We found 19747 price guide item(s) matching your search

Joel-Peter Witkin (America, b.1939). "The Sins of Joan Miro". Original vintage photogravure. 1981. Printed 1985. Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Overall size: 10 3/4 x 10 15/16 in. (273 x 278 mm). According to “Gordon’s Photography Prices” a silver print of this image realized $4,880 at Bonhams, New York, 5/10/2011, lot #152. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. Image copyright © Joel-Peter Witkin. [29674-2-300]

Andrew Wyeth (American, 1917-2009). "Study for Easter Sunday [Helga]". Color offset lithograph. 1975. 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 15 5/16 in. (289 x 389 mm). Image size: 9 7/16 x 13 3/16 in. (240 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. [28308-3-300]

Jasper Johns (American, b.1930). "Technics and Creativity II - Target 1970". Color offset lithograph. 1970. Signed in pencil, lower left; signed in the plate, lower left. Edition of 22,500, of which few have survived intact (brush present, with hairs, w.c. pads unused). White wove paper. Full margins. Fine impression. The print is in fine condition. Very light soil to plastic case. Scarce thus. Provenance: Private collection, Los Altos, California. Image size: 10 5/8 x 8 in. (270 x 203 mm). An unsigned impression sold for €616 ($973) on 03-30-2008 at PIASA in Paris. Another unsigned impression was offered at auction with a pre-sale estimate of $4,000/5,000 (starting bid $2,000) at RoGallery, August 11, 2010, lot 259. Plastic case containing a catalogue with 364 illustrations (20 in color) and a specially commissioned multiple by Johns (a two-color offset lithograph), along with watercolor pads and a brush. The pads are intact and, along with the brush, never used. Produced by Gemini in conjunction with "Technics and Creativity: Gemini G.E.L," an exhibition at The Museum of Modern Art, New York. Image copyright © Licensed by VAGA, New York, NY. [19894-3-800]

Wifredo Lam (Cuban, 1902 - 1982). "Figuras Geometricas". Gouache on paper. c1958. Signed lower right. White wove paper. Very good condition overall. Provenance: Through the artist Max Ernst; Private collection, Vera Cruz, Mexico. Overall size: 17 1/16 x 12 1/4 in. (433 x 311 mm). Image size: 17 1/16 x 12 1/4 in. (433 x 311 mm). Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While Diego Rivera and Joaquin Torres-Garcia drew inspiration from Pre-Columbian art, Wifredo Lam was influenced by the Afro-Cubans of the time. Lam dramatically synthesized the Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. Image copyright © The Estate of Wifredo Lam. [25233-3-8000]

Andrew Wyeth (American, 1917-2009). "Helga Nude [AW inventory #2925]". Color offset lithograph. 1981. Printed 1987. Signed in pencil, lower right; signed in the plate, lower 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: 9 3/8 x 12 5/8 in. (238 x 321 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. [28302-3-600]

Andy Warhol (American, 1928 - 1987). "Marilyn Monroe I Love Your Kiss Forever Forever". Color lithograph. 1964. Signed in pencil, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Very good to fine condition; two sheets as issued, joined; conservation backing. Literature/catalogue raisonne: Feldman/Schellmann II.5. Overall size: 16 1/8 x 22 1/2 in. (410 x 571 mm). Our example is from the edition of 2,000, which was unsigned, hence the signature is a complimentary one. 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). Image copyright © 2001 Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [26821-4-3000]

Robert "Bob" Kane (American, 1915-1998). "Batman". Pen and ink drawing on paper. 1984. Signed lower right. Drawn on cream wove paper. Fine condition. Provenance: From the collection of an assiduous and long time collector of Kane material. Overall size: 11 1/4 x 8 7/8 in. (286 x 225 mm). Robert “Bob” Kane (born Robert Kahn in New York City) was an American comic book writer and artist who co-created, with Bill Finger, the DC Comics character Batman. Kane's work is housed in collections in New York City's Museum of Modern Art and the Whitney Museum of American Art. Image copyright © DC Comics/Warner Bros. [29903-2-800]

Roy Lichtenstein (American, 1923-1997). "Paper Plate". Original color screenprint, in yellow, red, and blue, on white paper plate. 1969. Signed in pencil, lower center, recto. Dated and copyrighted with artist's name "Roy Lichtenstein" printed on verso. Edition of c5,000. Fine impression. Very good condition. Literature/catalogue raisonne: Corlett III.45. Image size: (Diameter): 10 1/4 in. (260 mm). According to 'Gordon's Art Reference' the auction record for another impression (signed) of this plate is $2,360 at Ivey-Selkirk, St. Louis, 11/12/2011, lot #393. Corlett notes that "Many of these plates have been autographed by the artist" (Mary Lee Corlett, "The Prints of Roy Lichtenstein: A Catalogue Raisonne, 1948-1993," pg. 286). In the permanent collection of the Museum of Modern Art. The plates were commercially printed and wrapped in clear cellophane for sale at Bert Stern's "On 1st" store. Correspondence found in the artist's records indicates that the plates may have been fabricated at Artmongers Manufactory, New York. "Paper Plate" is related to other designs the artist produced for dishware, such as the limited edition place settings produced by Jackson China Co. for Durable Dish Company in 1966, and the tea service designed for Rosenthal China in 1984. Image copyright © Estate of Roy Lichtenstein. [28546-13-800]

Andy Warhol (American, 1928 - 1987). "Marilyn [Louisiana]". Color offset lithograph. 1986. Signed in black marker, lower right. Edition unknown. Light cream wove paper. The full sheet. Fine impression. Very good condition. Overall size: 33 1/2 x 24 1/2 in. (851 x 622 mm). Image size: 22 x 22 in. (559 x 559 mm). Based on Warhol's 1967 "Marilyn". Published by the Louisiana Museum of Modern Art, located in Humlebaek, 35 km (22 mi) north of Copenhagen, Denmark. It is the most visited art museum in Denmark. This poster will presumably be included in the forthcoming catalogue raisonne of Warhol's posters by Paul Marechal. Image copyright © Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York. [28397-6-1200]

Faux bronze Art Nouveau style dancing figure on a plinth base, together with a modern bronze patinated resin figure of a Ballerina, tallest 35cm, (2)

A modern stone and wrought iron two-tier planter together with a pair of hand blown art glass vases and one other art glass table centrepiece (4)

Kiki Kogelnik [kiki o.k.] (Austrian, 1935-1997). "Rocket Ship". Color lithograph. 1963. Signed with the initial in the plate, lower right. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Joined sheets as issued; conservation backing. Overall size: 16 x 23 1/8 in. (406 x 587 mm). Image size: 15 3/4 x 22 in. (400 x 559 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). [26803-4-400]

Joel-Peter Witkin (America, b.1939). "Woman on the Moon". Original vintage photogravure. 1982. Printed 1985. Stamped with the photographer's name, verso. Edition unknown, presumed small. High-grade archival paper. Printed to the edge of the sheet. Fine, quality printing. Very good to fine condition; affixed to very thin and supple archival acid-free support sheet, not mount/board. Overall size: 10 3/4 x 10 15/16 in. (273 x 278 mm). According to “Gordon’s Photography Prices” the auction record for a silver print of this image is $22,500 realized at Christie's, New York, 4/15/2010, lot #389. Witkin’s controversial and carefully constructed photographs frequently depict macabre, often grotesque scenes, with images including torture, cadavers, hermaphrodites, dwarfs, etc. His works can be found in the collections of The Museum of Modern Art in New York City, the J. Paul Getty Museum in Los Angeles, the National Gallery in Washington, D.C., the Victoria and Albert Museum in London, and the Centre Georges Pompidou in Paris. N.B. This image is alternately titled “Woman Masturbating on the Moon.” Image copyright © Joel-Peter Witkin. [29676-2-600]

Guillermo Meza (Mexican, 1917 - 1997). "Bajaran Hormigas Como Tigres [plate 05 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Lithograph in brown ink. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (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: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 1/4 x 11 7/8 in. (413 x 302 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [24467-3-225]

Mel Ramos (American, b.1935). "Señorita Rio". Color lithograph. 1963. Edition of 2,000. White wove paper. The full sheet. Fine impression with fresh colors. Fine condition; centerfold as issued. Overall size: 16 1/8 x 22 1/8 in. (410 x 562 mm). Image size: 15 3/8 x 15 5/16 in. (391 x 389 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 © Licensed by VAGA, New York, NY. [26838-4-300]

Guillermo Meza (Mexican, 1917 - 1997). "Vendra una Gran Guerra [plate 08 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Lithograph in brown ink. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (of which all were printed?). Cream wove paper. Full margins. Fine impression. Condition: scattered foxing in top margin, else fine. Provenance: Estate of Jaled Muyaes, one of the collaborators. Overall size: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 12 1/4 x 16 5/8 in. (311 x 422 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [24470-3-225]

Guillermo Meza (Mexican, 1917 - 1997). "Tierra y Libertad [plate 10 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Color lithograph. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (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: 17 7/8 x 13 3/4 in. (454 x 349 mm). Image size: 14 1/8 x 9 1/16 in. (359 x 230 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [25668-3-300]

Guillermo Meza (Mexican, 1917 - 1997). "Solamente por el Tiempo Loco [color] [plate 09 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Color lithograph. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (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: 17 7/8 x 13 3/4 in. (454 x 349 mm). Image size: 14 5/8 x 5 3/4 in. (371 x 146 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [25667-3-300]

Guillermo Meza (Mexican, 1917 - 1997). "Que porque Eran Niños [plate 04 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel." Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez]". Lithograph in brown ink. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (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: 17 7/8 x 13 11/16 in. (454 x 348 mm). Image size: 16 5/16 x 10 5/8 in. (414 x 270 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [24466-3-225]

Guillermo Meza (Mexican, 1917 - 1997). "Y Entonces Volvera Su Mirada [plate 11 from: "Guillermo Meza, Impressiones, 11 Litografias, Presentacion de Jaled Muyaes y Raul Kamffer, Nota Bibliografica de Carlos Payan." Sub-title: "Impressiones Subjectivas sobre el Libro Sagrado de los Antiguos Mayas. Chilam Balam de Chumayel."]". Color lithograph. 1962. Signed in ink, lower right; numbered in ink, lower left. From the edition of 300 (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: 13 3/4 x 17 7/8 in. (349 x 454 mm). Image size: 11 5/8 x 16 1/4 in. (295 x 413 mm). Published by Galeria Kamffer, Mexico City. Printed at Policromia, Mexico City, by the master printer, Alfredo Nuñez. 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. [25669-3-300]

Robert "Bob" Kane (American, 1915-1998). "The Joker ["Bats Wishes"]". Pen and ink drawing on paper. 1973. Signed and annotated, lower right. Drawn on cream wove paper. Very good to fine condition. Provenance: From the collection of an assiduous and long time collector of Kane material. Overall size: 11 x 7 in. (279 x 178 mm). Robert “Bob” Kane (born Robert Kahn in New York City) was an American comic book writer and artist who co-created, with Bill Finger, the DC Comics character Batman. Kane's work is housed in collections in New York City's Museum of Modern Art and the Whitney Museum of American Art. Image copyright © DC Comics/Warner Bros. [29887-2-800]

Robert "Bob" Kane (American, 1915-1998). "Batman ["Bats Wishes 1993"]". Pen and ink drawing on paper. 1993. Signed and dated, lower right; annotated lower left. Drawn on white wove paper. Fine condition. Provenance: From the collection of an assiduous and long time collector of Kane material. Overall size: 9 1/4 x 6 in. (235 x 152 mm). Robert “Bob” Kane (born Robert Kahn in New York City) was an American comic book writer and artist who co-created, with Bill Finger, the DC Comics character Batman. Kane's work is housed in collections in New York City's Museum of Modern Art and the Whitney Museum of American Art. Image copyright © DC Comics/Warner Bros. [29902-2-800]

George Bass English 20th Century - Norfolk Regatta -  An original 1960's retro vintage Cubist modern contemporary art oil on board painting depicting various boats / ships on seascape. Vibrant palette of colours with simple brushstrokes. Signed by artist ' See ' to corner. Notation to verso. Frame measures: 66cm x 75cm.

Bernard Myers (1925-2007) - Still life of blue vase, playing cards, pears and a plate, signed, oil pastel, 20.75" x 28.5" - *The artist was a teacher of design at The Royal College of Art and one of his first pupils in 1966 was the inventor James Dyson. In his long career as a tutor, senior tutor and professor at The RCA between 1961-1980 Myers taught in most of the schools of the college, especially in industrial design engineering - which he taught simultaneously to civil engineering at Imperial College next door - interior design, film and television design (which he helped to set up) and general studies. The artist's fellow students at The Royal College of Art were John Bratby, Jack Smith, Frank Auerbeh and Leon Kossoff. He exhibited at The New Art Centre, The New Grafton Gallery in London and many other galleries, he had been collected by The Arts Council, The Contemporary Arts Society, The National Maritime Museum and The Tate Gallery - *Provenance: possibly with Dominic Nevill (Fine Old and Modern Paintings), 2A York Street, Bath, bearing the dealers business card, verso

A Louise Kennedy modern Irish Art glass bowl, boxed

Art Deco silver hexagonal section pin dish, maker A.S.P.Co, Birmingham 1936; together with a modern silver hallmarked pin dish with lobed rim, Birmingham 1962, weight overall 4.20oz approx.

Moorcroft - Tubelined Art Noveau Style Modern Trial Vase. 'Tulips' design, pleasing shape. Designer Anji Davenport. Date 2014. Moorcroft mark to underside of vase. Height 9.5'' - 24 cm. Red spot to base, but looks mint condition. Please confirm with photographs.

John Butler Yeats RHA (1839-1922)Portrait of Master Milo RyanOil on canvas, 66 x 51cm (26 x 20’’) UnframedExhibited: Dublin, Royal Hibernian Academy, 1903, No. 100Provenance: The sitter’s family, by descent.Yeats completed a number of intriguing portraits of children throughout his career. Beginning with his own offspring, he made multiple sketches of their early years, a particularly touching example is a drawing of the infant W.B Yeats asleep in the family home. Portraits of children are challenging for an artist, as they are faced with a subject whose personality is not yet fully defined. However, this is part of their charm.Though we do not know the exact age of the sitter, Master Milo Ryan looks to be around eight or nine when the portrait was completed. Yeats chooses to depict him standing, with an open book in hand as if he was just in the process of reading a passage out to us. Yeats has painted the young boy in a strong light, which throws up the details of his formal attire. Dressed in a suit jacket, with a shirt and tie, the clothes feel as if they are too big for him, the triangles of the shirt collars extending out over his narrow shoulders. The face is beautifully rendered especially the large brown eyes of his sitter, which express a sensitivity, a youthfulness behind the somewhat formal composition. Working from an almost black background, Yeats introduces colour through flashes of white, pink and blue highlights. The pages of the book appear as dabs of paint, which Yeats, using the end of a brush scrapes a line through to suggest the folds in the paper. Despite the dark colour tones, there is warmth to the boy’s features, the pink and orange highlights of his flushed cheeks. Milo Ryan, was born on June 7th, 1892 and educated at Trinity College, Dublin. He served with the Royal Army Medical Corps during the Great War, taking a permanent commission as Captain in 1919 and becoming a Major in 1927. He died at Lahore on December 4th, 1936 at the age of 44.We know that this work was included in the Royal Hibernian Academy annual exhibition in 1903, so presumably it was painted around this time. This was a busy year for Yeats; he had been commissioned by Hugh Lane to paint twenty portraits of figures from the Irish cultural milieu for his modern art gallery. Lane had also helped Yeats secure his old studio at no. 7 St Stephen’s Green in Dublin. John Quinn, an American lawyer turned art collector visited Ireland the year previously and purchased from Yeats his portrait of his son William, which is now part of the NGI collection. He also requested a further three portraits of John O’Leary, Douglas Hyde and George Russell. The portrait of AE was not finished until 1903 and he persuaded Quinn to let him enter it into the annual RHA exhibition.One would not consider Yeats to be a society portrait painter, in the traditional sense, in that he did not make significant money from the commissions. He painted people he knew, family friends and relatives, fellow artists and writers. As a result they feel familiar, more personal than traditional portraits of the period. There is a sense of kinship between the artist and his subjects, in which he is gently probing at a further understanding of their personality and Yeats once remarked ‘The best portraits will be painted where the relation of the sitter and the painter is one of friendship’. His portraits often have a sense of being unfinished, quick sketch like brushstrokes move across the canvas. It seems the artist did not want to produce static, conventional portraits in which the sitter is frozen in time, but rather allow them to act as enquiries into the personality and thoughts of his subjects who, as with all human beings, young and old, were ever evolving. Niamh Corcoran, September 2019

John Noel Smith (b.1952)'Third of May' - United Field Painting IIDiptych, Oil on canvas, 200 x 100cm (78¾ x 39¼)Signed, inscribed and numbered 04/2 on versoBorn in Dublin in 1952, John Noel Smith attended Dun Laoghaire School of Art followed by postgraduate studies in Berlin. He lived in Berlin for twenty-two years where he was an important member of its vibrant art community, returning to Ireland in 2002. He has exhibited internationally since 1980. His work forms part of important public collections, including the Irish Museum of Modern Art and Berlinische Galerie, the State Museum of Modern Art in Berlin. He is represented by Hillsboro Fine Art Dublin, Fenderesky Gallery Belfast and Waterhouse & Dodd London.

Islamic Art A group of three modern paintings in the style of Al-Jazari automata and the MaqamatIran, 20th century . . . . Frame present

Islamic Art A group of three modern paintings in the style of Al-Jazari automata and scientific subject Iran, 20th century . . . . Frame present

Blaine, Delabere ' The Outlines of the Veterinary Art ...as applied to the Structure and Economy of the Horse...' third edition 1826, London Boosey and Sons etc. folding plates, full leather, Bartlett, 'Gentleman's Repository.....' third edition, Eton 1773, Taplin William 'The Gentleman's Stable Directory or Modern System of Farriery '...' 16th edition 1810, two vols, book plate to inside of front boards, marbled boards, quarter leather, and another volume.

A Modern Art Deco Style Perfume or Scent Bottle, 24cms High

Three silver mounted scent bottles one with intaglio frosted decoration of lily of the valley, Birmingham 1911; one cut glass spire form with foliate silver mount, early 20th century; and the third modern, Birm. 1994, blown glass with frosted glass flower to interior; together with two silver mounted hair brushes; two silver moulnted cut glass pots; a silver plate and cut glass pot; and a Country Artists filled silver model of a duck and ducklings, modern; on an Art Deco silver plated tray. (10)

South-Est Asian Art A large, solid cast, modern sculpture of Buddha head South-East Asia, 20th century . . Cm 50,00 x 60,00. Stone base.Provenance: Luigi Armondi Collection, Brescia.

Chinese Art A pi white jade disc carved with tigers China, Qing dynasty, 19th century . . Cm 18,00 x 22,50. Modern wooden stand.

Chinese Art A celadon jade plaque carved with Buddha and inscription. China, 19th century . . Cm 11,00 x 20,00 x 7,00. Modern wooden stand.

A pierced brass fender, 19th century, height 16cm, width 98cm. From the estate of Ashley Barker OBE who was born in Hertfordshire in 1927.Being unusually bright, he found it difficult to make friends and found solace in architecture and buildings, particularly the simple pastime of walking around buildings on his own. Indeed, his favourite treat as a child was to be taken to St Paul's Cathedral, where he would wander for hours.In 1944 he entered the Architectural Association and qualified at a time of rapid post-war reconstruction, when the lack of building materials forced architects to use industrialised prefabrication techniques and poor design, (in Barker's opinion) prevailed. Frustrated, he drifted into working for MGM, creating film sets. He finally found his niche at the Historic Buildings Division of what was then the London County Council (LCC). After years of working with modernists it was a relief to Barker to find an office where his “young fogeyism” was welcome. He enjoyed working under WA Eden, the Surveyor of Historic Buildings, who was dedicated completing the work of the architect and reformer CR Ashbee, who had listed all the buildings that should be preserved within 20 miles of the Aldgate Pump. This idea became the 'Survey of London' and Barker took over when Eden retired in 1970. The LCC became the GLC and Barker became the head of the Historic Building Commission, working on an advisory committee with notables such as Sir John Betjeman, Sir John Summerson, Sir Osbert Lancaster and Sir Hugh Casson.In 1986, he was appointed head of the London Division of English Heritage. He retired in 1988.Barker's legacy to us as a nation is not what he created, but what he saved. Many historic buildings were lost after the war as schemes to create modern offices and residential tower blocks won favour. In his role as the Surveyor of Historic Buildings at the GLC, Barker fought for preservation and we have him to thank for saving important parts of London that would be unrecognisable today without Barker's intervention. Most notably, the 17th century square and covered market at Covent Garden, which would have become a conference centre and offices.One of his last interventions, in 1987, was to give evidence against a proposed redevelopment of Paternoster Square, near his beloved St Paul's Cathedral, which he regarded as an abomination. The scheme was rejected.Barker was an avid collector of art and antiquarian books. His insatiable appetite could have filled many of the historic buildings he conserved with leather and canvas.We are delighted to be handling this collection of art and antiques from Ashley's Penzance home in South Parade, an elegant, tall and thin town house, so in keeping with his beloved Notting Hill in London where he lived in various similar houses.The house was immensely stylish and clearly decorated by an aesthetic connoisseur.As well as elegant furniture and furnishings the bulk of this collection is contained in the many architectural engravings and works of art. It has been a joy to catalogue and handle the beloved possessions of this quietly remarkable man.

An early 20th century glass two tier table epergne, height 24cm, together with a modern art glass footed bowl, height 13cm.

A Victorian coromandel bookslide, with gilt metal mounts, Betjeman's Patent No.7764, length 33.5cm, extended length 43.5cm.Ashley Barker OBE was born in Hertfordshire in 1927.Being unusually bright, he found it difficult to make friends and found solace in architecture and buildings, particularly the simple pastime of walking around buildings on his own. Indeed, his favourite treat as a child was to be taken to St Paul's Cathedral, where he would wander for hours.In 1944 he entered the Architectural Association and qualified at a time of rapid post-war reconstruction, when the lack of building materials forced architects to use industrialised prefabrication techniques and poor design, (in Barker's opinion) prevailed. Frustrated, he drifted into working for MGM, creating film sets. He finally found his niche at the Historic Buildings Division of what was then the London County Council (LCC). After years of working with modernists it was a relief to Barker to find an office where his “young fogeyism” was welcome. He enjoyed working under WA Eden, the Surveyor of Historic Buildings, who was dedicated completing the work of the architect and reformer CR Ashbee, who had listed all the buildings that should be preserved within 20 miles of the Aldgate Pump. This idea became the 'Survey of London' and Barker took over when Eden retired in 1970. The LCC became the GLC and Barker became the head of the Historic Building Commission, working on an advisory committee with notables such as Sir John Betjeman, Sir John Summerson, Sir Osbert Lancaster and Sir Hugh Casson.In 1986, he was appointed head of the London Division of English Heritage. He retired in 1988.Barker's legacy to us as a nation is not what he created, but what he saved. Many historic buildings were lost after the war as schemes to create modern offices and residential tower blocks won favour. In his role as the Surveyor of Historic Buildings at the GLC, Barker fought for preservation and we have him to thank for saving important parts of London that would be unrecognisable today without Barker's intervention. Most notably, the 17th century square and covered market at Covent Garden, which would have become a conference centre and offices.One of his last interventions, in 1987, was to give evidence against a proposed redevelopment of Paternoster Square, near his beloved St Paul's Cathedral, which he regarded as an abomination. The scheme was rejected.Barker was an avid collector of art and antiquarian books. His insatiable appetite could have filled many of the historic buildings he conserved with leather and canvas.We are delighted to be handling this collection of art and antiques from Ashley's Penzance home in South Parade, an elegant, tall and thin town house, so in keeping with his beloved Notting Hill in London where he lived in various similar houses.The house was immensely stylish and clearly decorated by an aesthetic connoisseur.As well as elegant furniture and furnishings the bulk of this collection is contained in the many architectural engravings and works of art. It has been a joy to catalogue and handle the beloved possessions of this quietly remarkable man.

Lobby cards, souvenir brochures and film posters plus press publicity photos and a script for "Superman III". Souvenir brochures inc 2001 a Space Odyssey, Tommy, Ice Station Zebra, Time Bandits, Cleopatra, Once upon a time in America, Oliver, Robin Hood, The Go Between, How the West was Won, The Boyfriend, (inc duplicates), film posters inc Last Tango in Paris, Saint Jack, Jungle Fever, savages (Merchant Ivory film with art by Charles White 3rd) etc. lobby cards & photos inc Jungle Fever (Spike Lee), Best Little Whorehouse in Texas, lobby cards - Modern Times, Clash of the Titans (full numbered set of 8), Elizabeth, Nine to Five, Annie, etc plus campaign books for Marilyn Monroe Monkey Business and Never on Sunday. Also the Who poster book with 20 posters to mark the 25th anniversary.

An Art Deco patinated bronzed figure modelled as a male archer, raised on rectangular marble plinth base, height 49cm, length 56cm.Additional InformationThe bow is a modern replacement, some dirt and staining to the base, the figure itself retains a good colour, slightly loose to the base and with a couple of tiny chips to the corners of the base.

A modern reproduction Art Deco style figure, height 32.5cm.Additional InformationSlight staining and paint residue to the figure but as catalogued this is a modern reproduction.

David Hockney, advertising exhibition poster print, Modern Graphics 1969 to 1979 at the Arun Art Centre Arundel, sheet size 29" x 20", framed

Modern Art pottery charger

A GOLD AND DIAMOND BLACKAMOOR BROOCH, CIRCA 1955The carved ebony head of a man, the tunic with floral engraving and round brilliant-cut diamond accents, the turban embellished with further engraved scrolling decorations, with similarly-cut diamond accents and a seed pearl, the reverse with further engraved decorations, mounted in silver and gold, Italian assay mark, French assay mark, length 3.6cmThe blackamoor is a decorative motif depicting exoticized figures of African men typically dressed in turbans and adorned with rich jewels and gold leaf. The motif is a Venetian tradition, dating back to the Early Modern period when it emerged as an artistic response to the European encounter with the Moors the dark-skinned Muslims from North Africa and the Middle East who came to occupy various parts of Europe. In recent history the blackamoor has been a source of controversy, however, it is considered to be a collectible within the art world. Notable collectors and wearers of blackamoor jewellery are the late Vogue editor Diana Vreeland and the former director of the Museum of African Diaspora in San Francisco, Denise Bradley Tyson. Every time I wear one, Tyson says, they always provoke a response and provide me with an opportunity to educate about the history of the Moors.

A CORAL, ENAMEL AND DIAMOND BLACKAMOOR BROOCH, BY CARTIER, CIRCA 1935The black enamelled bust wearing seed pearl earrings, on a reeded gold neck and wearing a cream enamel turban with coral corallium rubrum highlight and rose-cut diamond detail, mounted in 18K gold, signed Cartier Paris, numbered, French assay marks, with Cartier case (not original), length 3.2cm**Please note that this lot contains coral and is subject to CITES regulations when exporting outside of the EUThe house of Cartier was founded in Paris in 1847 by Louis-François Cartier. A family venture, soon saw the growth of Cartier and the expansion to London and New York, with subsequent generations taking the helm.Cartier has established itself as one of the world's preeminent crafters of high-end, modern, and vintage jewellery. Its watches have adorned the wrists of celebrities and royalty alike, with King Edward VII of England once referring to Cartier as the jeweller of kings and the king of jewellers. Cartier's extensive collections are known to embody revival, Art Deco, and more contemporary styles, making them a sought-after commodity for generations both past and present. Jeanne Toussaint was made Creative Director for jewellery in 1933 and she continued to work for Cartier until her retirement in 1970. The working relationship between Louis Cartier and Toussaint was very successful, with Cartier imparting his knowledge of gemstones, diamonds, settings and technique, and Toussaint bringing her joie de vivre, relentless creativity and eye for contemporary fashions. By the time she retired from Cartier in 1970, Toussaint had established her legacy as an artistic visionary; always experimenting, exploring and creating jewels for those with a worldly outlook and an eye on the future.Cartier is a notable creator of pieces depicting elaborate Blackamoor heads, which had been introduced by the Venetian form of Nardi. Blackamoor jewellery, also known as Moretti jewellery, was particularly popular during the 17th and 18th centuries and it is believed that it was originally created as amulets to ward off evil, or invasion by the Moors into Italy. Cartier first released their Blackamoor brooches in the early 1930’s. Blackamoor brooches depict black figures within the design, they are typically male with a head covering, usually a turban and covered in rich jewels and gold leaf. Early examples often have European racial features, apart from the colour. They are typically enamelled, carved from ebony or painted black to contrast with the bright colours of the embellishments. Depictions may only represent the head, or head and shoulders, facing the viewer in a symmetrical pose.The brooch on sale at Adams is a lovely example of a typical Blackamoor brooch, made of black enamel, detailing a white enamel turban and surrounded by precious gems, including coral, seed pearls and diamond. The head faces the viewer in a symmetrical pose and sits on a yellow gold reeded neck.

Miscellaneous Books - Illustrators: A Journal Kept by Richard Doyle in the Year 1840, Illustrated with Several Hundred Sketches by the Author [...], second edition, London: Smith, Elder, & Co., 1886, stipple engraved portrait frontispiece, lithograph printed manuscript pages with caricature cartoons accompanying narrative throughout, contemporary pictorial cloth, top edge gilt, 8vo; Modern Masters of Etching: Arthur Briscoe, Introduction by Malcolm C. Salaman, Number 23, London: The Studio Ltd., 1930, illustrated with mounted etchings, blue boards, oblong 4to; art and architectural history, various, mainly large h/b; Television Magazine 1947-1950, bound as one; erotica and sex, various; Dennis Wheatley; qty

An Art Deco style metal standard lamp in the form of a reclining nude holding ball - H158cmCONDITION REPORTthis is a modern Art Deco style lamp

Jazz EPs / 7" Singles, more than two hundred EPs and 7" singles of mainly Jazz with a few from other genres and with artists including Miles Davis, Charlie Parker, Art Tatum, Gerry Mulligan, Stan Getz, Cannonball Adderley, Modern Jazz Quartet, Count Basie, Duke Ellington and more - various years and conditions

A Myatt Son & Co. hand painted Art Deco jug, 1930s, with polychrome decoration, 21cm high, a square dish, a Samford jug, a Bishop example with a dragon handle, two modern Moorcroft dishes, and a Royal Crown Derby cup (7)

Robert Natkin (Illinois, New York, 1930 - 2010) Lithograph. Pencil signed, dated 1975 and numbered (90/100) in lower margin. Among the museums now holding his art in their collections are the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the Brooklyn Museum of Art and the Guggenheim, as well as the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, DC, the Albright-Knox Art Gallery in Buffalo, NY, the Museum of Fine Arts, Houston, and the San Francisco Museum of Art, to name only a few in this country; plus the Centre Pompidou in Paris and the National Gallery of Australia in Canberra, Australia.Image size: 39 x 25.5 in.Overall Size: 42.5 x 29.75 in.Framed behind glass.

Mihail Chemiakin (New York, Russia born 1943) Lithograph. Numbered (25/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Purple Harlequin" Color serigraph. From the Carnival at St. Petersburg Suite. Numbered (28/225) lower left. Signed lower right. Watermark "Arches France".Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 20 x 17.25 in. Sheet Size: 30 x 21 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Nature Morte w/ Fish" Color Lithograph on Japan paper. Numbered (59/78) lower left. Signed lower right.Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 18 x 25.25 in. Sheet Size: 21 x 29.75 in. Unframed.

Le Pho (France, United States, Viet Nam, 1907 - 2001) "La Cueillette Des Lotus" exhibited painting. Provenance: Galerie Romanet, Paris. Collection of Pierre Le Tan (Son of Le Pho), Paris. Gouache on silk laid on cardboard. Signed lower right. Gallery/exhibition labels verso. Le Pho first studied at the Ecole des Beaux-Arts de l'Indochine in Hanoi for five years from 1925 to 1930, and then at the Ecole des Beaux-Arts in Paris during the following two years. In 1933 on his return to Hanoi, he was appointed professor in the Hanoi Ecole des Beaux-Arts, a post that he held from 1933 to 1936. This is where he developed his signature style and subjects: delicate paintings of elegant Vietnamese women mixed with floral still-lives. Le Pho's professorship in Hanoi came to an end when he was sent back to Paris in 1937 as a delegate to the International Exposition in Paris and served also as a member of the jury of this Exposition. Since that time Le Pho stayed in France. He had his first one-man show in 1938. Also he served as artistic advisor to the Embassy of Viet Nam in Paris and was a prizewinner in the International Exhibition of Beaux-Arts of Saigon. Throughout his life, he had several exhibitions in Paris, New York, Chicago, San Francisco and Buenos-Aires. He participated in shows annually at the Salon d'Automne and the Salon des Independants in Paris. The Museum of Modern Art in Paris is one of the museums holding his work. Sight Size: 10.25 x 6 in. Overall Size: 17 x 13 in.

Mihail Chemiakin (New York, Russia born 1943) "Untitled-Nature Morte" Color serigraph. Numbered (41/225) lower left. Signed lower right. Watermark "Arches France".Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 18 x 25.25 in. Sheet Size: 21 x 29.75 in. Unframed.

Mihail Chemiakin (New York, Russia born 1943) "Untitled VIII" Lithograph. Numbered (23/225) lower left. Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States.Image Size: 9 x 15.75 in.Sheet Size: 30 x 21 in.Unframed.

Robert Natkin (Illinois, New York, 1930 - 2010) Abstract painting. Signed lower right. Oil on Canvas. Among the museums now holding his art in their collections are the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the Brooklyn Museum of Art and the Guggenheim, as well as the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, DC, the Albright-Knox Art Gallery in Buffalo, NY, the Museum of Fine Arts, Houston, and the San Francisco Museum of Art, to name only a few in this country; plus the Centre Pompidou in Paris and the National Gallery of Australia in Canberra, Australia. Sight Size: 11 x 22.25 in. Overall Size: 17.25 x 28.25 in.

A pair of modern diamond set 18ct gold earrings in art deco style, each set with two small baguette diamonds.