We found 23495 price guide item(s) matching your search

 MCLUHAN MARSHALL: (1911-1980) Canadian Philosopher & Intellectual who coined the terms 'global village' and 'surfing' and also predicted the World Wide Web almost thirty years before it was invented. A.L.S., Marshall McLuhan, one page, 4to (onion skin notepaper), Toronto, 24th February 1963, to [Neville] Braybrooke. McLuhan announces 'It was a happy inspiration that made you send me The Idler!' and continues 'I have read it with much enjoyment and shall now seek out your other writings. As a devoted student of T. S. Eliot I had of course read your volume for his 70th birthday'. The philosopher further informs Braybrooke that 'Frank Kermode has written me to say that he has suggested to the editors of Encounter that they start a debate in a series of articles concerning the themes of the Galaxy' and asks if he would like to participate, adding 'Roland Penrose of the Institute of Contemporary Arts has written to say that the Galaxy has given them the idea for a 1965 show on the Extensions of Man: Technologies seen as extensions of our organic being, having immediate as well as persistent psychic and social effects. Thus electromagnetic technologies are extensions of our central nervous systems as much as others of our bodies. i.e. E.S.P.' McLuhan concludes by stating that he hopes to come to England in the summer to discuss the matter with Penrose, 'and it would be a great disappointment if you were not there at the same time'. A letter of good content, not least for its references to two of McLuhan's most famous works. Some light overall creasing, about VG   Neville Braybrooke (1923-2001) English Poet, Writer, Editor, Literary Critic and Publisher.    The Gutenberg Galaxy: The Making of Typographic Man (1962) is a pioneering study in the fields of oral culture, print culture, cultural studies and media ecology in which McLuhan prophesised the web technology experienced today when he stated 'The next medium, whatever it is-it may be the extension of consciousness-will include television as its content, not as its environment, and will transform television into an art form. A computer as a research and communication instrument could enhance retrieval, obsolesce mass library organization, retrieve the individual's encyclopaedic function and flip into a private line to speedily tailored data of a saleable kind'.   Understanding Media: The Extensions of Man (1964) is a more widely known work by McLuhan and is regarded as a pioneering study in media theory. Dismayed by the way people approached and used new media such as television, McLuhan famously argued that in the modern world 'we live mythically and integrally ... but continue to think in the old, fragmented space and time patterns of the pre-electric age'. 

Paul Klee, lithograph circa 1950s, abstract, published by Museum Of Modern Art, New York, image 7" x 5.5", mounted.

λ Walter Steggles (British 1908-1997)Suffolk farmOil on canvasSigned lower right41 x 51cm (16 1/4 x 20 1/4in.)Provenance:Alex Reid & Lefevre, LondonSale, Christie's, 7th December 2006, lot 101Exhibited:Ottowa, National Gallery of Canada, British Contemporary Art, 1935, no. 80Ascot, Austin/Desmond Fine Art Ltd., Modern British, 11th June 1988 λ  Indicates that this lot may be subject to Droit de Suite royalty charges. Please see our Terms & Conditions for more information.

Hemans (Felicia) Records of Woman, first edition, 1828 bound with The Restoration of the Works of Art to Italy, second edition, trimmed at head, Oxford, 1816 and Dale (Rev. Thomas)The Widow of the City of Nain; and Other Poems, sixth edition, 1824, together 3 works in 1 vol., contemporary half calf § [Carne (John)] Poems: containing The Indian, and Lazarus, bookplate, contemporary calf, gilt, 1820 § Magill (Rev. Robert)The Thinking Few, a Poem, some scattered foxing, modern wrappers, Belfast, 1828 § Banim (John) The Celt's Paradise, book labels, contemporary half calf, neatly and sympathetically rebacked, rubbed, 1822; and 8 others, poetry, 8vo (12)⁂ An interesting group of 19th century works, the second includes a poem centring on a Native American warrior, the last 2 are rare with COPAC listing only 2 copies of the first (BL and Cambridge) and 1 copy of the last (Oxford only, not in BL).

Picasso Art Exhibition PosterMusee d'art modern de la ville Paris Salon de Mai76 x 49cm

DONALD BYRD/ART FARMER/FREDDIE HUBBARD - Introducing these Trumpet legends with 4 x essential LPs. Titles are Donald Byrd (x2) - Ethiopian Knights (Blue Note stereo 'United Artists' 1972 original BST 84380 - strong Ex/Ex copy) and Byrd In Hand (1967 stereo 'A Division Of Liberty' pressing, BST 84019 - superb Ex+/Ex+), Art Farmer - Modern Art (UK London Jazz Series LTZ-T 15167 - G+ with some light surface marks, there is a scratch on track B1/Ex) and Freddie Hubbard - The Artistry Of (seldom seen original Spanish mono issue on Impulse A-27 - glossy Ex/Ex housed in original US sleeve).

JAZZ/EASY/RAT PACK LPs - Diverse and musically rich collection of around 215 x LPs (including around 26 x 10" LP releases). Artists/titles include Mike Nevard's Melody Maker All Stars - Aces Anonymous (Don Rendell rumoured to have been part of this early Atlantic 10", ATL LP 2), Charles Mingus Presents Jazz Workshop Volume 2 (LDE 178), Cannonball And Coltrane, Herbie Hancock, Cannonball Adderley - Somethin' Else (RE), Eric Dolphy - Out To Lunch! (2016 RE), Ella & Louis (2016 RE), Gene Norman Presents Just Jazz, Originators Of Modern Jazz (Dizzy, Charlie Miles and Fats Navarro! Vogue LDE 006), Art Blakey's Jazz Messengers With Thelonious Monk (LTZ-K 15157), Dave Brubeck inc. Jazz Goes To College/Junior College and Time Further Out Dizzy Gillespie - Afro (33CX 10002), The Jazz Giants '56, Erroll Garner inc. Concert By The Sea, Frank Sinatra (over 34 releases) inc. Songs For Young Lovers, In The Wee Small Hours, All Alone, I Remember Tommy, Songs For Swingin' Lovers, Come Dance With Me and Nice 'N' Easy, Count Basie (around 17 titles) and Stan Kenton (over 50 releases). Condition is generally VG+ to Ex+.

By Steve Wager, a modern silver 'Hatto' bowl and ladle, London 2004 and 2006, circular form, high handle, spot-hammered silver-gilt interior, on a raised circular foot, the ladle with a gilded bowl, height of bowl 18cm, approx. weight 9.5oz. (2) Provenance: purchased from S.E.W Ltd, 10 October 2006., Goldsmiths Fair 2006. Steve Wager writes on this bowl, "'The Hatto Bowl', named in memory of Margot Hatto, a German Jew rescued by a handsome intelligence officer in WWII. I taught Margot the art of silver smithing and we became close friends for over 20 years until her passing in 2002. She graciously left me her entire smithing workshop which included the designs for the 'bowl'."

A sapphire and diamond dress ring, five sapphires and four diamonds set in a modern art deco style 18 carat yellow and white gold square cluster mount, ring size L.

Art-A very clean range of modern postcards including Exhibition etc, quality lot(100's)

A modern glass light shade; and an Art Deco style glass figurine

A cut glass water jug, together with a modern glass carafe, together with an etched glass jug, a contemporary art glass etched glass, etc., (7)

Ladies 9ct White Gold Dress Ring Set With A Modern Round Brilliant Cut Diamond In Illusion Setting, Art Deco Design Cut Shoulders, Ring Size L, Weight Approx 3g

A Playstation 3 games console ' Prestige Edition ' games pack ' Call Of Duty - Modern Warfare 2 ' set. Appears 100% complete, possibly unused. Comprising of Hardened Steelbook edition game, Concept Art Book, Night Vision Goggles and ' Soap ' Mactavish Goggle Stand. All housed within the original presentation box. 

Flemish School, 17th century style, an old lady holding a peach and wearing a bonnet, oil on canvas, 70 x 54 cm, in an ebonised frame See illustrationProvenance: Formerly part of the collection of Jose-Maria Sanchez de Muniain y Gil, Professor of Aesthetics at the Complutense Madrid University (1945-79) Condition report ReportProvenance: These paintings were part of the collection of Jose-Maria Sanchez de Muniain y Gil, Professor of Aesthetics at the Complutense Madrid University (1945-79). He was an avid collector of art and devotee of aesthetics, building his own weekend villa in the Sierra de Guadarrama in the outskirts of Madrid designed by the architect Curro Inza, and affectionately known by locals as 'El Caracol' (The Snail), due to its unusually rounded construction. The paintings, which were purchased from dealers based in Madrid, were housed in this setting from the El Caracol's construction in the 1950s and 60s. Don Sanchez de Muniain also held the posts of general director of Secondary Education (1951) and vice-president of the National Council of Education (1954). In addition, he was one of the founders of the Catholic Press in Spain, and was appointed by Pope Paul VI in 1968 as honorary member of the Vatican State.Report by GHSurface of paint cracked all over. Frame more recent than the painting itself. Appears to have been cleaned and re-lined, all of this must have been a long time ago. Stretcher appears fairly modern.

An Art Nouveau style 9ct gold, amethyst and seed pearl pendant, on a 9ct gold chain Condition report Modern

An Art Deco style 9ct gold, ruby and diamond panel ring, approx. ring size Q Condition report Modern

c. 400-390 BC, unsigned dies by Euainetos. Decadrachm, 43.13gg (8h). Obv: Quadriga galloping left, driven by a charioteer holding reins and directing the horses with a goad; above, Nike flying right to crown the charioteer; in exergue, panoply of arms on two steps: cuirass, two greaves, and a Phrygian helmet. Rx: ΣΥΡΑΚΟΣΙΩΝ Head of nymph Arethusa left, wearing a reed wreath, triple ear pendant, and necklace; around, four dolphins. Gallatin F VIIa/RIV. Ex Stack's, 12 January 2009, Golden Horn, lot 2135. On the obverse, the charioteer seems to be rounding the turning post, the most dangerous moment of the race, so urges on the right-hand pair of horses with his goad while pulling back the left-hand pair with the reins. The drama on the obverse has its counterpart in the eternal beauty of the reverse, depicting the head of Arethusa, the nymph of the local well on Ortygia, a small island belonging to Syracuse, whose features were copied on many other Greek coinages and have also inspired modern connoisseurs such as Winckelmann, Payne Knight, and Goethe. Of the Euainetos decadrachms, while many are signed, there is a large group unsigned with the cockle shell symbol behind the head of Arethusa. In many cases these are struck with some of the most beautiful dies. This coin has incredible centering. The obverse is complete except for the tip of one horse's nose. The reverse, bearing the portrait of Arethusa, is struck on a very broad flan showing the complete name of the city above Arethusa's head and all of the dolphins are extremely clear except for the fin of one and the tip of the nose of another. The centered head of Arethusa is beautifully struck, making it a monument of classical Greek art. More important than the decadrachms of Kimon, this reverse die is one of the most copied coins in the world starting with immediately after it was struck, copied by the Carthaginians in Sicily and continuing all the way to Victorian times and beyond. Near Mint State.

[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) BAMBOO, 2000 A.P., signed with initials and dated in pencil, numbered 3/18, screenprint on wovepaper 84cm x 91cm (33in x 35.75in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. Hodgkin's work is characterised by his sensitivity to colour and ability to stimulate an emotive response in the viewer. His rich and complex paintings are rooted in an everyday reality and his own private experiences. Despite the sweeping energetic brush strokes conveying a sense of spontaneity, they are a result of an extensive process of careful layering and over painting. In Bamboo Hodgkin infuses his understanding of late nineteenth century French painting, especially work by Edouard Vuillard, with his own personal experiences of travelling to exotic locations. The impact of the vivid colour is intensified by his habit of incorporating the frame as part of the picture. Usually his titles seem opaque to the viewer, but for the artist they are the clue to the image.

[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) LOTUS Signed and dated '80, numbered 77/100, screenprint, printed by Kelpra Studio, published by Bernard Jacobson Plate size 73cm x 90cm (28.75in x 35.5in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. Hodgkin's affiliation with Indian art blossomed early on in his life. During his time in Eton he was first introduced to Indian art by the drawing master Wilfrid Blunt. Soon after, Hodgkin became an avid collector of Indian prints and paintings, and over the years frequently visited the country. Hodgkin references his travels by painting India's national flower.

[§] HOWARD HODGKIN C.H., C.B.E. (BRITISH 1932-2017) FOR ANTONY, 2015 Signed with initials and dated in pencil, numbered 38/100, sugar lift etching from three copper plates 26.5cm x 42.5cm (10.5in x 16.75in) Note: Considered to be one the most important British artists of the twentieth century, Sir Howard Hodgkin was a central figure in the country's modern art movement. Born in 1932 in Hammersmith London, Hodgkin was determined to become a painter from the young age of five. During the Second World War Hodgkin, along with his sister and mother, were evacuated to Long Island, USA. There his ambitions to paint were reinforced after seeing pictures by Matisse, and Picasso at the Museum of Modern Art in Manhattan. After returning to England he attended Eton College where he first began to collect Indian miniatures. After running away from school twice, Hodgkin was transferred to Bryanston School in Dorset however he soon ran away again to pursue his ambition of becoming a painter. Hodgkin first trained at Camberwell School of Art followed by four years studying at Bath Academy of Art. In the mid-1950s a wave of Abstract Expressionism exhibitions in London had an important impact on the development of his style, and to extent liberated him as an artist. Hodgkin has exhibited at numerous notable institutions including the Hayward Gallery and Gagosian. He was also granted numerous major shows including exhibitions at the Metropolitan Museum of Modern Art, Tate Britain as well as representing Britain at the 1984 Venice Biennale. In 1976 Hodgkin's first retrospective was curated by Nicolas Serota at the Museum of Modern Art in Oxford and in 1992 he was knighted for his services to the arts. This work features Hodgkin's characteristic broad gestural brushstrokes. These, however, convey a deceiving sense of spontaneity, as it could take up to a year for Hodgkin to prepare to execute a single brushstroke. The title references his partner Antony Peattie whom he lived with until his death in 2017. After coming out as homosexual in the late 1970's, his work became characterised by a heightened sense of eroticism. Painted during a mature point in their relationship the print simultaneously exudes a sense of tranquillity and distress.

[§] ANTHONY WHISHAW R.A. (BRITISH B.1930) ROCK AN' ROLL Oil on canvas 29cm x 40cm (11.5in x 15.75in) Exhibited: No.37, 'The Peter Davis Collection', The Scottish National Gallery of Modern Art

An art glass piece together with a modern glazed vase, signed JM to the base

A white gold and diamond Art Deco style bracelet, modern, stamped '14K', the open links pavé set with eight-cut diamonds in grain settings, 19.5cm long, 17g gross, cased, and a 9ct white gold and diamond ring, stamped '375' size P, 3.5g gross, (2). Illustrated

Tray of assorted glassware, various, to include: modern scent bottles and stoppers; silver topped Art Nouveau design jar and cover; silver plated picture frame; vases etc.(B.P. 24% incl. VAT)

American ginger bread type two train clock, together with a modern barometer, art deco design oak framed wall barometer and a stained oval stand for a glass dome. (4) (B.P. 24% incl. VAT)

Modern art nouveau design upholstered six piece suite comprising: large three seater sofa and five armchairs. (6)(B.P. 24% incl. VAT) CONDITION REPORT: Rather grubby but complete. Needs a clean. No brand.

Patrick Swift 1927-1983STUDY FOR "PAINTING '74"Oil on canvas, 8" x 10" (20.4 x 25.4 cm). Exhibited: S. Mamede Gallery March 1974 (label verso); Irish Museum of Modern Art , Ulster (label verso); Irish Museum of Modern Art , (label verso)

Roderic O'Conor 1860-1940NUDE SEATED ON A CHAISE LONGUEOil on board, 24" x 19 3/4" (61 x 50 cm), Atelier 'O'CONOR' stamp verso.Provenance: Private Collection, LondonRoderic O'Conor fascination with the female nude began in earnest after he left Brittany for good in 1904 and moved to Paris. The spacious studio he rented at 102 rue du Cherche-midi in Montparnassse became the setting for countless explorations of this time-honoured subject. The present example, with sumptuous,reds, pink, oranges and yellows recreates something of the effect of a boudoir, the model being captured as if she is just about to rise from nher couch in order to get dressed. The sense of immediacy is reinforced by the cropping of the figure's feet and hair from the top and bottom edges of this picture, with the result that her position in space is very close to the plane of the picture. The intimate setting and unselfconscious pose of this nude relate it closely to other interiors dating from O'Conors intimiste period, 1905-11. Inspiration for this body of work was provided by the late nudes of Renoir (compare for example the latter's Bather Sitting on a Rock (Baigneuse) of 1892; private collection, Paris), as well as Pierre Bonnards radiant and seemingly unposed depictions of his wife. O'Cono sought, like Bonnard, to create unpretentious pictures of women in intimate settings, engaged in everyday activities such as reading, resting, arranging their hair or fastening a stocking. An early example of 1905 entitled Repos, showing a clothed model asleep, was bought from O'Conor by the famous Russsian collector of modern European art, Ivan Morosov, and is now in the State Hermitage Museum, St. Petersburg.The features of the young woman seen here can be found in a number of O'Conor's paintings from this period. He would normally start work by making rapid drawings of the model in a range of different poses - an approach that allowed him to establish an understanding of her movements and proportions. I Nude seated on a chaise longue the model has been placed left of centre, seated on the edge od a divan (a favourite studio prop), with three Chinese vases located in the background to lend an air of cultured refinement. The model's expression, as so often in O'Conor's work, is contemplative and introspective, rather than overtly glamorous or sensual. The figure is lit by daylight entering the picture from the right, throwing the left side of her figure in shadow and thereby enhancing the illusion of rouned, three dimensional forms. By paving careful attention to the overall balance of the light and shade, O'Conor demonstrates his awareness of traditinal themes and approaches, simultaneously in this painting was one of his favourite colours, inevitably calling Renoir to mind once again.whereas the seated nude on the front of this picture is a highley considered statement that must have demanded frequent sittings of the model over a prolonged period, reclining nude on the reverse is a spontaneous and vibrant sketch, painted in one sitting. The two contrasting treatments show how the extent to which O'Conor was prepare to adapt his approach, working rapidly alla prima in order to d=seize a pose or light effect before it was lost foe ever, while at the the same time producing pictures with a much higher degree of 'finish', perhaps with a exhibition in mind. Even in more developed works, however, the artist still liked to retain a degree of spontaneity: compare foe example the bold patch of creamy paint on the seated nude's left shoulder, with the incredibly delicate, feathered brushstrokes used in her right cheek and neck.We are greatful to Jonathan Benington for kindly preparing this catalogue entry.

A Modern Art Study of Family Group, 33cm High

JACKY TSAI (CHINESE b 1984), FLORAL SKULL (Probably the rarest of the Floral Skull series) screenprint, signed and numbered 3/5 in pencil 70cm x 70cm Mounted, framed and under glass. Note: Born in China in 1984, Tsai grew up in Shanghai and after completing his BA at the China Academy of Art, moved to London to study MA Illustration at Central St Martin's, graduating in 2008. Tsai's first solo exhibition was held in London in 2010. At the age of 24 Jacky Tsai designed the floral skull for Alexander McQueen which became an icon in the fashion world and brought him fame. Following his collaboration with British designers he worked with the internationally acclaimed Chinese luxury brand Shanghai Tang and European department stores such as Harvey Nichols and Lane Crawford. In 2011 he launched his own brand fusing art and fashion. Tsai has had solo shows in The Moscow Museum of Modern Art (2018), in London with The Fine Art Society, in Hong Kong, Singapore, Los Angeles and New York.

AN IRISH CLEAR AND CUT GLASS MALLET SHAPED DECANTER, with single ring neck and original mushroom finial; together with an art deco ships decanter with facet cut finial and modern facet cut decanter. (3)

Modern Art - Carl Reiser Original vintage poster advertising Brakl's modern art gallery in Munich - Brakl's Moderne Kunsthandlung Munchen Goethestrasse 64. This magnificent poster in Art Nouveau style (known as Jugendstil in Germany and Moderne in Russia) depicts a female centaur flying amidst the stars. The poster promotes the German painter, Carl Reiser (1877-1950), designed by the German graphic artist, Adolf Munzer (1870-1953). Good condition, restored and backed on linen. Advertising Poster, Germany, 1907, design by Adolf Munzer, size (cm)91x61.

Original vintage advertising poster for the Universal Exhibition in Brussels - Exposition Universelle Bruxelles Mai-Novembre 1910. Exposition Universelle et Internationale was a world's fair held in Brussels in 1910 from 23 April to 1 November. This was just thirteen years after the previous Brussels world's fair. It received 13 million visitors, covered 220 acres and lost 100,000 Belgian Francs. A major site for the exhibition was the Mont des Arts, although the site was largely demolished during the post-war construction process of Brusselization. The fine art section included modern art loaned by the French including 3 works each by Monet, Rodin and Renoir and 2 works by Matisse. Painters who participated included the Belgian Alo‹s Boudry who won a silver medal, and the French Adrien Karbowsky. The altarpiece of the St. Jan Berchmans Church, Brussels was presented. The Belgian engineer Jean-Baptiste Flamme (fr) exhibited his new Type 10 pacific locomotive. There was a big fire on 14 and 15 August which gutted several pavilions. Stone lithograph poster printed by De Rycker & Mendel, Bruxelles and designed by Charles Michel. Good condition, repaired tears, holes on margins, printed on three panels, main poster 160 x 120cm, two side panels 160 x 60cm. Belgium, 1910.

Pablo Picasso A Retrospective MOMA Exhibition New York Original vintage advertising poster for Pablo Picasso: A Retrospective exhibition held at the Museum of Modern Art MOMA New York from 22 May to 16 September 1980. Great artwork by the notable Spanish artist and sculptor Pablo Picasso (1881-1973) featuring his famous oil on canvas self-portrait painted in Paris in Spring 1907 with the title text below in stylised black letters and further information including sponsorship provided by IBM and support from the Robert Wood Johnson Jr Charitable Trust and the National Endowment for the Arts. Printed in the USA. Good condition, foxing in lower half. Advertising Poster, USA, 1980, design by Pablo Picasso, size (cm)94x56.

Original vintage travel advertising poster for The Rock Hotel Gibraltar's new and beautiful hotel offers every modern comfort to those who wish to visit this delightful little corner of the Empire - Gibraltar -The travel key to the Mediterranean. The historic Rock Hotel opened in 1932 above the Gibraltar Botanic Gardens and has welcomed many famous and notable guests including Winston Churchill, Dwight D. Eisenhower, Field Marshal Montgomery, Errol Flynn, Alec Guinness, Sean Connery, John Lennon and Yoko Ono (who exchanged their marriage vows at the hotel). Colourful image of the Art Deco hotel below a rock in the background with flags flying, flowers on the balconies and smartly dressed people outside surrounded by palm trees and other plants with a monkey sitting next to a text box in the corner, the rest of the text above and below in stylised letters and "For Details Apply Within or" in the outer yellow border. Very good condition, folds, faint staining.Country: UK, year: 1930s, designer: JSH, size(cm): 91x61.

Travel original vintage poster Air France North Africa. Bernard Villemot (1911, Trouville-sur-Mer – 1989) was a French graphic artist known primarily for his iconic advertising images for Orangina, Bally Shoe, Perrier, and Air France. He was known for a sharp artistic vision that was influenced by photography, and for his ability to distill an advertising message to a memorable image with simple, elegant lines and bold colors. From 1932–1934, he studied in Paris with artist Paul Colin, who was considered a master of Art Deco. From 1945–1946, Villemot prepared posters for the Red Cross. In the late 1940s, he also began a famous series of travel posters for Air France that would continue for decades. In 1949, Villemot's works were exhibited with those of his contemporary poster artist Raymond Savignac at the Gallery of Beaux Arts in Paris. In 1953, Villemot began designing logos and posters for the new soft drink Orangina, and over time these works would become some of his best known. In 1963, the Museum of Decorative Arts in Paris held an exhibition of his works. By the end of his life in 1989, he was known as one of the last great poster artists, and many collectors and critics consider him to be the "painter-laureate of modern commercial art." Since his death in 1989, his memorable images have been increasingly sought after by collectors. Good condition, repaired tears in margins. Backed on linen. Country: France. Year: 1952. Artist: Villemot. Size (cm): 99x62.

An Art Deco chrome cased mantel clock, having silvered dial with Roman numerals, surmounted by a reclining female nude; together with a modern mantel clock (2)

•FOUR MODERN WORKS ON PAPER comprising `Girl Reclining on Pillows`, 1934, pencil, by John Buckland Wright, 31 x 21cm.; `Still Life`, watercolour, by Jean Marchand, 18.5 x 18.5cm.; `Eugenie` (nude study), 1989, conte crayon, by Bruce George, 31.5 x 29cm.; and `In the Chair`, 1985, crayon, by Henrietta Young, 38 x 28cm. (4) Provenance:(Wright), London, Blond Fine Art, 1983; (Marchand), London, Christopher Hull Gallery, 1982; (Young), London, New Grafton Gallery, 1987 ++ Marchand light-stained; the others generally good

A collection of coins and stamps, including an album with modern two and one pound coins, 50p's and other coinage from Britain and Australian, several modern crowns in an Art Deco Bakelite cigarette box, and more (parcel)

A group of seven vintage and modern wristwatches, including a lady's 9ct gold Tissot, 19g, an Art Deco Audax 9ct gold cased example, a gold plated Seiko in box, a Bravington's with a box, AF, and three others (9)

WILLS, large, inc. complete (4), Old London, Racehorses & Jockeys, Round Europe, Kings Art Treasure; part sets, Flowering Shrubs (29), Butterflies & Moths (39) etc., in modern album, FR to VG, 229

POSTCARDS, mainly modern selection, inc. dogs, cats, birds, horses, domestic & wild animals, buses, coaches, trams, railway (steam & diesel), stations, street scenes, art, greetings, views, paintings, floral, romance, foreign, buildings, monuments, Paris, Dresden, Montreal, Napoli etc., some pu, many Pike cards, a few photos, slight duplication, G to EX, 900*

DECORATIVE ARTS INTEREST COLLECTION OF REFERENCE BOOKS, MODERN including ART NOUVEAU (Arwas); C.F.A. VOYSEY (Hitchmough); ARTS & CRAFTS MOVEMENT IN IRELAND (Larmour); WEMYSS WARE (Davis & Rankine); ARTS AND CRAFTS ARCHITECTURE (Davy); ARTS & CRAFTS FURNITURE (Andrews); ARTS & CRAFTS STYLE (Anscombe) etc (17)

CHARLES ROBERT ASHBEE (1863-1942) FOR THE GUILD OF HANDICRAFT SILVER, GOLD, MOTHER-OF-PEARL AND CHRYSOPRASE SET PENDANT, CIRCA 1900 the central mother-of-pearl panel within a scrolling wirework surround, set with three circular chrysoprase cabochons, to a plain tapering bale, in original fitted box with velvet and silk lining bearing inscription THE GUILD OF HANDICRAFT LTS/ 16A BROOK STREET/ BOND STREET W/ WORKS: ESSEX HOUSE/ CHIPPING CAMPDEN GLOS. Length: 6.4cm Exhibited: 'The Arts & Crafts Movement in Europe and America 1880-1920: Design for the Modern World', Los Angeles County Museum of Art, Milwaukee Art Museum, and Cleveland Museum of Art, 2004-2006.

MODERN METAL WALL ART

A selection of 1st / No. 1 editions early publications, all in good/unused order, undamaged except some foxing on a few, bound in purpose-made albums thus:- contains 30 mags: THE NATIONAL INSURANCE WEEKLY June 1912, UNDER THE UNION JACK Nov 1899 (Boer War), THE HUMOURIST July 1922, CASSELL’S WEEKLY Mar 1923 (books – men & women), THE OUTLINE Nov1927 (books, popular subjects & science), LONDON CALLING Mar 1928 (wit & gossip), PICTURE PLAYS Nov 1919 (films news), BUS & COACH-THE OPERATORS’ MANUAL Jan 1929, TENNIS ILLUSTRATED July 1926, THE COLOMBIAN TRADE REVIEW Feb 1921, THE FREE TRADER Dec 1908, AMATEUR WIRELESS June 1922, COLOUR Nov 1928 (art), PIERROT May 1903 (humour), PAN Nov 1919 (general), THE MODERN MAN Nov 1908, THE JEWISH WOMAN Dec 1925, EMPLOYMENT Feb 1914 (seeking work), THE SCIENTIFIC REVIEW Mar 1914, THE WAR BUDGET (not dated but WW1), M.A.P. (Mainly About People) June 1898, EVERYMAN Oct 1912 (his life, work & books), THE TURF GUARDIAN Mar 1912 (racing), THE LICENSING NEWS May 1920 (for licensees), ALL FOR AUSTRALIA April 1917 ( explains aims of ‘win the war’ party), FOOTBALL BITS Sept 1919, THE COMMENTATOR May 1910 (political & social), MOMUS April 1880 (general), BRITISH SUPREMACY Dec 1916 (advocating Empire strength).

A mixed lot comprising a Beswick model stag, together with a Royal Doulton figurine 'Bedtime', a further overlaid modern art glass vase and a further coloured glass tumbler (4)

A modern Art Deco design figure of a dancing girl, 40cm high

Three modern prints on canvas, depicting Art Deco scenes (unframed)

A quantity of auction catalogues - Sotheby's & Christie's Impressionst and Modern Art, 19th century Pictures, Modern British etc... (qty)

A matched set of six Art Deco style patinated metal standard lamps, modern, each with circular concave adjustable shade over a square tubular stem, stepped square base and leather plinth, 150cm high, (6).

A Parian Type Plague, stamped 'Copenhagen', Art Deco photograph frame, glass coasters, set of cut glass knife rests in original case, alabaster urn, modern framed panel of nude female bust, stamped 925:- One Tray

Crete, Axos AR Stater. Circa 4th century BC. Young beardless head of Apollo right with short cropped hair / Tripod with handles and animal feet. Unpublished variant, for general type cf. Le Rider 238-43 pl. 8, 16-20; Svoronos p. 10, 3, pl. 1 (Apollonia); BMFA Suppl. 107 (Apollonia or Axos). 11.70g, 25mm, 2h. Extremely Fine. Apparently unique and unpublished. Ex Eckenheimer Collection, Roma Numismatics IX, 22 March 2015, lot 262. The ancient city of Axos occupied the hill above the modern village of the same name. The protecting deity of Axos was probably Apollo, perhaps called Axios, whose son Oaxos was according to tradition the eponymous founder of the city. Two archaic temples have been excavated at Axos, one on the acropolis and a second below it to the east. Temple I is attributed to Apollo and Temple II has been attributed to Aphrodite on the basis of votive figurines. The young and beardless male head on the obverse of this coin, used in conjunction with the tripod-lebes, must then surely be intended to represent Apollo. The nature of the coin itself seems archaic, primitive even, considering the date to which its production is assigned. In this it somewhat resembles and recalls the highly stylized efforts of some Celtic engravers, yet its stylistic simplicity is not so surprising when we consider the relatively backward nature of Crete in the Archaic and Classical periods: though Crete was a pioneer of art and culture in the 10th-7th centuries, a major change occurred circa 630 BC, which seems to have led to a petrification of Cretan institutions, and Cretan art and culture lost all their innovative power. The cities of Crete became inward-looking, and internecine war became the norm among the island’s city-states, many of which sought to challenge the power of Knossos and gain superiority over the others. Interestingly, the only attestation of a post-Minoan king on Crete occurs at Axos, which according to Herodotos was ruled by the basileos Etearchos, who reigned sometime in the 8th or 7th centuries and was the maternal grandfather of Battos, the oikistes (founder) of Kyrene.

Mysia, Kyzikos EL Stater. Circa 500-450 BC. Roaring griffin standing to left on tunny fish, right foreleg raised and tongue protruding / Quadripartite incuse square. Von Fritze 101; Greenwell 144; Boston MFA 1437 = Warren 1573; SNG France -; BMC -; Gillet -; Gulbenkian -; Jameson -; Weber -. 16.10g, 21mm. Near Mint State. Very Rare. From the A.F. Collection, Germany. A mythical creature of great antiquity, griffins are represented in Egyptian and Persian art from as early as the fourth millennium BC; from the middle bronze age (c.1950-1550 BC) they begin appearing in Syria, the Levant and Anatolia, and they can be found in 15th century BC frescoes in the throne room of the bronze age palace at Knossos. Closely associated with guarding precious possessions and treasure, and so frequently utilised as a motif in such capacities, the griffin came also to be a symbol of divine power and so a guardian of the divine. Half lion and half eagle, and so possessing the power and dignity of both of these majestic animals, these fearsome creatures in time came to be associated with the vast quantities of gold that flowed south out of the vast northern wildernesses into Greek and Persian lands. This seemingly endless source of gold caused a great deal of speculation among the Greeks as to its origin; the myths and fables eventually found form in the idea of a land they called Hyperborea ('beyond the north wind'). Homer, Pindar, Hesiod and Strabo all make reference to this legendary place, and Herodotus writes of it: "But in the north of Europe there is by far the most gold. In this matter again I cannot say with assurance how the gold is produced, but it is said that one-eyed men called Arimaspians steal it from griffins. But I do not believe this, that there are one-eyed men who have a nature otherwise the same as other men. The most outlying lands, though, as they enclose and wholly surround all the rest of the world, are likely to have those things which we think the finest and the rarest." (The Histories, 3.116) Though it is generally agreed that Hyperborea never actually existed as any single place, but was rather an amalgam of various fragments of truth and flights of fancy, one possible source for the northern gold may be found in the Altai Mountains of Skythia (straddling modern day Kazakhstan, Mongolia, China and Russia), whose name 'Altai' in Mongolian literally means 'Gold Mountain'. It has been further suggested (Mayor, 1991) that this region, rich in gold run-off from the mountains, and which is also holds a great many Protoceratops fossils, may have been the ultimate source of the Greek myth of griffin-guarded gold. The sandstone rock formations skirting the gold deposits continually reveal through erosion bleached white, fully articulated skeletons of these prominently beaked quadruped dinosaurs, and being conspicuous against the red sediment would have been noticed by early inhabitants and travellers. Indeed, 5th century BC human remains in the Altai Mountains have been found bearing griffin tattoos, occasionally accompanied by gold griffin artefacts. That this symbol of power should be adopted by Kyzikos for its coinage again and again is hardly surprising then, given that the city possessed a virtual monopoly on gold coinage in the area from Troy to Ionia, in the Propontis, in Bithynia and in the Black Sea regions, and the animal's fabled reputation as a guardian of the precious metal.

Sicily, Syracuse AR Dekadrachm. Time of Dionysios I, circa 405-370 BC. Charioteer driving galloping quadriga to left, holding kentron in right hand, reins in left; above, Nike flies to right, a wreath in her outstretched arms to crown the charioteer; in the exergue, a panoply of arms is set on two steps: a cuirass, two greaves, and a Phrygian helmet / Head of the nymph Arethusa to left, wearing a reed wreath, triple-pendant earring, and a pearl necklace; ΣΥΡΑΚΟΣΙΩΝ behind, four dolphins playing around her, a star below the rearmost. Gallatin XXIII-KII. 43.27g, 35mm, 5h. Good Extremely Fine. Very Rare. Ex Roma Numismatics V, 23 March 2013, lot 133; Privately acquired from the B.R.H. Collection, purchased c. 1980s in Munich. This type with a star behind Arethusa's head and below the rearmost dolphin is one of the most infrequently encountered in the dekadrachm series. Struck from a remarkable reverse die, not only on account of the excellent style of the Arethusa portrait, but also because of the astonishing high relief in which it was engraved. Standing proud from the fields 33% more than the majority of its counterparts, this nymph commands reverence and admiration. The fortuitously superb metal quality and lustre of the fields further complement the appearance of this sculptural marvel. The dekadrachms of Syracuse have been called 'the admiration of the ancient and modern world', and 'perhaps the most famous of all ancient coins'; rightly so, for by virtue of not only their impressive size and weight, but more importantly the incredibly detailed artistry of exquisite style which they bear, they represent the zenith of cultural and numismatic technological achievement at ancient Syracuse, and are among the most beautiful coins ever struck for circulation. Produced at the apex of Syracuse's power and glory, the dekadrachm issue began circa 405 BC, following the election of Dionysios as supreme military commander of Syracuse for his achievements in the war against Carthage, and his subsequent seizure of total power. Syracuse had only recently defeated an Athenian invasion of Sicily that resulted in the utter destruction of Athens' expeditionary force and ultimately contributed significantly to their defeat at the hands of Sparta in the Peloponnesian War. Then under Dionysios in 405, despite the ruin of great cities such as Akragas and Gela, Syracuse repulsed a Carthaginian invasion that might have resulted in a complete conquest of the island. Such glory was short-lived however, as the rule of Dionysios' son and successor was to bring only civil strife that would weaken the power of Syracuse. Never again would the city issue coinage on such a grand scale, and with the cessation of tetradrachm production in c. 400 BC, the dekadrachms represent the last great flourishing of classical numismatic art at Syracuse before two centuries of steady decline and eventual conquest at the hands of the Romans.

Modern Art Deco Style Satinwood Console Table. Minor Rubbing and scuffs otherwise good condition. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from 2100 South Ocean Blvd, Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area of Palm Beach. Shipping: Third party. (estimate $500-$700)

Modern Art Deco Style Satinwood Console Table. Minor Rubbing and scuffs otherwise good condition. Measures 32-1/4" H x 60" W x 16" Depth. Provenance: Collection from 2100 South Ocean Blvd, Palm Beach, Florida. A luxury condominium in the Historic Sloan's Curve Area of Palm Beach. Shipping: Third party. (estimate $500-$700)

Five items of modern green coloured art glass, including a pair of Swedish brandy balloons, a large striped vase and three others (5)

Cigarette Cards, Art, a collection of L sized sets to include Old Furniture 1st & 2nd Series, Old Pottery and Porcelain, Old Silver, Old Sundials, The Kings Art Treasures, Modern British Sculpture, Famous British Authors, British School of Painting and Celebrated Pictures 1st & 2nd Series (gd/vg)(11)