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Click here to subscribeSir Eduardo Paolozzi 1924-2005 moonstrips empire news (Volume 1) complete set of 100 screenprints of images and text loose 8 signed and numbered 309 / 500 contained in a formed acrylic box 38x24.5cm.; 15x10in. Screenprinted by Kelpra Studios London and published by Editions Alecto London 1967 in an edition of 500 with 50 artist's proofs numbered and stamped with printer's and publisher's marks. The eight signed and numbered images are titled: Secrets of the Internal Combustion Engine; Cover for a Journal; Erni and T.T. at St Louis Airport; Memory Core Units; Donald Duck meets Mondrian; Formica-Formikel; High Life; The Silken World of Michelangelo.
Beurdeley, Michel and Cecile, Chinese Ceramics translated by Katherine Watson, London, Thames and Hudson, 1974, folio (320mm x 275mm.), half title, illustrations, many colour and full-page, original cloth gilt, spine lettered in gilt, pictorial dust-jacket, and slip-case With a number of other works including, Peter Sadecky Octobriana and the Russian Underground (London, 1971), Robert Lobl Wien in Farben... (Innsbruck, 1975), Creighton Gilbert History of Renaissance Art... (New York, n.d.), Nicolas Powell The Sacred Spring The Arts in Vienna1898-1918 (London, 1974), Denis Grivot Autun (Lyon, n.d.), Ludwig Goldscheider s Michelangelo... (London, 1967), and Norman Denny & Josephine Filmer-Sankey The Travels of Sir John Mandeville (London, 1973)
Phaidon. The Paintings of Michelangelo, The Sculptures of Michelangelo, Donatello, Rodin, Velazquez, Etruscan Sculpture, Roman Portraits, The Paintings of Jan Vermeer, Rembrandt, The Impressionists, Leonardo da Vinci, 1939-48, all 1st eds. (except final three), col. and b & w illusts., all orig. cloth, folio (11)
Vignola (Giacomo Barozzi da, 1507-73). Regola delli cinque ordini d'architettura, Libro primo et originale, Rome, Andreas Vaccarius, 1607, eng. title, and forty-five eng. plts. (numbered I-XXXXV), contents entirely close-trimmed, and laid down in late 18th-c. calf-backed folio boards, worn, folio (approx. 41. x 27.5 cm). This edition includes designs by Michelangelo. BL copy incomplete. (1)
Michelangelo (Buonarotti). The Sistine Chapel, Text by Frederick Hartt, Commentary on the Plates by Gianluigi Colalucci, Note on the Restoration by Fabrizio Mancinelli, Photographs by Takashi Okamura, 2 vols., pub. Barrie & Jenkins, 1991, num. fine col. illusts. from photos., many folding, orig. cloth with red morocco labels to spines, slipcase and orig. packaging, folio. Limited edition 168/500. (1)
Dearden (Harold, 1888-1962). Pulpit in the Baptistery at Pisa, by Niccolo Pisano, Tomb of Lorenzo de Medici, by Michelangelo, Font & Tabernacle in the Baptistery of the Duomo, Siena & The Pazzi Chapel, Santa Croce, Florence, together four early 20th-c. pencil and wash studies, two signed and dated November 1910, approx. 75 x 56cms., together with other similar studies of architectural details, incl. The Propylaea at Athens, a Pompeian Ornament in gouache colours, etc. (a folder).
Monaco (Domenico). Specimens from the Naples Museum, One Hundred and Sixty-Five Plates Engraved on Copper by the Best Italian Artists, Illustrating Five-Hundred Objects from Every Branch of Art and Archaeology, Naples, 1895, num. b&w illusts. and folding plts., orig. cloth gilt, sl. dampstained to extremities, 4to, together with Weinburger (Martin). Michelangelo The Sculptor, 2 vols., 1967, num. b&w illusts., orig. cloth gilt with d.j., printed cardboard slipcase, 4to (2).
Michelangelo (Buonarotti). The Sistine Chapel, Text by Frederick Hartt, Commentary on the Plates by Gianluigi Colalucci, Note on the Restoration by Fabrizio Mancinelli, Photographs by Takashi Okamura, 2 vols., pub. Barrie & Jenkins, 1991, num. fine col. illusts. from photos., many folding, orig. cloth with red morocco labels to spines, slipcase (with a few minor marks), folio (2)
An Italian micromosaic Chronological Rome round table by Michelangelo Barberi, with an ebony and ormolu base, circa 1845, the micromosaic top with medallions on a red square shaped cartouche and a black marble ground, signed 'Cav Barberi, 148 via rasella' centred with a view of St. Peter's Square, and roundels and ovals representing the four epochs of Rome, the inner circle with pink marble cartouches between olive branches and wreathed Imperial eagles: I The Colosseum, II The Arch of Constantine, III The Pantheon, IV The Roman Forum. The outer circle with round medallions: I Temple of the God Rediculo, II Trophy of Arms of Captured Vej, III The Tarpejia Fortress, IV Portrait medallion of Scipio Aphricanus Consul, V Tomb of the Horatii and the Curiatii, VI Trophy of Arms of captured Etruscans, VII Temple of Vesta, VIII Medallion of Numa Pompilius, IX Grotto of the Nymph Egeria, X Trophy of Arms of captured Latins, XI Mount Palatine, XII Medallion of Gregorius XVI PO.MA.A.XII,XIII Tomb of the Metella, XIV Trophy of the Arms of defeated Carthage, XV Bridge of Luccano, XVI Medallion of Augustus Imperator Caesar within an ormolu border with egg and dart type band, the base with an ebonised oak cruciform support, on an ebony baluster column with shell and acanthus mounts, the concave sided triform with masks on three griffon supports and paw feet with recessed brass casters, 93 high x 102cm diameter
Cundall (H.M.) Birket Foster R.W.S., front hinge cracked, original decorative cloth, spine slightly faded, 1906 ~ Marijnissen (Roger H.) and Peter Ruyffelaere. Hieronymus Bosch, the Complete Works, n.d. [c.1980] ~ Hartt (Frederick) David, by the Hand of Michelangelo. The Original Model Discovered, 1987 ~ Deuchar (Stephen) Sporting Art in Eighteenth-Century England, a Social and Political History, 1988; and c.56 others, Fine Art and related subjects, 8vo & 4to (c.60).
Buonarroti (Michelangelo, nephew of the artist) Il Natal D'Ercole, woodcut title vignette, some light soiling, small marginal wormhole affecting final 4ff., modern half cloth, slightly rubbed, Florence, Stamperia de' Giunti, 1605; Il Giudizio di Paride, woodcut title vignette, a little light soiling, modern half calf, slightly rubbed, Florence, Stamperia de Sermartelli, 1608, 4to (2). *** The first mentioned was written in honour of the visit of Alfonso and Luigi d'Este to the Medici court where it was performed.