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

LE GAC Jean. Imitation of Jean Le Gac, by J.M. Translated by Vivien Gordon. Pembroke Street Oxford. Museum of modern art, 1973. Plaquette in-12, br. Brochure à petit tirage, non précisé.

Pearson (George). Observations and Experiments for investigating the Chymical History of the Tepid Springs of Buxton; together with an Account of some Newly-discovered, or little known Properties of Substances relating to several Branches of Chymistry, and Animal and Vegetable Life; To which are prefixed, a Chronological Relation of the Use of Buxton Water from the Earliest Records to the Present Time, Sketches of a History of the Atmosphere of the Peake, and of the External Form and Integral Structure of the Mountainous Regions of Derbyshire: intended for the Improvement of Natural Science and the Art of Physic., 2 vols. in one, 1st ed., 1784, modern half calf gilt with morocco title label, 8vo -1

* Rossini (Gioachino, 1792-1868). A portrait from life of the composer Rossini, circa 1828, fine and rare half-length life-size portrait, oil on canvas, depicting the composer seated at a damask covered table, holding a quill pen and with manuscript music beside him, relined by Francis Leedham (probably mid-19th century), with his blind stamp to verso of stretcher, 87 x 75cm (34.25 x 29.5ins), modern antique-style ebonised wood frame, with printed labels to verso of the Historical Portraits gallery, 31 Dover Street, London, inscribed with the number 2137 Provenance: Purchased by Anthony Gasson from Phillip Mould Historical Portraits, London, circa 2000 An important and rare unattributed portrait of Rossini in his mid-thirties, around the time of the composition of his most famous opera William Tell. In this portrait the composer appears just a little older than he does in the famous head and shoulders portrait with cap of 1820 in the collection of the International Museum and Library of Music, Bologna. The Museum also holds an oil portrait of Rossini by Pietro Bettelli from 1818 The pose in our portrait is similar to the photograph of Rossini by Leopold Ernest Mayer & Pierre-Louis Pierson, c. 1855 Francis Leedham (1794-1870) was a picture cleaner and liner active by 1831 from his premises on Little Edward Street, London. He was particularly productive for the art collector and antiquarian Lord Northwick, and later the National Gallery where he relined at least fifteen Turners. -1

Survey of India. Technical Art Series of Illustrations of Indian Architectural Decorative Work..., 2 vols., Calcutta: Survey of India, 1887-1900, numerous b&w plates, modern half leather, 4to -2

Auction Catalogues. A collection of approx. 300 Christie’s and Sotheby’s specialist art auction catalogues, c. 2000-2010, including Sotheby’s Impressionist & Modern Art, Christie’s London, post-war and contemporary, plus other modern art related, VG (8 cartons)

Turner (J.M.W., et al.). The Gallery of Modern British Artists, 1834, eng. frontis. and addn. eng. title, numerous eng. plts., occasional scattered spotting, contemp. half calf, gilt-dec. spine, boards detached, worn, 4to, together with Flint (Sir William Russell), Drawings, 1st ed., 1950, orig. gilt-dec. blue cloth, numerous monochrome plts., wear to top and bottom of the spine, rubbed boards, large 8vo, and Poole (Monica), The Wood Engravings of John Farleigh, Gresham Books, 1985, frontis. in red and black, b & w illusts., orig. cloth in d.j., folio, plus other art reference (3 cartons)

Holt (P. M.). The Cambridge History of Islam, 2 vols., Cambridge, 1970, orig. cloth in d.j.s., 8vo, together with Evens (Helen C.), The Glory of Byzantium, Art and Culture of the Middle Bysantine Eru A.D. 843-1261, The Metropolitan Museum of Art, New York, 1997, numerous col. illusts., orig. cloth in d.j., 4to, and Drochan (Jean-Emmanel B.), Histoire illustree des pelerinages Francais de la Tres Sainte Vierge, Libraire Plon, 1890s, numerous b&w maps and illusts., orig. pictorial cloth, worn to head and foot of spine, 4to, plus other similar history related, mostly modern orig. cloth in d.j.s, G (3 shelves)

Paperbacks. Literature, history, biographies, art reference and guides, all modern publications, including Penguin, Pan, Harper, Phoenix, etc., generally VG (approx. 600) (7 shelves & 2 cartons)

Lord (Peter). The Visual Culture of Wales: Medieval Vision, Cardiff, University of Wales Press, 2003, numerous col. illusts. after photos, orig. cloth in d.j., 4to, VG, together with Nadelhoffer (Hans), Cartier, Jewellers Extraordinary, pub. Thames & Hudson, reprinted 1985, colour and b&w illusts., orig. maroon cloth gilt in d.j., 4to, VG, plus Zollner (Frank), Leonardo da Vinci, The Complete Paintings and Drawings, 2 vols., pub. Taschen, 2011, numerous colour plates and illusts., orig. printed wrappers, with matching slipcase, 4to, VG, and other art, architecture and antiques reference, mainly modern publications, many in d.j.s, 4to/8vo, G/VG (6 shelves)

Michaud (Roland & Sabrina, and Barry, Michael). Colour and Symbolism in Islamic Architecture, Eight Centuries of the Tile-Maker’s Art, 1st English ed., pub. Thames and Hudson, 1996, numerous colour plts. and illustrations, orig. blue cloth in d.j., large square 4to, VG, together with Ferrier (R. W. ed.), The Arts of Persia, 1st ed., Yale University Press, 1989, numerous colour and b&w plts. and illusts., orig. black cloth gilt in d.j., 4to, VG, plus Beny (Roloff), Persia, Bridge of Turquoise, Thames & Hudson, 1975, numerous colour and b&w plates, orig. cloth in d.j., 4to, and other art and architecture reference, mainly Europe, near East, medieval, etc., all modern publications, mostly in d.j.s, mainly 4to (approx. 175) (6 shelves)

Eugene Grasset, Poster for Modern Art Exhibition, Central Institute for Art History, Munich

Approximately sixty-three art related book titles to include Surrealism, L'Art De L'Oceanie, Russian Impressionists, Expressionism, Art of Modern India, Scottish Art in the 20th Century etc Condition report: all used but in reasonable condition

BEN M. FORTUNA [AMERICAN 1919-2004], OIL ON CANVAS, H 48", W 39", MODERN ABSTRACT: On yellow, signed lower right and framed. Ben Fortuna, 1919-2004. Mr. Fortuna was an artist and a designer with a wide range of experiences from which he drew his uniquely innovative creations. Mr. Fortuna received a Master of Arts degree in industrial design and studied for some time under the visual artist, John Carroll. During World War II he was part of the Engineering Corps, focusing on camouflage work. Later he became Vice-President of the American Precision Products Company where he was in charge of Styling and Product Design. He was also associated with Sidney Blumenthal & Co., Inc. as a stylist for all fabrics. In 1953, Mr. Fortuna began his own business as a consultant specializing in fabric and industrial design, color and architectural interiors. Mr. Fortuna drew upon his industrial design expertise and united it with his paintings [circa 1946-1980] which have been referred to as organized abstractions. Within his prolific body of work, geometric shapes, vibrant colors, and bold lettering co-mingle on the canvas graphically evoke emotions drawn from an excellent sense of design. Mr. Fortuna’s paintings have been displayed at the Museum of Art in Detroit, the Museum of Art in Chicago, and at the Butler Institute of Art, Youngstown, OH. Mr. Fortuna’s painting, "Le Hot Jazz", was featured in the article, "Each Painting Has Its Own Story" [Detroit Free Press, November 14, 1954], and his work, "Jumboogie", was featured at the Michiana Regional Art Exhibition, South Bend, IN [1956]. Mr. Fortuna was a resident of Franklin, MI for 66 years.

Gordon Close (Modern British School, b.1958), 'All Work', 1988, unsigned, gallery label to verso, mixed media, ink and gouache on board. H.23cm W.28cm Provenance: Sally Hunter Fine Art, London

Gordon Close (Modern British School, b.1958), 'Ladder, washing and Old English', 2004, unsigned, gallery label to verso, mixed media, ink and watercolour on board. H.38cm W.51cm Provenance: Sally Hunter Fine Art, London

Two shooting sticks, together with CHARLES LANCASTER "The Art of Shooting", ROBERT CHURCHILL "Game shooting", two boxes of place mats depicting hunting scenes, AFTER WILLIAM WEEKES "I smell a rat", coloured engraving by Herbert Stedcole, together with a modern coloured print depicting hounds

Gordon Close (Modern British School, b.1958), 'Sculpture, figure and cats', 1997, unsigned, gallery label to verso, exhibited 1997, mixed media, ink and gouache on board. H.36cm W.27.5cm Provenance: Sally Hunter Fine Art, London

A modern Isle of Wight Art Glass scent bottle

*AR FRANK SCARLETT (1900-1978) Irish Military Parade Watercolour 34.5 x 23.5 cms, framed and glazed Note: Frank Scarlett was a renowned architect who worked on the British Pavilion at the 1925 Paris International Exhibition of Modern Decorative and Industrial Arts (an intimation of the movement later known as Art Deco) and also the co-author with Majorie Townley (1898-1993) British, of Arts Decoratifs 1925 - A Personal Recollection of the Paris Exhibition. CONDITION REPORTS: Generally in good condition, expected wear, some slight fading.

A modern Belleck pen stand and vase, a Royal Copenhagen study of ducklings and an art pottery vase

A modern art pattern vase by A Nichol, having floral glazed decoration, stylised, dated 2004 and a similar smaller vase and jug

A MODERN ART DECO STYLE BRONZED NUDE FEMALE FIGURE, on a square stepped base, height with base 39cm

A group of modern glass inc. three Lindean Mill Scottish Art glass bowls and a Pauline Solven glass vase, each signed. (4)

Bronze Livingstone Art Founary modern sculpture, made using Lost Wax process

LARGE QUANTITY OF MODERN CATALOGUES of antiques, fine art and book auctions

A late 20th Century Art Nouveau style bronzed table lamp base in the form of a maiden, together with two pairs of modern table lamp bases.

An Art Deco frosted glass and cast spelter ceiling light, a mid-20th Century post-modern design smoky glass and aluminium ceiling light, and a Victorian stoneware planter.

A folk art style weather vane, the wrought iron frame headed by an arrow and cockerel, with N, E, S and W to each angle, raised on a rectangular base, of modern construction, 103cm high.

TWO MODERN ART PICTURES , JACQUI FENN OIL AND JONATHAN SHAW LIMITED ED PRINT

Alexander J Stoddart RSA (b.1959), 'The Birth of Dionysus' Plaster figure, 37cm high Footnote: Alexander (Sandy) Stoddart has established a great reputation as a neo-classical portrait sculptor. He has numerous public sculptures in Edinburgh, including David Hume (High Street); Adam Smith (High Street); Clerk Maxwell (George Street). He has also carried out a great deal of work for the Queen's Gallery in London and for the Prince of Wales. He is represented in the Scottish National Gallery of Modern Art. The present work is based on sculptures by Rodin and was presumably made when Stoddart was a student at Glasgow School of Art.

Large CG Glass scent bottle and stopper with multi coloured base and top, 14cm by 9cm; modern Caithness pink and pale blue mottled scent bottle and stopper, 11cm; Martin Yeates signed mottled purple art glass scent bottle and stopper, 15cm; Byzantine Collection glass scent bottle with coloured centre and stopper of ovoid shape and two others similar, 12.5cm, 10cm; heavy art glass scent bottle and stopper with purple to the base (7)

Archival Material from the Collection of Ernest Marsh, Collector, Writer, Lecturer and Generous Lender and Donator to numerous museums including the British Museum and Victoria & Albert Museum. The Martin Brothers 5 typescripts, some with ms. additions for his article The Martin Brothers, Studio Potters of London and Southall, Middlesex, in Apollo magazine; and another inscribed part II, part ms; together with an ms letter from Marsh to the editor of Apollo regarding the articles and hoping that his exceeding both the word count and the number of illustrations will be tolerated. Typescript with ms additions for his lecture on the Martins at the Central Library, Fulham, May 9th 1929. Ms In pencil on the Martins. Ms in pencil, seemingly a draft for an article or autobiography on Marsh's relationship with the Martins including the description of a firing (includes a pencil washing list!). Photocopy typescript of the Frank Knight Collection of Martinware at Southall District Library. Original photographs of various pots, some with ms. descriptions, in a re-used addressed envelope. A rare Martin Brothers printed and folded Brochure with quotes from magazines about their work: '… it is no exaggeration to say that no more interesting and, in its own line, superior pottery has ever been turned out in England'. The Pall Mall Gazette, January 23rd 1897. A Brochure, also rare, with a three page article by Sidney Greenslade (the brothers' patron), the slate-grey cover with a photograph of the brothers in their studio. Apollo, October and November 1944, illustrated articles by Marsh on the Martins. Miscellaneous press cuttings, auction catalogues, magazine articles etc., mostly on the Martin Brothers. Other works Typescript of article on collecting (mainly Chinese). Apollo, May 1925, seven-page, illustrated article on Reginald Wells. Shoji Hamada. Invitation cards for an exhibition at The Little Gallery, London, SW1 (probably 1942 or 1943) together with photographs of pots by him and Kawai (in addressed envelope) together with a five-page ms draft of Three Modern Japanese Potters, Shoji Hamada, Kanjiro Kawai and Kenkichi Tomimoto, together with two, five-page typescripts for the article and a three-page extract on Kawai with ms corrections and additions. W.Staite Murray; Studio Potter of Bray, Berkshire. Typed six-page article (two copies). Nora Braden. A fascinating four-page autograph, signed, letter to Marsh from Cobwebs - West Hoathley - Sussex, 22.2.43, which touches on, inter alia, the war and her fear of not getting a job when it ends, apologising for only having five photographs left of her work for Marsh's Apollo article and pleading for them back, not having made pots for six years and being refused a licence by the Board of Trade to make more; a meeting with W.B.Honey at the V&A, her cv and more; together with: a five-page letter to Marsh (numbered x-3) from Katherine PBouverie (so signed)The Mill, Coleshill, Swindon, Wilts, Jan. 19.43, regarding Marsh's article for Apollo and mentioning her year with Bernard Leach at St Ives in 1924, followed by Norah Braden; a three page Autograph Letter to Marsh from Katherine PBouverie, dated Jan. 31.43 largely about the same article and photographs, s.a.e.;together with Miss K.Pleydell-Bouverie and Miss D.K.N. Braden, Studio Potters of Coleshill, Wiltshire, ink four-page ms, apparently an early (first?) draft for his article, together with a typed, seven-page article (three copies) one inscribed by Marsh in pencil 'First Draft', presumably from the ms. Interestingly, Marsh sets out on page one in confident style, but by the end is making numerous crossings-out, substitutions and marginalia. 'A Short Talk on Modern Pottery' six-page ink ms draft (first?) with numerous corrections, together with two eight-page, typed copies. The Fremlington Pottery 1889, typescript, five pages, 2 copies. Charles & Nell Vyse. Studio Potters of Chelsea, six-page typescript with ms corrections. Draft pencil ms on the Etchers Art, five pp. CONDITION REPORT: All in sleeves, stapled articles, pamphlets worn. Provenance - East Sussex collector

*Phyllis Mould 'STEAMBOAT' Five lithographed wallpaper sheets, printed by The Curwen Press 61.5 x 58cm (5) For an identical sheet see Oman, Charles C. and Hamilton, Jean, 'Wallpapers: A History and Illustrated Catalogue of the Collection of the Victoria and Albert Museum, London', Sotheby Publications, in association with the Victoria and Albert Museum, 1982. Phyllis Mould studied printing at Goldsmiths' College of Art, where she was tutored by Edward Bawden in 1930-31. The design for 'Steamboat' is reminiscent of Bawden's work and one can see his influence in the design. The vendor's mother was Elspeth Anne Burder (née Little), who established a shop called 'Modern Textiles' in the fashionable Beauchamp Place, South Kensington in 1926. These wallpaper squares were probably commissioned by her and sold through the shop along with designs by Edward Bawden. Modern Textiles was founded to promote good design and to sell fabrics and other items, including wallpaper, printed by designers such as Phyllis Barron, Enid Marx and artists Paul Nash, Eric Kennington and Norman Wilkinson. In the shop's publicity material, it stated 'the object of Modern Textiles is to sell work of good design, principally fabrics of various kinds. A few people already know that well designed materials are being made by one or two artists, but the promoters of 'Modern Textiles' believe a very much larger public than is generally supposed would be eager to buy stuffs of individuality and beauty, whether for dresses or furnishing, if there were better opportunity for selection' The sign hanging outside the shop was designed and painted by Nash. Through correspondence seen within the vendor's archive, it is possible to see Bawden's commitment to finding Miss Mould a good position in the design industry. He writes of his worry for her opportunities after college and getting a poorly paid job as an assistant in a textile manufacturer or even teaching leatherwork. 'I feel that Miss Mould is too good for this sort of slavery & I should certainly welcome an introduction to Arthur Lee of Birkenhead if you can hastily get it. It is very kind of you to suggest it & I hope that by some streak of luck Miss Mould may benefit. It would expedite matters if you could write direct to Miss Mould when the time is ripe - Goldsmith's has now ceased for the summer vacation & it is not likely that I shall see her again.' (Taken from a letter to Elspeth Little June 27 1931). The Curwen Press, who printed the wallpaper, was one of the most important commercial printing companies of the inter-war years commissioning many artists for designs for books, graphic art and advertising. *Artist's Resale Right may apply to this lot. CONDITION REPORT: All are in a sleeve, minor corner creasing - kept in an attic for 60 years. Two corners have minor tears.

Twenty-one books and pamphlets on modern furniture and interiors, comprising: Daily Mail Ideal Home books, 1950-55, Decorative Art, 1943-1963, The Connoisseur Year Book, 1955, Modern Publicity, 1955-1956 (21)

Jean Dubuffet (1901-1985)Terrain au cheval I, 1952Encre de Chine sur papierSignée et datée 52 en bas à droiteIndia ink on paperSigned and dated 52 lower right30 x 22,5 cm - 11 3/4 x 8 7/8 in. Provenance :Pierre Matisse Gallery, New YorkAcquavella Modern Art, RenoCollection Andrew et Christine Hall, ConnecticutNew York, Vente Sotheby`s, 18 mai 2000, lot 383Collection particulièreBibliographie :Catalogue des travaux de Jean Dubuffet, Fascicule VII, Tables paysagées, paysages du mental, pierres philosophiques, Max Loreau, Les Éditions de Minuit, Lausanne, 1979, décrit et reproduit sous le n°169 page 109

A modern Art Deco style bronze figure, of a naked dancing lady, holding a swag of flowers, the base bearing the name A Leonard, on a black marble plinth, 49cm high.

A collection of nine reference books relating to modern and Post War silver, including: Treasures of the 20th Century, The Goldsmiths Company, 2000, Art Nouveau and Art Deco Silver, Modern Silver, Christopher Dresser, Georg Jensen Silversmithy, 20th century Silver, The Craft of the Silversmith, The Designs of Archibald Knox, The Andrew McIntosh Patrick Collection. (9)

After Dante Gabriel Rossetti, British 1828-1882- "Head of Andromeda", 1868, publ by Master Prints; photogravure in sepia on blue grey paper, signed with monogram and dated 1868 within the plate, numbered 122/575 in pencil, bears publisher's blind stamps, 52.2x45.5cm CONDITION REPORT: in a modern perspex glazed 20th century wooden moulding frame with gilt and teal finish may or may not be stuck down as is unexamined out of the frame bears label for Atelier Art & Design/29321 on the reverse signed and dated within the plate bears 'Master Prints' blind stamp lower right numbered in pencil next to blind stamp with no visible signs of damage or defects overall in good original condition

A collection of modern art glass vessels (a lot) CONDITION REPORT: no noticeable condition issues

The Art of Cookery, made Plain and Easy …. By a Lady, folding engraved plate (somewhat defective and repaired) modern calf, 8 vols, London, 1774 91. (8)

The Science and Art of Nursing, three volumes; Modern Physician, five volumes; and a box of assorted volumes

(lot of approximately 25) Two shelves of tin lithograph toys, including a Roy Rodgers Mineral City western town by Marx, a wind-up shooting gallery by Wyandot toys, a Japanese `Atomic Space Gun`, a driving simulator toy with a diecast car, an Asahi boat with sailor, (3) Ohio Art tops, a San Francisco street car, and a battery operated locomotive by Modern Toys

Strathearn green art glass vase and a modern Spode decorative bowl

A set of six modern silver teaspoons by Barker Brothers Silver Ltd., Birmingham, 1958, together with a set of five early 20th century coffee spoons and a small Art Deco toast rack by Israel Sigmund Greenberg, net weight 5.5oz.

A quantity of books relating to Graphics, Art Deco, Design etc, together with a quantity of Art Gallery bulletins and a collection of books relating to Modern Art

A modern silver and enamel patch box, the lid decorated with a Hunter jumping over a gate together with an Art Deco enamelled bedside clock (examine latter).

MODERN WORK OF ART, COLLAGE OF GLASS TILES NO RESERVE - NO MINIMUMMODERN WORK OF ART, COLLAGE OF GLASS TILES, in an ebonized shadow box, 31 _ by 31 _ in. THIS SALE IS BEING CONDUCTED AS AN ""ABSOLUTE NO RESERVE - NO MINIMUM SALE"". AS A COURTESY, WE ARE PROVIDING YOU WITH A GENERAL CONDITION REPORT FOR THE ITEM(s) YOU INQUIRED ABOUT. PLEASE NOTE ALL SALES ARE FINAL REGARDLESS OF CONDITION. Thank you for the consideration and your expressed interest. A.B. Levy_s NOTWITHSTANDING THIS REPORT AND/OR ANY DISCUSSION CONCERNING LOTS: ALL LOTS ARE OFFERED AND SOLD AS IS"" IN ACCORDANCE WITH THE CONDITIONS OF SALE AS POSTED HERE AND AS PRINTED IN THE SALE CATALOGUE. WE (A.B. LEVY) ARE NOT RESPONSIBLE FOR ERRORS OR ANY MISREPRESENTATIONS CONCERNING THE CONDITION OF ANY OR ALL ITEMS MENTIONED IN THIS REPORT OR ELSEWHERE. Prospective buyers should inspect each lot to satisfy concerns as to condition. Understand that any statement made by us, (A.B Levy) is merely a qualified subjective opinion. We are not professional conservators or professional restorers. Prospective buyers should refer to Important Notices regarding this sale and/or any lot that might be printed in the Sale Catalogue and/or posted On-line.

ART DECO STYLE WOOD WRITING DESK, MODERN NO RESERVE - NO MINIMUMPROPERTY FROM A PALM BEACH HISTORICAL LANDMARK HOMEART DECO STYLE WOOD WRITING DESK, modern, with an arrangement of drawers, surrounding a kneehole, beneath a rectangular writing surface. Height 35 _ in., Width 70 in., Depth 32 _ in. THIS SALE IS BEING CONDUCTED AS AN ""ABSOLUTE NO RESERVE - NO MINIMUM SALE"". AS A COURTESY, WE ARE PROVIDING YOU WITH A GENERAL CONDITION REPORT FOR THE ITEM(s) YOU INQUIRED ABOUT. PLEASE NOTE ALL SALES ARE FINAL REGARDLESS OF CONDITION. Thank you for the consideration and your expressed interest. A.B. Levy_s NOTWITHSTANDING THIS REPORT AND/OR ANY DISCUSSION CONCERNING LOTS: ALL LOTS ARE OFFERED AND SOLD AS IS"" IN ACCORDANCE WITH THE CONDITIONS OF SALE AS POSTED HERE AND AS PRINTED IN THE SALE CATALOGUE. WE (A.B. LEVY) ARE NOT RESPONSIBLE FOR ERRORS OR ANY MISREPRESENTATIONS CONCERNING THE CONDITION OF ANY OR ALL ITEMS MENTIONED IN THIS REPORT OR ELSEWHERE. Prospective buyers should inspect each lot to satisfy concerns as to condition. Understand that any statement made by us, (A.B Levy) is merely a qualified subjective opinion. We are not professional conservators or professional restorers. Prospective buyers should refer to Important Notices regarding this sale and/or any lot that might be printed in the Sale Catalogue and/or posted On-line.

A 9ct gold garnet link bracelet, a 9ct gold and citrine ring (approx ring size O), a 9ct gold and aquamarine ring (approx ring size O), a silver oval patterned link bracelet, a silver Art Deco style brooch and swirl patterned earrings, together with a silver tulip brooch, all contained within a modern oriental patterned red jewellery box (8)

Foan G. : The Art and Craft of Hairdressing, nd. C. 1930. Large qto. Maroon qtr. binding, gilt. "A standard and complete guide to the technique of modern hairdressing, manicure, massage and beauty culture." Profusely illustrated with line drawn plates and in text vignettes together with some photographs. A complete range of styles, female, male and children. Includes some illustrations of contemporary 'flapper' styles. Almost a cultural guide to 1930s society. CONDITION REPORT: Binding a little faded and marked o/w sound. Contents/textblock vg.

Foan G. : The Art and Craft of Hairdressing, nd. C. 1930. Large qto. Maroon qtr. binding, gilt. "A standard and complete guide to the technique of modern hairdressing, manicure, massage and beauty culture." Profusely illustrated with line drawn plates and in text vignettes together with some photographs. A complete range of styles, female, male and children. Includes some illustrations of contemporary 'flapper' styles. Almost a cultural guide to 1930s society. CONDITION REPORT: Binding a little faded and marked o/w sound. Contents/textblock vg.

A modern silver photograph frame in the Art Nouveau manner, together with another similar, and a plain oval silver photograph frame

Assorted modern scent bottles including Wedgwood blue jasper scent and stopper, Stuart crystal atomiser, two Dartington scent bottles and stoppers in boxes, assorted art glass scent bottles and stoppers, Orrefors small glass scent and stopper, modern hinged enamel boxes etc

`The Grand Panorama of London` , a folding panorama of the Thames from Western Stone Wharf to Glasgow Steam Wharf and a folding `Chronological glance of the most celebrated ancient and modern painters and the extent to which they are represented in the Manchester Art Treasurers Exhibition of 1857`

BILLY AL BENGSTON, AMERICAN b. 1934. `J.W.S. 6`, 1967, decorated with central double-chevron motif, polyester resin on aluminium. Inscribed `J.W.S 6` 1967` and signed Billy Al Bengston verso. PROVENANCE: Acquired by Michael Compton from the artist on a visit to California in 1968. This trip was funded by a Churchill Travelling Fellowship, which Compton used to gain firsthand knowledge of contemporary art in the USA. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. BILLY AL BENGSTON: (born 1934 in Dodge City, Kansas) is an American artist and sculptor who presently lives and works in Venice, California. When Compton visited him in 1968 Bengston was deeply involved in motorcycling and had discovered spray painting techniques. He encouraged viewers to associate his art with motorcycle subculture, notably by straddling a bike on the cover of the catalogue for a 1961 show at the Ferus Gallery. Included in this work is the double-chevron motif which he used in several of his works at this time. Bengston`s work is found in many public and private collections, including the Centre Georges Pompidou (Paris), Museum of Contemporary Art (Los Angeles), Museum of Modern Art (New York), and the Solomon R. Guggenheim Museum (New York). His first solo exhibition was at the Ferus Gallery in 1958. 9½ x 9in. (23 x 23cm) Pooling of resin to the top right hand corner, slight surface scratches and pitting of resin throughout. Small piece of resin damaged on the bottom edge.

SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square `Sol LeWitt London June 15 1971`. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from `Sol LeWitt: Lines through toward and to centre points` , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie`s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entry-level job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the `Sixteen Americans` exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt`s three dimensional structural works from the mid to late 1960s - such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. "I wasn`t really that interested in objects. I was interested in ideas." - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm) Possible slight discolouration / sun damage throughout but very minor. Has been out of its frame. Fixed down in all four corners, back is plain. Slight rough edges, various creases around fold lines. Small dot (possible foxing) through the fourth segment top to bottom on the right hand side. Plain oak frame.

Glasse (Hannah), The Art of Cookery Made Plain and Easy; Which Far Exceeds Any Thing of the Kind Yet Published, with fldg `Order of a Modern Bill of Fare for each Month`, cf gt, 8vo, printed for W Strahan etc, London 1774.

RUSKIN, John (1819-1900). [A Collection of Works, or part works, written by or edited by John Ruskin comprising:] Modern Painters. London: Smith, Elder and Co., 1843; Modern Painters. London: 1846-60. 5 vols.; The Seven Lamps of Architecture. London: 1849; The Stones of Venice. London: 1851. 3 vols.; Fors Clavigera. Orpington: 1871-84, 9 vols. including index; Bibliotheca Pastorum. London: 1877, 2 vols.; Inaugural Address delivered at the Cambridge School of Art. Orpington: 1879; Deucalion. Orpington: 1879. 5 parts; The Works. Orpington: 1880 [and various other dates], 11 vols.; Arrows of the Chance. Orpington: 1880, 2 vols.; Proserpina. Orpington: 1882, 4 parts; The Laws of Fesole. Orpington: 1882. Vol. one only; The Ethics of the Dust ... Third Edition. Orpington: 1883; Love`s Meinie. Orpington: 1883, vol. one only; The Story of Ida. Orpington: 1883; "Unto this Last" ... Fourth Edition. Orpington: 1884; St Mark`s Rest. Orpington: 1884; The Storm Cloud of the Nineteenth Century. Orpington: 1884; The Art of England. Orpington: 1884; "Our Fathers Have Told Us." Orpington: 1884, 2 vols. bound in one; Roadside Songs of Tuscany. Orpington: 1884; Dame Wiggins of Lee, and her Seven Wonderful Cats. Orpington: 1885, illustrations by Kate Greenaway; On the Old Road. Orpington: 1885, 3 vols.; The Poems. Orpington: 1891, 2 vols., half vellum; The King of the Golden River ... Seventh Edition. Orpington: [n.d.], illustrated by Richard Doyle. FINELY BOUND, IN UNIFORM OR NEAR UNIFORM GREEN HALF MOROCCO GILT, most by Zaehnsdorf and Ramage (spines faded, some scuffing to covers, extremities lightly rubbed). Sold as a set of bindings, not subject to return. (54)

**A SOUTH GERMAN `ALMAIN` COLLAR, CIRCA 1570-80 formed of three lames front and rear, connected to one another in each case by three internal leathers (replaced), the first lame formed at its upper edge with a prominent file-roped inward turn, and the lowest, which is deeper than the rest and descends at the front to a shallow central cusp, formed with a plain raised rib accompanied by a recessed border that rises to a small cusp at its centre, the front and rear sections connected to one another by an internal hinge and later rivet at the left side and fastened by studs and holes at the right, each side of the collar fitted with the proximal two lames of an integral spaudler (restored) decorated at its main edges with ribs and borders en suite with those of the lower edge of the collar, the lowest rear plate of the collar fitted with a modern hinged stud for the suspension of pauldrons, the front and rear sections of the collar each retaining traces of a black-from-the-hammer finish scored through with paired lines at their subsidiary edges (lightly pitted overall) 13.6 cm; 5¼ in high Provenance George F. Harding Jr, Chicago, purchased before 1939 Transferred to the Art Institute of Chicago, 1982, Acc. No. 1982.2576

**A COMPOSITE COLLAR, PARTLY SOUTH GERMAN, MID-16TH CENTURY AND PARTLY EUROPEAN 19TH/EARLY 20TH CENTURY formed of four lames front and rear, the front and rear sections connected to one another at the left by a hinge and fixed rivet, and at the right by studs and holes, the lames of each section connected to one another by three internal leathers, the main edge of the uppermost lame formed in each case with a boldly roped inward turn and that of the lowest and deepest, with a plain raised rib accompanied by holes for lining-rivets, and the subsidiary edges decorated at their centres with filed ogees 16.3 cm; 6½ in high Provenance George F. Harding Jr, Chicago, purchased before 1939 Transferred to the Art Institute of Chicago, 1982, Acc. No. 1982.2573 The first lame and the second and third lames appear in each case to be authentic but partly reworked to fit one another. The lowest lame is in each case modern