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

Aloysius C. O’Kelly (1853-1936)FISHING BOATS AT CONCARNEAU, FRANCEoil on boardsigned lower rightLandscaPortraite9 by 12in., 22.5 by 30cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

Aloysius C. O’Kelly (1853-1936)TREESoil on boardsigned lower rightPortrait12.5 by 9in., 31.25 by 22.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

Aloysius C. O’Kelly (1853-1936)EDMOND O`DONOVAN AS AN ORIENTAL, c.1883-84watercolour over pencil heightened with body colour on laid papersigned lower right; with Hugh Lane exhibition label on reversePortrait22.25 by 16in., 55.625 by 40cm.The Collection of Mervyn & Pat Solomon`Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture`, Hugh Lane Municipal Gallery of Modern Art, Dublin, 25 November 1999 to 30 January 2000O`Sullivan, Niamh, Aloysius O`Kelly, Re-Orientations, Paintings, Politics and Popular Culture, Hugh Lane Municipal Gallery of Modern Art, Dublin, 1999, p.72 -73 (full page illustration p.72)A graduate of Belvedere and later Trinity College, Edmond O`Donovan was sworn into the Fenians by O`Donovan Rossa. After a failed uprising in 1867 he fled to Paris. He joined the Foreign Legion at the outbreak of the Franco-Prussian in 1870. Wounded and taken prisoner, he was shipped back to Ireland in May 1871. When he was home in Ireland he spent his time trying to revitalise the Fenian movement while also reporting on the Balkan War for the Daily News. His time as a correspondent came to a tragic end when he disappeared in the Sudan during the Mahdi uprising in 1883.Aloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

Aloysius C. O’Kelly (1853-1936)RIVER AND TREESoil on boardsigned lower rightLandscaPortraite10 by 13in., 25 by 32.5cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

Aloysius C. O’Kelly (1853-1936)YACHTS AT SUNSET, FRANCEoil on boardsigned lower rightLandscaPortraite4.5 by 5.75in., 11.25 by 14.375cm.The Collection of Mervyn & Pat SolomonAloysius O`Kelly (1853-1936) was born in Dublin as Aloysius Kelly, and immigrated to London in 1861, where he adopted the prefix O`. O`Kelly belonged to a Fenian family. His older brothers, James, Charles and Stephen, were all Fenians, and sculptors (trained by their uncle, John Lawlor, the well-known Irish sculptor in London). O`Kelly lived a life of art and sedition, operating as a painter and activist in Ireland, Britain, France and the United States, as well as in outposts of the empire, such as Sudan and Egypt. His connections to the shadowy world of Irish republican politics permeated his work. Aloysius was closest to James, who was instrumental in building up the Irish Republican Brotherhood in Britain, was active in the Land League, was elected Member of Parliament for Roscommon in 1880 and a key figure in securing Charles Stewart Parnell`s agreement for the New Departure. The most radical Irish artist of his era, O`Kelly was prolific and eclectic: Realist in Ireland, Naturalist in France and Orientalist in North Africa, forging all the time new connections between art and anti-colonial politics.O`Kelly was accepted by the École des Beaux-Arts in Paris in 1874, to the studio of Jean-Léon Gérôme (1824-1904), a not inconsequential achievement. He also studied with the portraitist, Joseph-Florentin-Léon Bonnat (1833-1922). He was one of the first Irish artists to go to Brittany, to Pont-Aven, and later Corncarneau. There he mixed with the American colony blending academic, realist and plein-air elements into an innovative mode of rural Naturalism. From France, O`Kelly returned to Ireland in the early 1880s, as `Special Artist` to The Illustrated London News, giving visual expression to the harsh realities of Irish rural life. Here the Freeman`s Journal declared him `the most important of modern artists`, and of `exceptionally high rank` (2 June 1888). His Mass in a Connemara Cabin (National Gallery of Ireland, 1883) had the distinction of being the first painting of an Irish subject ever exhibited in the Paris Salon. In North Africa, O`Kelly painted many typical scenes, but tended to avoid the emblems of Orientalism, scenes of extremism and characterisations of incompetence that might justify colonial domination. His North African and Middle Eastern paintings reveal a predominantly ethnographic interest. His adoption of the name Oakley in Cairo also points to political activism, leading to a dangerous adventure in which he and his brother, James, followed their friend, Edmond O`Donovan, the Fenian and internationally renowned journalist, to Sudan in 1883/4, where they allied themselves with the forces of the Mahdi. As well as being a work of artistic merit, the watercolour, Edmond O`Donovan as an Orientalist (lot 49), is thus an important political painting.O`Kelly maintained family contacts in England where he painted English Peasant Chopping Swedes (opposite, lot 45) c.1887/8. In 1895, he left for the US from but returned regularly to France for the summers. Here he painted the Brittany paintings presented in this sale (see lots: 46,47, 51 & 52) in the early years of the twentieth century. And in 1897, he came back to Ireland in an (unsuccessful) attempt to offer himself as a candidate for election as MP for South Roscommon. In New York he executed a number of portraits of prominent Irish-American politicians, painted views of the city, as well as traveling around the art colonies of America, resulting in many landscape studies of Maine. He returned to Ireland again in 1926, aged seventy-three, still pressing his case for the establishment of a national school of painting. There followed a final sojourn in Brittany, before he returned to America where he died in 1936. Professor Emeritus Niamh O`SullivanFebruary 2013Aloysius O`Kelly exhibited at the Royal Academy, Royal Society of British Artists, Royal Institute of Painters in Watercolours and Institute of Painters in Oil Colours, London; Walker Gallery Liverpool; Manchester City Art Gallery; Royal Hibernian Academy, Dublin; National Academy of Design, Water Color Club (as a member), American Watercolor Society, and Society of American Artists, New York; Art Institute Chicago; Corcoran Gallery, Washington; Boston Art Club; and at the Paris Salon.

Boris Deutsch (Lithuanian/American, 1892-1978) "Portrait," 1936, chalk and wash, 27" x 21", signed and dated lower left, San Francisco Museum of Modern Art label on verso, framedStarting bid: $200

Modern art glass cylindrical vase in blue and white, 21cm high

A Burleigh Ware Art Deco jug, the spout decorated with a butterfly and the handle with a parrot modelled by Ernest Bailey, painted predominantly in green, black and orange on an all over lemon ground, printed mark and No 4902 to base with a Paragon Art Deco part tea service in Modern shape, to include milk jug and sugar bowl, 6 side plates, 3 cups, 6 saucers and a cake plate with yellow floral painted decoration and a plaster Venetian style mask

R. Cuartrelles.Active in Barcelona circa 1900 "La rendición de Schamyl".Oil on canvasSigned. Made in 1900. Inscription on the back: "Copia `Museo Municipal Bellas Artes Barcelona`". Copy of the original by Franz Roubaud (h. 1896), preserved in the MNAC, Barcelona (inventory number MAM 11185). Reference bibliography: "Catàleg de pintura segles XIX i XX. Fons del Museu d`Art Modern M-Z", Barcelona, Ajuntament de Barcelona, 1987, p. 871, number 2232 79,5x129 cm

`Artistic Japan` four volumes of the monthly journal compiled by S Bing, The Grammar of Japanese Ornament, 1880 by Thomas Cutler, and a collection of modern books on Japanese art and design Provenance The Albert E Wade Collection

A modern Japanese lacquer pedestal, hexagonal form, decorated with fan-tailed gold fish amongst lily pads, and a collection of boxes and tins, including Japanese lacquer and a Huntley & Palmer Art Nouveau case unsigned 91cm. high Provenance The Albert E Wade Collection

A modern rocking chair with Art Deco print fabric cushions

INDIANA ROBERT: (1928- ) American Pop Artist. A good A.L.S. R. Indiana, 3 pages, 4to, New York, 14th March 1975, to Dennis. Indiana states 'I am not sure that I know “Current Biography” and it is curious that it should break and in that manner. “Tilt” and “Take All” are used in my painting The American Dream, which was my first major painting sold in New York and it went to the Museum of Modern Art, which is about like your being promoted to Lieutenant colonel tomorrow. You know the odds on that one!...This painting is the first reproduced in the enclosed folder [no longer present], a suite of silk screen prints, all based on actual paintings done over a ten year period hence the title “Decade”. The intent was satiric a left-handed comment on the “American Dream” which went slightly sour…' EX

Three decorative art glass vases to include a iridescent bulbous vase, 29cm (h) a tall glass wavier vase 48cm (h) and a modern black and white art glass vase, 39cm (h) (3)

HALL (S C, editor) Royal Gallery of Art: Ancient and Modern Engravings.., volumes II and III only, 69 (of 72) plates on mounted india paper without letters, large folio, some staining, near disbound, typical Victorian cloth backed boards

Two Modern Art glass vases - 36.5 cm and 21 cm high

A modern square starburst design mirror in the Art Deco taste

Three boxes of assorted modern hardback titles to include one volume "Erotic Sculpture of India", Venetian titles, Gardening, Art, etc.

A mixed lot to include Limoges cabaret coffee service, Royal Worcester jug with painted floral decoration, date code for 1903, Val St Lambert art glass vase 23cm high, five modern cast metal medallions etc.

Art Nouveau style modern jug & basin set, handle holder & trinket boxes, various sizes dresser jugs, chrome plated young farmers club badge, chrome Horse head mount with Horse shoe etc

A modern Moorcroft pottery bulbous vase decorated with "Pomegranate" pattern on a dark blue ground, 5.75ins high (impressed factory mark to base and dated 2000), and a ditto jug decorated with a lily pattern in the Art Nouveau manner on a pale blue ground, 9.5ins high (impressed factory mark and dated 2001 to base - both factory seconds)

Karen Knorr, German b.1954- "The Demise of Logos" from Connoisseurs; c-print, 58x58cm, (may be subject to Droit de Suite) Note: Karen Knorr was born in Frankfurt and was raised in San Juan, Puerto Rico in the 1960s. She finished her education in Paris and London. Karen has taught, exhibited and lectured internationally, including at Tate Britain, Tate Modern, The University of Westminster, Goldsmiths, Harvard and The Art Institute of Chicago. She studied at the University of Westminster in the mid-1970s, exhibiting photography that addressed debates in cultural studies and film theory concerning the `politics of representation` practices which emerged during the late 1970s qnd early 1980s. She is currently Professor of Photography at the University for the Creative Arts in Farnham, Surrey. In 1986 her work Connoisseurs used colour to explore connoisseurship regarding authenticity, heritage and art in England. Here she introduced elements and staged events in the architectural interiors of Chiswick House, Osterley Park House and the Dulwich Picture Gallery.

Iconic WW2 RAF ÒThe Men Who Saved The WorldÓ Print coloured print of a Battle of Britain pilot getting into his fighter aircraft. Signs of battle and St George in the sky. The lower corner with RAF crest. Lower mount ÒThe Men Who Saved The WorldÓ with Winston ChurchillÕs speech. Printed 1946 by the British Publishers and Fine Art Co Ltd. Now mounted in a modern glazed frame.

* + Frink (Elisabeth, 1930-1993). Dead Cat, 1957, pen, black ink and monochrome wash on paper, signed, dated and titled, some scattered surface damage and loss, particularly to extreme upper left corner, 27 x 75.5cm (10.5 x 30ins), framed and glazed, with Royal Albert Memorial Museum, Exeter label to verso for the loan exhibition of Modern Art, held in 1960 (1)

A Set of 6 Modern Art Deco Style Stainless Steel and Yellow Moulded Wall Lights with shades, 26cm high overall

19TH CENTURY, IRISH SCHOOL, WATERCOLOUR, View of the Adjutant General’s House, Royal Hospital Kilmainham, Dublin (now the Irish Museum of Modern Art), 9 ½” x 13”

LE SIEUR GUZMAN ROLANDO, The Modern Art of Fencing Agreeably to the Practice of the Most Eminent Masters in Europe, carefully revised and augmented with a technical glossary by J.S. Forsyth, embellished with numerous coloured plates, printed for Samuel Leigh, London, 1822, rebound in leather.

[Bate, John. The Mysteries of Nature and Art: In Foure Severall Parts. The First of Water Works. The Second of Fire Works. The Third of Drawing, Washing, Limming, Painting and Engraving. The Fourth of Sundry Experiments, 2nd ed., 1635], pp.[1]-155[i.e. 159]+[1](blank)+175-288+[16], lacking: port. frontis.; first 14pp., i.e. all before BI (p.1); titles to second and third parts (N1 and T1); and Cc4 (pp.199/200), anomaly of pagination found in other copies (i.e. no leaves between p.[160] and p.175), numerous wood engs. on letterpress, some full-page, head and tail-pieces and initial letters, generally toned and marked, several old adhesive tape repairs, some fraying to first and final leaves (some with sl. loss and re-attached), modern sheep, sm. 4to. Sold with all faults, not subject to return. (1)

Richardson (Thomas, pub.). The Amateur’s Guide, including The Art of Legerdemain; How to Make Fireworks; Instructions for Swimming and Skating; Directions for Angling; the Breeding and Management of Pigeons and Birds, The Choice and Rearing of Dogs and Rabbits, &c. &c., Derby: published by Thomas Richardson, 1838, eight hand-col. folding plts. as frontis. to each part, seven separate title-pages, some minor toning, untrimmed, green endpapers, front hinge split, orig. olive green cloth, faded spine sl. frayed at ends and with printed paper label, 8vo. Rare: we have been unable to trace another copy. The short title to each part is as follows: The Whole Art of Legerdemain; The Art of Making Fireworks; The Swimmer’s and Skater’s Guide; The Modern Angler; The Pigeon and Bird Fancier; The Dog and Rabbit Fancier; The New Domestic Cookery, or the Housewife’s Sure Guide; The Comical Budget of Fun and Frolic. (1)

Acton (Eliza). Modern Cookery for Private Families, Reduced to a System of Easy Practice, in a Series of Carefully Tested Receipts... Newly Revised and much Enlarged edition, 1860, eight engraved plates, pubs. list at end, some light soiling, endpapers renewed, original cloth, rebacked retaining original spine, a little rubbed, 8vo, together with Housekeeping. A Guide to Domestic Management, by Mrs. Humphrey, 1893, adverts. front and rear, previous owner signature, original red cloth, spine faded, 8vo, plus Everybody’s Confectionary Book; Containing the Whole Art of Making Cakes, Buns, Tarts, Biscuits, Pies, Custards, Cheesecakes..., Halifax, 1865, a few spots, endpapers renewed, original blue cloth, spine and edges rubbed, 16mo, with other cookery, housekeeping etc., some defective (17)

Gouffé (Jules). The Royal Cookery Book (Le Livre de Cuisine), 1st English ed., 1868, sixteen chromo. plts., numerous wood engraved illusts., one or two leaves sl. edge-frayed, hinges strengthened, embossed address stamp on front free endpaper, a.e.g., orig. gilt dec. bevel-edged green cloth, rebacked preserving orig. spine, thick 4to, together with Holland (Mrs. Mary) The Complete Economical Cook, and Frugal Housewife... containing approved directions for... Trussing & Carving... Potting, Pickling... Pastry and Confectionary, likewise the Art of Making British Wines..., 6th ed., 1825, eng. frontis. and addn. title-page (foxed), four eng. plts. (frayed at top edge and lightly spotted), printed title toned, modern cloth with printed paper from orig. boards laid onto covers, 12mo in 6s, plus Raffald (Elizabeth), The Experienced English Housekeeper..., new ed., 1803, eng. port. frontis. (with sl. loss to fore-edge and laid down), three folding eng. plts. (two laid down), frontis. and title toned and foxed, early 20th c. half sheep, 12mo, plus ten others cookery related, some defective (13)

Kitchiner (William). The Housekeeper’s Oracle; or, Art of Domestic Management: Containing a Complete System of Carving... the Art of Managing Servants; and the Economist and Epicure’s Calendar, Shewing the Seasons when all kinds of Meat, Fish, Poultry, Game, Vegetables, and Fruits, First Arrive in the Market..., 1st ed., 1829, eng. port. frontis. (contemp. ms. name on reverse), wood engs. to text, scattered foxing, and some marginal staining at rear, final Index leaf with upper outer corner torn away with loss of page number), modern qtr. morocco, large 12mo, together with Robinson (James), The Whole Art of Making British Wines, Cordials, and Liqueurs... to which is added a Collection of Valuable Recipes for Brewing Fine and Strong Welsh Ales..., 1st ed., Longman et al, 1848, half-title (re-attached), title-page with old adhesive tape stain at gutter, purple endpapers printed with pubs. ads., hinges split, orig. brown cloth, rebacked, upper cover gilt titled, sm. 8vo, plus Nutt (Frederic), The Complete Confectioner, or The Whole Art of Confectionary, Made Easy; with Receipts for Liqueures, Home-Made Wines, &c., the result of many years experience with the Celebrated Negri and Witten, 6th ed., 1809, half-title, ten eng. plts., some folding, 4pp. pubs. ads. at rear, generally toned and foxed, untrimmed, modern qtr. morocco, large 12mo, plus six other 19th c. cookery books (9)

Spink (H., pub.). The Servant’s Companion; comprising the Most Perfect, Easy, and Expeditious Methods of Arranging and Getting Through Their Work; Rules for Setting Out Tables and Side-boards; Directions for Conducting Large and Small Parties..., Leeds: printed by H. Spink, 1830, pp.48, bound with Thomas (J.E.), The Housewife’s Guide; or A Complete System of Modern Cookery: containing Directions how to Roast and Boil... to Cure Hams, Bacon, &c. How to Make Gravies, Sauces, Fricassees, and Various Dishes for Lent. Particularly adapted for the middle Class of Society, new ed., Leeds: printed by Henry Spink, 1830, pp.48, and The New Whole Art of Confectionary, also, Sugar Boiling, Iceing, Candying; making Wines, Jellies, &c..., 12th ed., Leeds: printed by Henry Spink, 1830, pp.48, some spotting and toning throughout, hinges split, orig. blue cloth, edges sl. rubbed in places, 12mo in 6s, together with The Servant’s Companion..., Belfast: published by the Author, 1831, pp.35, bound with Stavely (S.W.), The New Whole Art of Confectionary, Sugar Boiling, Iceing, Candying, Jelly Making, &c..., 8th ed., Liverpool: G. Wood: 1828, pp.[ii]+vi+[7]-46, half-title, and The Cook and Housewife’s Manual, by Christian Isobel Johnstone, 2nd ed., 1827, pp.525, lacking title-page, some spotting and toning throughout, modern qtr. morocco, 8vo, plus a defective copy of The Footman’s Guide, by James Williams, 4th ed. (3)

Thacker (John). The Art of Cookery. Containing Above Six Hundred and Fifty of the most approv’d Receipts heretofore published, under the following Heads, viz. Roasting, Boiling, Frying, Broiling, Baking, Fricasees, Puddings, Custards, Cakes, Cheese-Cakes, Tarts, Pyes, Soops, Made-Wines, Jellies, Candying, Pickling, Preserving, Pastry, Collering, Confctionary [sic], Creams, Ragoos, Brasing, &c. &c. Also, a Bill of Fare For every Month in the Year. With an Alphabetical Index to the Whole: Being a Book highly necessary for all Families, having the Grounds of Cookery fully display’d therein, 1st ed., Newcastle upon Tyne: printed by I. Thompson and Company, 1758, eng. head and tail-pieces and initial letters, wood engraved diags. and illusts., some marks and edge-tears, first few leaves soiled and frayed (title re-attached), final (blank) leaf with numerous early ink trials, modern morocco, 8vo in 4s. Cagle 1019; MacLean, p.140; Oxford, p.88. John Thacker was cook to the Honourable and Reverend the Dean and Chapter in Durham. Bills of Fare include a Dinner for the Grand Jury, a Justices’ Dinner, and a Dinner for the Prebendaries at Durham. (1)This volume is lacking one leaf - B2 (pp. 11/12).

The British Bookmaker. Devoted to the Interests of the Book Printer, The Book Illustrator, The Book-cover Designer, The Book Binder- Librarians, and Lovers of Books generally, edited by Robert Hilton and E. Gowing Scopes, vols. 4-7, 1890-94, chromo and b & w plts. (few folding), b & w illusts. and advertisements, uniform contemp. brown half straight grain morocco, gilt dec. spines with morocco title labels, 4to, together with Nicholson (James B.), A Manual of the Art of Bookbinding..., 1887, b & w frontis., plts. & illusts., seven leaves of orig. marbled paper samples, hinges cracked, lower free endpaper with manuscript insructions to make Bookbinder Varnish, orig. cloth gilt, frayed at head & foot of spine and upper board slightly marked, 8vo, plus Catalogue of the Celebrated Library, the Property of Major J.R. Abbey, parts 1-10, 1965-78, col. and b & w plts., parts 1-4 bound in modern gilt dec. morocco, remaining vols. in orig. printed boards, 4to, plus one other related (16)

Reeves (John, Farrier at Ringwood, Hants.). The Art of Farriery, Both in Theory and Practice... , 2nd ed., Salisbury, 1763, four eng. plts. incl. one folding (damaged), contemp. sprinkled calf gilt, minor wear to extremities, 8vo, together with Miles (W.J.), Modern Practical Farriery; A Complete Guide to all that Relates to the Horse... , n.d., c. 1870s, eng. plts., some col., some minor marginal defects, recent cloth, 4to, plus Armour (G. Denholm, illust.), Hunts with Jorrocks, From Handley Cross, by Robert Surtees, [1908], twenty-five tipped-in col. plts. with captioned tissue guards, t.e.g., remainder untrimmed, orig. pigskin, lettered in gilt, a little rubbed, (limited edition 80/350, signed by the artist), 4to, with other miscellaneous books, including art reference, naval interest, history and biographies, etc. (6 shelves)

Jose Christopherson [b.1914] Circus signed bottom right oil on canvas 91 x 30cm. Jose Christopherson [b.1914] Born in Barton-on-Irwell. Studied at Manchester College of Art and Design and London, most notably with Iain Macnab at the Grosvenor School of Modern Art. Much influenced by Marc Chagall and Christopher Wood. Appeared in group exhibitions put on by Lucy Wetheim and exhibited with the Manchester Group. The circus and the landscape were leading features of her pictures. Lived latterly in Vaud, Switzerland.

BOOK BINDING, to include Paul N Hasluck, "Book Binding" FR Smith "Book Binding", WJE Crane "Book Binding For Armatures", J S Huwit-Bates FSAM "Book Binding For Schools", Laurence Town, x 2 "Book Binding By Hand", Vaughan "Modern Book Binding", Clements "Book Binding", Cockerell x 2 "Book Binding", Zaehnesdorf "The Art Of Book Binding" and DJ Williams "Hen Dy Ffarm". All rebound by J Tudwal Herbert of Carmarthen, mainly quarter Morocco with hard linen boards. Together with three deal boxes of book binding tools etc. (16).

James Lishman (mid 20th century) - 'Embankment', oil on canvas, signed, bears label verso 'Northern Painters Exhibition, Lang Art Gallery & Museum' with price for 100 guineas, Scarborough Art Gallery, 10th North Riding Exhibition, Early Morning Thames Embankment, London', inset in a modern gilt frame, 49x75cm (illustrated)

Modern album containing collection of better cards, Harry Payne, Scouts, Art Deco, Disney, Wrecks, Suffrage, R/P`s, etc very nice selection which needs viewing (approx 80)

A modern Art Nouveau style red overlay glass vase with the signature `Galle` - height 25 cm

A book - Modern Practical Farriery the complete system of the veterinary art by W J Miles and including practical treatises on cattle, pastureland, the practice of sheep farming and the diseases of animals, published in London.

An Art Nouveau pendant, hinged and containing two mirrors and with flowers to each side with enamel decoration. 6.5cm high. An a silver pendant formed as a replica of an early watch and containing a modern watch movement, with chain necklace.

A modern stoneware, unsigned vase - Art Pottery approx 35 cm

A Ditchfield style paperweight signed to the base and two other paperweights and two pieces of modern Art glass, two Caithness vases and a green glass brandy balloon (8)

After Bruno Zach - a modern Art Deco style cast bronze figure of a dancing woman, the base with cast signature `B. Zach`, raised on a marble base, height approx 63cm.

A modern Art Deco style brown patinated cast bronze figure of a female dancer, raised on a stepped green hardstone base, height approx 40cm.

A modern blue tinted Art Glass vase.

A modern Art Glass vase.

Assorted costume jewellery including 9ct gold watch face, silver and tortoiseshell brooch in a modern jewellery box, pair of gilt metal oval frames, Art Deco walnut mantel clock, Limoges plate and an Adams Jasperware biscuit barrel and cover

A pair of Art Nouveau style brass table lamps with handkerchief shades, two pairs of brass wall lamps with handkerchief shades and a single brass wall lamp with handkerchief shade and a pair of modern chrome goose neck table lamps

A pair of modern dark brown leather upholstered armchairs in the Art Deco cloud style

EuropeWilliams, H.W. Select views in Greece. London, 1892. 4to, 2 volumes in 1, engraved title and 63 (of 64) plates, original blue cloth, covers a little soiled, spine slightly faded, hinges splitting, interior very clean; Chapman, Abel Wild Norway. London, 1897. 8vo, frontispiece, 16 plates, modern black cloth with gilt lettering, spine a little faded; Boys, Edward Narrative of a captivity and adventures in France and Flanders. London, 1831. Second edition, 8vo, 8 engraved plates, contemporary half morocco, bookplate of James Milne Stansfield, frontispiece lacking, pages 23-24 lacking, some pages and plates loose, spotting, binding rubbed, upper joint cracked; Hall, Samuel Carter Ireland... London, 1841-1843. 4to, 3 volumes, 3 frontises, 3 engraved titles, 18 maps and 46 engraved plates, contemporary morocco gilt, spines rubbed, a little foxing; Lanciani, Rodolfo New tales of old Rome. London, 1901. 8vo, plates, red cloth with gilt lion knocker motif to upper cover; James, Edith E. Coulson Bologna, its history, antiquities and art. London, 1909. 8vo, folding map at rear, original blue cloth gilt, spine a little bumped and faded; Barker, Edward Harrison Two summers in Guyenne. London, 1894. 8vo, brown cloth gilt, library sticker to upper cover, hinges weak, covers and spine a little rubbed; Warne, Frederick Picturesque England. London, 1891. 8vo, 6 colour plates, original red pictorial and gilt cloth, spine a little faded and bumped, lower joint splitting; Stewart, Hugh and Haenen, F. De Provincial Russia. London, 1913. 8vo, 32 plates (16 in colour), original red cloth gilt, spine faded; Washburn, Claude C. Pages from the book of Paris. 8vo, plates, original cloth with paste-down panel showing a young woman and two gentlemen, covers soiled; and a quantity of others

BY H.G. MURPHY: A pair of modern, Art Deco salt spoons with octagonal bowls & stepped terminals, London 1935 (with Falcon Studio marks); 3.9" (10 cms) long; 0.6 oz (2)

Roman Gold Eagle Intaglio Finger Ring2nd-3rd century AD. An elliptical orange hardstone intaglio in a sympathetic modern gold setting, depicting a perched eagle with a wreath in its beak. 2.34 grams, 23 mm overall 18.64 mm internal diameter (approximate size British Q 1/2, USA 8 1/2, Europe 18.62, Japan 18) (1"). UK art market, acquired prior to 1980. Fine conditionStarting Price: 250

Modern pale pink and deep sided art glass bowl, 21 cm diameter

Modern green art glass vase with blue and grey swirled inclusions, 25 cm high

A large modern green ground art glass vase with dark blue swirling inclusions, 32 cm high

Books: a quantity of books on Renaissance and Seventeenth Century art, together with national gallery collections and sundries, including; Irma Richter, Paragone, A comparison of the arts by Leonardo da Vinci; Charles Baudelaire, The Painter of Modern Life, and Art in Paris 1845-1862; and Walter Pach, The Art Museum in America. Provenance: The Estate of the Late Carlo Curley.

Books: The Oxford Reference Classics of English Language, 4to, gilt tooled brown leather, special edition 8 volume set, published by The Easton Press, Norwalk, Connecticut, comprising; The Concise Oxford Dictionary, Companion to Classical Literature, Companion to English Literature, Companion to American Literature, Dictionary of American Proverbs, Oxford Thesaurus, Dictionary of Quotations, and a Dictionary of Modern English Usage; together with The Oxford Companion to Art, and Companion to Philosophy. (10) Provenance: The Estate of the Late Carlo Curley.