There are 175434 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA clockwork O gauge Hornby Train Goods Set No. 20 together with four miniature jointed teddy bears, a quantity of miniature porcelain jointed dolls including one marked 'Germany', 49 packs of UEFA Champions League trading cards by Panini, Monopoly figures and miniature tea-set in Acme rexine record case
After Peter Paul Rubens, Dutch (1577 - 1640)ÿ A collection of 22 black and white Engravings after P.P. Rubens, by Duchange & others, c. 1710 and later, including the following titles: A. ÿÿÿÿÿÿÿÿÿ "Francois de Medicis, Grand Duc du Toscane, (No. 5)"; B. ÿÿÿÿÿÿÿÿÿ ÿ"Geanne d'Austriche Grande Duchesse de Toscane (No. 6),"; C.ÿÿ ÿÿÿÿÿÿÿ "La Destinee de la Reine, (No. 7); D. ÿÿÿÿÿÿÿÿÿ "Le Education de Reine, (No. 9)"; E. ÿÿÿÿÿÿÿÿÿ ÿ"Henri IV Delibere, sur son Future Manage, (No. 10)"; F.ÿÿ ÿÿÿÿÿÿÿ ÿ"La Maissance de La Reine, (No. 10)"; G. ÿÿÿÿÿÿÿÿÿ ÿ"Le Mariage de La Reine, (No. 11)"; H.ÿÿ ÿÿÿÿÿÿÿ ÿ"Le Debarge Unent, de la Reine au port de Marseille, (No. 12)"; I.ÿÿÿÿÿ ÿÿÿÿÿ ÿ"La Ville de Lion Va Audavant de la Reine," (No. 13); J.ÿÿÿÿ ÿÿÿÿÿÿ ÿ"L'Accochement de La Rine (No. 14)"; K.ÿÿÿ ÿÿÿÿÿÿ ÿ"Le Roi, Part La Querre D'Allemande (No. 15); L.ÿÿ ÿÿÿÿÿÿÿ ÿ"Le Voyage de La Reine au Port au Pont de Ce, (No.19)"; M. ÿÿÿÿÿÿÿÿ ÿ"L'Ecbange des dux Reine (No. 20)"; N. ÿÿÿÿÿÿÿÿ ÿ"La Feticite de La Regence, (No. 21)"; O. ÿÿÿÿÿÿÿÿ ÿ"La Majorite du Ro: Louis XIII, (No. 22)"; P. ÿÿÿÿÿÿÿÿÿ ÿ"Le Reine, S'Enfuit de La Ville du Blois (No. 23)"; Q. ÿÿÿÿÿÿÿÿ ÿ"La Reine Prend Le Parti de la Paix, (No. 24)"; R. ÿÿÿÿÿÿÿÿÿ ÿ"La Conclusion de La Paix, (No. 25)"; S. ÿÿÿÿÿÿÿÿÿ ÿ"La Paix Confurmee dans Le Ciel, (No. 26)"; T. ÿÿÿÿÿÿÿÿÿ ÿ"Les Tems decouvre La Verite, (No. 27); U.ÿ ÿÿÿÿÿÿÿ ÿ"Pierre Paul Rubes, (No. 31)"; V. ÿÿÿÿÿÿÿÿÿ ÿ"Marie de Medicis, Sous La Forme (No. title page) de Minerve deesve d'arts [Dedie Auroy]"; A similar set hangs at Brocklesby in Lincolnshire. Each approx. 28" x 17 1/2" (57cms x 44cms) and two other smaller in matching ebonised and gilt frames. (22) See also lot 231
"The Legend of Grainne Uaile"ÿ 18th Century Irish School An Allegorical Relief,ÿdepicting the taking of Lord Howth's grandson, heir of the Castle, as an Infant by Grace O'Malley (Grainne Uaile) at Howth Castle, the child wrapped in a blanket being handed over to fellow pirates, with mast ships waiting in the bay, showing the Castle and Ireland's Eye in the distance, in a blackened carved oak frame showing armorial crests and motto, flanked either side by sealion and mermaid, and coronet above a shield with cross swords and rogue approx. 34" high x 62" wide (87cms x 158cms) overall. (1) Note:ÿ This bas-relief sculpture provides a record of one of the best-known legends associated with the St. Lawrence family of Howth. Set in an elaborately carved wooden frame, with swags, the St. Lawrence family coat of arms of four roses, and their motto ?Que Panse? [What think you?]. On the sides of the frame are allegorical figures that also appear on the family coat of arms, a mermaid with a mirror, and an allegorical figure of a sea lion. The date of 1740 is tentative, and the sculpture and frame may date to the seventeenth century. According to the legend, one almost certainly based, at least in part, on real events, in 1575 Grace O?Malley?Graina Uaile, or Gr inne N¡ Mh ille?was returning to Ireland from London, where she had been involved with negotiations with Queen Elizabeth. Landing at Howth, she called at the St. Lawrence household, but found the gates closed and was told it was dinner hour. Insulted at this lack of hospitality, O?Malley returned to her ship, but en route encountered a child, one of the St. Lawrence family. Kidnapping the child, she proceeded on to her home in Co. Mayo, in the West of Ireland. Protracted negotiations ensued between the two families, until agreement was reached and the child was returned to Howth. However, one of the conditions of return was that the gates of Howth should never again be shut at dinner-time and a place should always be laid at the table for any unexpected guest that might arrive. The relief sculpture depicts the main events of the legend, with figures on the shore at Howth raising their arms in alarm at the kidnapping, the child being borne to the seashore, where a rowing boat approaches, and O?Malley standing proudly on a rock, directing operations. In the background is visible the town of Howth, and the island of Ireland?s Eye. Dr.ÿPeterÿMurrayÿ2021 Important Note: In view of the cultural and historic importance of this lot , the vendors have granted an option to the Irish State to acquire same at a price equal to the hammer price realised at the auction date, should a private or trade buyer successfully bid for same.ÿThis option shall be valid for a period ofÿthree monthsÿfrom the auction date, and the Irish Stateÿ( as represented by theÿDepartment of Culture, Heritage and the Gaeltacht,ÿin conjunction with the National Museum, National Gallery and National Library of Ireland and Office of Public Works) shall have the option to acquire and purchase this lot within this time frame, at the final hammer price achieved at the auction date, plus buyer's premiums.ÿ This lot shall be retained within this jurisdiction, and collection and shipment of same shall only be permitted on the expiryand non-exercise of this option by the Irish State bodies.ÿA binding purchase contract shall still exist in relation to any private or trade buyer who successfully bids for this lot on the sale date and the full purchase price plus buyer's premiums due, shall become payable immediately following the expiry of the above option period.
Roderic O'Conor (1860 - 1940)ÿ "Bull by Moonlight" oils on canvas, 36 1/2" x 28 3/4" (93cms x 73cms) in ornate contemporary gilt frame. (1) Note:ÿÿ ÿIn the early 1890?s, while living in Brittany, Roderic O?Conor delighted in painting night scenes, seeking to capture the emotional qualities of landscapes illuminated by moonlight or firelight. His etching Pleine Lune Sur La C“te (1893) depicts a full moon over a rocky coastline, while his canvas Moonlit Breton Landscape dates from the end of that decade. One of his favourite places to paint was the Laita River near Le Pouldu, a favourite also of his contemporaries, including Paul Serusier. In this powerful image of a bull in a moonlit field, O?Conor moved away from his earlier technique of striped brushstrokes, instead weaving together different strands of art, from the early nineteenth-century Romanticism of James Arthur O?Connor, through Symbolism, to the immediacy of Les Nabis and Post-Impressionism. At its heart however, this is a Romantic painting, redolent of the troubled emotional response of an artist when confronted with the implacable power of nature. In Bull by Moonlight, theÿ composition is dominated by the dark silhouette of the animal, beneath a cloudy sky, with the moon casting a cold white light on the landscape below. O?Conor was certainly familiar with depicting nature, having attended Karel Verlat?s Natuur course in Antwerp, and he was also immersing himself in the Post-Impressionist movement, which he encountered in Brittany during the 1890?s, when he became friendly with Paul Gauguin and other artists. Gauguin used O?Conor?s studio in Paris, even asking the Irish artist to join him in the South of France, an invitation which?to the abiding disappointment of art historians in Ireland?O?Conor declined. Born in Co. Roscommon in 1860, when he was just four years old, Roderic O?Conor?s family moved to Blackrock in Co. Dublin. He was educated at Ampleforth before enrolling at the Metropolitan School of Art in Dublin. He was a contemporary of Nathaniel Hill, with whom he shared lodgings in Pembroke Road. After further studies at the RHA schools, in 1883 O?Conor enrolled at the Academie Royale des Beaux Arts in Antwerp, where Hill and Walter Osborne were also students. The professor at the Academie was the realist painter Charles Verlat. A year later O?Conor was back in Dublin, submitting paintings to the 1885 Royal Hibernian Academy exhibition. His early style, learned from Verlat, was characterized by bright colours, a plein-air technique, and spontaneous but controlled brushwork. However O?Conor?s response to Verlat?s teachings was more progressive than that of his fellow Irish students, who remained rooted in an academic realist style. In 1886, O?Conor moved to Paris to study under Carolus-Duran, before spending time at Grez sur Loing. In 1903 he participated in the inaugural Salon d?Automne, and he continued exhibiting there until 1935. For the rest of his life, until his death in 1940, O?Conor remained in France, living for the most part in Nueil-sur-Layon, Maine-et-Loire, with his wife Renee Honta. A retrospective exhibition of his work, held at the Barbican Centre in 1985, afterwards travelled to the National Gallery of Ireland and the Ulster Museum. O?Conor?s work can be found in the collections of both these museums, as well as the Hugh Lane Gallery. He was the subject of two biographies in 1992, one by Paula Murphy in the Lives of Irish Artists series, and a second, more extensive publication, by Jonathan Benington. "Bull by Moonlight" was included in Julian Campbell?s 1984 Irish Impressionists exhibition (Cat No. 106) at the National Gallery of Ireland. See also Jonathan Benington ?From Realism to Expressionism: the Early Career of Roderic O?Conor? in Apollo April 1985, p 257. Dr.ÿPeterÿMurrayÿ2021
After Adam Frans Van der Meulen (1632 - 1692)ÿ Gouache, "A Cavalcade of King Louis XIV going to Vincennes Verse," depicting a vast landscape with soldiers on horseback and others marching alongside with the King and servants in horse drawn carriage, in ornate Vizagapatam type frame with mother-o-pearl inlay, approx. 27" x 31 1/2" (10 1/2" x 12 1/2"). (1)
Rich (Jeremiah). The Whole Book of Psalms in Meter According to the Art of Short-Writing written by Jeremiah Rich, Author and Teacher of the said Art, London: Printed for the author and are to be sold at his house the Golden Ball in Swithins Lane near London Stone, [1660], [226] p., signatures: pi? A-N? O?, engraved portrait frontispiece, engraved title within decorative border ("Tho: Cross sculpsit" beneath imprint), engraved throughout, very light damp stain to few leaves, without front free endpaper and rear endpaper, all edges gilt (gilt rubbed), loosely inserted 19th century manuscript note "Miss Anne Manfield with Mr M. Colson's compliments", contemporary dark brown/black morocco, gilt double-rule border to boards with decorative motifs to corners, 6 x 3.7 cmQty: (1)NOTESESTC R40293; Wing B2803A. The number of leaves signed varies from copy to copy. Bondy pp.17-20: "Amongst the most extraordinary volumes are the all-engraved editions of the Whole Book of Psalms in Meter and the New Testament in the shorthand of Jeremiah Rich, a leading stenography specialist of the period (circa 1660) who perfected the system invented by his uncle, William Cartwright, but without giving him credit, claiming it to be his own invention. The late Percy E. Spielmann had copies in his collection... The Spielmann copy of the Psalms ... also has a frontispiece with Rich's portrait and at the end a short list of 'the Names of those Ingenious Persons of my Schollars that were the first Incouragers of this incomparable peice'. Other editions, all published around the year 1660, were 'sold by Samuel Botley over against Vintners Hall' or 'at Colonel Masons Coffee House in Cornhill', or published 'for the author and sold by Henry Eversden'. All the copies we have seen are extremely well engraved, showing hardly any signs of wear and must have taken years to produce. Their manufacture did evidently require a very steady hand and infinite patience. Most copies are beautifully bound in contemporary black morocco and are finely gilt-tooled. They were obviously prized possessions and have remained most desirable collector's items to this date, notwithstanding the fact that hardly anyone will nowadays be able to decipher their obsolete shorthand". Spielmann 422, "J. Rich was one of the most famous stenographers of the seventeenth century."
Huckell (John). Avon: A Poem in Three Parts, 1st edition, London: John Baskerville, 1758, contemporary poem and notations to front blank, verso of front free endpaper, and rear free endpaper, hinges cracked, staining to title page, spotting (heavier to prelims), contemporary calf rebacked, corners bumped, textblock in gilt, boards rubbed, 8voQty: (1)NOTESThe 'O' is inverted on the title page as usual however 'K2' is labelled as such and not inverted as in other copies. The first blank is also present.
* Railways and Civil Engineering. A good collection of 22 prints, 19th century, engravings, aquatints and lithographs, including Tregoning (E. S. publisher). Penryn, Flushing and Falmouth Harbour (From the Old Helston Road), published in Falmouth, printed by J. Newman & Co., circa 1850, hand-coloured lithograph, trimmed to the neatline, 260 x 345 mm, mounted, together with Maclure (A.). Proposed Viaduct over the Dee at Ruabon on the Proposed Shrewsbury, Oswestry, Coventry & Chester Junction Railway, Henry Robertson Esqr. A. M. Engineer, Maclure, Macdonald & Macgregor, Liverpool, circa 1845, tint stone lithograph, one repaired marginal closed tear, 290 x 375 mm, mounted, with Pyall (H.). Coaches &c. employed on the Railway..., R. Ackermann, 1831, aquatint after T. T. Bury with contemporary hand-colouring, slight fraying to margins, 240 x 285 mm, plus Shaw (J.). Rainhill Bridge [and] Olive Mount, Liverpool, 1831, two uncoloured engravings of early steam engines on India wove, each 185 x 240 mm, and Rosenberg (C.). London and Birmingham Railway. Camden Town Fixed Engine Station. Robert Stephenson Esqr. Engineer, circa 1845, uncoloured aquatint, some mount staining, 430 x 330 mm, with Hawkins (G.). Interior of the Great Western Railway Station Bristol, George Davey, Bristol, circa 1840, tint stone lithograph after S. C. Jones, slight spotting and dust soiling, 240 x 320 mm, plus Mason (T.). Viaduct at Slade Devon, O. Angel, Exeter & R. Indstone, Plymouth, circa 1840, lithograph with a blue watercolour wash, slight creasing, 235 x 315 mm, with another 14 similar, various sizes and condition, some mountedQty: (22)
Binding - Ramage. The Book of Common Prayer ... together with the Psalter or Psalms of David..., Oxford: University Press, c.1900, ivory white silk moiré endpapers, front pastedown inscribed 'Oliver V. Watney from Herbert Watney, Nov. 1902', inscription to verso of front free endpaper, front blank flyleaf repaired to outer corners, gilt decorated turn-ins with crescent moon tool decoration, all edges gilt, contemporary elaborately gilt decorated dark turquoise morocco by Ramage of London, gilt initials O. V. W. to lower board, 24moQty: (1)
Savage (James). History of the Hundred of Carhampton, in the County of Somerset, 1st edition, Bristol: William Strong, 1830, black & white frontispiece plus a colour geological folding map with a small tear to the bottom right margin, some toning & spotting throughout, bookplate to front pastedown, cracked gutters, spine partially detached, contemporary blue cloth spine to boards, rubbed, paper spine label rubbed with some loss, 8vo together with other 19th & early 20th-century British history & topography reference & related, including Census of England and Wales 1911, London: H. M. S. O., 12 volumes, 1911, large 8vo, some leather bindings, some original cloth, some odd volumes, all ex-library with some associated marks, overall condition is fair/good, 8vo/4toQty: (6 shelves )
Chidlaw (B.W.). Yr American; Yr Hwn Sydd Yn Cynnwys Nodau ar Daith o Ddyffryn Ohio I Gymru Golwg Ar Dalaeth Ohio, 2nd edition, Llanrwst: John Jones, 1840, 48pp, leaves toned, occasional marginal spotting, original green publisher's wrappers, spine extremities rubbed with loss, light spotting and creasing to wrappers, 8voQty: (1)NOTESScarce. A work describing the Welsh Colonies in Ohio among other places.
A SAPPHIRE AND DIAMOND THREE STONE RING, the central oval facet cut sapphire claw set and flanked by two brilliant cut diamonds each of approximately 0.6cts to a plain white shank stamped 18ct, size O (Est. plus 21% premium inc. VAT)4.6g gross, sapphire approx. 7.5mm x 6mm, sponsor's mark CG&S
A SAPPHIRE AND DIAMOND HALF HOOP ETERNITY RING, the five eliptical facet cut sapphires claw set at an angle and interspersed with six pairs of small round brilliant cut diamonds to a plain 18ct white gold shank, London 1979, size O 1/2 (Est. plus 21% premium inc. VAT)4g gross, sponsor CG&S, good, some inherent "chips" to edge of sapphire
Loading...
![* Duterreau (Benjamin). The Squire's Door [and] The Farmer's Door, J. R. Smith, August 4th, 1790, a pair of uncoloured stippl](https://cdn.globalauctionplatform.com/eb01b961-dd44-4022-93a5-ad8900ff91e1/14ac9ddd-7e07-4f19-9eb3-ad8a01207840/468x382.jpg)
