No products in the basket.
Art, Prints & Sculpture
Explore the full breadth of our decorative Works of Art. We have everything from numbered runs of prints and lithographs to original paintings and sketches. We specialise in London maps, including tube maps and plans of the City. Also lithographs by renowned Twentieth Century artists. You will find three dimensional sculpture in marble, bronze, plaster and more. Taxidermy and trophies are found alongside driftwood and weathervanes. Those in need of more functional pieces will discover shopkeepers and trade sign boards.
1214 items found
Page 3 of 13
-
Charles Watson, Chelsea
£550Charles Watson, Chelsea
A framed and mounted etching by the English artist Charles Watson (1846-1927) depicting the foreshore at Chelsea with two barges at low tide. In the distance is shown the tower of Chelsea Old Church and a part of Old Battersea Bridge, replaced in 1890. The vantage is from close to the current site of the Chelsea Yacht and Boat Yard. Signed on the plate.£550 -
An Almanac of Twelve Sports by William Nicholson,
£550An Almanac of Twelve Sports by William Nicholson,
The Almanac was first published by Heinemann in London for Christmas 1897 with a calendar for the year 1898. Sir William Nicholson was a late 19th Century painter and print-maker. His experiments with woodcut printing encouraged the development of his distinctive pictorial style. After making his name with a series of twelve portraits of public figures (which won a gold medal at the 1900 Exposition Universelle in Paris) he moved on to produce this Almanac of twelve sports for his new publisher, Heinemann. The accompanying text was provided by the poet Rudyard Kipling. Kipling was not an enthusiastic sportsman, in fact he derided 'flannelled fools at the wicket' and 'muddied oafs at the goal' in his poem The Islanders however, after sitting for a Nicholson portrait, he agreed to provide a set of short poems to match the depicted sports. Kipling adopted a concise and suggestive style for the poems, harking back to his Departmental ditties of the 1880's. One verse at least, the draft couplet for the coaching party depicted in August, was considered too suggestive by half and was excised by Heinemann as unsuitable for the family audience he had in mind:'Youth on the box and liquor in the boot / My Lord drives out with my Lord's prostitute.'
£550 -
An English cast plaster relief panel,
£545An English cast plaster relief panel,
the richly ornamented frieze cast with an acanthus clasp issuing four successive fruiting and flowering acanthus scrolls,£545 -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
Snakes by Albertus Seba (1665-1736)
£540 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£540 each -
A pair of nineteenth century stoneware balusters,
£525 the pairA pair of nineteenth century stoneware balusters,
the well proportioned balusters, sharply cast, with block plinths and tops, wear commensurate with age,£525 the pair -
‘A Young Poodle, but not one of the Sagacious Breed’
£520‘A Young Poodle, but not one of the Sagacious Breed’
Caricaturist, presumably of Irish background, but undocumented. Responsible for a small number of plates in a distinctive hand. Unclear whether he etched them all or only designed them. Never a publisher. Worked for P.Roberts and J.Aitken. Many unsigned prints by both men may well be by him.£520 -
A Bundle of Straw, My Spouse is Remarkable Tasty in his Dress & he likes to see me so.
£520A Bundle of Straw, My Spouse is Remarkable Tasty in his Dress & he likes to see me so.
Caricaturist, presumably of Irish background, but undocumented. Responsible for a small number of plates in a distinctive hand. Unclear whether he etched them all or only designed them. Never a publisher. Worked for P.Roberts and J.Aitken. Many unsigned prints by both men may well be by him.£520 -
A West Indian Man of Affairs
£520A West Indian Man of Affairs
A portrait in oils depicting a moustachioed gentleman foregrounded in a scene of nodding palm trees under blue skies. His fine double breasted suit and wingtip collar with pendant saltire decoration imparts an air of prosperity and authority to this otherwise enigmatic individual.£520 -
A large English library globe,
£520A large English library globe,
the 19" globe with chromed semi-meridian, mounted on a turned, stained beechwood base, marked and stained with age and use,£520 -
Portraits Part II by Constantin Guys, Verve Vol 2 / No. 5-6.
£500Portraits Part II by Constantin Guys, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£500 -
Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
£500Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Joan Miró, Lithographie originale
£500Joan Miró, Lithographie originale
Joan Miró produced nearly 1,800 original lithographs and prints at the Maeght studio. He composed his score, invented his alphabet, scattered his symbols across the white page of his writing, close to graffiti. Everything was free, released, aerial, penetrated with interior light. He celebrated marriages between all techniques. Nothing was ever excessive or gratuitous. His creation cut to the essential. Miró created his own language. Dots, lines, scratches, graffiti, writing, mysterious anthropomorphic figures swimming or flying through infinite territory, fed by sparks. The power of black, awestruck colors… And the paper always defended its whiteness. Miró was about drawing above all else. His energy burst on to the sheet.£500 -
Small pair of foundry crucibles,
£500 -
The Triumphal Arches, Mr. Handel’s Statue & c. in the South Walk of Vauxhall Gardens
£495The Triumphal Arches, Mr. Handel’s Statue & c. in the South Walk of Vauxhall Gardens
Based on the work by Samuel Wale and engraved by Benjamin Cole in 1752. Mounted and presented in a Hogarth style frame.£495 -
A Victorian carved giltwood wall-bracket
£490A Victorian carved giltwood wall-bracket
the over-scrolled acanthus clasp supporting a lobed platform,£490 -
An English cast plaster of the head and fore-paws of “The Eygptian Lion”,
£485An English cast plaster of the head and fore-paws of “The Eygptian Lion”,
the lioness with bulbous eyes and soporific expression, flanked by large paws, can be wall-hung,£485 -
Congolese Songye door
£480 -
Gilt-bronze model of Ceres,
£475Gilt-bronze model of Ceres,
modelled seated holding torch aloft in one hand and with a sheaf of wheat in the other, on plinth base. Italian, nineteenth century.£475 -
The head of Cleopatra VII (or a Ptolemaic lady),
£465The head of Cleopatra VII (or a Ptolemaic lady),
the female head, her hair elaborately coiffured, the head mounted on a block of Ashburton marble,£465 -
The Grand South Walk in Vaux-Hall Gardens, with the Triumphal Arches, Mr Handels Statue, &c.
£450 -
Sydney R Jones, St. Mary le Bow, Cheapside,
£450Sydney R Jones, St. Mary le Bow, Cheapside,
A mounted, framed and signed etching by the English artist Sydney R Jones (1881-1966) depicting the church of St Mary le Bow on Cheapside, London. Hand signed by the artist in pencil, bottom left, with a note that it is the '5th state' of the etching.£450 -
Sydney R Jones, St. Edmund King & Martyr from Lombard Street,
£450Sydney R Jones, St. Edmund King & Martyr from Lombard Street,
A mounted, framed and signed etching by the English artist Sydney R Jones (1881-1966) depicting the church of St Edmund King and Martyr viewed from a vantage in Lombard Street in the City of London. Hand signed by the artist in pencil at the bottom of the image.£450 -
Nathaniel Sparks, Westminster from the Horseguards,
£450Nathaniel Sparks, Westminster from the Horseguards,
Mounted and in its original frame, an original dry-point engraving by the artist and painter-etcher Nathaniel Sparks showing the North Door and Lady Chapel of Westminster Abbey viewed across Parliament Square. Signed proof impression from the only edition.£450 -
Nathaniel Sparks, St. Botolphs Church,
£450Nathaniel Sparks, St. Botolphs Church,
Mounted and in its original frame, an original dry-point engraving by the artist and painter-etcher Nathaniel Sparks showing St Botolph's church on Bishopsgate in the City of London. The corner building in the middle foreground is the White Hart Inn which had existed as a hostelry continuously on the site since 1377 until it was closed for commercial redevelopment in 2014. Signed by the artist.£450 -
Nathaniel Sparks, St. James Palace,
£450Nathaniel Sparks, St. James Palace,
Mounted and in its original frame, an original dry-point engraving by the artist and painter-etcher Nathaniel Sparks showing the north gatehouse of St James's Palace viewed across Pall Mall from the east side of St James's Street. Signed by the artist.£450 -
Nathaniel Sparks, Waterloo Bridge,
£450Nathaniel Sparks, Waterloo Bridge,
Mounted and in its original frame, an original dry-point engraving by the artist and painter-etcher Nathaniel Sparks showing the northernmost arch of Old Waterloo Bridge with Charing Cross and Westminster bridges beyond and the Palace of Westminster in the distance. Signed by the artist.£450 -
Old Maid on a Journey,
£450Old Maid on a Journey,
An original framed hand-coloured etching and engraving by caricaturist James Gillray. The corpulent figure of the independent polymath, antiquarian and collector Miss Sarah Sophia Banks is depicted being shown into the best bedroom of an Inn followed by a grotesque retinue of gurning servants carrying her assorted baggage. Miss Banks was a prolific collector of printed emphemera including broadsheets, newspaper clippings, visiting cards, caricatures, advertisements and playbills as well as being a leading numismatist of her day. Her great library of volumes on ancient coins as well as her capacious collection of the coins themselves was gifted to the nation upon her death and are now spread over the Royal Mint, The British Library and British Museum. One of the 18th Century's brilliant but unacknowledged women, Sarah Banks was the sister of the famous botanist Joseph Banks who sailed with Captain Cook to New South Wales. According to recent scholarship as well as editing her brother's manuscripts she often conversed with him on their subjects and many of her ideas were incorporated into his writings. Perhaps puzzlingly, given the warm and close friendship which was said to exist between Gillray and his wealthy female patron, Miss Banks is depicted as a obscenely fat and ugly. One can only speculate on the nature of the comedy and manners of the time (not to mention the sense of humour of the subject) when interpreting the comic effect of this print.£450 -
Sir Henry Irving
£450 -
The Customs House by Thomas Bush Hardy
£450The Customs House by Thomas Bush Hardy
Showing the Pool of London with the Customs House. Signed, framed in dark wood.£450 -
Still-life of Fruit
£450 -
The Works of New London Bridge by Edward William Cooke RA,
£450The Works of New London Bridge by Edward William Cooke RA,
A hand-coloured engraving by George Cooke of a drawing by his son Edward William Cooke RA, from 'The Works of New London Bridge'. In 1800 it was first proposed that the inconvenient medieval bulk of old London bridge should be removed to ease traffic on the Thames and a competition was held to design a replacement. In 1824, the plans of the engineer Sir John Rennie were accepted and a site was chosen 180 feet west of the old bridge. On June 15, 1825, the Lord Mayor of London, John Garratt, laid the first block of Dartmoor granite in the presence of the Duke of York. For a short time Londoners were able to view both the old bridge and the new side-by-side. It was to be a structure of 5 arches, over 928 feet long and 49 feet wide. When the new bridge was finished and opened by King William and Queen Adelaide in 1831, traffic switched to the huge new structure and the demolition commenced on the old bridge. Edward William Cooke (1811 - 1880) was a draughtsman, illustrator, wood engraver, etcher and painter of rural and coastal scenes in oil and watercolour. In this print Cooke shows new London bridge in the middle stages of construction with the forms for the arches still in place. On the far bank of the Thames the viewer can see the Fishmongers Hall, the steeple of St Magnus the Matryr church and The Monument.£450 -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
An Art Deco composition stone lion mask,
£450 -
Nineteenth century bronze of the Heroic Putti,
£450Nineteenth century bronze of the Heroic Putti,
modelled holding shield and sword aloft on circular Aswan marble plinth base, possibly German, after the originals from the Mariensäule column in Munich by Ferdinand Murmann.£450 -
One of a series of plans and drawings referred to in the third report from the select committee upon the improvement of the Port of London
£450One of a series of plans and drawings referred to in the third report from the select committee upon the improvement of the Port of London
A framed print showing Plate XXI - "Copy of a design by Sir Christopher Wren, for re-building the City of London after the Great Fire in 1666, from an original in the library of All-Soul's College, Oxford"£450 -
A hand-worked copper tray of intricate design,
£430A hand-worked copper tray of intricate design,
of octagonal form, pressed, pierced, punched and chased with varied foliate motifs,£430 -
Kew Palace by Hubert Williams (1905-1989)
£425Kew Palace by Hubert Williams (1905-1989)
Kew Palace. Hubert Williams was an accomplished artist and illustrator who had the confidence to include the detail of everyday life in his views. Signed. Framed£425 -
An English plaster relief-cast figurative roundel,
£425An English plaster relief-cast figurative roundel,
the seated female figure modelled in relief proffering grapes to a needy putto,£425 -
Osaka Castle (大阪城)
£420Osaka Castle (大阪城)
Born in Kobe 1923, Yuzaburo started studying woodblock print making with his father when he was eight years old. At the age of nineteen, his skill was such that he exhibited at the 11th Nihon Hanga Kyōkai (Japan Print Association) exhibition, winning a first prize, but it was not until he graduated from Kwansei Gakuin University in 1947, an education that was interrupted by the 1942 wartime Student Mobilization Order., that he became a full-time print maker. After the death of his father in 1965, Yūzaburō was to go on to become a leader in the creative print genre (sosaku hanga) in the Kansai region. was a member of Japan Print Association and a member of Kokuga Association£420 -
Tenjin Festival (天神祭)
£420Tenjin Festival (天神祭)
Born in Kobe 1923, Yuzaburo started studying woodblock print making with his father when he was eight years old. At the age of nineteen, his skill was such that he exhibited at the 11th Nihon Hanga Kyōkai (Japan Print Association) exhibition, winning a first prize, but it was not until he graduated from Kwansei Gakuin University in 1947, an education that was interrupted by the 1942 wartime Student Mobilization Order., that he became a full-time print maker. After the death of his father in 1965, Yūzaburō was to go on to become a leader in the creative print genre (sosaku hanga) in the Kansai region. was a member of Japan Print Association and a member of Kokuga Association£420 -
‘Ostende’, a framed oil on artist’s board,
£420‘Ostende’, a framed oil on artist’s board,
depicting the port of Ostend, in moulded gilt composition frame; signed, titled and dated to the front and reverse,£420 -
Kittens and Rabbits
£420 -
All Hallows, Barking by the Tower by Hubert Williams (1905-1989)
£420All Hallows, Barking by the Tower by Hubert Williams (1905-1989)
All Hallows, Barking by the Tower. Hubert Williams was an accomplished artist and illustrator who had the confidence to include the detail of everyday life in his views. Signed. Framed£420 -
‘The signal is against holiday travel this Easter’
£420‘The signal is against holiday travel this Easter’
Born in Yarmouth, Reginald Mayes’ career began in the design studio of the Eastern Daily Press in Norwich. He moved to London where he designed water marks for paper manufacturers and studied life drawing at the Regent Street Polytechnic and Lithography under Gardiner, Clive. In the early 1930s he became chief staff artist at the London Midland and Scottish Railway public relations department, designing leaflets and posters. In the Second World War, Mayes produced a wide range of anti-travel and propaganda posters for the Railway Executive Committee. They discouraged railway travel with some humorous slogans such as ‘The signal is against holiday travel this Easter’. After the war he did freelance work before retiring to Kent where he relaxed painting landscapes.£420 -
Sad Sloppy Weather
£400Sad Sloppy Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gilray depicting a prosperous, elderly gentleman walking along a soggy pavement past mean dwellings after a rain shower. Holding a closed and reversed umbrella as a walking-stick he examines his white stockings as they become soiled with the filth of the poorly paved street.£400 -
Raw Weather
£400Raw Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gilray depicting a sour faced, skinny gentleman walking along a country road on a raw, dry, freezing, winters day. Wrapping his coat close against the biting cold he grimaces in discomfort.£400 -
Very Slippy Weather
£400Very Slippy Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gillray. "An elderly man bumps violently on the pavement outside Hannah Humphrey's print shop in a sitting position; his legs (in tasselled Hessians) fly up, but he carefully holds a thermometer in a vertical position. Hat and wig fly off, coins pour from his breeches pocket, a snuff-box bowls away, a dog barks at him. He is unobserved by four men who gaze at the shop-window, and by a grotesquely ugly ragged boy with skates, who walks past, intent on the window. he shop-front is depicted in detail: a glass-paned door (r.), with a fan-light above it. 'Humphrey' over the door; 'N° 27' on the door-post. Through the glass door two men, one a fat drink-blotched parson, are seen inspecting 'Catholic Emancipation'. Next the door (l.) is a bow-fronted shop-window, every pane filled with one of Gillray's prints. The upper rightow are (l. to r.): 'Taking Physick' , 'A Gentle Emetic', 'A Brisk Cathartic' .'Breathing a Vein' , 'Charming Well again', all probably drawn by Sneyd. The next row: 'in at the Death', 'French Gingerbd Baker', 'King of Brobdingg & Gulliver', 'Kick at ye Broad Bottoms', 'Oh that this too Solid Flesh'. The titles of the four following are hidden by the heads of the window-gazers: ['A Decent Story'] , ['Ladies Dress, as it soon will be,'] , ['Two-Penny Whist'], a print, largely obscured, and probably drawn to fill a small space: a man raises a club to smite down Napoleon, whose head, cocked hat, and hands only are visible, 'Palemon & Lavinia'. The lower prints are hidden by the railings. " - British Museum listing£400 -
Dreadful Hot Weather
£400Dreadful Hot Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gilray in which a corpulent city merchant pauses on the highway next to a milestone on which he has placed his hat and gold tipped walking stick. His waistcoat unbuttoned and holding his horsehair wig in his left hand he pauses to mop his brow all while being stung by insects beneath a burning sun. Though set in fields and near a windmill, the person of the merchant and the milestone likely indicate he is visiting a coutry tavern a short walk from London£400 -
Delicious Weather
£400Delicious Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gillray. A smartly dressed, rosy cheeked gentleman enjoys a pinch of snuff in the fine summer weather.£400 -
Fine Bracing Weather
£400Fine Bracing Weather
A framed and mounted, hand coloured engraving by the Georgian satirist James Gillray. A stout, well dressed, gentleman skates across a forzen pond on a clear, cold, icy early winters day.£400 -
Brass model of a rearing horse,
£400 -
The Cobbler’s Cure for a Scolding Wife
£395The Cobbler’s Cure for a Scolding Wife
A framed, hand-colored etching by Thomas Rowlandson, published by Thomas Tegg. A study in human savagery. A cobbler stands over his wife, a grimacing virago who is tied to a chair with her wrists bound. With his awl between his teeth he pulls at the thread with which he is stitching up her mouth. A buxom young woman leans delightedly over the pair, lighting the work with a small candle. Rowlandson was a chronicler of London life both low and high. Less inclined to political comment than his contemporaries Gilray and Cruikshank he chose instead to focus of the foibles, fancies and failings of common society. His drawings were always harsh and frequently grotesque, even repulsive. The figures in his work are rarely, if ever, held up for our admiration but rather in accordance with his maxim of 1802 that "Man is the only creature endowed with the power of laughter, is he not also the only one that deserves to be laughed at?" Rowlandson's designs were usually executed in outline with the reed-pen, and delicately washed with colour. They were then etched by the artist on the copper, and afterwards aqua-tinted usually by a professional engraver, the impressions being finally coloured by hand.£395 -
Awkward Squads Studying the Graces
£395Awkward Squads Studying the Graces
A framed, hand-colored etching by Thomas Rowlandson after G. M. Woodward, published by Thomas Tegg. Six comic, caricatured society types are cajoled and corrected by French dancing masters into performing the steps of a fashionable new dance. By the late 18th Century the term 'awkward squad' had passed from military cant into common usage as a description of a group of raw recruits incapable of understanding discipline or not yet sufficiently trained or disciplined to properly carry out their duties. Here Rowlandson, in one of his favourite recurring themes, lampoons the modish aspirations of the would-be fashionable set as they are 'drilled' by their hired dancing masters.£395 -
Lord Leighton, Wedded,
£395 -
A relief-cast plaster pilaster capital,
£395A relief-cast plaster pilaster capital,
the Roman ionic order capital with splayed volutes centred by a lobed urn in forced perspective,£395 -
A relief-cast plaster plaque of the Virgin and Child,
£395A relief-cast plaster plaque of the Virgin and Child,
the veiled Madonna, carved standing half-length in front of a shallow niche and supporting the Christ figure who stands partly on a cushion beside her, His right arm around her neck, His left hand on hers,£395 -
An English relief-cast roundel,
£395 -
The Grand South Walk in Vaux-Hall Gardens, with the Triumphal Arches, Mr Handels Statue, &c.
£380 -
William Lionel Wyllie, The Coal Exchange from the Monument,
£380William Lionel Wyllie, The Coal Exchange from the Monument,
Pencil sketch by acclaimed marine artist William Lionel Wyllie. Initialed W.L.W. framed.£380 -
Alexander Calder lithograph from the Crags and Critters series
£380Alexander Calder lithograph from the Crags and Critters series
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380 -
Alexander Calder lithograph of Three Card Players
£380Alexander Calder lithograph of Three Card Players
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380 -
Tower of London,
£375Tower of London,
Mounted and framed, coloured lithorgraph by the pos war artist and printmaker Jeremy King showing the Tower of London from Tower Bridge.£375 -
Luba female / male stool,
£375Luba female / male stool,
Luba art relates most commonly to the Kings and Chiefs of the Congolese Luba tribe, who would assert their power by display of ceremonial objects during ceremonies. Stools were considered to be the most important of these objects as they would serve not only as a seat but as a receptacle for the Chief’s spirit. The ruler is thus figuratively and literally supported by a caryatid figure - in this case both male and female standing figures. The male is seen with inset cowrie shell eyes, believed by many African tribes to contain divine powers.£375 -
Luba stool
£375Luba stool
Luba art relates most commonly to the Kings and Chiefs of the Congolese Luba tribe, who would assert their power by display of ceremonial objects during ceremonies. Stools were considered to be the most important of these objects as they would serve not only as a seat but as a receptacle for the Chief’s spirit. The ruler is thus figuratively and literally supported by a caryatid figure - in this case a standing female ancestor. The carvings seen on her stomach allude to the maternal - such markings were common among many matrilineal societies in Africa to emphasise and protect the navel as the threshold between oneself, one’s mother and one’s own lineage.£375 -
An English plaster cast of an acanthus leaf,
£375An English plaster cast of an acanthus leaf,
the arched leaf with a delicate serrated edge mounted on a rectangular plaque,£375 -
A View of the Royal Exchange London
£370A View of the Royal Exchange London
A framed and mounted hand-coloured engraving showing the Royal Exchange in its second form as designed and built by the architect Edward Jarman in 1669.£370 -
A View from the Old South Sea House
£370A View from the Old South Sea House
A hand-coloured etching by the Regency satirist Richard Dighton showing the brewer James Curtis. Richard Dighton was the son and apprentice of another noted caricaturist Robert Dighton and brother of the battle-scene painter Denis Dighton. The works of Robert and Richard Dighton are regarded as predecessors of the Vanity Fair style of the late nineteenth century. The series of portraits of City and West End characters to which this etching belongs was started in 1817 and Dighton would go on to publish a number of etchings during the next decade before retiring early to Cheltenham. This edition, of 1824, was printed by Thomas McLean Printseller & Publisher at 26 Haymarket, on the eastern side just north of Panton Street. The subject of the print, James Curtis, was a prominent and prosperous London brewer of the early 19th Century and his portrait, painted by Thomas Lawrence, now hangs in the Manchester Art Gallery. The Old South Sea House mentioned was located on the Threadneedle Street corner of Bishopsgate. The back of it apparently burned down in 1826 and was subsequently rebuilt. The building was the headquarters of the South Sea Company. Incorporated in 1711, the company was assigned a monopoly on British trade with Spanish America but, when that failed, it embarked upon a speculative scheme that ended in the economic collapse known as the ‘South Sea Bubble’ which saw many investors ruined. The building was partly remodeled in the 1850s and was eventually demolished at the end of the 19th century£370 -
Guildhall by Hubert Williams (1905-1989)
£365Guildhall by Hubert Williams (1905-1989)
Pen & Ink drawing by Hubert Williams beautifully capturing the street life of the late 1920's. Signed. Framed£365 -
An English plaster head of the young bearded Hadrian,
£365 excluding socle or mounting block,An English plaster head of the young bearded Hadrian,
the head of the young man, slightly larger thn life size, with short curly locks and head turned slightly to the left, pin mounted,£365 excluding socle or mounting block, -
The Hew Draper graffito tablet
£365The Hew Draper graffito tablet
the rectangular tablet incised with a zodiac wheel, signs of the zodiac, numbers and dates for the casting of horoscopes, bearing the inscription "HEW DRAPER OF BRISTOW (Bristol) MADE THIS SPEER (sphere) THE 30 DAYE OF MAYE, 1561" and a founder's stamp "No.1.S"
£365 -
Company shocked at a lady getting up to ring the bell,
£360Company shocked at a lady getting up to ring the bell,
A hand-coloured satirical etching by James Gillray, Published by Hannah Humphrey. Five men are depicted courting a wealthy widow in her luxuriously furnished breakfast parlour over boiled eggs bread and muffins. The widow has risen from her chair to pull a bell-pull while frantic efforts of the suitors to stop her have produced a sequence of disasters. Published by Gillray's long-time and eventual exclusive publisher, Hannah Humphrey. Mrs Humphrey was the sister of engraver William Humphrey and became not only an independent businesswoman in Georgian London but London's leading seller of caricature prints. She began publishing prints in the 1770s at a premises on St Martin’s Lane before moving, first to Old Bond Street, then New Bond Street before finally settling at 27 St James’s Street. James Gillray lodged with Mrs Humphrey for twenty tears from 1791 and although some suspected an illicit relationship it was in all probability a commercial and platonic friendship. Mrs Humphrey cared for Gillray as his sight failed him and later tended to him during the alcohol induced madness of his last five years of life.£360 -
A relief cast plaster plaque of Andrea di Bono,
£360A relief cast plaster plaque of Andrea di Bono,
the portrait head carved in deep relief turning a sinestra, the young man depicted with cloaked shoulders and framed within a scallop shell,£360 -
Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
£350 eachParadisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
John Parkinson, born c1566, started his working life in medicine, beginning his apprenticeship to a London apothecary. He went on to become one of the most respected apothecaries in Britain. He was elected junior warden of the Society of Apothecaries in August 1620 but at the beginning of 1622, he asked for, and was granted, permission to give up his duties in the Society and then concentrated on his garden in London's Long Acre. Here he started researching and writing his first book: Paradisi in sole paradisus terrestris, and maintained close relations with other important English and Continental botanists, herbalists and plantsmen.£350 each -
Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
£350 eachParadisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
John Parkinson, born c1566, started his working life in medicine, beginning his apprenticeship to a London apothecary. He went on to become one of the most respected apothecaries in Britain. He was elected junior warden of the Society of Apothecaries in August 1620 but at the beginning of 1622, he asked for, and was granted, permission to give up his duties in the Society and then concentrated on his garden in London's Long Acre. Here he started researching and writing his first book: Paradisi in sole paradisus terrestris, and maintained close relations with other important English and Continental botanists, herbalists and plantsmen.£350 each -
Paradisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
£350 eachParadisi in Sole Paradisus Terrestris by John Parkinson (1567-1650)
John Parkinson, born c1566, started his working life in medicine, beginning his apprenticeship to a London apothecary. He went on to become one of the most respected apothecaries in Britain. He was elected junior warden of the Society of Apothecaries in August 1620 but at the beginning of 1622, he asked for, and was granted, permission to give up his duties in the Society and then concentrated on his garden in London's Long Acre. Here he started researching and writing his first book: Paradisi in sole paradisus terrestris, and maintained close relations with other important English and Continental botanists, herbalists and plantsmen.£350 each -
Dorothy Woollard, St. Martin in the Fields,
£350Dorothy Woollard, St. Martin in the Fields,
A framed and mounted original etching by Dorothy Woollard of St Martin-in-the-Fields church, Trafalgar Square. Signed in pencil by the artist.£350 -
A late Arrival at Mother Wood’s
£350A late Arrival at Mother Wood’s
Hand-coloured etching by George Cruikshank, published by Mr George Humphrey. The scene depicts Caroline of Brunswick, the estranged wife of the newly ascended King George IV, saluting and addressing an adoring crowd from the balcony of Alderman Wood's residence in South Audley Street, London. Alderman Woods was a low-born hop merchant who's investments in a colouring agent for porter had supplied him with the means to further career in Radical politics. He achieved an almost unprecedented two-term mayoralty of the City of London where his opposition to the governments repressive domestic legislation and condemnation of the Peterloo massacre, as well as his perceived upstart vulgarity, made him a hate-figure for Tories and Loyalists. His Whig-Radicalism continued into his term as MP for the City of London and when, in 1820 he saw the chance to embarrass the King and his adherents by the return of his absent and unloved wife, he took it boldly. Woods persuaded Caroline of Brunswick to terminate the discreet ongoing negotiations for a settlement she had been engaged in with the King and instead return, splendidly and publicly, to the capital to assert her claim to be rightful Queen of England. Alderman Woods arranged for Caroline to be conveyed in an open carriage through the heart of London to his house on South Audley Street where she became the unlikely figure-head of Radical Whiggery in the metropolis. The diarist Charles Greville noted of the procession to the house on the 6th of June 1820: "The Queen arrived in London yesterday at seven o’clock… She travelled in an open landau, Alderman Wood sitting by her side and Lady Anne Hamilton and another woman opposite. Everybody was disgusted at the vulgarity of Wood in sitting in the place of honour, while the Duke of Hamilton’s sister was sitting backwards in the carriage". Caroline would spend the next two months at South Audley Street where the the great and the good of British radicalism paid her court amidst the crowds outside South Audley Street.£350 -
Songye Kilumwe Kifwebe mask (A)
£350Songye Kilumwe Kifwebe mask (A)
Very large Kifwebe mask with exaggerated sagittal crest. It is believed that the sagittal crest and conical protrusion contain the magical strength of the mask.£350
Featured Items
-
Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
£500Portraits Part I by Constantin Guys, Verve Vol 2 / No. 5-6.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£500 -
The Four Elements, Fire by Abraham Rattner, Verve Vol. 1 / No. 1.
£600The Four Elements, Fire by Abraham Rattner, Verve Vol. 1 / No. 1.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600 -
The Four Elements, Earth by Francisco Bores, Verve Vol. 1 / No. 1.
£600The Four Elements, Earth by Francisco Bores, Verve Vol. 1 / No. 1.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600 -
The Four Elements, Water by Fernand Leger, Verve Vol. 1 / No. 1.
£600The Four Elements, Water by Fernand Leger, Verve Vol. 1 / No. 1.
The Verve Review was a purposefully luxurious. It ran from 1937 to 1960, but with only 38 editions available, due to the high degree of design and editorial work dedicated to each issue. Each edition contained unique lithographic prints, commissioned by the editor, and each cover a double-page lithograph elaborated by one of the artists contained within. It was the brainchild of its editor Stratis Eleftheriades, a Greek National who moved to Paris in the early thirties to take part in the growing Modernist movement, writing under the name of Teriade.£600