There are 49464 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeDürer, Albrecht: (1471 Nürnberg 1528). Die Sendung des Heiligen Geistes. Holzschnitt aus der kleinen Passion um 1510. 12,6 x 9,7 cm. Mit breitem Rand. Verso ital. Text. Unter Passep. mont. Meder 160, ital. Ausgabe. B. 51. SMS 221. Vorzüglicher Abdruck in guter Erhaltung. - The Descent of the Holy Spirit. Woodcut on laid from the small passion. With wide margin. Italian text on verso. Mounted under passep. D
Ɵ Book of Hours, in Latin and French, illuminated manuscript on parchment [France (most probably Paris), c. 1400]To view a video of this lot, click here.196 leaves (plus an seventeenth-century endleaf at each end), wanting single leaves (probably once with miniatures) throughout, also wanting a few leaves from end (but that way since seventeenth century at least), some catchwords, collation: i4 (all singletons, once a quire of 6, January and February leaves wanting), ii6, iii8, iv7 (wants i), v8, vi7 (probably wants i), vii6 (wants outermost bifolium), viii7 (wants i), ix5 (wanting i and 2 other leaves), x8, xi6 (wants ii and vii), xii7 (wants i), xiii2 (but no text missing, so a bifolium added to complete text section), xiv7 (wants i), xv8, xvi9 (wants i), xvii6 (wants i and vi), xvii8 (wanting ii and another leaf), xviii-xxii8, xxiii5 (wants iv, vi and another leaf), xxiv-xxvi8, single column of 13 lines of two sizes of a good and accomplished late gothic bookhand, Calendar entries in red, blue and gold, capitals touched in yellow, red rubrics, one-line initials in liquid gold on blue and pink-red grounds heightened with white penwork, 2-line initials in same colours, enclosing coloured foliage on burnished gold grounds, one leaf with single-line foliage terminating in teardrop shaped petals emerging from illuminated initials, ninety-nine pages with decorated borders with gold and coloured bars sprouting foliage (usually only one decorated side per leaf, and a few with three-quarter decoration like this, one with full border like this, two with blue fleur-de-lys at their apex), fifty-two pages with similar border decoration terminating in red and blue dragons with spiky manes snapping at their own bodies or at bezants or foliage (these usually only one per leaf, one leaf with two dragons), plus two others with similar borders with dragon-bodied drolleries with a human head and a boar's head, one half-page miniature of the presentation in the Temple, the scene before a gold and red tessellated background, and within thick text bars of coloured fleur-de-lys, flowers and pots on gold, with full border of gold and coloured ivy leaves, trimmed at edges (but noticeable only with miniature page and occasional borders throughout), miniature worn in places, thumbed in places throughout, some leaves cockled (especially those at end), overall fair and presentable condition, 172 by 123mm.; seventeenth-century mottled calf over pasteboards, corners bumped and spine cracking in places, endleaves reused from a French parchment document of that dateProvenance:1. This was once an impressive example of Parisian book production at the opening of the fifteenth century. It was probably made for a patron who lived near the modern Belgian border, perhaps in Rheims, and has St. Doda, abbess of Rheims in the Litany, and St. Blanchart of Brie in the Calendar (10 March).2. Maris Gerardot of Rheims in August 1695: inscription at head of first endleaf.3. Hubert André Dallie, prelate of Ailly, who received the volume on 6 July 1815: inscription at foot of first endleaf. Text: The volume comprises: a Calendar (in French); Gospel readings; Hours of the Virgin; the Seven Penitential Psalms with a Litany; Hours of the Holy Spirit (with rubric in French); the Hours of the Cross; the Office of the Dead; ending with prayers in French and Latin.
Ɵ Book of Hours, Use of Paris, in Latin and French, illuminated manuscript on parchment [France, c. 1475] To view a video of this lot, click here.220 leaves, wanting single leaves throughout and slightly misbound in fourteenth gathering, collation: i12, ii8, iii5 (vi a cancelled blank), iv5 (i, iv and vii wanting), v7 (v wanting), vi8, vii6 (i wanting, last a cancelled blank), viii-ix8, x7 (iv wanting), xi3 (i, ii and v wanting), xii-xiii8, xiv8 (slightly misbound), xv4, xv6 (ii wanting, last leaf a blank cancel), xvi7 (i wanting), xvii8, xviii6 (wants last leaf, that apparently originally a singleton), xix8, xx8, xxi8, xxii8, xxiii7 (iv wanting), xxiv7 (wants last), xxv8, xxvi8, xxvii8, xxviii8, xxix8, xxx2, single column of 16 lines of two sizes of a good late gothic bookhand, dark red rubrics, Calendar with entries in red, blue and liquid gold, line-fillers in blue and pink panels heightened with white penwork and gold dots, one-line initials in gold on coloured grounds, 2- to 4-line initials in colours enclosing foliage sprays on gold grounds, leaves with larger initials with decorated panel borders of rinceaux foliage terminating in coloured flowers and gold bezants, ivyleaves and seed pods, thirteen large arch-topped miniatures by Maître François or his workshop, above a 3-line initial, the text and miniature encased on three sides by a decorated bar border of coloured foliage and shapes on burnished gold, these within a full border of acanthus leaf sprays and densely packed rinceaux foliage ending in coloured flowers and fruit, gold ivy leaves and bezants, a few small illuminated initials cut out leaving holes, trimmed at edges with some losses to edges of borders, slightly thumbed in places, a few miniatures with some chipping and cracking (this with serious affect to only two), last leaf once loose and now attached on paper guard, small spots and stains, else in good condition on fine parchment, 155 by 110mm.; nineteenth-century chestnut velvet over pasteboards, with plaited gilt thread sewn in fillet and central chevrons on each board, worn at spine and edges, rebacked and restored with nineteenth-century velvet overlaid Provenance:1. Written and illuminated in Paris apparently for a patron who lived in that city or its vicinity: with SS. Genevieve and Denis in gold in the Calendar.2. William Constable Maxwell, most probably the namesake who lived 1804-76 and from 1868 10th Baron Herries of Terregles: his ex libris dated 'July 1833' at head of front pastedown. Perhaps from him to the owner of the unidentified armorial bookplate pasted in the middle of the pastedown.3. Owned in twentieth century by one A.R. Burn, then E.J.W. Vaughan in 1982, gifted by him in 1999 and thence by descent. Text:The volume comprises: a Calendar (in French); Gospels readings; the Obsecro te and O intemerata; the Hours of the Virgin, with Matins (wanting opening), Lauds, Prime, Terce, Sext, None, Vespers and Compline (wanting opening); the Seven Penitential Psalms, followed by a Litany; the Hours of the Cross (wanting opening); the Hours of the Holy Spirit; the Office of the Dead (opening wanting); a long series of prayers in French opening with Les Quinze Ioyes de Notre Dame. Illumination:Surviving examples of the work of Maître François show that he directed an extremely productive Parisian atelier between c. 1460 and c. 1480, with his first name recorded in a single document of 1473. He has tentatively been identified as the artist François le Barbier who was documented in Paris 1455-72.The large miniatures here comprise: (1) fol. 13r: the evangelist John, seated and writing in a scroll; (2) fol. 43r, St. Anne and the Virgin; (3) fol. 52r, the Nativity; (4) fol. 57v, the Annunciation to the shepherds; (5) fol. 62r, the Adoration of the Magi; (6) fol. 66r, the Presentation in the Temple; (7) fol. 70r, the Flight into Egypt guided by a gold winged angel; (8) fol. 78r, David in prayer within a gothic setting; (9) fol. 98r, Pentecost; (10) fol. 99r, the Crucifixion; (11) fol. 140v, the Virgin and Child seated as angels play music; (12) fol. 146r, the Trinity, with Christ and God the Father enthroned as the Holy Spirit descends; (13) fol. 166r, the Pietà at Golgotha between two angels.
A collection of Royal Doulton and Beswick horses comprising Royal Doulton "Sunlight", Beswick "Chestnut mare matt", Royal Doulton "Shire horse matt", Beswick "White mare", Royal Doulton "Black stallion rearing", Beswick "Spirit of Youth" and "Blanc de chine stallion" together with a Beswick figure of "Champion of Champions Hereford Bull" and a Beswick graduated composite set of five ducks No.d 156-1, 156-2, 156-2a and two stamped (one with broken neck)
A collection of tinplate and mechanical toys, including a Tri-ang Minic No. 79m delivery van, a Minic tanker, a Wells Brimtoy tinplate clockwork camouflaged tipper truck, length 24cm, a tinplate limousine and a horizontal spirit-fired steam engine with 8.5cm flywheel (playwear and faults).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
A Bing for Bassett-Lowke gauge 1 spirit-fired 4-4-2 Precursor tank locomotive 44, L&NWR lined black (fired, paint damage, one buffer missing, scratch marks), with pine carry box with lid, together with a quantity of Simpull track, boxed, a Bing wagon LSW, a Bassett-Lowke brake van LNWR, an open wagon GW, two wooden wagons MR, a Bing signal and accessories (playwear, faults and rusting).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.
2 boxes of assorted Breweriana, to include branded water jugs: 'Dewar's Fine Scotch Whisky', Whyte and Mackay Scotch Whisky', 'Grants Scotch Whisky' etc. Branded ash trays, 'Sterling from Benson & Hedges', 'Cronenberg', 'Toby Bitter' figurine on a plaque, 'White horse Scotch Whisky' Horse, book shaped china 'Spirit if Indies miniature rum bottles etc (2) (B.P. 21% + VAT)
Zayn Qahtani Stargazing, 2022 Pencil on Date Palm Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Zayn Qahtani (b.1997) is a multidisciplinary artist based between Bahrain and London. Through painting, drawing and sculpture, she creates a dance between what is seen and what is felt, compiling a personal mythology along the way. Drawing on ancient cultures and nature's diverse ecosystems, Zayn forms visual stories which seem to exist in the twilight zone - too distorted to be real, too familiar to be a dream. Her figures seem to be suspended in a space of no-time, navigating a world which harkens to the post-human society of today. In this altered state, a sense of safety is offered, allowing the creatures within the walls of her works to explore life's more tender, nostalgic, and often painful feelings. Working on recycled materials, and hand making her own paints and tools from plants and minerals, Zayn allows the works to take on a life of their own, truly vibrating with the energy of the land itself. Education 2019 BA Fashion Design, The Royal University for Women 2016 BTEC Foundation Diploma in Art & Design Select Exhibitions/Awards Select Recent Exhibitions 2022 Ostara, Purslane Art, London, UK (online) 2022 Serendipity, MIA Art Collection, Dubai, UAE 2022 Charta, Fortnight Institute, New York City, USA (online) 2022 Chorus, Arusha Gallery, Edinburgh, UK 2021 She Curates x CloverMill Exhibition, Wilder Gallery, London, UK 2021 From the form of spirit to the spirit of form, ATHR Gallery, Jeddah, Saudi Arabia 2021 Honestly Speaking, Jewellery Arabia 2021, Bahrain 2021 BAWA/MONO 07, 08, 09, Gallery BAWA, Kuwait (online) Gallery Representation Zayn is represented by HUNNA / هُنَّ Gallery. Statement about AOAP Submitted Artwork There is a tender and intimate relationship between a pencil and paper. I find that they are naturally drawn to each other, timeless in their pairing, unravelling secrets from the hand that holds the pencil, through the spirit of the unconscious mind. These works are tangible whispers - thoughts that cannot be articulated as much as they are felt. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
Zayn Qahtani Kind Thoughts, 2022 Pencil on Date Palm Paper Signed on Verso 15 x 10cm (5¾ x 3¾ in.) About Zayn Qahtani (b.1997) is a multidisciplinary artist based between Bahrain and London. Through painting, drawing and sculpture, she creates a dance between what is seen and what is felt, compiling a personal mythology along the way. Drawing on ancient cultures and nature's diverse ecosystems, Zayn forms visual stories which seem to exist in the twilight zone - too distorted to be real, too familiar to be a dream. Her figures seem to be suspended in a space of no-time, navigating a world which harkens to the post-human society of today. In this altered state, a sense of safety is offered, allowing the creatures within the walls of her works to explore life's more tender, nostalgic, and often painful feelings. Working on recycled materials, and hand making her own paints and tools from plants and minerals, Zayn allows the works to take on a life of their own, truly vibrating with the energy of the land itself. Education 2019 BA Fashion Design, The Royal University for Women 2016 BTEC Foundation Diploma in Art & Design Select Exhibitions/Awards Select Recent Exhibitions 2022 Ostara, Purslane Art, London, UK (online) 2022 Serendipity, MIA Art Collection, Dubai, UAE 2022 Charta, Fortnight Institute, New York City, USA (online) 2022 Chorus, Arusha Gallery, Edinburgh, UK 2021 She Curates x CloverMill Exhibition, Wilder Gallery, London, UK 2021 From the form of spirit to the spirit of form, ATHR Gallery, Jeddah, Saudi Arabia 2021 Honestly Speaking, Jewellery Arabia 2021, Bahrain 2021 BAWA/MONO 07, 08, 09, Gallery BAWA, Kuwait (online) Gallery Representation Zayn is represented by HUNNA / هُنَّ Gallery. Statement about AOAP Submitted Artwork There is a tender and intimate relationship between a pencil and paper. I find that they are naturally drawn to each other, timeless in their pairing, unravelling secrets from the hand that holds the pencil, through the spirit of the unconscious mind. These works are tangible whispers - thoughts that cannot be articulated as much as they are felt. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardizes the charitable work we do. Anyone found doing will subject to legal action.
TWO GRADUATED PAIRS OF LATE VICTORIAN MOUNTED GLASS LIQUEUR DECANTERS & STOPPERS with waisted and wrythen-fluted bodies and four pouring spouts, each initialled to match, by H. Matthews, Birmingham 1899, together with a continental mounted glass spirit decanter with an etched glass body and a figural stopper, with English import marks for London 1902; the latter 10.75" (27.4cm) high (5)
MISCELLANEOUS SMALL SILVER:- to include: a bright-cut caddy spoon, initialled, 3 condiments and 3 spoons, a engine-turned cigarette case, a compact, a child's spoon, inscribed, a egg cup, initialled, a spirit flask, inscribed, a napkin ring, initialled and a continental box resembling a stack of coins; the flask 4.1" (11cm) high; 20.3 oz (14)
A Victorian brass mounted oak three-bottle tantalus, having mirrored panel back with compartments for three cut glass spirit decanters and stoppers, the base with twin hinged covers enclosing segmented compartments for storage over a fitted drawer with secret opening mechanism, applied foliate carved panels for decoration, twin loop handles, 14 x 10 ¼in. (35.6 x 26cm.), 13 ¼in. (33.6cm.) high. * Brass mount to upper section loose, front right panel with small missing section, adjacent to drawer, some sun bleaching, the decanters all with chips to inner stoppers, and tiny nibbles to edges etc.
An Edwardian silver spirit kettle on stand, Charles Green & Co, Birmingham, 1910, the kettle of squat circular form with ebonised, fininal and handle, sitting upon a circular stand with four sweeping cabriole legs, total height, 9 1/8in. (23.5cm.), weight 39.9 tr.oz. (lacks burner). * The kettle with multiple small dents to main body and date letter mark rubbed, stand slightly missed shaped where burner sits, overall good.
A pair of silver-plated candlesticks, Inoic form with material swags to square base, removable sconces, 30cm; and a silver-plated spirit kettle on a stand, part-wrythen fluted design, overall 32cm.Qty: 3Condition report:The silver plate on both candle sticks is very rubbed and the copper under is showing through on most edges. There are small dings around the bases and one sconce is bend and does not sit flat on the top. The kettle is good with no cracks just a bit rubbed on the edges and some light plate wear to the corners. Please see the photos online.
A quantity of assorted silver tableware, including a pair of grape scissors, London 1994, also five spirit labels, a pair of sugar tongs, a set of five thistle topped coffee spoons and a matching fork, a butter knife, silver mustard, with liner and a casting spoon, approx 365g (gross), (a lot)
Loading...
![Ɵ Book of Hours, in Latin and French, illuminated manuscript on parchment [France (most probably Paris), c. 1400]To view a vi](https://cdn.globalauctionplatform.com/3ce71fb7-e58b-4594-8172-ae8800e4ba4f/4365a747-66af-464d-859b-aea500ce7cbb/468x382.jpg)
![Ɵ Book of Hours, Use of Paris, in Latin and French, illuminated manuscript on parchment [France, c. 1475] To view a video of](https://cdn.globalauctionplatform.com/3ce71fb7-e58b-4594-8172-ae8800e4ba4f/dd0352c5-ed85-47dc-a34b-aeb300b6036e/468x382.jpg)
