvard University Press, 1986, Art Since 1950, American and International, Seattle World's Fair, 1962 exhibition catalogue, and a proof edition in printed wrappers of Frank Stella's Working Space, all 4toQTY: (14)

Φ Craigie Aitchison CBE, RSA, RA (Scottish 1926-2009)Red Berries, MontecastelliSigned, inscribed and dated "Red Berries"/Montecastelli 2000/Craigie Aitchison (to reverse)Oil on board17.8 x 12.8cmProvenance:Advanced Graphics London, where purchased by the present private collector, 2015Literature:Cate Haste, Craigie Aitchison: A Life in Colour (Lund Humphries, 2014), p.192, pl.181Exhibited:New York, Galeria Ramis Barquet, in association with Timothy Taylor Gallery, London and Waddington Galleries, London, Craigie Aitchison, April-May 2000, no.27

Lund & Blockley, To the Queen, 42 Pall Mall, London, 1880Seltene, wasser- und staubdichte Expeditions-Beobachtuns-Taschenuhr. 59 mm D. Werk signiert und nummeriert 2/979. Silbergehäuse mit Schraubdeckel, innen gemarkt London mit Jahrespunze und signiert "PW" für Philip Woodman. Aussen graviert "Presented to Henry E. O'Neill Esqr H.M. Consul Mozambique For his Explorations and Researches in East Africa by the Geographical Society 1882". Email-Zifferblatt mit römischen Zahlen und Eisenbahnminuten, gebläutem Birn- und Schwertzeiger. 30-Stunden-Gangreserve-Anzeige bei 12 Uhr, kleine Sekunde bei 6 Uhr. Glas-Schraublünette und Aufzugkrone unter geschraubter, mit Kette gesicherter Kapsel. Vergoldetes 2/3 Platinenwerk mit Spitzzahn-Ankergang über Schnecke und Kette, grosse Goldschrauben-Unruh mit gebläuter Flachspirale, drei Rubinlagersteine in verschraubten Chatons. Schrauben gebläut. Mit sich verjüngender Rundpanzer-Uhrenkette und Schlüssel. L 44 cm. Funktionstüchtig.- Alters- und Gebrauchsspuren.Solche Expeditions-Taschenuhren wurden von der Royal Geographical Society leihweise an Expeditionsteilnehmer überreicht, nach Abschluss der Expedition mussten diese zurückgegeben werden. In seltenen Fällen schenkte die Royal Geographical Society die Uhr einem Teilnehmer als Zeichen der besonderen Anerkennung und liess sie, wie bei diesem Exemplar, entsprechend gravieren.

Heath Robinson, William. The Gentle Art of Reproducing, London: The Practical Etching Service, [1931]. A very scarce example of Heath Robinson's commercial artwork for an advertising brochure. Small folio, 31cm, pp. 28, illustrated with 11 plates, sewn card covers. Internally very well-preserved & bright, fine or near-fine, the card covers with some handling marks & marginal wear. "His advertising artwork is little known and rarely seen." [Eye Magazine, August 2018]. This rare brochure features in Heath Robinson's Commercial Art, by Geoffrey Beare [Lund Humphries, 2017]

Art. Haste, Cate - Sheila Fell: A Passion for Paint. Lund Humphries: 2010. First edition. Hardback in dust jacket. A nice bright copy. (1)

Antique Lund steel lever & corkscrew maker : William Lund, made of steel with a wire helix worm (corkscrew)

CASABLANCAInsert (14" x 36")Very Fine- on Paper; Artist Bill Gold Warner Bros., 1942Less than ten of this style insert featuring Rick Blaine (Humphrey Bogart), Ilsa Lund (Ingrid Bergman), and the key side characters are known to exist.This clean insert on paper features minor touchups to its credits, fold lines, and images. It is in excellent overall condition.With its classic depiction of star-crossed lovers Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman), Casablanca was a massive financial and critical success in 1943, ultimately winning three Academy Awards, including Best Picture. Universally recognized as one of the greatest and most quoted films in history today, it was inducted into the Library of Congress in 1989 for its contributions to American culture.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

CASABLANCAHalf Sheet (22" x 28"); Style BVery Fine- on Paper; Artist Bill Gold Warner Bros., 1942Two half-sheets were produced to promote Casablanca, with this Style B version featuring Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman) beside a panel of key side characters including Ugarte (Peter Lorre) and Captain Louis Renault (Claude Rains).This poster was sympathetically restored to address fold wear with airbrushing applied around the borders and additional touchups applied to the title and the image of Henreid on the upper right. It is in excellent overall condition. With its classic depiction of star-crossed lovers Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman), Casablanca was a massive financial and critical success in 1943, ultimately winning three Academy Awards, including Best Picture. Universally recognized as one of the greatest and most quoted films in history today, it was inducted into the Library of Congress in 1989 for its contributions to American culture.This lot will be auctioned on Thursday, December 7th. The auction will begin at 9:30am PST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on December 8th.

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) LANDSCAPE WITH TREES Signed, pastel Dimensions:20cm x 25cm (8in x 9.75in) Provenance:Provenance:The Artist’s EstateAcquired from the above by Cyril Gerber Fine Art, Glasgow from where acquired by the present owner in 2003 Note: This work is one of a series of studies relating the paintings The Little Larchwood (I) and (II), both of c.1955 (see Chrisopher Andreae, Joan Eardley, Lund Humphries, Farnham, 2013, p.145). It is likely to have been executed in situ whilst Eardley was visiting her friend, the photographer Audrye Walker, as Christopher Andreae has explained: ‘The ‘little larchwood’ paintings were done during one of Joan’s visits to Caverslee, the shepherd’s cottage in the Borders used as a country retreat by the Walker family.’ (op.cit.)

Alan Davie (1920-2014)Upsurge No.3, 1952dated '20 8 52' (upper left), signed, dated, and inscribed 'Alan Davie/Aug 52/SPEED SPACE' (to reverse)oil on board 122 x 101cm. Provenance:The Artist's Estate;Private Collection; Bonhams. London, Modern British and Irish Art, 22 June 2022, lot 60. Literature: Alan Bowness, Alan Davie, Lund Humphries, London, 1967, cat.no.147 The present lot is the third in a sequence of works titled Upsurge and subtitled Speed Space, each painted by Davie in 1952. The critic Robert Melville observed that Davie's work of this period relates to the fascination with science fiction prevalent among the artists of the emerging Independent Group, as well as the sacrificial imagery of Francis Bacon. Across the Upsurge pictures, Davie's application of paint is thick, the final image resultant of process rather than design. Upon the acquisition of another work from 1952 (Black Mirror), which matches approach and palette of the Upsurge series, the Tate gallery interviewed Davie. He elaborated on his practice around this date: "The paintings of the period that remain are few — the outcome of violent and mainly destructive work — most of them have many various paintings underneath them... each successive image being the result of the destruction of the previous one (obliteration by a new image, not removal of). At that time I felt the need to produce a work by a flash of intuition — if it didn't come off I did another on top. There is no doubt that many good things were destroyed in the process — but the result could never have been achieved by any other way." (Alan Davie quoted in The Tate Gallery Report 1972–1974, Tate Gallery London, 1975). The painting and board appear in very good condition with no sign of damage or paint loss. The edges of the board have very minor wear consistent with the age. The frame has age and has some wear.

Sandra Blow R.A. (British, 1925-2006)Allegro (Basford 40) Screenprint in colours with collage elements, 2005, on wove paper, signed and numbered 47/125 in pencil, published by Lund Humphries, London, with full margins, framedImage 210 x 210mm (8 1/4 x 8 1/4in)Sheet 248 x 214mm (9 3/4 x 8 3/8in)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Victorian rosewood travelling vanity and jewellery box with hallmarked silver and other dressing table pots and bottles, two London 1841, maker Frances Douglas and also marked Lund 4 Fleet St, the others unmarked, with lift out fitted tray and fall flap back with removable easel backed mirror and jewellery drawer with campaign style handle below, W 29 x D21 x H17cm

from May the 20th until June the 20th 1936. Oil paintings, watercolours, pastels, drawings and etchings by Picasso. Des. and printed by Lund, Humphies, 1936, (8) p. (incl. wr.), 2 mounted plates, orig. stapled wr., 4to. The blue lvs waterst. in upper outer corner, wr. a bit stained/ discol. Rare, relatively early exhibition catalog. (2) Pablo Picasso. 43 lithographies 1945-'47. Amst., exhibition catalog Stedelijk Museum, ca. 1948, (42) p., 38 ills., orig stapled wr., 4to (browned along margins). -and 9 others on the same. Added: 2 others on M. Chagall (1948 and 1950), both printed in limited numb. eds. (total 14)

(1) Flux Paper Events. Berlin, Edition Hundertmark, 1976. First edition artists' book, limited to 500 copies. Staple bound, 21 x 15 cm. A collection of altered sheets of paper that have been variously crumpled, stained, torn, stapled, perforated, glued and folded. Hole-punched in lower right corner, with upper right corned chopped off as issued. Good copy. (2) George F. Maciunas, Kalejdoskop No.3/1979. Lund, Kalejdoskop, 1979. First edition. Printed portfolio, 24 x 16 cm, showing a portrait of Maciunas on the cover, housing a large fold-out poster containing Maciunas' famous 'Diagram of Historical Development of Fluxus and Other 4 Dimentional (sic), Aural, Optic, Olfactory, Epithelial and Tactile Art Forms.(...)', 119 x 44.5 cm unfolded. With three short texts by Mats B. (Mats Birger Rindeskär). Portfolio somewhat soiled, with Kalejdoskop closure sticker, sheet in fine condition. (total 2)

Chillida, Eduardo -- Homenaje a PicassoAquatinta auf Arches-Velin. 1972.33,8 x 36,7 cm (76 x 57 cm).Signiert "Chillida", mit dem Künstlersignet sowie bezeichnet "E.(preuve d')A.(rtiste)".Van der Koelen 72016.Einer von 8 Künstlerabzügen außerhalb der Auflage von 186 Exemplaren, gedruckt von E. Arte und herausgegeben vom Propyläen-Verlag, Berlin. Chillidas graphisches Werk steht meist im Dialog zu seinen Skulpturen. Die zusammenhängenden schwarzen Formen bestehen aus schweren, breiten Balken. Noch sind sie eher kantig, ebenso wie die im Jahr 1972 von ihm errichtete monumentale Basaltskulptur "Campo Espacio de Paz II (Raumfeld des Friedens II)" in Lund. Einige Jahre später begann der gebürtige Baske mit der Arbeit an seiner wohl berühmtesten Skulptur "El peine del vieno" an den Klippen von San Sebastián. Es ist der Charakter des Metalls, dessen Oberfläche durch den Prozess verändert wird, die körnige Struktur der schwarzen Formen im Kontrast mit den hellen Flächen, durch die Chillidas Radierung "gewaltig" wirkt. Prachtvoller, intensiver Druck mit ausgeprägtem Relief, mit dem vollen Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

HUGO FREDRIK SALMSON (1843 Stockholm - 1894 Lund) & S. SCHOENFELS Öl auf Leinwand, "Kinder mit Kirschen am Zaun stehend" (1877), unten links signiert "S. Schoenfels Salmson" und datiert, ca. 90x80cm, in Prunkrahmen (119x108cm), Firnis, mehrfach retuschiert (Leinwand mit diversen Flickstellen), craqueliert, Rahmen bestoßen

1971 The Complete Sculpture of Barbara Hepworth 1960-69, edited by Alan Bowness, Lund Humphries, London. Hardback. First edition art book on Hepworth's work. Sixth Form College Library copy.