Stephen Teasdale 609, WR, Squadron Spitfire Mk 1 Publishers Proof Edition 10/10 mounted and wrapped 20x15 signed by 10 Battle of Britain pilots, 6 on print and 4 matted signatures, with Certificate of Authenticity. Signed by WW2 fighter aces Percy Beake, Peter Brown, Tom Neil, B G Stapleton, R Kings, Peter Ayerst, Lionel Casson, Laurie Smith, N Hancock. This print has been stored flat and is in pristine condition. Has original Certificate. Good Condition. All autographed items are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
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MODERN WATERCOLOUR PAINTINGS, to include two landscapes by John R. Myers, coastal seascape and castle ruins by Iain Hodson, flower study by Bernadette Owen, Suffolk winter landscape by P. Hammond, coastal seascape by Carol Hill, rural view by H. Taylor and two plant drawings by Maureen Ribbins, largest approximately 63cm x 67cm including mount, Steve Machin (British Contemporary), three pencil sketches of Owls, signed, mounted, unframed, largest size including mount 53cm x 44cm, together with Hilary Scoffield (British 1958), a white thatched cottage beside a rural lane with wild flowers, signed bottom right, watercolour on paper, mounted, unframed, image size approximately 35cm x 25cm, together with Catherine Adean watercolour of Nailsworth Village (15)
PAINTINGS AND PRINTS, etc, to include a pair of Auguste Lafitte Aquatint etchings, signed to lower margin, framed, impressionist Continental Mediterranean scene, signed A Stanger still life flower study watercolour, signed and dated R. Campbell, 1980, woodland oil on canvas, initialled P.E. oil on board, depicting coast at South Shields, signed J. Fairbank, etc, together with J. Lancaster & Sons Photographic enlarger, late 19th/early 20th Century, missing lens, illumination unit and base board, approximate length 148cm (quantity)
A collection of Architectural reference books: Eileen Gray, Philippe Garner, Taschen 1993Kings of Infinite Space, Charles Jenks, Academy Editions 1983Modern Architecture, Vincent Scully Jr, George Braziller 1989English Architecture, David Watkin, Thames and Hudson1979Bats in the Belfry, David Young, David & Charles, 1987C F A Voysey, Duncan Simpson, Lund Humfries 1979Great Ages of World Architecture Series:- pub. George BrazillerEarly Christian & Byzantine, William MacDonald Gothic, Robert BrannerRenaissance, Bates LowryGreek, Robert L ScrantonMedieval, Howard SaalmanModelled Architecture, P.R.Wickham, Percival Marshall 1948Modern Homes Illustrated, F R Yerbury, Odhams Press 1950?The Architect of Floors, Christine Boydell,Schoeser 1996Grand Designs Handbook, Kevin McCloud, Collins 2006Cartoon Historyof Architecture, Osbert Lancaster, John Murray 1975202 Outstanding Modern Interior Designs, Marta Serrats, Firefly 2015Le Corbusier Early Works, C-E Jeanneret-Gris, Academy Editions 1987Small Country Houses of Today, Laurence Weaver, ACC reprint 1983The Country House Remembered, Merlin Waterson,Routledge & Keegan Paul1985Great Opera Houses, Andras Kaldor,ACC1996Traditional Buildings of England, Anthony Quiney, Thames & Hudson 1990The New Topiary, Patricia Riley Hammer,Garden Art Press 1991
A collection of reference books on Animals and Houses: The Fishes, Francis Downes Ommanney, Time Inc 1964The life of Rivers and Streams, Robert L Usinger, McGraw Hill 1967Veld Sketchbook, Jeff Huntly, Books of Rhodesia 1974Birds of the World, Oliver L Austin Jr, Paul Hamlyn 1962The Birds, Roger Tory Peterson, Time Life1964Living World of Animals,Various, Readers Digest 1970Animals in Bronze, Christopher Payne, ACC 1986Bronze 'Les Animaliers', Jane Horswell, ACC 1971Brick Building in Britain, R W Brunskill, Gollancz 1990St.Ives, Marion Whybrow, ACC1994George Scharf's London, Peter Jackson, John Murray 1987Berlin, Andras Kaldor, ACC 2002Manor Houses and Castles of Sweden, Marita di Niscemi, ACC 1988Houses of America, Richard M Ballinger And Herman York, Hawthorn 1971Selections from the Art Journal, Various, J S Virtue 1901Historic Homesteads of Australia, Various, Cassell Australia 1969Great Houses of the Western World, Nigel Nicolson, Spring Books reprint
Nice oil on canvas by Randy Peyton, signed R Peyton in the lower right, and also signed verso and dated 1996. Exterior window with elaborate carvings. Native-born Texan Randy Peyton started painting the land of his birth when he was twelve years old. Landscape, architecture, figures, and sometimes a combination of the three are prevalent in his work. His palette varies from earth to jewel tones with emphasis on light and shadow. Combining soft realism with a touch of impressionism characterizes his paintings. Canvases range from miniatures to murals, all with equal ease. Measurements: Overall - 32 1/4 x 28 1/4 in. Sight - 23 1/2 x 19 3/4 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of interracial nudes, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of a female nude with stockings, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of a female nude, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of a male nude, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of a female nude, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed lithograph, entitled "Some thoughts on Inter-racial Sex---" numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of interracial nudes, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
Beautiful oil on canvas by Horace Burdick, it is initialed in the lower left. It is housed and in original frame, slight losses to the gilding. c 1890. Horace Robbins Burdick was born in East Killingly, Connecticut in 1844. Burdick went to Boston from Providence, Rhode Island in 1864 and finally settled in Malden, Massachusetts in 1886. Burdick began his art career in Providence in 1863, at the age of 19, where he was engaged in retouching and coloring photographs. Burdick attended the Union Hall School in Providence, The Lowell Institute in Boston, and the Museum School of Fine Arts, Boston. Burdick's paintings hang in many public buildings and his articles on art have been printed in various art journals. As the oldest living member of the Boston Art Club, he was honored by the group when his portrait of then President Coolidge was placed on exhibition at the Club in 1927. As an active member of the Boston Art Club, Burdick was a contemporary of numerous artists. The Boston Art Club members mentioned in Burdick's private papers include: John Joseph Enneking, John R. Key, Alfred Ordway, Frank H. Shapleigh, William E. Norton, Scott Leighton, James Wells Champney, R. Swain Gifford, Jean Paul Selinger and William F. Halsa. Overall: 23 1/2 x 35 1/2 in. Sight: 12 1/2 x 24 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.
Unframed erotic lithograph of partially nude women, numbered 9/15, signed and dated in pencil lower right: R. Colescott '89. Robert Colescott was known for his satirical, politicized paintings and his expressive style, often conveying comical, exuberant, or bitter reflections on being African American. From his beginnings as an abstract artist, Colescott eventually adopted a figurative style, which he used to explore race relations, often in domestic and sexual contexts. Throughout his long and prolific career, his works adhered to a distinctly political, multicultural agenda; his subject matter often distorted or destabilized the visual signifiers of gender and race. During his time in residence at Tamarind, Colescott created a series of figurative prints addressing interracial relationships and sexual or otherwise intimate encounters. 16 1/2 x 12 in. Please note that all sales are final. No refunds will be given under any circumstances.
ROLEX 18K GOLD OYSTER PERPETUAL DATE GENTS WRISTWATCH, model 1501/R with 18k gold 7205 oyster bracelet. Together with various receipts including 1991 Watches of Switzerland invoice and 1991 Watches of Switzerland service receipt and green Rolex box. Condition Report: Appears in good overall condition with no major damage or losses. Purchased in Benghazi. Minor surface wear and scratches.Under the lugs at twelve o’clock is the reference number 1501Under the 6 o’clock lugs is the serial number 1796278 which would correspond to circa 1969.The strap when laid down flat the strap is 18.5cm’s.Tthe distance between the lugs is 19mmThe strap is stretched.The clasp is working fine.The strap has hollow rivets and there is considerable wear around them.
1924 WALES INTERNATIONAL RUGBY UNION JERSEY MATCH WORN BY JACK WETTER AGAINST NEW ZEALAND 'INVINCIBLES' in traditional red with white collars, white embroidered Prince of Wales feathers with blue sash, one from two buttons remaining, not numbered, interior label for R W Forsyth, Glasgow & Edinburgh. Jack Wetter (1887-1967): the match was played on November 24th and New Zealand won 19-0, it was one of four Tests that New Zealand played on their tour of Britain, Ireland and France. They played 32 matches on this tour including France, England, Ireland and Wales and won 32 of them and so were coined 'The Invincibles'. Jack Wetter was captain for the match against New Zealand in St Helens, Swansea. He was at the time thirty-six years old and the oldest player to play for Wales at centre - a record that stood for 77 years. He scored four International tries for Wales in total and against the All Blacks he won his final cap of the ten total that he earned between 1914 and 1924 a career in which he had played in a variety of positions as was his versatility. His rugby career was interrupted by the First World War in which he served with the South Wales Borderers and was awarded the Distinguished Conduct Medal. He played 247 times for Newport RFC where he was captain and played for them against South Africa in 1912 and again against the All Blacks 'Invincibles' side. After his playing days he was Club Chairman at Newport in 1950/51 and was for a time a referee. He came from a sporting family with each of his four brothers achieving at sport to a good level. One of his brothers, Harry also played for Wales twice in 1912/1913. Provenance: gifted to vendor by a New Zealander friend who had been given it by his friend Neil McGregor who was the New Zealand captain in the match. Wetter and McGregor swapped jerseys.
1963 SCOTLAND INTERNATIONAL RUGBY UNION JERSEY WORN BY NORMAN BRUCE (1932-1992) against Wales at Murrayfield on February 2nd which the visitors won 6-0. Bears embroidered thistle, three buttons to a black strip, stitched number 2 in plastic, bears label for R W Forsyth. Together with match programme and post-match dinner card Bruce was the oldest player in the Scottish team on the day as he was seeing out his 24th cap of 31 caps in total over a period of six years and 9 points scored. Provenance: from the family of the late-Norman Gale (1939-2005), former Wales captain. Match programme and dinner card, which had been retained with the jersey to accompany. Jerseys swapped after match.
Norton Special 500ccReg. no. LAS 887Frame no. G4/2710Engine no. 90898Gearbox no. G101 8217Mr R B Bibby of Brooklands wanted to enter the 1948 Senior TT on his 1939 490cc NortonInternational but his close friend Francis Beart suggested the Junior TT would be better suited andagreed to build him a race bike using his bike with a 350cc engine (see photographs). Mr Bibby finished 45th with a fastest lap of 37mins 20secs an average speed of 64.15mph and a time of 4hrs 7mins and although nearly an hour behind the winner Freddie Frith it was not bad for a privateer at his first TT. After the race Francis Beart removed the engine for another project but left all the otherrace parts so Mr Bibby could use his 500cc engine again.The present owner bought the bike from Mr Bibby’s widow and set about rebuilding it about 30years ago, unfortunately the frame and a few other bits had been lost so he rebuilt it using 1952ES2 parts. The rebuild included the following: standard Norton front wheel, Manx sliders, Manx topclip, Arthur Skinner Norton four bolt baffled racing alloy tank, central oil feed camshaft, INA big end,rebuilt oil pump, new bearings, re-bore plus new piston, BTH TT magneto (rewound). Francis Beartparts used include his very recognisable TT alloy oil tank, clutch, rear hub, sprocket and alloybrakes shoes all drilled for lightness. It had new 21” front and 19” rear alloy rims and since therebuild has done 4000+ road miles as well as taking part in the VMCC Festival of 1000 bikes. Notfor the faint hearted this bike would make an ideal parade bike or an exciting head turning roadbike.Comes with - Current V5C, an old V5C and a V5, plus various old MOTs latest expiring April 2019. Two Motor Cyclist magazines featuring the 1948 TT and some photographs of the bike after restoration and some of Mr Bibby on the start line of the Junior TT.
A lot to include, a hallmarked five stone opal ring, set with five graduated oval opal cabochons and diamond accents, with open metalwork scroll design gallery, ring size approx. R, approx. weight 3gms, a pair of opal and diamond cluster earrings, stamped 375, together with a ring stamped 925, ring size R, approx. weight 4gms. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered address.
An emerald ring, set with an emerald cabochon, measuring approx. 25x20mm, metalwork featuring linear design surrounding cabochon, stamped 22K with additional indistinct markings, ring size R. IMPORTANT: Online viewing and bidding only. No in person collections, an additional charge of £15 (inc. VAT) applies to this lot to cover postage to registered address.
MARKHAM, Gervais. Markham’s Master-Piece Containing All Knowledge belonging to the Smith, Farrier, or Horse-Leech etc……William Wilson, London, 1662. In full contemporary leather. Together with: DARVILL, R. A Treatise on the English Race Horse……James Ridgway, London, 1828. In contemporary quarter leather binding. [2]Markham: Front board detached.Engraved frontis and title page detatched and edge nibbled.Apparent burn mark affecting pps 39 – 48.
An Edwardian yellow and white metal synthetic ruby and old European cut diamond triple cluster ring, featuring three graduated round vermeil synthetic rubies, dimensions between approx 4.4 x 2.75mm and 5.25 x 3.5mm, total weight estimated as 1.69 carats, within a border of 24 old European cut diamonds, dimensions each approx 1.8 x 1.4mm, total weight estimated as 0.72 carats, in bezel and millegrain settings, size R, gross weight 4.9g, stamped and tested as 18ct with silver settingsCondition report: Minor abrasions to facets on synthetic rubies.Tarnishing to the gold commensurate with age.Worn settings to diamonds.
A yellow metal, aquamarine and ruby dress ring, comprising a cushion shaped aquamarine in a four-claw setting, with a trefoil of round rubies to either side, aquamarine dimensions approx 11.85 x 9.3 x 5.8mm, weight estimated as 3.95 carats, ruby dimensions each approx 1.55 x 1.0mm, total weight estimated as 0.12 carats, size R½, gross weight 3.2g,, stamped and tested as 18ctCondition report: Some minor abrasions to girdle of aquamarine.Some tarnishing to gold, which could be polished off.Overall condition very good.
ROBERT ALWYN HUGHES mixed media - semi-abstract Gower landscape entitled verso on label 'Study for Red Lady of Paviland', unsigned, label verso states stamped with 'R' on verso of paper, 19 x 13cms Provenance: typed label verso exhibition 'A Healthier Tomorrow' at St David's Hall, Cardiff Auctioneer's Note: The Red Lady of Paviland is an Upper Paleolithic partial skeleton of a male dyed in red ochre and buried in Britain 33,000 BP. The bones were discovered in 1823 by William Buckland in an archaeological dig at Goat's Hole Cave (Paviland cave), one of the limestone caves between Port Eynon and Rhossili on the Gower

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297893 item(s)/page