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

Diego Giacometti (manner of), a pair of bronze table lamps, green/black patination, unfitted as lamps, modern, 45cm high Provenance: Lamberty Art & Design, selected items from the storages.

ϒLamberty Bespoke, a Riviera coffee table, modern, ebony strip top, bronzed metal base, 50cm high, 180cm wide, 79.5cm deep Provenance: Lamberty Art & Design, selected items from the storages. ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

Lamberty Bespoke, the Moore dining table, modern, inspired by the sculptor Henry Moore, three bronze base elements, glass top, 71cm high, 400cm wide, 142.5cm deep Provenance: Lamberty Art & Design, selected items from the storages.

PRINTING & TYPOGRAPH, including : The Art and Practice of Printing, complete in the original 26 parts. 1932-33; original wrapper; Almost fine copies ; Luckombe: Art of Printing , (1771)? Defective copy, lacking title page & few others;. Lucien: Hints on Illuminating. 6th. edn.; The Illuminated Scripture text book. C1878; Southward: Modern Printing. 2 vols. 1924; Williams: Journalistic Jumbles, or Trippings in Type , Etc. (Qty)

Fyffe Christie (1918-1979) ''Don Giovanni Triptych'' Each panel signed and dated 1956, oil on board, 152cm by 60cm (3) Provenance: From the Artist's Estate See illustration Christie was born in Bushey, Hertfordshire but grew up in Glasgow beginning his artistic training with a lithography apprenticeship, which he later left due to the medium's restrictive creative quality. After a period of war time service as a Bagpiper and stretcher-bearer in the 9th Battalion the Cameronians (Scottish Rifles), he studied mural painting at Glasgow School of Art. His pursuit of mural painting sparked his lifelong fascination with figures and their environments, so much so that he produced a series of drawings of his students whilst teaching at Park Modern School. Christie was drawn to figures, and often painted scenes composing nudes within forest lined backgrounds - 'Sleeping Figure in Dark Landscape' (lot 3116) epitomising his fascination in the human figure and the natural world, and one's place within it.

A modern Chinese blue and white porcelain dish, foliate decoration, painted mark, 24cm dia, boxed, 'A gift of Heritage', reference book on Chinese painting and calligraphy, three further books, 'A Grand Design', 'The Tsui Museum of Art' (x2) and a modern Chinese scroll, (5).

An Art Deco Style Illusion Set Dress Ring, of graduated rectangular design, between crossover shoulders, stamped "9ct Plat", a modern half eternity style ring, channel set, stamped "585".

•AFTER DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970) SPRING (1916-1920) Offset lithograph, published by The Modern Art Society, 1924, signed in pencil, 46 x 55.5cm.; with two signed prints after Cecil Aldin, `The New Inn, Gloucester` and another (two girls in a graveyard), both signed, published by Eyre & Spottiswoode (2) ++ Knight slightly faded; the Aldins time stained and faded

4 modern art pictures

Modern Art Deco Style Satinwood Console Table. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area. Condition: Minor Rubbing and scuffs otherwise good condition. Estimate: $200.00 - $400.00 Domestic Shipping: Third Party

Modern Art Deco Style Satinwood Console Table. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area. Condition: Minor Rubbing and scuffs otherwise good condition. Estimate: $200.00 - $400.00 Domestic Shipping: Third Party

Mid Century Modern Art Glass Green and Black Colored Sculpture. Triple gourd body with long top stem. Signed on underside. Good condition. Measures 31" H. (estimate $50-$150) Shipping: Third party

Robert Rauschenberg (American, 1925–2008) Chairs signed and dated 'Rauschenberg 82' (lower right); numbered 4/24 etching on handmade paper 76 x 56cm (30 x 22in) Provenance: Grimm Modern and Contemporary Fine Art, Amsterdam (label verso)

§ Walter Horst Nessler (German/British, 1912-2001) Jersey signed 'Nessler' (lower left) oil on canvas 39.50 x 50cm (15 x 20in) Provenance: The Hertfordshire County Council 'Pictures For Schools' collection' Their sale, Cheffins, March 21 2019, lot 6, where acquired by the present owner Other Notes: Born in Leipzig, Germany, Nessler began his artistic career at the Castelli Italian School of Art, Dresden. Despite not being Jewish, he strongly opposed National Socialism, and eventually moved to London in 1937, joining the British army shortly thereafter. After the war, he studied sculpture at St Martin's School of Art and travelled to Paris, meeting the likes of Cocteau, Sartre, Picasso, Giacometti and Matisse. French modernism, particularly Cubism, exerted a strong influence on his subsequent work. The bright colours and geometric planes used to depict the landscape surrounding Jersey, the subject of numerous works in the early 1950s, reveals the artist's optimistic post-war outlook. Nessler first exhibited his work at the Molon Gallery in 1961. He also took part in several group exhibitions at the Royal Academy, the Royal Society of British Artists, and commercial galleries in London, the provinces, and abroad. A retrospective of his work was held in 1990, which coincided with his increasing recognition in Germany. Nessler's works are now held in numerous public collections internationally. Oil on canvas. On the reverse of the painting is an area of modern adhesive which appears to be a crude repair to a tear at the right of the painting. Around this area are raised flakes of paint. The area appears pink under ultraviolet light suggesting it may have been retouched or reworked following the damage. Quite extensive cracking throughout.

§ Hilda Elizabeth Kidman, ASWA (British, 1891-1980) Self portrait of the artist in her studio at Ramerick Manor, Hertfordshire signed 'H Kidman' (lower right); further signed and titled to the reverse oil on canvas 44 x 34cm (17 x 13in) Other Notes: Hilda Elizabeth Tomson, née Kidman was born into a farming family at Ramerick Manor, Hertfordshire (sometimes spelt Ramerwick). After studying at Frank Calderon’s School of Painting in Baker Street, London,she went to the Slade where she studied under Professor Henry Tonks. Amongst Hilda’s fellow students were some of the greatest names of modern British art, Dora Carrington, C.W.R Nevinson, Mark Gertler, Paul Nash and Augustus John. The notes she made in later life regarding the ‘rebellious bohemian’s’, gives an interesting insight into the group; ‘Dora Carrington was at the Slade when I was there, a simple girl from Bedford…Carrington was exceptional, about 5’5, hair ash-brown with golden lights, and eyes blue. She had her hair bobbed – and Gertler too. She was still the completely unspoiled girl. Garsington with its snobbery later turned her head – it was too much for her, and ended with her being housekeeper for Lytton Strachey…I remember AugustusJohn coming to the annual dance dressed in a navy blue jumper, playing a barrel organ with various Slade girl helping him. In 1914 kidman shared a studio with Charles Ginner and Harold Gilman. As well as admiring Dutch still live paintings, she was influenced by Ginner’s Post-Impressionist flower paintings and it was during this period that she produced some of her most original works. Her main career decision was to specialise in children’s portraiture which she often executed in the style of Sir Joshua Reynolds. Hilda’s most important commission as a society painter was for two portraits of the children of Michael Bowes-Lyons, 17th Earl of Strathmore and kinghorne.Hilda married Maynard Tomson in 1927 and had two children, Philippa and Susan. The 1936 February edition of ‘Woman’s Journal’, featured Philippa on its front cover. The portrait hung at the Royal Academy and caught the eye of Alfred Hitchcock who commissioned Hilda to paint his own daughter, Patricia. Philippa Maynard Romer, née Tomson, was educated at the Cambridge Technological College, Byam Shaw and the Royal Academy School (1949-1952). Philippa, like her mother, quickly established herself as a portrait painter and her reputation for producing charm and a character of likeness in her portraits, often resulted in Philippa painting two generations of the same family. This is evident in the twenty-five portraits she produced for the art collector, Iris Hughes, of Furnes Pelham Hall. Like her mother, Philippa also had one of her pictures reproduced in print when ‘Star of the old Gaiety’, was published in the Evening Standard on the 15th May 1953. The portrait depicted the actress and dancer, Miss Sylvia Grey on her 88th birthday. Philippa married Mark Romer in 1953 and It would seem only natural that one of their children would inherit the desire to paint and it was their daughter, Caroline Romer, who would become an eminent artist who still paints today. Three generations of women artists, who between them, spanned almost the entire 20th century. Oil on canvas which has good tension and is in plane. Slight stretcher bar marks have formed in the paint layer. The paint is in a good condition overall. There is a thin layer of yellowed varnish, the surface is slightly dusty. The painting is glazed, the frame is in a good condition.

Two modern pre-Raphaelite prints and a Ricardo Wolfsan art poster print, all framed and glazed

COLLECTION OF GOOD QUALITY ART REFERENCE BOOKS RELATING TO SCANDINAVIAN & EUROPEAN ART, BRITISH ART ETC including Italian paintings and drawings from the Royal Collection, 'The Painting of Modern Life' by T J Clark, 'The Scottish Colourists 1900-1930', 'Face to Face: British Self Portraits in the 20th Century' by Philip Vaan ETC (please see images for titles)

A DIAMOND AND GOLD RING BY GERALD BENNEY the 18ct. gold mount with engraved swirl decoration and set with six circular-cut diamonds, 10.6 grams. Size M. With green leather box by Gerald Benney Adrian Gerald Sallis Benney (1930-2008) Gerald Benney was one of the most influential and outstanding British goldsmiths of the 20th century and the first British craftsman to hold four Royal Warrants simultaneously, during a career spanning more than fifty years. Born in Hull, East Yorkshire, his father was Principal of Brighton College of Art, which Gerald attended from 1946-48, and his mother was a gifted silversmith. He went on to study at the Royal College of Art where he met the designers and silversmiths David Mellor and Robert Welch. Influenced by modern Scandinavian design, together they went on to revolutionise Post-war silver design. He established his first workshop at Suffolk House, Whitfield Place, off the Tottenham Court Road in London. In 1968 in Zurich he met the enameller Berger Bergensen, who worked for the house of Burch Korrodi and had also worked for Karl Faberge's great rival Bolin. Benney, wanting to develop the use of enamel to further embellish his silver objects and designs, persuaded Bergensen to come to England to train his workshop in the art of enamelling. His studio went on to be one of the world's foremost modern enamellers. In 1969 he moved his London studio to Falcon Wharf, Bankside and later to Bear Lane, Southwark. In 1971 he was awarded Royal Designer for Industry and from 1974-1983 he was Professor of Silversmithing and Jewellery at the Royal College of Art. In 1973 The Goldsmiths' Hall held a major retrospective of his work. In 1993 he opened a shop at 73 Walton Street, in Knightsbridge together with his son Simon, now also an accomplished goldsmith and who continues to run the family business today. He was appointed C.B.E. in 1995.

This piece is a celebration of Plymouth’s nautical history. The giant vintage compass rose on her back is inspired by the kind of compass rose drawn on maps from the 16th and 17th centuries, made modern by its bright colours. On the daylight side, Sir Francis Drake’s Golden Hind sails across the Atlantic in search of Spanish gold, while on the night side, the dreams of sailors show us mermaids and sea monsters under a starry sky.The ArtistAnne-Marie is a Suffolk-based artist, an ex-archaeologist and civil servant. Anne-Marie rediscovered her artistic roots when Pigs Gone Wild trail came to Ipswich in 2016. She has participated in several trails around the UK, painting lions, sun bears, hares, giraffes, bees, ducks and otters.She also painted a Van Gogh inspired car that went all the way to Monte Carlo in a charity rally. When not painting, Anne-Marie creates digital art and writes fiction.

A modern silver Art Nouveau style photograph frame

A collection of vintage and modern costume and silver jewellery. To include: aurora borealis glass necklace, art glass earrings, charm beads and rings.

Large stained glass leaded panel in Art Nouveau style, early 20th Century, modern frame. (B.P. 24% incl. VAT) CONDITION REPORT: Panel measures approximately 60 x 118 cm. Temporary frame. Four cracked panels.

A Framed Modern Art Collage, Triangles, 64cm Wide

A Red Rose Guild walnut chest of drawers, c.1936, by Harry Norris of Bolton, with six drawers, with initials 'HN' to the bottom drawer, 99.5cm wide 49cm deep 130.5cm high This chest of drawers was given as a 21st birthday present by Margaret Pilkington, who founded the 'Red Rose Guild'. The Guild began life in 1921 as 'The Red Rose Guild of Artworkers', but later changed its name to 'The Red Rose Guild of Designer Craftsmen' to reflect its emphasis on craftwork. The symbol of the Guild, the red rose of Lancashire, reflected the Guild's origins in the north-west and its regional focus persisted despite the participation of craftspeople from across the country. Its main activity was to hold exhibitions, although there was debate about whether a permanent outlet for displaying and selling craftwork would be preferable. Thanks to Margaret Pilkington's connections, the exhibitions were held at the Whitworth Art Gallery from 1937, and in 1940 the Guild moved there. The exhibitions showcased the leading practitioners of craftwork and there was a strong ethos promoting the importance of craftwork in modern society.

An Art Deco burr walnut and ebonised suite, comprising: a pair of armchairs, with modern leopard print upholstery, 72cm wide 95cm deep 85cm high seat 45cm high, and a settee, 168cm wide 86cm high seat 50cm high (3)

John Sell Cotman (British, 1782-1842): 'View of Norwich', signed and dated 1831 lower left, oil on board, exhibition label to back 'United Art Gallery, 116 & 117 New Bond Street, London, W, Exhibition of Old and Modern Masters in Oils and Watercolours, Cat. No. 89, Title: View of Norwich, Artist Name: John Sell Cotman, Name of Owner: Alexander Young Esq., Price: Not For Sale', 25 by 31cm, in a gilt composition frame painted with 'J. S. Cotman' to lower edge, 48 by 54.5cm.Provenance: Private Deceased Estate.

Various volumes on pottery and porcelain, art and antiques including 1837 Gallery of Modern British Artists plus a 1936 Kellys Gt Yarmouth Dictionary (two boxes)

Elmer = Multi Coloured Squares is a usefulway of remembering Einstein’s iconic equationE=MC2: Energy = Mass x Constant (Speed ofLight) Squared. But Elmer, like Einstein, remindsus that imagination and creativity are just asvaluable as scientific knowledge, maybe more so.Question everything. Be playful. Think sideways,diagonally, and in spirals, rather than just instraight logical lines, because the components oflife do not fit into neat square boxes. A beautifulcreative mind can influence the world just aspowerfully as a strong gravitational force canwarp the dimensions of the universe.Sponsor: University of SuffolkAt the University of Suffolk, we prepare ourstudents for a world where nothing ever staysthe same. We embrace change, and our studentslearn to embrace change too. We absorb thebest university traditions and align them with atwenty-first century audience, with a particularfocus on the modern world of employment andentrepreneurship. We pride ourselves on beinga community impact university and are delightedto support Elmer’s Big Parade Suffolk. Withthe University of Suffolk’s main campus on theIpswich Waterfront, we have a prime spot tohost an Elmer and are proud to do so this year.www.uos.ac.uk Artist: Lois Cordelia Lois Cordelia is a versatile community artist,speed-painter, illustrator and tutor, based inIpswich. She works in diverse mediums, includingacrylics, paper-cutting, and mixed mediasculpture, creating most of her art live in public.Since 2016, she has painted designs for more thana dozen public trails all over the country. Loisstudied Arabic at the University of Edinburgh.

NO RESERVE Russian Art.- Nakov (Andréi) Malevich: Painting the Absolute, 4 vol., Farnham, 2010; Kazimir Malewicz: Catalogue Raisonné, Paris, 2002 § Petrova (Y.) & others. Kazimir Malevich in the Russian Museum, St.Petersburg, 2000 § Imanse (G.) & Frank van Lamoen, editors. Russian Avant-Garde: The Khardzhiev Collection, Amsterdam, 2013 § Guitaut (C. de) Russia: Art, Royalty and the Romanovs, 2018, illustrations, many colour, original cloth or boards, all but the first and fourth with dust-jackets, the first and second with slip-cases; and c.10 others on Malevich and modern Russian art, 4to & 8vo (c.20)

NO RESERVE Japanese Art.- Kidder (J.Edward) Prehistoric Japanese Arts: Jomon Pottery, Tokyo, 1968 § Impey (Oliver) Japanese Export Porcelain: Catalogue of the Ashmolean Museum, Oxford, Amsterdam, 2002 § Jörg (Christian J.A.) Fine & Curious: Japanese Export Porcelain in Dutch Collections, Amsterdam, 2003 § Wilson (R.L.) The Art of Ogata Kenzan: Persona and Production in Japanese Ceramics, New York & Tokyo, 1991; The Potter's Brush: The Kenzan Style in Japanese Ceramics, Washington D.C., 2001 § Koyama (Fujio, editor) Japanese Ceramics from Ancient to Modern Times, Oakland, Ca., 1961, illustrations, many colour, original cloth or boards with dust-jackets, the last a little rubbed and frayed, the first also with card slip-case; and c.45 others on Japanese ceramics, many in Japanese, v.s. (c.50)

NO RESERVE Collections.- Arnaldo (Javier, editor) Carmen Thyssen-Bornemisza Collection, 2 vol., Madrid, 2004 § Baldassari (Anne, editor) Icons of Modern Art: The Shchukin Collection, Paris, 2016 § Van Heugten (S.) Avant-gardes 1870 to the present: The Collection of the Triton Foundation, Brussels, 2012 § National Gallery Illustrated General Catalogue, second edition, 1986, illustrations, many colour, original cloth or boards, all but the third with dust-jackets, the last also with slip-case; and c.15 others, mostly art collections, 4to & 8vo (c.20)

Indian Art.- Fergusson (James) and James Burgess. The Cave Temples of India, first edition, wood-engraved frontispiece and illustrations, folding map, 99 plates including one mounted albumen print, a few tinted, 2 folding, with a duplicate of plate XVIII, very occasional spotting, map creased, Breezewood book-label, contemporary half morocco, t.e.g., spine gilt, rubbed, 1880; History of Indian and Eastern Architecture, first edition, wood-engraved frontispiece and illustrations, light foxing at beginning and end, modern half morocco, t.e.g., 1876, 4to & 8vo (2)⁂ James Fergusson (1808-86), originally an indigo planter in India later became an architectural historian and respected authority on Indian architecture and its cave temples in particular. The first work was co-produced with the archaeologist James Burgess who from 1886-89 was Director General of the Archaeological Survey of India.

NO RESERVE Japanese Art.- Buisson (Sylvie & Dominique) La Vie et l'Oeuvre de Léonard-Tsuguharu Foujita [Catalogue Raisonné], without the 2001 supplementary volume, Paris, 1987 § Singer (Robert) & others. Matazo Kayama, Rome, 1992 § Conant (Ellen P.) & others. Nihonga. Transcending the Past: Japanese-Style Painting, 1868-1968, New York & Tokyo, 1995, illustrations, many colour, original cloth with dust-jackets, the first slightly frayed at edges; and 8 others on modern and contemporary Japanese art, 4to & 8vo (11)

TWO GOLD, RUBY AND DIAMOND RINGS Comprising; an Art Deco small ruby and diamond two (of three) stone ring, indistinctly stamped 'Plat 18ct' (poor condition), size O+, 1.4g gross; and a modern 9ct gold ruby and diamond dress ring, centred with an oval mixed-cut ruby between small eight-cut diamond six stone shoulders, London 1989, size I+, 2g gross

William De Morgan, a lustre dish, circa 1872-1882, painted with storks within a border of alternating stylised flowering plants and open winged birds, the reverse with fish and weeds, impressed J H and J Davis mark, 30.5cm diameter Note: recorded in the Victoria and Albert Museum publication of the Catalogue of Works by William De Morgan, 1925; Frank Ollerenshaw Collection of Modern Ceramic Art, July 25th 1935

SIX SHELVES OF MISCELLANEOUS BOOKS, INCLUDING ART REFERENCE, HISTORY AND MODERN FICTION, ETC

Malcome Koch, after, a set of three modern art prints, Crazy Girl in a Crazy City, New York Beat, etc, each framed (3)

Amirsadeghi (Hossein) . Art Studio America, contemporary artist spaces, 2013, New York, numerous colour illustrations, original cloth in dust jacket, large 4to, together with Booth-Clibborn (Edward [editor]) , American Illustration 6, 1987, New York, numerous colour and black & white illustrations, original cloth in dust jacket, spine lightly faded, large 8vo, and Garzón (Diego) , On What We Are, 2011, numerous colour illustrations, original cloth in dust jacket, as new in original plastic wrapper, oblong 4to, plus other American & modern art reference, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/4to (Qty: 6 shelves)

Baltz (Lewis) . Die Toten von Newport Beach, The Deaths in Newport..., 3 volumes, 1995, Berlin, numerous black & white illustrations, original boards in book box, box lightly marked, 8vo, together with Lathigra (Kalpesh) , Lost In The Wilderness, 2015, U.S.A., numerous colour illustrations, original cloth, oblong 4to, Okun (Jenny) , Dreamscapes, The Photographic Art of Jenny Okun, 2012, U.S.A., numerous colour illustrations, original cloth in dust jacket, as new in original shrink wrap, oblong 4to, plus other modern photographic art reference, many original cloth in dust jackets, some paperbacks, VG, 8vo/4to (Qty: 3 shelves)

Mercer (F.A. & Gaunt W. [editors]) . Posters & Publicity, fine printing and design "Commercial Art" annual, 1928, tipped in colour plates plus numerous colour and black & white illustrations, original boards, lightly rubbed to head & foot, 8vo, together with Victoria And Albert Museum , Exhibition of British and Foreign Posters, Catalogue, 1931, 8 black & white plates, original wrapper, lightly rubbed to head & foot, 8vo, and Mackley (George) , George Mackley, Wood Engraver, 1st edition, 1981, Gresham Books, Surrey, numerous black & white illustrations, original cloth in dust jacket, covers lightly rubbed to head & foot, 8vo, plus other late 19th century & modern art reference, mostly original cloth, many in dust jackets, G/VG, 8vo/4to (Qty: 6 shelves & a carton)

Shenval Press . Italian Paintings and Drawings at 56 Princes Gate London SW7, 2 volumes, 1959, numerous black & white illustrations, uniform original red cloth in slipcase, 8vo, together with Wm. Helburn , Architectural Details (ornamental and structural) of the Renaissance Period in England, circa 1900, New York, 52 black & white plates, modern endpapers, some light spotting & marks, modern red cloth spine retaining contemporary red half calf, boards slightly rubbed with minor loss, large 4to, and other pre 20th & modern art history & reference, some leather bindings, many original cloth in dust jackets, some paperbacks, G/VG, 8vo/4to (Qty: 6 shelves)

Thornton (John, 1720-1790). 'A short account of my Travels from Riga through Germany, Italy etc to England. With what is curious to be seen at each Place begun at Riga the 26th July 1742 N. S. or O. S. the 15th July 1742 with also the Tour of England, Scotland and Ireland', manuscript in brown ink on paper, [2] 1-[180] pp. (a few errors in pagination), 30-35 lines to the page, last 5 leaves loose, text ending mid-sentence on final page, front pastedown with engraved armorial bookplate (incorporating a chevron sable between three hawthorn bushes above name 'John Thornton, London') and pencil inscription 'Melville Library', contemporary comb-marbled paper boards, rubbed, 4to (24 x 19 cm) (Qty: 1)NOTESA detailed and highly descriptive journal in all appearances by noted merchant and philanthropist John Thornton (1720-1790). After the death of his father, Robert, a wealthy merchant and director of the Bank of England, ' Thornton inherited the Clapham estate and about £100,000, which he increased greatly in the Russian trade. A large part of Thornton's income was devoted to the encouragement of a gospel ministry in various parts of the world' (ODNB); these business interests would seem to explain his unusual route to Italy via Prussia. His account is characterised by a grand tourist's eye for art and architecture, and fair-minded descriptions of people and places visited, the latter including Memel (modern Klaipeda, in Lithuania), Königsberg (Kaliningrad), and various cities in what is now Poland, including Danzig (Gdansk) and Köslin (Koszalin). Thornton's son Henry (1760-1815) became a influental banker and an important figure in the Clapham Sect, while his daughter Jane married Alexander Leslie-Melville, 7th Earl of Leven (1749-1820); his great-great-grandson was E. M. Forster.

Yahagi (Kijuro) . Visions Of Japan, 3 volumes, 1991, numerous colour illustrations, original binding in slip case, large 8vo, together with Szeto (Naomi Yin Yin et al) , The Extraordinary in the Ordinary: Chairs for Viewing the World through Time, 2014, Hong Kong, numerous colour and black & white illustrations, original boards, as new in original plastic wrapper, folio, and Amirsadeghi (Hossein) , Britain's Artists and their Studios, 2012, numerous colour illustrations, original red cloth in slipcase, folio, plus other Oriental & modern art reference, including Nirvana, Beyond Dark III, by Wi, Wan-Gyo, many original cloth in dust jackets, some paperback editions, G/VG, 8vo/folio (Qty: 6 shelves)

Beattie (William). The Ports, Harbours, Watering-Places, and Coast Scenery of Great Britain, 2 volumes, 1842, engraved frontispieces and additional titles, 121 engraved views after W.H. Bartlett only, (of 123, lacking portrait and Berwick Lighthouse plate at p. 28, volume I), some light spotting and toning, all edges gilt, contemporary morocco, rebacked with original spines relaid, edges slightly rubbed, 4to, together with Tegetmeier (W,B.) Pigeons: their Structure, Varieties, Habits and Management, [1868], 16 chromolithograph plates, illustrations, advertisement leaf at end, a couple of small water stains, modern half calf, large 8vo, plus four others including John Roby's Traditions of Lancashire, 2 volumes, 1829 (volume I title laid down), Thomas Rose's Vues Pittoresques des comtes de Westmorland, Cumberland, Durham et Northumberland, 3 volumes in one, 1832 and The Art of Rigging, 2nd edition, 1806 (Qty: 9)

J. Peretto, 19th Century French School"Le Grand Port de St. Tropez," O.O.B., depicting boats in a harbour, with label on reverse "Collection of H. Walter Barnett - Modern French Art - Third Series No. 36" approx. 36cms x 47cms (14" x 18 1/2"). (1)

A watercolour interior study of a cathedral with great attention to its art and architecture, together with two modern religious prints in highly ornate gilt wood frames, the largest frame 45 cm x 51 cm (3)

Samuel Bak (b. 1933)oil on canvas'En Observation' or 'Earthscape'signed 'BAK' upper right, dated 1965, remains of title label and gallery stamps verso21.75 x 25.5in unframedProvenance: Exhibited Galleria Schneider, Rome, March - April 1965 and Alwin Gallery, 'Triple London Debut: Samuel Bak, John Skelton and Peter Holland', November 1965.Christie's Impressionist, Modern and Post-War Art sale, 11 December 2003, Lot 256 (as 'Earthscape').Literature: Kunst Archive online catalogue in relation to the Rome exhibition, entitled 'Earthscape'.With thanks to the Pucker Gallery, Boston and the artist for their assistance in authenticating this picture

Josef Albers (German/American, 1888 - 1976). "Soft Resonance: Homage to the Square [miniature edition]". Original color silkscreen. 1962. Printed 1964. Signed in pencil with the initial and dated, lower right. Probably a PP or TP from the miniature edition of unknown size, presumed small. Very light cream wove paper. Ample margins. Fine impression. Very good to fine condition. Provenance: Private collection, New Canaan, Connecticut, acquired directly from Sewell Sillman of Ives-Sillman, the firm who printed/published many Albers editions. Overall size: 5 x 5 in. (127 x 127 mm). An authentic silkscreen, hand-printed with the approval of Josef Albers. Printed under the direction of Sewell Sillman (Ives-Sillman, Inc.) for the Museum of Modern Art, NYC. NB: according to “Gordon’s” the most recent sale of a “mini-Albers” is a set of two miniature screenprints (unsigned) which sold for $1,875 at Swann Auction Galleries, New York City, May 16, 2019, lot #111. Image copyright © The Josef and Anni Albers Foundation - Artists Rights Society (ARS), New York. [29141-1-150]

Andrew Wyeth (American, 1917-2009). "Helga in Orchard". Color offset lithograph. 1974. Printed 1987. Signed in pencil, lower right; signed in the plate, upper right. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Overall size: 11 3/8 x 15 3/4 in. (289 x 400 mm). Image size: 8 3/4 x 13 3/16 in. (222 x 335 mm). Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28304-3-300]

Guillermo Meza (Mexican, 1917 - 1997). "Galea". Lithograph. 1961. Signed with the initials in the plate. Edition of 265 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Very good condition. Provenance: Estate of Jaled Muyaes, one of the collaborators. Overall size: 11 3/4 x 7 7/16 in. (298 x 189 mm). Image size: 8 1/4 x 6 in. (210 x 152 mm). Prints by Meza are scarce. His work is in the collections of the Museo de Arte Moderno, Mexico City, the Museum of Modern Art, New York, the Art Institute of Chicago, and the San Francisco Museum of Modern Art. His 'expressionist - surrealist' paintings, with themes often drawn from Indian mythology, are often associated with artists such as Frida Kahlo and Agustín Lazo. Image copyright © The Estate of Guillermo Meza. [19505-2-100]

Andrew Wyeth (American, 1917-2009). "Sun Shield [Helga]". Color offset lithograph. 1982. Printed 1987. Signed in pencil, lower right; signed in the plate, upper left. Edition unknown. Cream wove paper. Wide margins. Fine impression. Very good to fine condition. Provenance: Private collection, Santa Barbara, California. Overall size: 11 3/8 x 14 1/2 in. (289 x 368 mm). Image size: 9 5/8 x 12 3/16 in. (244 x 310 mm). Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. [28307-3-225]

Sam Francis (American, 1923-1994). "Pink Venus Kiki". Color lithograph. 1963. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition. Overall size: 16 1/8 x 11 3/8 in. (410 x 289 mm). Image size: 15 3/8 x 10 5/8 in. (391 x 270 mm). For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. Image copyright © Estate of Sam Francis / Artists Rights Society (ARS), New York. [26820-4-225]

Josef Albers (German/American, 1888 - 1976). "Tenayuca (b) [miniature edition]". Original color silkscreen. 1942. Printed 1965. Signed in pencil with the initial and dated, lower right. Probably a PP or TP from the miniature edition of unknown size, presumed small. Cream wove paper. Margins as issued. Fine impression. Very good to fine condition; tape residue from prior matting, verso. Provenance: Private collection, New Canaan, Connecticut, acquired directly from Sewell Sillman of Ives-Sillman, the firm who printed/published many Albers editions. Overall size: 4 3/16 x 8 1/8 in. (106 x 206 mm). An authentic silkscreen, hand-printed with the approval of Josef Albers. Printed under the direction of Sewell Sillman (Ives-Sillman, Inc.) for the Washington Gallery of Modern Art, Washington, D.C. NB: according to “Gordon’s” the most recent sale of a “mini-Albers” is a set of two miniature screenprints (unsigned) which sold for $1,875 at Swann Auction Galleries, New York City, May 16, 2019, lot #111. Image copyright © The Josef and Anni Albers Foundation - Artists Rights Society (ARS), New York. [25723-1-150]

Andrew Wyeth (American, 1917-2009). "Brinton's Mill". Color offset lithograph. 1958. Printed 1963. Signed in pencil, lower right; annotated lower left. A proof from the edition of unknown size (c300?). Cream wove paper. Wide margins. Fine impression. Fine condition. Provenance: Private collection, Santa Barbara, California. Overall size: 11 1/8 x 15 9/16 in. (283 x 395 mm). Image size: 8 7/16 x 13 1/4 in. (214 x 337 mm). Andrew Newell Wyeth was a visual artist, primarily a realist painter, working predominantly in a regionalist style. He is one of the best-known U.S. artists of the middle 20th century. In his art, Wyeth's favorite subjects were the land and people around him, both in his hometown of Chadds Ford, Pennsylvania, and at his summer home in Cushing, Maine. One of the best-known images in 20th-century American art is his painting, "Christina's World," currently in the collection of the Museum of Modern Art in New York City. Image copyright © The Estate of Andrew Wyeth. [27965-3-225]

Roy Lichtenstein (American, 1923-1997). "Imperfect Drawing for Catalogue Cover II". Color offset lithograph. 1987. Signed in orange crayon, lower right. Edition of 4,000. Heavy white wove paper. The full sheet; untrimmed. Fine impression. Condition: folds as issued; slight wear on corners, else good to very good. Literature/catalogue raisonne: Corlett III.14. Image size: 9 7/16 x 21 1/4 in. (240 x 540 mm). Book-Jacket illustration for "The Drawings of Roy Lichtenstein." Corlett writes: "This image was designed by Lichtenstein for use on the cover of the paperback edition of 'The Drawings of Roy Lichtenstein,’ by Bernice Rose, catalogue by Elizabeth Richebourg Rea (New York: The Museum of Modern Art, 1987), published on the occasion of the exhibition held at the Museum of Modern Art, March 15 - June 2, 1987. Lichtenstein designed a second Imperfect illustration for the cloth edition (see cat. no. III.13)." Printed by the Meriden-Stinehour Press, Meriden, Connecticut. Rare when signed. Image copyright © Estate of Roy Lichtenstein. [24518-4-300]

Claes Oldenburg (Swedish/American, b.1929). "All Kinds of Love". Original lithograph. 1963. Signed with the initials in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression. Fine condition. Overall size: 16 1/16 x 11 1/4 in. (408 x 286 mm). Image size: 10 1/8 x 9 5/8 in. (257 x 244 mm). For Walasse Ting's "1¢ Life." Prints from the One Cent Life portfolio are in most major and public collections worldwide including MOMA (New York), Tate Modern (London), Museum of Contemporary Art (Montreal) and the Andy Warhol Museum (Pittsburg). Text and/or image may be on verso. [26832-3-100]

* WALTER LANGHAMMER (AUSTRIAN 1905 - 1977), TRAFALGAR SQUARE oil on canvas, signed 60cm x 60cm Framed. Note: Born in Austria. Left Austria during Nazi occupation of World War II. He was a contemporary of the famous painter Oskar Kokoschka, and was professor of the Academy in Vienna in the 1930s. After fleeing Austria Langhammer spent some time in London where he painted many images of city scapes and travel (carriage) posters for British rail. After moving to India, Langhammer was appointed as the first art director of the Times of India, and later the Chairman of Bombay Art Society. He played a matchless part in bringing art patrons and artists together, and a seminal role in the founding of the Progressive Arts Group. Langhammer would often say, he saw a future in the modern art movement – he felt it was all over Europe. So people like Ara, Raza, Husain, Souza and Raiba, the great names of the Indian Progressive Art Movement, became his students. Every Sunday, it was open house at his studio on Napean Sea Road. Langhammer inspired a generation of artists who then went on to propel Indian Art onto the international forum. Artists like Almelkar, Husain and Razza have candidly admitted to having drawn inspiration from him. His work is widely collected over several continents today.

Ca.900 AD. Amazing Viking reconstructure Belt using modern leather with authentic gilt bronze appliqués.Beautifully preserved . Good Condition; Size: 1060mm; 41.73in;120gr;Provenance: From an old British collection, acquired on the UK art market in the 1980s. All Items sold by Pax Romana Auctions come with professional Certificate of Authenticity.

3 Modern Table Lamps in the Art Deco Style (3):(please refer to conditions on lot 599)

Roy Lichtenstein (American, 1923-1997). "We Rose Up Slowly…". Original color silkscreen. 1992. Signed in pencil, lower right. Edition unknown, presumed small. White wove paper. The full sheet. Fine impression. Very good condition; some waviness to sheet, no creases, tears, etc. Literature/catalogue raisonne: Unknown to Doering/Von der Osten. Overall size: 32 3/8 x 37 3/8 in. (822 x 949 mm). A very scarce poster and rare when signed. For the Frankfurt Museum of Modern Art. Image copyright © Estate of Roy Lichtenstein. [28200-7-3000]