Churchill (Winston) volumes by and about Winston Churchill, to include: Churchill (Winston) The Second World War, London: Cassell & Co, 5 vols, original cloth; with further uniform volumes of memoirs by Churchill to include: Step by Step, My Early Life, Thoughts and Adventures, Great Contemporaries, London: Odhams Press, 8vo, original dust jackets; Gilbert (Martin) and Randolph S Churchill Winston S Churchill, London: Heinemann, 1975, 8 vols, 8vo, original dust jackets, among other thematically related volumes generally concerning Churchill.Not collated. Wear and tear to all volumes consistent with age. Clear wear to the Odhams Pres volumes, including tearing and further damage to the wrappers. The Gilbert biographical volumes also bear clear wear to their wrappers; contents fairly bright, with some foxing.
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LP's and 12" singles to include Prince (x4) - Lovesexy (925 720-1, EU, 1988), Sign "O" The Times (925 577-1, EU, 1987), Parade (925 395-1, EU, 1986) and Batman (925936-1, EU, 1989), Stevie Wonder (x2) - Songs In The Key Of Life (TMSP 6002, UK, 1976) and Stevie Wonder's Greatest Hits (TAMLA 282, US, 1968), Sade - Diamond Life (EPC 26044, UK, 1984), Sly And The Family Stone - Stand! (BN 26456, US, 1969), Roy Ayers & Wayne Henderson - Step In To Our Life (POLS 1004, UK, 1978), and Michael Jackson - Bad (450290 1, UK, 1987), other artists include The Brothers Johnson, The Isley Brothers, Marvin Gaye, Quincy Jones and Wilson Pickett. (18).Often VG, some storage wear to sleeves, major peeling to the sleeves of 'The Isley Brothers Greatest Hits' and Michael Jackson's 'Bad', feel free to ask for condition reports or extra images of specific records.
Clement Bernard Haupers (American, 1900-1982). Double-sided acrylic on board painting depicting portraits of men. One depicting a man wearing a red hat leaning against a step. The other side depicting a male nude from behind.Clement Bernard Haupers was a St. Paul born American painter, printmaker, arts administrator, and arts educator active from the 1920s to the 1980s. He is best known for his directorship of the Minnesota Works Progress Administration Federal Art Project and for his influence in the Minnesota art community.Sight; height: 27 in x width: 17 1/4 in. Framed; height: 30 1/2 in x width: 20 3/4 in x depth: 1 in.Condition:There is light wear throughout both sides of the work. Some small losses along the extreme edges and wear where the nails holding the painting in place have rubbed against the surface of the work. Some accretions and discolorations throughout, most noticeable in the negative space. There are numerous small areas of in-painting in the negative space along the upper left corner of the side with the man wearing a hat. Light wear to the frame.
GIULIO TURCATO (1912 - 1995)UntitledOil on canvas, 100 x 138cm Signed (bottom left)Provenance: Marlborough Galleria D’Arte, Roma label verso; John Huston Collection, St. Clerans, Co. Galway; Private Collection, DublinThe life of Italian artist Giulio Turcato (1912-1995) is one that spanned the breadth of last century right up to within the grasp of the next. Indicative of many European artists of his time and place was a propensity towards transgression, collectives and the innovation of new ideas - all of which the artist subscribed to.In 1925, Turcato formally started his studies of art in Venice and first gained professional exposure as an assistant in Giovanni Muzio's architectural studio. Though he moved to Milan in 1937, it wasn't until Rome in 1943 that the artist found common fertile ground to grow, share and mature his ideas. In a 1986 interview with Claudio Verna, Turcato declared, "Art is born from the meeting of ideas, and this is only possible in the city." If Rome were the city, then Osteria Fratelli Menghi - a local inn famous for its artists, writers, and creative types - and avant-garde groups, including Fronte Nuovo Delle Arti, Art Club, and Gruppo degli Otto, would be some of the many meeting points. Keen to contribute to such groups, Turcato also later signed the manifestos for Forma and Neocubism, both in 1947. During this time, Turcato's actions reached beyond the art world when he joined the Resistance and became a member of the Communist Party. However, Turcato later left the party due to ideological disagreements. Perhaps this departure was unofficially amicable, as evident by the controversy stirred by his 1949 painting, Camizo, which was declared 'too abstract' by the infuriated Communist Party leader Pailmiro Togliatti. For an artist who continuously sought stylistic experimentation, it was only natural that he would transverse the parameters of each of these groups. As was mirrored in the artist's paintings, what began as geometric formality dissolved into free-form emotive expression.Turcato found influence in the Fauves, Surrealism and, in particular, Matisse. The latter he recalls as his favourite painter and noted the impossible task of mimicking a 'great master' artist who was so uniquely free. Merging the colour of the Fauves, the dreamlike instincts of Surrealism and reaching for his own unique freedom resulted in his post-war replacement of political subject matter with experiments of pure colour and pigment. Works indicative of this period are Untitled, Simbola di Marte, and Superfiore Bleu. In the absence of geometry and figures, each painting here distils the universal affective nature of colour. Untitled evokes open space via mid-tone cerulean blue, dashed with what feels like frozen ephemeral cirrus clouds. Brush strokes are still visible within the subtle inflection of tones, reiterating the canvas and material quality of the painting itself. With Simbola di Marte, an undefined red ochre shape dominates the frame. The absence of colour is marked by sporadic charcoal and grey - an absence that only serves to enhance the warmth each tone offers. While the painting references the rust red symbol of Mars, it also speaks of red ochre - an ancient pigment first created with the clay of the earth. Superfiore Bleu is a panoramic view of mid to deep cobalt. The darker tone blotches induce the kind of depth felt only by deep water. This painting's width-to-height ratio invites the viewer to step closer, inducing the immersive capabilities of colour.Although not intended as a triptych, the coming together of these three paintings via the late filmmaker John Huston's (1906-1987) personal art collection gestures to the most foundational elemental reference points of colour: sky, land, and water. Considering the artists' life travels (Paris, Russia, China, Morocco, Switzerland, Sweden, US, Nairobi and Egypt), this gesture to the universal language of colour may be a calculated exercise of an artwork to be understood despite borders, signs and politics.Giulio Turcato's significance in the post-war Italian art world has been repeatedly validated nationally and internationally. Nationally, through a dozen exhibitions at the Venice Biennale between 1949 and 1995, including two years with his own dedicated space. Internationally, with Documenta Kassel, State Gallery of Modern Art, Munich, MoMa and The Guggenheim, New York, and Musée de l'Athenée, Geneva, to name but a few.Simon Bhuiyan
An 18ct yellow and white gold, emerald and diamond octagonal cluster ring, featuring a step cut emerald within a border of 18 single cut diamonds, all in claw settings, emerald dimensions approx 6.95 x 5 x 3.65mm, weight estimated as 0.96 carats, diamond diameters each approx 1.45mm, total weight estimated as 0.18 carats, assessed mounted collectively colour I to J and clarity SI1 to SI2, size N, gross weight 4.3g, hallmarked 18ct, London 1992, sponsor A&SIEmerald is chipped.
A white metal, tanzanite and diamond rectangular cluster pendant, featuring a centre step-cut tanzanite within a border of 24 round brilliant cut diamonds, suspended below and solid bale set with nine round brilliant cut diamonds, attached to a fine boxlink chain with bolt ring clasp, tanzanite dimensions approx 6.88 x 5.1 x 3.8mm, weight estimated as 1.24 carats, diamond diameters between approx 1 and 1.15mm, total weight estimated as 0.11 carats, pendant length 18mm, chain length 460mm, width 0.6mm, gross weight 2.7g, stamped and tested as 14ct gold
Collection of Lilliput Lane models of houses, castles and villages, including Britain's Heritage, Village Green on wooden stand (lacking windmill sail), Sweets and Treats, Chatterbox Corner, Queen of Windermere, Full Steam Ahead, Penny Lane, Up Up and Away (boxed) and The Miller and the Mariner, with windmill sail in black (boxed) (one of the boxes later inscribed with black marker letters and numerals) Condition ReportEdinburgh Castle has some chipping. Full steam ahead has a chip the chimney and the signal is slightly bent. Chatterbox corner has minor chipping to the flower and trees, the thatched roof and the telephone box. Green has a chip to the chimney. Penny Lane apprears to be in good condition. Up up away maybe has a little discolouration around the back step. Sweets and treats has the chimney broken off but the part is there. The Miller & Mariner has some tiny paint loss to the roof of the tall building. Queen of Windmere appears in good condition. Please see photographs.
A white gold aquamarine and diamond ring, a rectangular step cut aquamarine, with a stated weight of 2.92ct, claw set to the centre, to stepped shoulders further set with baguette and round brilliant cut diamonds, into tapered shoulders and a plain band. Stamped 750, 4.34g Ring size L¾Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new.
A pair of rose gold varicoloured sapphire clip earrings, c.1950, the floral design mounts claw set with round and step cut light blue and pink sapphires, to polished petals and leaves, with clip-on fittings. Marked 9ct. 20mm x 28mm. 10.96gCondition ReportSapphires show typical inclusions indicating a natural origin.
An 18ct gold emerald and diamond ring, centred with an octagonal step cut emerald flanked by two princess cut diamonds, all rub set to plain collets with pierced lozenge detailing, to elevated shoulders and a plain hoop. London 1991. Combined diamond weight estimated as approximately 0.80ct. 5.22g Ring size T½ (with sizing beads)Buying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportWith valuation for insurance from the retailer dated 1993, stating the weight of the emerald to be 0.86ct, and the total diamond weight 0.85ct. Two sizing beads applied to the reverse of the shank. Emerald has typical inclusions visible under 10x magnification. The stone has a few chips and wear to the facet junctions.
An 18ct gold Colombian emerald and diamond three stone ring, centrally set with an octagonal step cut emerald, estimated as approximately 1.32ct, in yellow gold claw setting, flanked by two round brilliant diamonds, approximately 0.60ct each, in white rex collets, to chenier shoulders and a plain band. London 1978. A verbal report by GCS, no. 5784-1856, stating the emerald to be natural, of Colombian origin, with 'none to insignificant indications of clarity enhancement'. Diamonds assessed as: Colour G/H Clarity VS Ring size TBuying this gemstone ring at auction could save up to 0.42 tonnes of CO2e compared to buying new. Condition ReportA few nibbles along the girdle of the emerald and a couple of small chips to the facet edges. Overall little wear for an emerald.Surface scratches to mount.
An aquamarine and diamond bar brooch, c.1940-1950, the odeonesque design brooch centrally set with a rectangular step cut aquamarine, 13mm x 17mm, to arched shoulders accented with eight cut diamonds, in a plain rose gold mount tested as approximately 14ct. Pin and roller catch to verso. In a fitted case. 58mm long, 9.81gCondition ReportSurface marks to mount.Aquamarine estimated as approximately 16 - 17ct.Typical inclusions are visible under 10x magnification.
A varicoloured sapphire and amethyst clip brooch, c.1940-1950, of shield form, centring on a large step cut amethyst within a surround of varicoloured and varicut sapphires and rubies, all claw set to a white gold mount, with clip brooch fittings. Tested as approximately 9ct gold. 40mm x 48mm, 32.19gCondition ReportModerate wear to the facet edges and tables of the sapphires and rubies.Light wear to amethyst.
Harry Potter and the Philosopher's Stone Film Posters, six UK Posters for the first in the Harry Potter series comprising Teaser Quad (Ron and Harry - three copies), Teaser Quad (Harry's Step Family with signature of Richard Griffiths) (all double sided), Main One Sheet and One Sheet Advance (both single sided) - all rolled and mainly all in very good condition
Harry Potter and the Philosopher's Stone Film Posters, four UK Posters for the first in the Harry Potter series comprising Teaser Quad (Ron and Harry), Teaser Quad (Harry's Step Family), Main One Sheet (All double sided) and One Sheet Advance (single sided) - all rolled and mainly all in very good condition
Hand painted glazed ceramic Art Deco prototype figure of a lady in a light violet dress sitting on a step with an accent wall behind her. Bottom reads - Artists Original Proof For Peggy Davies by Victoria Bourne. Dimensions: 5.75"L x 3"W x 7.5"HManufacturer: Peggy Davies CeramicsCountry of Origin: EnglandAge related wear.
A silver bon bon dish of conforming lobed form, having a beaded rim and pierced design with three scroll handles also acting as cabriole legs, having rubbed hallmarks, sold along with two silver circular napkin rings having pierced design decoration, also with rubbed hallmarks, and a pair of silver candlestick scones having slightly flared dash engraved rims with a concave form and step moulding to the base, marks for Birmingham 1992, maker Laurence R Watson & Co, 132g gross
A Victorian silver four-piece tea and coffee set, of squat rounded oval form comprising a tea pot, coffee pot, sugar and milk, having slightly flared gadrooned style rims, the coffee pot having moulded step decoration, all with engraved coat-of-arms and motto, scroll handles and raised on four scroll feet, marks for Sheffield 1894, maker Atkin Brothers, 1824g gross
A Victorian silver plated fireside ornament depicting 'the British Lion' situated on a platform below which is a central English rose with alternating national flowers of the countries of the United Kingdom and Ireland on an embossed step moulded rectangular base, marked Rd No 358650 to reverse, 23cm H X 22cm W X 4.5cm D. Wear to central rose and small flaking to base
A pair of Elizabeth II silver squat candlesticks, the sconces of circular form raised on weighted circular step moulded feet, marks for Birmingham 1962, with rubbed makers mark for JP, sold along with a single Elizabeth II silver 'filled' candlestick having a sconce of circular form with step decoration raised on a knopped stem and step moulded circular foot, marks for Birmingham 1975, maker W I Broadway & Co, 756g gross
A pair of Victorian silver candlesticks of column design, having concave square detachable sconces with bead trim, embossed decoration replicating a Corinthian column, on filled moulded square step bases having bead trim and floral scroll decoration, marks for Sheffield 1894, maker James Dixon & Sons Ltd, 898g gross Condition report: General surface wear to both. Some slight tarnishing, mostly to the bases. Some small dents and scratches to the bases. Dents and bends to the tops beneath the removable sconces. Approximately 17cm H x 9cm W
A Victorian silver tankard style jug, of cylindrical form having a narrow pointed rim opposed by a scroll and bead handle, with decorative engraving and initials 'G.M.C.D' to body raised on a circular moulded step foot, marks for London 1877, maker George Unite, sold along with an Elizabeth II silver decanter label marked 'sherry' with scroll and shell border, marks for Sheffield 1972, maker Francis Howard Ltd, 143g gross
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26534 item(s)/page