There are 40713 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeWHILHELMINA BARNS-GRAHAM C.B.E. (SCOTTISH 1912-2004) MILLENNIUM SERIES, RED - 2000 Screenprint, 97/100, signed, dated and numbered in pencil; with the accompanying hardcover book ‘W. Barns-Graham: A Studio Life’ by Lynne Green, housed together in red slipbox, as issued (2) the sheet 22cm x 28.5cm (8.75in x 11.25in), unframed The Wilhelmina Barns-Graham Trust, where acquired by the current owner
Graham Farish N Gauge (By Bachmann) Wagons - to include 373-700Y Set of 12T ventilated Vans BR bauxite (Early) weathered, produced exclusively for modelzone. 373-665 set of 14T tank wagons TARMAC (weathered) 373-675 14T tank wagon 'Power' produced exclusively for Osborne's Models, Plus others. Conditions: Generally Excellent Plus to Near Mint in Excellent Plus to Near Mint boxes/cases and outer sleeves. SOme boxes have mild sun damage.
Graham Farish N Group of items - To include No. 8125 HST 125 set, plus 2x No. 0705 coaches. Plus No. 8807 Class 91 BR Inter-City Power car along with Ref 0867 BR Inter-City Mk4 Driving Van Trailer Coach. Conditions: Mostly Good Plus to Excellent, in the case of No 8807 the motor bogie is loose from body, and has some yellowing of the windscreen.
Graham Farish (by Bachmann) N Gauge Plus others - LNER lined apple green Steam Loco 372-075 B1 Class No.1000 "Springbok", Conditions: Excellent Plus to Near Mint in Excellent Plus to Near Mint case and sleeve. Trix A4 LNER Blue Sir Nigel Gresley (Not in original box). Conditions: Generally Excellent in Good Plus case.
Dapol N Gauge Graham Farish Group of Wagons - to include GPV Improvised Gunpowder Van, 2F-041-005 Dogfish and 2F-041-004 Dogfish hopper wagons, 2x 2F-036-002 Bass Charrington Bulk Grain wagons, plus Farish Bachmann 373-361 & 362 Horse Boxes and 377-000A YGA Sealion bogie hopper. Conditions: Generally Excellent Plus to Near Mint in Excellent Plus to Near Mint cases and Sleeves.
BH Enterprises N Gauge Plus others Kit Built or Modified Locomotives - to include Parkwood Models BR Class 15 Diesel resin body on a Farish (Bachmann) chassis, in BR Green 'D8403' finished to an excellent standard. Graham Farish Class 33 in Dutch Engineers livery, modified with detailing parts and repainted and BH Enterprises GWR Railcar with Tomytec chassis, Appears to have a slightly glittery finish. Conditions: Generally Good Plus to Excellent in Good boxes.
Dapol N Gauge Graham Farish & Lima Boxed & Unboxed Group - to include Freightliner Class 66 '66540', Missing both couplings, Farish BR Blue DMU No.s M 50303 & M 50330, Lima Class 31 'D5518' and Farish Class 08 '08749'. 371900 57XX Pannier 5710 in GWR Shirtbutton Green and No. 8129 Intercity Livery Class 08800 (missing rear coupling). Conditions: Vary from Fair to Good Plus.
A QUANTITY OF ASSORTED MODEL RAILWAY ITEMS, to include an unboxed Graham Farish N gauge class 4P locomotive & tender No.67, S & DJR blue livery, tender missing body (1207), with four S & DJR blue 4 wheel coaches (667), an OO9 gauge static kit built model of Lynton & Barnstaple Railway 2-6-2T locomotive 'Taw', loosely mounted on a wooden plinth, Merit push along plastic locomotive and two coaches, constructed Airfix locomotive kits, boxed Royal Mail Great British Locomotives Heritage Collection - Series One 1/160 scale pewter model of 'Evening Star', large scale modern tinplate model of Evening Star, quantity of loose Tri-ang Big Big O gauge red plastic track, Britains? wooden Stable Block etc. (2 boxes)
John Talbert McLean, British 1939-2019 - Arc, 1994; acrylic on paper, signed with initals and dated lower centre 'JM '94', 54.4 x 72 cm (ARR)Note:titled to gallery label on the reverseProvenance:with Francis Graham-Dixon Gallery, London, no.C3600 (according to the label attached to the reverse);private collection, UK
Douglas Gordon and Graham Gussin, Scottish b.1966 and British b.1960 - Jukebox, 1995; installation: Wurlitzer jukebox, CD player unit, two CDs and speakers, H69 x L82 x D50 cm and smaller (ARR)Note:it is the buyer's responsibility to ensure that electrical items are professionally rewired for use. Roseberys does not guarantee the working order.Provenance:The Agency Gallery, London;private collection, UKExhibited:The Agency Gallery, London, Douglas Gordan and Graham Gussin, Jukebox, 1995; Hayward Gallery, London, 'Material Culture: The Object in British Art of the 1980s and 90s', 1997Note:Gordon was the first artist to the Turner Prize as video artist in 1996 for his work 24 Hour Psycho from 1993. In 1997 he represented Britain at the Venice Biennale.An exhibition of Gordon's work was recently held at Gagosian Gallery, London from 1st February 15th March 2024 to celebrate the public installation of a new work commissioned for the Elizabeth Line Underground station at Tottenham Court Road, installed on 1st February 2024.
A SCOTTISH EARLY VICTORIAN CARVED MAHOGANY EIGHT-DAY LONGCASE REGULATORGEORGE BAIN, BRECHIN, CIRCA 1840The substantial four columnar pillar movement with thick bottle-shaped plates measuring 9.25 by 6 inches, enclosing a four wheel train with Harrison's maintaining power, six-spoke wheel crossings and terminating with a Graham-type deadbeat escapement incorporating jewelled pallets, regulated by large lenticular bob wood-rod pendulum suspended from the backboard, the 13 inch circular brass dial with subsidiary seconds and signature Geo' Bain, Brechin over conforming Roman numeral hour dial to centre, within outer minute ring incorporating Arabic fifteen minute annotations, with blued steel hands, the case with moulded Gothic ogee-arch pediment above hinged glazed circular cast brass bezel incorporating canted dial surround to interior, over anthemion carved decoration to lower quadrants and flanked by turned columns capped by projecting mouldings, the lyre-shaped trunk with ogee throat moulding over slender rectangular bowfronted door fronted with flame-figured veneer and capped with a conforming anthemion carved crest, flanked by applied S-scroll infill over a small recessed panel, on recessed panel fronted plinth base with shallow ogee top mouldings and decorated with fan-carved spandrels over bracket feet with shaped apron between.229cm (90ins) high overall, 51cm (20ins) wide, 24.5cm (9.75ins) deep. George Bain is recorded in Loomes, Brian Watchmakers & Clockmakers of the World, Volume 2 as working in Brechin, Scotland 1837-60.
A FINE GEORGE III MAHOGANY DROP-DIAL FUSEE WALL TIMEPIECE OF MUDGE AND DUTTON 'PHASE II' DESIGNWILLIAM DUTTON AND SONS, LONDON, No. 227 CIRCA 1794The four knopped pillar single fusee movement with thick plates measuring 6.25 by 5 inches secured via large screws through the bottom pillars onto a seatboard forming part of the internal structure of the case, the train terminating with anchor escapement regulated by steel-rod lenticular bob pendulum with an effective length of approximately 15 inches, incorporating T-bar suspension, calibrated rating nut and stamped with serial number 227 to the rear of the bob, the 14 inch circular silvered brass Roman numeral dial signed Will'm Dutton & Sons, London to centre and with Arabic five minutes beyond the outer minute track, with pierced blued steel spade hands set behind generous hinged glazed cavetto moulded cast brass bezel applied to the circular cushion-moulded wooden surround, secured to the front of the substantially constructed drop-trunk box case with doors to each side behind the dial, over flame-figured panel within astragal moulded surround flanked by ogee-shaped ears, the base with angled cavetto over ogee moulded hinged flap to front.66cm (26ins) high, 44.5cm (17.5ins) wide, 16cm (6.25ins) deep. William Dutton is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as apprenticed to George Graham in 1738 and gained his freedom of the Clockmakers' Company in 1746. In around 1750 he went into partnership with Thomas Mudge, another former apprentice and successor to George Graham, and worked from 148 Fleet Street, London, where the business was to remain through successive generations of the Dutton family. William Dutton was elevated to Liveryman in 1766 and alongside Mudge developed the lever escapement for watches in 1771; shortly after which Thomas Mudge retired to Plymouth in order to spend more time to pursue his development of a marine timekeeper. In around 1775 Dutton took both his sons (Thomas and Matthew) into the business forming a second partnership of William Dutton and Sons however the name Mudge and Dutton was often still used (mainly for watches) up to around 1790. William Dutton died in 1794 leaving the business to be continued very much in his tradition by his sons Thomas and Matthew. David Penney in Tobias Birch's 2019 exhibition catalogue THOMAS MUDGE AND WILLIAM DUTTON, A PERFECT PARTNERSHIP notes that the Mudge and Dutton dial clocks of 'Phase II' design were made between around 1780-1810 although relatively few surviving examples are known. From the serial number stamped on the pendulum of the present timepiece it can be dated to around 1794 hence would have been one of the last timepieces produced by the William Dutton and Sons before the death of William senior in November of that year.
A FINE AND RARE GEORGE III SMALL SATINWOOD BANDED MAHOGANY LONGCASE REGULATOR OF ONE-MONTH DURATIONTHOMAS WRIGHT, LONDON, CIRCA 1785-90The substantial six knopped pillar movement with thick plates incorporating rounded upper angles measuring 7.75 by 5.5 inches, enclosing a five-wheel train with Harrison's maintaining power, five-spoke wheel crossings and terminating with a Graham-type deadbeat escapement, regulated by large lenticular bob seconds pendulum with T-bar suspension, Hindley-type cranked crutch arrangement and Wright's patent stirrup-frame type compensation to the bob, incorporating a pair of horizontal bimetallic bars, calibrated rating nut and a secondary small spherical fine-adjustment bob beneath, the 10 inch heavy-gauge silvered brass break-arch dial with subsidiary seconds and signature over conforming Roman numeral hour dial to centre, within outer minute ring incorporating Arabic five minute annotations, with blued steel hands beneath a shallow semi-elliptical arch signed WRIGHT, the heavy satinwood crossbanded case constructed in the manner of Gillows with shaped panel upstand to the moulded swan-neck pediment, over break-arch architrave and glazed hinged dial aperture with crossbanded border to the frame and flanked by crisply executed free-standing fluted Roman Doric columns, the sides with rectangular glazed apertures and half columns applied adjacent to the rear edge, the trunk with concave throat moulding and plain frieze over ogee-break-arch door fronted with flame-figured veneer within a satinwood border and astragal edge moulding, flanked by tall fluted full Roman Doric columns set on banded plinths, the plinth base with stepped ogee top moulding over conforming shaped crossbanded astragal-bordered panel to fascia and ogee bracket feet. 216cm (85ins) high, 46cm (18ins) wide, 26cm (10.25ins) deep. Literature:Illustrated in Symonds, R.W. A Book of English Clocks page 79 (Plates 68B and 70). The inside of the door applied with a manuscript table (to assist with the regulation the timepiece from astronomical observations) further inscribed in ink;The stars make 36 revolutions from any point in the universe to the same point again in 365 days & one minute and therefore they gain a 365th of a revolution in every 24 hours of mean solar time, near enough for regulating any clock or watch. This acceleration is at the rate of three minute and fifty-five seconds, fifty three thirds, fifty nine fourths, in twenty four hours or in the nearest round number three minutes fifty six seconds, by which quantity of time every star comes round sooner than it did on the day before.With further note beneath:This timepiece was purchased from Miss Wright, daughter of the maker Mr. Wright Watchmaker to the King George the third. G. Hurt bought this clock in September 1795 for twenty guineas. Thomas Wright was born in London in 1736 and gained his Freedom of the Clockmakers' Company in 1770. He was a gifted watch and clockmaker who was appointed 'watchmaker to the King'; with a fine Matthew Boulton blue john and ormolu-cased quarter chiming table clock being one of his Royal Commissions - which resides at Buckingham Palace (see Jagger, Cedric ROYAL CLOCKS page 98, Plate 134). In 1781 Thomas Earnshaw sought Wright's opinion with regards to his design of detached watch escapement. Wright subsequently commissioned a watch incorporating the design from Earnshaw, which he then put on test for a year. The results were clearly impressive as Wright then assisted Earnshaw by overseeing the patenting of the design with his payment agreed in the form a royalty of one guinea per watch made with the escapement. The Patent (No. 1354) was granted on 1st February 1783 and interestingly also included the ingenious design of compensated pendulum bob employed in the present timepiece. Thomas Wright died in 1792 it is highly likely that the present regulator was in his possession at that time and was passed down to his daughter. In addition to the quality of the movement, dial and the innovative pendulum, the case is also notable in its quality - particularly in the crispness of the carving to the columns and mouldings. Indeed, the general design would appear to have more in common with the northern school of case makers (certainly with regards to the treatment of the pediment) hence it there is a possibility be that Wright may have ordered it from one of the leading north country case makers. The obvious candidate that springs to mind would be Gillows of Lancaster, and indeed the quality of the cabinet work would certainly add weight to this thought. One interesting feature the case has which further points towards an attribution to Gillows is the planting of half columns towards the rear edges of the hood, as it is known that Gillows preferred to use half columns rather than quarters to dress the rear edge.
A RED CHINOISERIE JAPANNED TABLE/BRACKET CLOCKBEARING A SIGNATURE FOR JOHN GRAHAM, LONDON, PROBABLY AUSTRO-HUNGARIAN, LATE 18th CENTURYThe four columnar pillar twin fusee bell striking movement with four-wheel trains and anchor escapement regulated b disc bob pendulum, the backplate engraved with large symmetrical foliate scrolls around an engraved inscription John Graham, Londini Fecit within a herringbone outer border, the 7.5 inch brass break-arch dial with false bob aperture to the foliate scroll engraved centre within applied silvered Roman numeral chapter ring, with scroll pierced blued steel hands and winged cherub mask spandrels to angles beneath arch now centred with a silvered boss engraved Graham, London flanked by scroll cast mounts, the red chinoiserie japanned case with 'Quare pattern' hinged brass double scroll carrying handle over concave upstand decorated in raised polychrome and gilt with a pavilion to front, applied to the convex superstructure continuing down to envelope the cavetto break-arch cornice applied with brass flambeau urn figures adjacent oriental figural decoration to the angles, the front with hinged glazed break-arch door decorated with floral motifs within gilt lattice infill and with gilt baton moulded angles, the floral spray painted break-arch side panels with unusual quatrefoil glazed panels over shaped-outline rectangular windows, the rear matching the front except for the painted detail, on repeating gilt lappet painted cavetto moulded skirt base with brass ball feet, (movement and dial with alteration, case probably later decorated).43cm (17ins) high with handle down, 29cm (11.5ins) wide, 16cm (16.25ins) deep. Condition Report: Movement is in clean working condition however, as catalogued, has had alteration undertaken including conversion of escapement to anchor (from verge), removal of rise/fall regulation and strike/silent selection. In addition to these alterations the movement has also been largely re-trained with most of the wheelwork above the fusees now being replacements. The movement has four wheel trains hence probably runs for around a week. Evidence to the rear of the dial (filled and vacant holes) suggests that the dial originally had subsidiary dials for strike/silent and regulation to the arch. These are no longer present and have been replaced by the current silvered boss and mounts; the spandrels are also replacements. Dial otherwise presents as being in good clean condition. The case was most likely originally ebonised with the present japanned decoration probably dating from the early 20th century. Other than some slight wear and minor localised flaking to the decoration in places the case is in very good presentable condition.Clock has a winding key. Condition Report Disclaimer
Sir Terry Frost RA, British 1915-2003 - The Three Graces, 1959; ink and wash on paper, signed lower right 'T Frost', 24.3 x 36.5 cm (ARR) Provenance: with Austin/Desmond, London; The Collection of Mollie and Graham Dark, purchased from the above in October 1989 Exhibited: Austin/Desmond, London, 'Terry Frost: Works on Paper 25 Years', 1986, p.8-9 Note: Frost would return to the subject of the Three Graces throughout his career, inspired by studying Rubens' version as a student. The three round forms echo Rubens' voluptuous women. An oil on canvas of the same subject is in the collection of the Bristol Museum & Art Gallery.
Keith Vaughan, British 1912-1977 – Landscape, 1953; oil on board, signed lower right 'Vaughan 53', 36.8 x 51.3 cm (ARR) Provenance: Dr A Neumann; with The Matthiesen Gallery, London (according to the label attached to the reverse of the frame); with Waddington Galleries, London; private collection; with Beaux Arts, Bath; John Allen; Wayne Graham, Bath; Christie's, London, Twentieth Century British Art, 12th June 1998, lot 19; private collection Exhibited: Leicester Galleries, London, 'Exhibition of Works by Keith Vaughan', October 1953, either cat. no.5, 16 or 19; Durlacher Brothers, New York, 'Keith Vaughan: Paintings and Gouaches', 18th January-19th February 1955; Mappin Art Gallery, Sheffield, 'Keith Vaughan: paintings, gouaches and drawings 1941-68', 7th March-5th April 1969, cat. no.5Note: with thanks to Anthony Hepworth for his assistance with the cataloguing of this work. His reference AH 155. This enigmatic landscape was made in 1953, a pivotal year in the artist’s career. Vaughan exhibited at the celebrated Leicester Galleries, where this work was shown, as well as part of the seminal show ‘Space in Colour’ at The Hanover Gallery curated by Patrick Heron, alongside the most celebrated figures of post-war British paintings such as William Scott, Victor Pasmore and Peter Lanyon. These events would bring his work to a wider audience and drive museums, including the Tate, to start purchasing his work. In this painting, Vaughan has dispensed with all figures and any literary references to explore pure landscape, using it as a cypher for his psychic state and dislocated understanding of the world around him. Despite the rigorous structure of the composition, there is a bodily quality to the curved forms of the landscape that locates the work within the artist's personal experiences. There is an economy to composition, with its autumnal palette of browns, greys and greens, every form pulsing in dialogue with the next. The work has been exhibited widely and internationally, including in New York and at the artist’s museum retrospective in Sheffield, demonstrating its importance within his oeuvre.
Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
The World's Fastest Cars by Alen Gabbard, Graham Robson Hardback 1990 and Shell V-Power Cap (SHELL fuelling the 1st Diesel win 24 HOURS LE MANS) Please note this lot has the standard Ewbank's standard buyers premium payable on top of the hammer price and not the reduced rate for cars and motorbikes. Viewing days: Monday 17th of March: 9am - 5pm, Tuesday 18th of March: 9am - 5pm, Wednesday 19th of March: 9am - 5pm, Thursday 20th of March: 9am - 5pm, Friday 21st of March, Saturday 22nd of March: 10am - 2pm, Monday 24th of March and Morning of the Auction on Tuesday 25th of March.
A large appliquéd khatwa wall hanging, of recent manufacture, Indian, Bihar, variously dyed cotton and silk fabrics on a beige, tussah silk, woven cloth ground, with a serrated border,89 x 132cm, mounted on a wooden frameProvenance: The October Gallery, purchased 7 May 2003.Exhibited: The October Gallery and Joss Graham Oriental Textiles, 'Stitching Women's Lives', 7-31 May 2003.Literature: See Susan Conway, 'Bihar Quilting and North-East Thai Weaving: a Comparative Study of Status', Textile History, 30:1, 1999.For a similar example, see British Museum, no. As2003,02.1.Condition ReportWith invoice, exhibition guide and invoice for mounting. Good condition overall.
Fairy Tales a collection of volumes largely concerning fairy tales, to include: Anderson (Graham) Fairytale in the Ancient World, London and New York: Routledge, 2000; Opie (Iona) and Peter Opie The Classic Fairy Tales, London: Oxford University Press, 1974; de Larrabeiti (Michael) The Provencal Tales, London: Pavilion Books, 1988, among other volumes on fairy tales, folk tales and related subjects (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.
Mattel Hot Wheels, Bburago, Quartzo, Vitesse & Similar Formula 1 Related Group, comprising of boxed, carded and unboxed models, to include Hot Wheels Racing McLaren MP4-14, Quartzo 4006 Lotus 49B "Gold Leaf" Graham Hill Monaco G.P. 1968 Winner, Bburago 2011 Red Bull Racing Team Mark Webber, and others, conditions generally appear to be Good to Near Mint, within Good to Good Plus packaging where applicable. See photo.
Various first edition books; Graham Greene, Our Man in Havana, 1958; Alistair MacLean, Where Eagles Dare, 1967; Laurie Lee, I Walked Out One Midsummer Morning, 1969 (D/W); John Steinbeck, The Winter of Our Discontent, 1961; C S Forester, The Sky and the Forest, 1948; John Masters, To the Coral Strand, 1962; Jonathan Latimer, Sinners and Shrouds, 1956; Harold Nicholson, The Congress of Vienna, 1946; L C Bernacchi, A Very Gallant Gentleman, 1933 (9)
Loading...
