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DAVID BOWIE - THE PRETTIEST STAR/ CONVERSATION PIECE 7" (UK MERCURY - MF 1135). A superb copy of The Prettiest Star/ Conversation Piece, the scarce 7" by British rock legend David Bowie (MF 1135, 1970 UK pressing on Mercury. 6052011 1F//1 & 2F//1 matrix. Black & silver labels are lovely, bright and clean. The record has some hairline paper surface marks, glossy VG+ condition/ comes with a Mercury paper sleeve).
DAVID BOWIE - MEMORY OF A FREE FESTIVAL PARTS 1 & 2 7" (UK MERCURY - 6052 026). A stunning copy of David Bowie's scarce 1970 7" single Memory Of A Free Festival Part 1/ Part 2 (6052 026, 1970 UK pressing on Mercury. 6052026 1F//2 & 2F//1 matrix. Black & silver 3-prong centre labels are bright and clean. The record is in superb Ex condition/ comes with a Mercury paper sleeve).
DAVID BOWIE - S/T LP (UK STEREO OG - PHILIPS SBL.7912). A superb copy of David Bowie's self-titled 1969 debut LP (SBL.7912, 1969 UK stereo pressing on Philips. Black/ silver labels with Essex Music Int. Ltd credit at 9'oclock. Labels are lovely, bright and clean. 852146 1Y//2 & 2Y//2 matrix. Side 1 is in beautiful Ex condition, side 2 has a couple of hairline paper surface marks, strong VG+. The gatefold sleeve has some light edge storage wear, a wonderful strong VG+ condition).
QUEEN & RELATED - UK 7" COLLECTION. Fantastic and extensive collection of 56 x UK 7" releases with rarities across the decades! Titles include Keep Yourself Alive (UK original, EMI 2036 - nice and clean Ex condition record/with clean original company sleeve), Love Of My Life (demo, EMI 2959 - Ex), Tie Your Mother Down (demo, EMI 2593 - great Ex+), Bicycle Race/Fat Bottomed Girls (demo, EMI 2870), Friends Will Be Friends (including picture disc QUEEN P8 and stock copies), The Invisible Man (including clear vinyl QUEENX12 and stock copies), The Miracle (hologram sleeve design), Innuendo (inc. cream and silver injection label copies), Stormtroopers In Stilettos (RSD 2011), Roger Taylor - Pressure On (orange vinyl copies numbers 0703/0157), Don't Stop Me Now, Back Chat, I Want To Break Free, One Vision, A Kind Of Magic, I Want It All and Breakthru. Please see list with additional pressing information. Condition is often lovely Ex to Ex+/archive.
DAVID BOWIE - THE MAN WHO SOLD THE WORLD LP (UK ORIGINAL 'DRESS SLEEVE' - 'TONNY' CREDIT - MERCURY 6338 041). A smashing example of the original UK stereo pressing of the legendary 'dress sleeve' LP of David Bowie's 1971 album The Man Who Sold The World, with misprinted label credits. Producer Tony Visconti is instead listed as 'Tonny' (6338 041, 1971 UK stereo pressing on Mercury. Black & silver textured labels are bright and legible with a small amount of spindle wear around the centre hole, with the misspelt 'Tonny Visconti' credit. 6338041 1Y//1 & 2Y//1 matrix. Side 1 has a small number of hairline paper surface marks, strong VG+/ side 2 is in stronger, beautiful Ex condition. The 'dress' sleeve has some light edge storage wear, including a white line across the top edge of the cover. The spine edge is clean and legible).
FREDDIE MERCURY - THE SOLO COLLECTION (2000 CD/DVD BOX SET - PARLOPHONE 527 9640). The super limited 10 x CD plus 2 x DVD box set celebrating the solo work of Freddie Mercury. The set is still factory sealed with the contents therefore catalogued as Mint. The outer silver embossed slipcase is in Ex+ condition with some slight corner bumps.
MANOLO VALDÉS (Valencia, 1942)."Matisse as a pretext".Silkscreen on linen. Copy 90/100.Hand signed.Size: 148 x 122 cm.In an interview that the artist gave to the newspaper ABC in 2016, Valdés pointed out his artistic connection with Matisse, and his interest in the interpretation of his work. In addition, this same year he exhibited at the Marlborough Fine Art gallery in London, the show entitled "Recent Work. Paintings and sculptures", a selection of eleven works that paid homage to the artistic oeuvre of Henri Matisse. In fact, when the Valencian painter was interviewed about the exhibition, Valdés replied "I answer his paintings with other paintings". This work is a clear example of Valdés's response to the French artist, rescuing his odalisques and enveloping them in a pop aesthetic.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal at the International Festival of Fine Arts, the International Festival of Fine Arts in Paris, and the International Festival of Fine Arts medal at the International Festival of Fine Arts in Paris, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.
Holme CardwellA carved white marble group of a classical shepherd youthRome, mid 19th centurysigned Holme Cardwell Fecit, Roma and indistinctly dated on later stone rectangular plinththe figure 116cm high, the plinth 77cm high by 71cm wide by 48cm deepProvenance; The residual contents of Bixley Manor by instructions of the executors of Sir Timothy Colman KG. Holme Cardwell, a native of Manchester, attended the Royal Academy School in London in 1834. Probably aged 19 (although there is some uncertainty over his year of birth, his gravestone registers 20 May 1813), he was recommended to the school by Sir Francis Chantrey RA. Building a considerable reputation for himself, including a silver medal for a model in 1839, he left London for Paris in 1841 to study with David d’Angers (1788-1856). He probably stayed in Paris for three years, training at the Académie Royale, before moving to Rome. In the following years of his career, he was to move between Rome and London several times, settling primarily in Rome. Active within the milieu of British expatriate artists and sculptors in Rome, he acquired many admirers, including the renowned sculptor John Gibson RA (1790-1866). Cardwell exhibited at the Royal Academy between 1837 and 1856. He had a tendency for large or monumental marble groups, including the ‘colossal’ Good Samaritan (Roscoe, op. cit., p. 194), a figure of Sabrina, and a Cupid and Pan. The treatment of this neoclassical youth shows similarities to John Gibson, who was an admirer of Cardwell’s work and Joseph Gott, 1785-1860 both of whom were similarly working in Rome in the mid 19th century executing commissions for English aristocracy doing the Grand Tour. Joseph Gott in particular, was renowned for his realistic portrayal of dogs, most especially whippets and greyhounds, which he often incorporated into classical groups as in this charming composition in which an Arcadian shepherd leans languorously on a staff with a dog gazing wistfully up at his master. Garden StatuarySculpture
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