We found 19749 price guide item(s) matching your search

POSTCARDS, mainly modern UK topographical, inc. views, art, animals, coastal, humour, greetings, adverts, parks, gardens, multi-views, castles, churches, harbours, maps, royalty, transport etc., mixed sizes, G to VG, Qty.

POSTCARDS, mainly modern selection, inc. many adverts, views, art, coastal, maps, railway, London, military, a few overseas, New Zealand, a few extra large etc., in modern albums and loose, G to VG, Qty.

[Hooker, William]. [Pomona Londinensis, 1st edition, London: Hooker, 1813-18], 35 hand-coloured aquatint plates only (of 49: without plates 36-49), lacking all preliminary text including title-page, and text-leaf for plate 8, repairs to plates 1, 2 and 7, text-leaf for plate 1 with extensive repairs, text-leaves untrimmed, modern blue quarter morocco, 4to (35 x 24 cm), together with: Willughby (Francis, & John Ray). The Ornithology of Francis Willughby of Middleton in the County of Warwick Esq; Fellow of the Royal Society. In Three Books ... Translated into English, and enlarged with many Additions throughout the whole Work. To which are added three considerable discourses, I. Of the Art of Fowling ... II. Of the Ordering of Singing Birds. III. Of Falconry, by John Ray, London: by A. C. for John Martyn, 1678, title-page in red and black, 76 engraved plates (of 80: lacking plates 1 and 9 and the 2 unnumbered plates, these last supplied in facsimile), toning, lacking at least text-leaves E2, H1, L1, 2A2-3, 2G4, 2Q3 and 3L3-4 (all supplied in facsimile on toned paper, laid in), tear with loss to plate 11 and 72, plates 73-77 frayed, fraying and repairs to a few other plates, 20th-century quarter calf, folio (35 x 22 cm), [MacGillivray, William, & Georges Cuvier]. The Edinburgh Journal of Natural History and the Physical Sciences [...] The Animal Kingdom, 1835-7, an incomplete run, 21 monthly numbers (only) in one volume, 84 + 84 pp., the sections from each number containing The Animal Kingdom bound in sequence at rear, 34 hand-coloured engraved plates (of 130), later half morocco with original part-title mounted to front board, folio (34.6 x 23.2 cm)Qty: (3)NOTESTHE DAVID WILSON LIBRARY OF NATURAL HISTORY PART II Nissen BBI 913 (Hooker); Nissen IVB 991 (Willughby & Ray); Nissen ZBI 4619 (MacGillivray). Sold as a collection of plates, not subject to return.

Bilbo (Jack). Jack Bilbo, An Autobiography, 1st edition, The Modern Art Gallery, 1948, tipped-in colour plates, numerous monochrome plates, mostly after photographs, original cloth gilt in bright condition, in frayed and chipped dust wrapper, with card slipcase (some wear), large 4toQty: (1)NOTESAuthor's presentation copy, inscribed to front endpaper 'To Mark Rubens, a heavy book on his poor shoulders from Jack Bilbo 1948'.

Brassington (W. Salt). A History of the Art of Bookbinding, with some account of the Book of the Ancients, 1894, colour frontispiece and plates, monochrome plates & illustrations, modern cloth, with dampstain, 4to, contained in purpose-made book-box, together with: Mitchell (John) , The Craftsman's Guide Series. An introduction to Gold Finishing, 1st edition, Five Oaks, Sussex: Standing Press Ltd., 1995, monochrome illustrations, author's signature at head of title-page and his inscription to front free endpaper, original cloth with pictorial upper board, small folio, Crane (W.J.E.) , Bookbinding for Amateurs: Being descriptions of the various tools and appliances required and minute instructions for their effective use, London: L. Upcott Gill, [1900?], wood engraved illustrations, upper hinge split, original cloth, blocked decoration in gilt & black, 8vo, Lindsay (Jen) , Fine Bookbinding a Technical Guide, 1st edition, London: The British Library; Newcastle, Delaware: Oak Knoll Books, 2009, monochrome illustrations, title inscribed by the author, original printed stiff wrappers, 4to, Cockerell (Douglas) , Some Notes on Bookbinding, Oxford University Press, 1929, monochrome frontispiece and illustrations, near contemporary cloth-backed marbled boards, 8vo, and other bookbinding related referenceQty: (a carton)

de Santillana (Anna Venini Diaz) . Venini Catalogue raisonné 1921-1986, Skira, France, 2000, numerous colour & monochrome illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, large 4to, together with; Mouillefarine (Laurence & Évelyne Possémé) , Art Deco Jewelry, Modernist Masterworks and their Makers, Thames & Hudson, 2009, numerous colour & monochrome illustrations, original cloth in dust jacket, large 8vo, and Varney (Carelton) , In The Pink, Dorothy Draper: America's most fabulous decorator, Pointed Leaf Press, LLC., New York, 2006, numerous colour & monochrome illustrations, original cloth in dust jacket, square 4to, plus Benaïm (Laurence) , Jacques Helleu & Chanel, 1st edition, Harry N. Abrams, Inc., New York, 2005, numerous colour & black & white illustrations, publishers original boards in slipcase, folio, and other modern 20th century design reference & related, including Ensembles Mobiliers, 18 volumes (in 17), Bibliothèque de L'Image, Paris, 2005, mostly original cloth in dust jackets, VG, 8vo/folioQty: (36)

Leibovitz (Annie) . A Photographer's Life, 1990-2005, 1st edition, Random House, New York, 2006, signed by the author to the half-title, numerous colour & monochrome illustrations, original cloth in dust jacket, folio, together with; Milligan (Max) , The Lebanon, Byblos, Lebanon, 2010, signed by the author to the half-title , numerous colour illustrations, publishers original boards in slipcase, oblong folio, and Yarrow (David) , Nowhere, 1st edition, 2007, numerous colour illustrations, original cloth in dust jacket & slipcase, spine lightly faded, oblong 4to, plus Flick (Robbert) , Trajectories, Los Angeles County Museum of Art, U.S.A., 2004, numerous monochrome & colour illustrations publishers original black cloth, large 8vo, and other modern photography reference, mostly original cloth, many in dust jackets, G/VG, 8vo/folioQty: (28)

Ducamp (Emmanuel [editor]) . Pavlovsk, The Palce and the Park, The Collections, 2 volumes, Alain de Gourcuff Éditeur, Paris, 1993, numerous colour & monochrome illustrations, publishers original boards in book-box, box spine slightly faded, large 4to, together with; Moncrieff (Elspeth, Stephen & Iona Joseph) , Farm Animal Portraits, 1st edition, Antique Collectors' Club, 1998, signed by Stephen & Iona Joseph to the title page, numerous colour & monochrome illustrations, original cloth in dust jacket, 4to, and Timms (Robert) , Nicholas & Alexandra, The Last Imperial Family of Tsarist Russia, 1st edition, Booth-Clibborn Editions, 1998, numerous colour & monochrome illustrations, original cloth in dust jacket, spine lightly faded, large 4to, plus other modern Russia, travel, art & miscellaneous reference, including Russian Furniture, The Golden Age 1780-1840, by Antoine Chenevière, 1st edition, 1988, mostly original cloth in dust jackets, G/VG, 8vo/4toQty: (6 shelves)

Almine Rech Gallery [publisher] . Calder and Picasso, 1st edition, New York, 2017, numerous colour & black & white illustrations, publishers original boards, spine lightly rubbed, large 4to, together with; Caldwell Jr. (Benjamin H. et al) , Art Of Tennessee, Frist Center for the Visual Arts, Nashville, 1st edition, 2003, numerous colour illustrations, original cloth in dust jacket, covers lightly rubbed, large 4to, and Bullock (Natasha & Alexie Glass-Kantor) , Parallel Collisions, 12th Adelaide Biennial of Australian Art, 1st edition, Art Gallery of South Australia, 2010, numerous colour & monochrome illustrations, publishers original boards in slipcase, large 4to, plus other mostly modern art reference & related, many original cloth in dust jackets, some paperbacks, some 'as new' in original plastic wrap, G/VG, 8vo/folioQty: (6 shelves)

Barrie (David) . John Ruskin [Modern Painters], new edition, Pilkington Press, 2000, numerous colour & black & white illustrations, original cloth in dust jacket, minor rubbing to head, large 8vo, together with; Bevan (Tony) , Tony Bevan 28-09-2005 / 8-01-2006, 1st edition, Institut Valencia d'Art Modern, Valencia, 2005, numerous colour & monochrome illustrations, original illustrated black cloth, large 4to, and Choi (Eunju) , Inauguration National Museum of Modern and Contemporary art Seoul, 1st edition, National Museum of Modern and Contemporary Art, Seoul, 2014, numerous colour & monochrome illustrations, publishers original boards, large 8vo, plus other mostly modern art reference & related, mostly original cloth, many in dust jackets, some paperbacks, some 'as new' in original plastic wrap, G/VG, 8vo/folioQty: (6 shelves)

Butlin (Martin) . The Pantings and Drawings of William Blake, 2 volumes, 1st edition, Yale University Press, 1981, numerous colour & black & white illustrations, publishers original cloth in dust jackets, spines lightly rubbed to head & foot, large 8vo, together with; McKechnie (Sue) , British Silhouette Artiists and their Work 1760-1860, 1st edition, Sotheby Parke Bernet, 1978, numerous black & white illustrations, original cloth in dust jacket, spine faded, large 8vo, and Longstaffe-Gowan (Todd) , The London Square, Gardens in the Midst of Town, 1st edition, Yale University Press, 2012, numerous colour & monochrome illustrations, original cloth in dust jacket, small tear to foot of spine, square 4to, plus other modern art, history & miscellaneous reference, including publications by Folio Society, Antique Collectors' Club, Cambridge, Gollancz, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQty: (6 shelves & a carton)

AN ART DECO STYLE MODERN WALL MIRROR, TOGETHER WITH TWO OVAL EXAMPLES (3)

A COLLECTION OF VINTAGE AND MODERN WRISTWATCHES TO INCLUDE AN ART DECO EXAMPLE

KEVIN SINNOTT (Welsh b.1947) A framed and glazed limited edition etching with aquatint titled 'Impressions'. Pencil signed and dated '90 and numbered 12/20. Plate size 59cm x 45.5cm (Sinnott has work in the National Museum of Wales, Metropolitan Museum of Modern Art New York, Ashmolean, British Museum and Arts Council.

KEVIN SINNOTT (Welsh b.1947) A framed and glazed limited edition etching with aquatint titled 'Thin Man'. Pencil signed and dated '90 and numbered 11/20. Plate size 60.5cm x 37cm. (Sinnott has work in the National Museum of Wales, Metropolitan Museum of Modern Art New York, Ashmolean, British Museum and Arts Council.

A SET OF FOUR MODERN ART DECO STYLE CAST IRON BAR STOOLS with brassed feet on a triangular section tapered stem, round bar foot rests and a green leather round seat (sd), height 74cm  Condition Report  No, only one height

Three modern coloured art glass vases and a clear glass cake stand, each in good condition.

A collection of assorted auction catalogues, to include Christie's Modern Illustrations, Sotheby's Aboriginal Art etc

A collection of modern mainly costume jewellery to include an Art Nouveau style white metal and abalone shell cruciform pendant on fine link chain, boxed, together with various others, paste set drop pendant earrings with matching necklet, various Swarovski boxes (appear empty)

.00Keynes (Geoffrey, editor) On the Morning of Christ's Nativity: Milton's Hymn with Illustrations by William Blake, number 67 of 150 copies, plates, original vellum-backed cloth, t.e.g., others uncut, patterned-paper endpapers, Cambridge, University Press, 1923 § Book of Ruth (The), number 148 of 250 copies, with decorative borders in brown after Geofroy Tory and Bernard Salomon, borders lightly offset, original limp brown batik boards, uncut, blue card slip-case with paper label to upper cover, spine slightly faded, [Dreyfus 3], printed by the Pelican Press for the Nonesuch Press, 1923 § Kipling (Rudyard) The Glory of the Garden, number XX of 25 special copies but without the additional suite of plates, from an edition limited to 125 signed by the artist, hand-coloured linocuts by Judith Verity, folding concertina style, original wrappers, hand-coloured label to upper cover, slip-case, Andoversford, Whittington Press, 1989 § Jones (Shirley) The Making of Ellor-gast 1985-1986, number 33 of 200 copies signed by the author/artist, with numbered & signed relief etching tipped in at end, original decorative wrappers, uncut, [Croydon], Red Hen Press, 1986 § Lines (Vincent) The Tuileries Gardens, etching, Artist's Proof from an edition limited to 150, loose as issued in original printed card folder, Jennings Fine Art & Merivale Editions, n.d.; and a bundle of pamphlets, prospectuses etc. from Fleece, Incline and other modern presses, v.s. (c.20)

Pair of modern Art-Deco style green velvet scalloped back chairs with brass coloured legs, approx 83cm x 80cm x 80cm

Collection of three pieces of modern art: YVONNE HINDLE (b.1963), 'Pause in Time', annotated and signed verso 1989, approx 20cm x 25cm, A HALAK, oil on canvas of a rooftop party scene, approx 50cm x 40cm and a further oil on canvas of rooftops, approx 55cm x 45cm

Seven colourful modern paintings in street-art style, by various hands, including 'Zebra Girl' by Julia Sisi (purchased from The Brick Lane Gallery, 2013), another signed to reverse 'Teeks and Miku 2012', most unframed, sizes vary (7)

A Modern "The Art Deco Ring", (created to celebrate the wedding of HRH Prince Charles to Camilla Parker Bowles) stamped "925" (finger size N); together with single stone dress rings stamped "925", etc

Thurloe Connolly (1918-2016) Painting Oil on canvas, 30 x 27.5cm (11¾ x 10¾'') Signed, inscribed and dated 1943 Exhibited: 'The White Stag Group', Irish Museum of Modern Art, 6th July-4th October 2005.

Samuel John Murphy (1851-c.1920) The Fruit Seller Oil on canvas laid on panel, 35.5 x 30.5cm (14 x 12) Signed and dated 'S. J Murphy. 1882', lower-left Exhibited: Cork, Cork Industrial Exhibition, 1883, Gallery of Modern Paintings, no. 24, £12 12. Provenance: Mucklow's Gallery, 35, Cranbourn St., Covent Garden, circa 1930s, label, verso. Samuel John Murphy was born in county Cork in 1851. He was a pupil of the Cork School of Art and a contemporary of Joseph Poole Addey (1852-1922) and Henry Jones Thaddeus (1859-1929). Murphy became Head of the Waterford School of Art in 1875 and married Emily Jane Falls in 1878. Later, Murphy became involved in the lace-making industry. Accompanied by fellow Cork artist, James Brenan (1837-1907), then head of the Cork School of Art, Murphy travelled to Alençon, France, whose needle-lace was dubbed 'the Queen of lace.'[1] Here, to study the techniques of the Alençon workers, both men met with Ernest Lefébure (d.1913), a lace manufacturer who would later become the Administrator of the Musée des Arts Décoratifs, Paris. He continued to paint and exhibit during this time, however, and was a painter of scenes of equestrian, genre, and marine interest, as well as portraits. His latest known work is dated 1890. The 1911 Census confirms Murphy resided at 7, Newtown Rd., Waterford City. He remained an Art Master, but had become a widower. An equestrian scene by Murphy forms part of the collection of the Crawford Art Gallery, Cork City (CAG.489). 1] P. Wardle, Victorian Lace (London: Barrie & Jenkins, 1968)

INDO-PORTUGUESE EMBROIDERED COVERLET (COLCHA) BENGAL, SATAGOAN, 17TH CENTURY worked in yellow tussah silk threads chain-stitched on a pale cotton ground with a central profile portrait of a ruler within bands of musicians, hunters, boats, fish and animals (301cm x 249cm) Footnote: Provenance : The Earls of Crawford and Balcarres, Balcarres House, Fife, Scotland Note : Coverlets of this type are attributed to the area of Satgaon in Bengal, India and were produced primarily for the Portuguese market during the mid-16th to the mid-17th centuries. The yellow tussah silk chain-stitched on a cotton ground in a monochrome palette are characteristic of these textiles and reflect European tastes, while the embroidery techniques are indigenous to where they were produced. They are often referred to by the Portuguese term ‘ colcha ’ or coverlet. Colchas demonstrate the exchange of goods and ideas between different cultures during the 1500 and 1600s, and indeed the mixed iconography depicted often reveal a concoction of mythological, Hindu, and Christian imagery. European textiles, tapestries and prints appear to have influenced their design, as well as merchants who would have provided their own ideas. Colchas were initially made as diplomatic gifts or souvenirs, but in time were brought to Portugal for domestic use, and through trade links made their way throughout Europe. Similar colchas are in the collections at the Metropolitan Museum of Art, New York; the Cooper Hewitt, Smithsonian Design Museum, New York; the British Museum, London; the Isabella Stewart Gardner Museum, Boston; and the Museu Nacional de Arte Antiga, Lisbon. For examples selling at auction, see Christie’s, Arts of India, London,12 June 2014, lot 34; Christie's, Indian & Islamic Costume & Textiles, London,14 October 2005, lot 487; Sotheby’s BC/AD Sculpture Ancient to Modern, London, 9 July 2020, lot 118; and Bonhams, Islamic & Indian, London, 30 April 2019, lot 150.

Four modern carriage clocks; a modern barometer by Daymaster; figurines and mixed china, including: Imari bowl, cups and saucers; art plates; Doulton Burslem vase; and table lighters.

Modern Moorcroft art pottery tube lined 'Winter Town' two handled jar and cover or cannister, signed A.B, signed and dated 2011, impressed marks, 12cm high approx. (B.P. 21% + VAT) No obvious damage.

Three mid-Century Moorcroft art pottery tube lined green ground floral pedestal bowls. Together with another Moorcroft floral pin dish and a modern Moorcroft rectangular tray, impressed and printed marks to the base on them. (5)(B.P. 21% + VAT) Obvious crazing to some but no obvious, damage, chips, cracks or restoration.

Five modern Moorcroft art pottery tube lined vases of squat, baluster and waisted form, decorated with stylised flowers and one with dragonfly. Waisted vases approx 12cm high, Dragonfly vase 8.5cm high approx, squat vase 5cm approx. Impressed and painted marks to the base. (5)(B.P. 21% + VAT) No obvious damage.

Modern Moorcroft art pottery tube lined Puffin vase, of squat form by Kerri Goodwin. 11cm high approx, impressed and painted marks to base, dated 1997.(B.P. 21% + VAT) No obvious damage.

Modern Moorcroft art pottery tube lined bud vase, overall decorated with purple flowers and foliage, designed by B. Wilkes and dated 1999, 9cm high approx. Together with a matching circular pin dish, 11cm diameter approx. (2) (B.P. 21% + VAT) No obvious damage

After Auguste Moreau, a pair of Art Nouveau patinated spelter sculptures, Ruisseau and La Charmeuse, on modern turned wood bases, largest height 47cm (2)

5 modern cabinet art collage frames, some with indistinct artist's inscriptions on reverse

MODERN ART STANDARD LAMP

A collection of Art Deco and later jugs, some by Myott & Sons, Wade Heath, all decorated with painted flowers, a J H W & Sons moulded tulip example, a Hancocks ivoryware painted floral jug and other modern examples (9) No major cracks or chips^ minor losses of paint otherwise good

A collection of early 20th Century and later miniature perfume bottles, including a flattened triangular example with moulded decoration painted with lily of the valley having metal and corked stopper, 7cm high, two white metal mounted scent bottles in the Art Nouveau style 9cm and 6cm high, a 19th Century glass and enamel painted elongated scent bottle 17.5cm, a Peking glass scent bottle, stopper now snapped off, 6cm high, a collection of modern scent bottles including a set of three blue glass examples with white and gold flowers from Pacific Creation Eau de Parfum, Lolita Fempicea of bud form (3) and various others including hair combs In varying conditions

A large collection of modern reference books, relating to Art Nouveau, Arts and Crafts, William Morris, Architecture and various decorative arts, a quantity

A set of three framed continental Art Nouveau tiles, relief moulded floral decoration glazed in colours within modern moulded frame, 17cm x 47cm together with a pair of continental Art Nouveau tiles with floral decoration and another similar example, each 18cm x 32.5cm Minor crazing otherwise generally good

A contemporary oak cabinet, opening to reveal shelved interior decorated with Art Nouveau brass door fitting now lacking handle with swivel lock plate, 117cm wide x 23.5cm deep x 84cm high Generally good^ cabinet is new^ brass fitting is pitted in places as of the period with modern screws^ floral design has some damage to top of stylised leaves and pitting to larger plate where handle was

A French Art Nouveau white metal miniature hinged circular box, with embossed decoration of poppy flower and sinuous stems, the hinged lid lifting to reveal a silver gilt interior with bale and ring to top, 4.4cm diameter together with an American table top miniature white metal/Sterling marked powder box with hinged lid, the lid decorated with floral design and sinuous stems marked Sterling to lid and base, 4.5cm diameter, a silver plated Art Nouveau cushion shaped box and cover with stylised flowers and lily pads, 4.8cm and a circular modern silver box with floral decoration marked 925 to reverse, 3.6cm diameter (4)

2nd-4th century AD. A group of fifteen stucco human and animal heads of various sizes, comprising: a dog's head; buddha heads, some with remaining pigmentation; figures wearing elaborate headdresses and turbans; one head with European facial features, basin-cut hairstyle and moustache. 2.3 kg total, 4.4-13.5cm (1 3/4 - 5 1/4"). Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection. Gandharan sculpture was produced in parts of modern-day India, Pakistan and Afghanistan from the first century AD. Gandharans are famed for their schist and stucco carvings, which replaced schist as the dominant material in the circa 3rd century AD, in part because stucco allowed artists greater freedom to portray lifelike features. Religious sites were decorated by skilled artists with stucco representations of important individuals and religious scenes. Some monumental statues had stucco hands, feet, and heads alongside clay torsos. During this time, Gandhara was exceptionally wealthy, profiting from trade along the Silk Road; patrons had resources to spend on the arts, and there was a proliferation of stucco artwork. [15] Fair condition.

Late 1st millennium BC. A gold 'Sarmatian Animal Style' disc mount with band of inset turquoise triangular inserts to the rim; a goddess, possibly Artemis, riding sidesaddle on the back of a leocampus with its fish-tail raised and mouth gaping, piriform cell before the face; four loops to the reverse.The term 'Sarmatian Animal Style' first suggested by Prof. M. Rostovtzeff in 1920’s to make it distinct from the well-known Scythian Animal Style. Rostovtzeff described “Sarmatians” as new Iranian-speaking people, who came to the Northern Black Sea region from the east, apparently from the northern boundaries of ancient Bactria, and subdued the Scythians. The most distinctive feature of the style is the polychromy produced by the colour inlays. The majority of depicted figures are fantastic beasts of prey with bodies constructed from different parts of animals, usually shown as symbolic antagonists, representing different parts of the universe; also cf. 'Mistress of Animals' plaque in Hampe, R. and Simon, E., The Birth of Greek Art. From the Mycenaean to the Archaic Period, Fribourg, 1981, pl.354, for type. 74.41 grams, 64mm (2 1/2"). Property of a London gentleman; previously acquired on the UK art market in the 1990s; accompanied by an independent specialist report and valuation by graduate gemmologist and jewellery expert Anna Rogers, GIA GG, BA, Gem-A, ref. no.163592/1/9/2020; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163592-10059. Literature The leocampus was a mythical beast with the foreparts of a lion and the tail of a fish. It appears infrequently but is represented on a mosaic at the Baths of Neptune, Ostia, Italy. Artemis was the goddess of the hunt, the wilderness, wild animals, the moon, and chastity. Her worship was widespread in Greece and in the colonies such as Ephesus in modern Turkey. In Greek Archaic art she appears as Potnia Theron ('Mistress of the Animals'), a winged goddess holding beasts in her hands, such as a stag, eagle or lion. Fine condition. ( A video of this lot can be viewed on Timeline Auctions website.)

2nd century BC-2nd century AD. A restrung necklace composed of tubular carnelian beads interspersed with oblate blue glass beads and later gold beads, central hollow-form gold pendant with inset garnet cabochon enclosed in a border of granulated chevrons and rosettes; modern clasp. 19.4 grams, 57cm (22 1/2"). Property of a London gentleman; acquired on the London art market in the 2000s. Fine condition.

14th century AD and later. A mixed group of items, formerly the property of Charles F. Spink and retrieved from his personal writing desk, comprising: (A) three English lead-alloy medieval pilgrim badges being: (i) a standing mailed figure with sword in left hand and mitre-style headdress, possibly depicting St Thomas Beckett, affixed below (ii) a delicate Gothic 'triptych' type openwork tracery surround, both mounted on a 19th century card with inked manuscript 'Queenhithe 1867' inscription; with (iii) another openwork pilgrim badge with small card label bearing inked manuscript 'Steel Yard 1863 / 623 Part' inscription in two lines; (B) an original photograph mounted on card showing a family group sitting in a veteran car with two other ladies standing alongside and bearing the inked manuscript 'Charles Frederick Spink / at the wheel of / the first car in Chislehurst' inscription in three lines to the reverse; (C) a modern photograph of Charles Spink's personal writing desk; (D) a Spink & Son Ltd Exhibition of Ancient Sculptures Vases and Bronzes, catalogue, undated but refers to '...difficulties arising out of War conditions.....' so believed to be from the 1914-1919 period; (E) a Spink & Son Ltd Illustrated Catalogue of a Selection of Egyptian and Babylonian Antiques, retail priced catalogue; (F) a Spink & Son Ltd printed flyer relating to 'Old Canton Enamel'; (G) a manuscript letter on printed Spink & Son letterhead on the subject of 'Some Jewish Coins' listing a number of coins with prices, believed to be in the hand of Charles Frederick Spink; (H) a typescript letter signed by A P Oppe on printed Victoria & Albert Museum letterhead with mourning edges following the death of Edward VII, dated 16 December 1910, accepting the gift from Charles Spink of a 'specimen of old Chinese lacquer, illustrating the process of manufacture by super-imposed layers'; (I) two specimens of Chinese lacquer of the same form as described in the V&A letter which same held together in an old envelope with manuscript '3 pieces of Chinese Lacquer in colours' with the '3' struck through; (J) a copper printing plate for the private visiting card of Charles F. Spink of 'FORD BANK / ST LEONARDS ON SEA' in two lines; (K) an early 19th century coin box with top and base formed from two 1799 farthings of George III and containing grains of barley with a card slip bearing the inked manuscript 'Egyptian Barley / 2500 years old' annotation in two lines; (L) a small glass corked phial bearing the inked manuscript label 'Gold Pellets' to the outside; (M) a carved wood ethnographic art phial with linear ornament and side loop, with brass wire binding around neck. See Mitchiner, M., Medieval Pilgrim & Secular Badges, London, 1986; Spencer, B., Pilgrim Souvenirs and Secular Badges, Woodbridge, 2010. 630 grams total, 4-24cm (1 1/2 - 9 1/2"). Property of a Cheltenham, Gloucestershire, UK, reverend; by inheritance and descent from the collections of Charles Frederick Spink (1878-1945); holder of the Royal Warrant to provide medals for Queen Victoria and dealer in fine arts with the firm Spink & Son; the pilgrim badges found in London at Queenhithe, 1867 and at Steel Yard, 1863. The objects in this group were all the property of Charles Frederick Spink (1878-1945) at the time of his death and were kept in his private writing desk, of 'William and Mary' date (1690-1700); item (C) is a photograph of this desk showing the arrangement of drawers and slots in which the items were held. Charles was a member of his family firm Spink & Son Ltd, long-established dealers and auctioneers in fine arts, antiquities and coins and makers of medals and orders, including for the Royal Family and internationally; the firm famously continues to the present day. The pilgrim badges are interesting, and it is no exaggeration to say that the gothic tracery (item Aii) is a remarkable survival and largely intact (see Spencer, 2010, items 86 and 142 for similar but much smaller specimens of the type"). The armoured figure (item Ai) is of a type which appears in depictions of the martyrdom of Archbishop Thomas Becket, St. Alban (Mitchener, 1986, item 249) or St. Edmund (Mitchener, 1986, item 247) where the physical violence of the martyr's death is emphasised. [13] Fine condition. The pilgrim badges exceptional and rare.

20th century AD. A substantial gilt bracelet formed in two parts; the shank with raised panels decorated with incised snakeskin pattern and hatched lines, four conical projections to each side, central lozengiform bulb; hollow to the underside with red fabric insert. For similar see the Dallas Museum of Art exhibition, The Power of Gold, Asante Royal Regalia from Ghana, 15 April 2018: ‘The Dallas Museum of Art presents an exhibition dedicated to the royal regalia of the Asante kingdom. Spanning three centuries, The Power of Gold: Asante Royal Regalia from Ghana brings together over 250 objects, including crowns, sword ornaments, ceremonial furniture, textiles, pectoral disks, weapons, a state umbrella, musical instruments, and jewelry made of wood, silk, brass, iron, and gold. Organized by the DMA and inspired by the Museum’s collection, The Power of Gold is the first American museum exhibition dedicated to Asante regalia in over 30 years, and explores the unique role and impact of gold on the development of Asante society, economy, and arts.’ 342 grams, 13.3cm (5 1/4"). UK private collection 2008-2020; acquired from Niger Bend, Chittenango, New York, USA; from the Asante (Ashanti, Achanti) tribe, Ghana, West Africa. The wealthy, gold-rich Ashanti people are part of the Akan ethnic group and are native to the Ashanti Region of modern-day Ghana. In the 1670s the Ashanti, also known as Asante people, went from being a tributary state to the centralised hierarchical Denkyira kingdom. The empire was founded in 1670, and the Asante capital Kumasi was founded in 1680 by Asantehene (emperor) Osei Kofi Tutu I. Ashanti was one of the few African states that seriously resisted European colonizers, however the British finally defeated the kingdom following the ‘War of the Golden Stool’ in 1900. In 1935 the Ashanti became the self-ruling sovereignty of the Kingdom of Ashanti, and the Ashanti King title of Asantehene was revived. Very fine condition.

20th century AD. A gilt regalia set comprising: an openwork headdress with central rosette cluster and two rectangular projections to the rear, the side panels with clusters of layered star motifs within plaited border, adjustable loop closure to the rear, the inside with padded velvet lining; an arm-ring and bracelet with woven background, applied decorative panels of stars and rosettes, hook closure to the rear, the inside with padded velvet lining. For similar see the Dallas Museum of Art exhibition, The Power of Gold, Asante Royal Regalia from Ghana, 15 April 2018: ‘The Dallas Museum of Art presents an exhibition dedicated to the royal regalia of the Asante kingdom. Spanning three centuries, The Power of Gold: Asante Royal Regalia from Ghana brings together over 250 objects, including crowns, sword ornaments, ceremonial furniture, textiles, pectoral disks, weapons, a state umbrella, musical instruments, and jewelry made of wood, silk, brass, iron, and gold. Organized by the DMA and inspired by the Museum’s collection, The Power of Gold is the first American museum exhibition dedicated to Asante regalia in over 30 years, and explores the unique role and impact of gold on the development of Asante society, economy, and arts.’ 1.5 kg total, 9.5-26cm (3 3/4 - 10 1/4"). UK private collection 2012-2020; acquired from Niger Bend, Chittenango, New York, USA; from the Asante (Ashanti, Achanti) tribe, Ghana, West Africa; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.160587-10110. The wealthy, gold-rich Ashanti people are part of the Akan ethnic group and are native to the Ashanti Region of modern-day Ghana. In the 1670s the Ashanti, also known as Asante people, went from being a tributary state to the centralised hierarchical Denkyira kingdom. The empire was founded in 1670, and the Asante capital Kumasi was founded in 1680 by Asantehene (emperor) Osei Kofi Tutu I. Ashanti was one of the few African states that seriously resisted European colonizers, however the British finally defeated the kingdom following the ‘War of the Golden Stool’ in 1900. In 1935 the Ashanti became the self-ruling sovereignty of the Kingdom of Ashanti, and the Ashanti King title of Asantehene was revived. [3] Very fine condition.

Napatan Period, 643-623 BC. A rhyolite shabti with mummiform body, arms crossed over the chest, the right hand holding a narrow-bladed hoe, the left hand holding a broad hoe, seed bag with tassel slung over the left shoulder; wearing a nemes headdress, double uraeus and false plaited beard with chin straps; six incised horizontal registers of hieroglyphs from Chapter Six of the Book of the Dead; incised 'footmarks' to the base. Cf. The Collector's Eye, Masterpieces of Egyptian Art from The Thalassic Collection, Ltd., p.130 for context; Museum of Fine Art Boston, accession number: 21.11818, for type; see Wildung, Dietriche (ed.)., SUDAN. Ancient Kingdoms of the Nile, Paris, 1997, pp. 224-5, the detailed catalogue of a major exhibition held at the Institut du monde arabe, Paris, 1997. 622 grams total, 22.5cm including stand (9"). From a UK private collection formed in the 1980s; with Bluett and Sons, London, and also Sheppard & Cooper in 1979; formerly the property of a UK private collector who acquired it from J.J. Klejman of Madison Avenue, New York, in the 1960s; accompanied by a scholarly note TL 5285 by Dr Ronald Bonewitz; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.163503-10052. In 591 BC the pharaoh Psamtik invaded Egypt, ending the 25th (Kushite, Nubian) Dynasty which had its capital at Thebes, 716-656 BC. They withdrew to Nubia (modern Sudan) to found the royal Napata and Meroe dynasties. Their pharaohs continued Egyptian traditions, building a great temple to the god Amun at Gebel Barkal and making their royal burials at Nuri and Mero under brick-built pyramids with steeper sides than their Egyptian forerunners. These were excavated by Professor George A. Reisner directing the Harvard-Boston Museum of Fine Arts Expedition, 1916-23. The pyramids had been robbed in antiquity and were much denuded but important finds were made, notably ushabtis which the ancient robbers had ignored. The Pharaoh Senkamanisken (643-623 BC) of the Napata Dynasty (656-575 BC), was the son of Atlanersa and Queen Maloteral and third after the great pharaoh Taharqo; he was buried in Pyramid Nuri 3 at Nuri. In February 1917, Reisner found 1,277 shabtis of the king divided into five groups made of serpentine (here now properly identified as rhyolite, a black igneous rock), and faience. Despite the large numbers of shabtis there are very few available in the art market. Large numbers lie in serried ranks in storage trays in the Boston Museum of Fine Arts. Some were donated to major museums and a few were given to several societies with religious connections. Over the years these societies have rationalized their collections and most of the few shabtis in the market originate from those societies’ disposals and then passing through private collectors’ hands. Unlike Egyptian royal shabtis those of Senkamenisken and his grandfather Taharqo (he had 1,070 in Pyramid Nuri 1) have portrait features. An example similar to the present lot was sold at Christie's, New York, 8 June 2003, for USD138,000. Fine condition, repaired. ( A video of this lot can be viewed on Timeline Auctions website.)

Late New Kingdom, 1550-1070 BC and later. A restrung necklace composed of oblate lapis lazuli beads interspersed with small fluted gold beads, nine bifacial lotus flower pendants and two later discoid gold beads with chequerboard design; modern clasp. 16.82 grams, 57cm (22 1/2"). Property of a London gentleman; acquired on the London art market in the 2000s; previously in a 1980s collection. Fine condition.

§ Mike Francis (1938-)oil on canvas'Modern Girl'signed and inscribed verso19.75 x 30in.CONDITION: Good original untouched condition with no faults noted, black painted frame, Comes for sale from a Corporate Art Collection.

A large quantity of modern postcards including many art and country house related plus 18 Devon postcards incl steamers & ships, also 1930's and onwards greeting/postcards

Musicians, Orchestras and Conductors.- Tattersfield (Gordon, drawing tutor at Stourbridge School of Art, 1928-1968).- Collection of drawings of various musicians, orchestras and conductors, many by Tattersfield, together 83 pen and ink and pencil drawings, including: Artur Schnabel, John Minton (artist and stage designer), Leff Pouishnoff, José Iturbi, Mischa Elman, some on card and laid down, some loose, 1 vol. original cloth, other 2 vol. modern album boards, v.s., 1946 - [50s].

ROBERT BROUGH RSA (SCOTTISH 1872 - 1905), SUCH BURIAL, THEN THE ILLUSTRIOUS HECTOR FOUND oil on canvas 68cm x 185cm Framed. Label verso: Aberdeen Art Gallery and Museums. Note: Brough was born on 20 March 1872. at Garty Cottage, Kilmuir Easter, near Invergordon. His mother was Helen Brough, formerly lady's maid to the Duchess of Hamilton; his father John Cameron, coachman to the Hamiltons. Brough was raised by maternal relatives on a farm on the outskirts of Aberdeen. He was a pupil at Ruthrieston School in Aberdeen until 1884, leaving to become an apprentice engraver with Andrew Gibb & Co., Aberdeen until 1890/1891. Despite working long hours, Brough attended evening classes at Gray's School of Art, Aberdeen, from 1885. He then entered the Royal Scottish Academy and in the first year took the Stuart Prize for figure painting, the Chalmers Painting Bursary, and the Maclame-Walters Medal for composition. After two years in Paris under JP Laurens and Benjamin-Constant at Julian's Atelier he settled in Aberdeen in 1894 as a portrait painter and political cartoonist. During this time he contributed the illustration Roses to The Evergreen: A Northern Seasonal: The Book of Summer published by Patrick Geddes and Colleagues in Edinburgh (1896). The portrait of Mr. W.D. Ross first drew attention to his talent in 1896, and in the following year he scored a marked success at the Royal Academy with his Fantaisie en Folie , which he bequeathed to the National Gallery of British Art (now The Tate). Two of his paintings, Twixt Sun and Moon and Childhood of St. Anne of Brittany , were at the Venice municipal gallery. Brough's art was influenced by Henry Raeburn and by modern French training, but it strikes a very personal note. Brough established a studio in the early years of the 20th century in Tite Street, Chelsea near to that of his friend and mentor John Singer Sargent. On 19 January 1905 Brough was travelling back to London following a session painting in Peebleshire. He caught the overnight express from from St Enoch Station Glasgow. Tragically the train was involved in a three vehicle collision at Cudworth Station, Yorkshire. The train on which he was travelling caught fire. Seven people were killed and twenty injured, some critically including Brough who was badly burned. Singer Sargent heard of the accident and headed north to Sheffield to be at Brough's bedside shortly before he died on 21 January 1905. Brough was returned to Scotland and buried in the churchyard of St Machar's Cathedral. The grave is in the narrow section on the north side of the church.

* CHARLES PULSFORD ARSA (SCOTTISH 1913 - 1989), UNTITLED ABSTRACT oil on board, signed with initials 49cm x 75cm Framed and under glass. Note: Charles Pulsford was born in Staffordshire to Scottish parents who settled in Dunfermline when he was a child. He attended Edinburgh College of Art (ECA) from 1933-7. Following the end of the Second World War, a number of Scottish artists turned their backs on traditional painting styles and instead embraced modernism and abstraction. Alan Davie, William Turnbull, William Gear and Eduardo Paolozzi are recognised as the key artists of this group, but Pulsford, whose work is less well-known, may be regarded as ‘the fifth man’. He taught at ECA from 1952-60 and latterly at Canterbury College of Art. His paintings are in the collections of The Royal Scottish Academy and The Scottish National Gallery of Modern Art.

‡ Doris Zinkeisen ROI (Scottish 1898-1991) Christmas morning Signed Oil on canvas 49.1 x 74.9cm Provenance: Woolley and Wallis, Salisbury, Modern British & 20th Century Art, 13 December 2016, lot 159; And by descent to the present owner

‡ Édouard Pignon (French 1905-1993) Battage Signed and dated 62, and further signed, dated and title to verso Oil on canvas 46.1 x 55.4cm Provenance: Sotheby's, London, 29 June 1967, lot 107; Mallams, Oxford, Modern & Post-War British Art, Design, 10 December 2015, lot 539

‡ Henryk Gotlib (Polish 1890-1966) Girls in Cascais Signed and dated 66 Oil on canvas 63.5 x 76.5cm Provenance: Mrs Janet Gotlib, the artist's widow, 1970 Exhibited: Edinburgh, Scottish National Gallery of Modern Art, Henryk Gotlib 1890-1966, July-August 1970, no. 48; Surrey, Ashgate Gallery, Henryk Gotlib - Paintings, Watercolours, Drawings, October 1974; Surrey, University of Surrey Library Gallery, Henryk Gotlib Exhibition, 1982

‡ Maxwell Ashby Armfield RWS (1881-1972) Tulips in a Porphyry Duck Signed with monogram and inscribed op600 (lower right) Tempera on board 36.8 x 31.2cm Provenance: The Fine Art Society, London, July 1977, no. 5203; Bonhams, Knightsbridge, Modern Pictures, 13 July 2010, lot 42; The Fine Art Society, London

Samuel Palmer - A vision recaptured, numbered 349 from edition of 1800, 1978, together with a large collection of modern art reference. Provenance: Estate of eminent historian and biographer Hugh BroganCondition report: Samuel Palmer book- good clean condition