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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.
1231 items found
Page 5 of 13
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How Pickles Thought it was Jolly To Be Rough With The Poor Dolly
£270How Pickles Thought it was Jolly To Be Rough With The Poor Dolly
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows Sad But True, How Magog Was Bitten In Two
£270Which Shows Sad But True, How Magog Was Bitten In Two
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows How A Naughty Dog Behaves To A Gollywog
£270Which Shows How A Naughty Dog Behaves To A Gollywog
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
Which Shows Pickles Enjoys Discovering Gwen’s Best Toys
£270Which Shows Pickles Enjoys Discovering Gwen’s Best Toys
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
A Puppy Dog’s Tale
£270A Puppy Dog’s Tale
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£270 -
A Successful First Speech,
£270A Successful First Speech,
Framed chromolithograph by SPY (Sir Leslie Ward) picturing Mr Fredrick Edwin Smith, later 1st Earl of Birkenhead, MP for Liverpool Walton and boon companion of Sir Winston Churchill until his early death. The subtitle, 'Moab is my Washpot', is from psalm 108 and is a proverbial declaration of total triumph over vanquished foes. F.E Smith is famed in Parliamentary history for his maiden speech in the House, known as 'I Warn The Government', described by the late Paul Johnson as "without question the most famous maiden speech in history, quite unprecedented, and never equalled since." In it he accused the Liberal government of arrogance, dishonesty and heavy handedness after their landslide victory at the election of 1906. He managed to catch David Lloyd George in a clear untruth and won the begrudging admiration of all sides of the house. He declared, in response to a suggestion by Lloyd George to the churches of Wales that the Tories wanted to 'introduce slavery to the hills of Wales' that: "I have no means of judging how heaven will deal with persons who think it decent to make such suggestions. The distinction drawn by the Right Hon. Gentleman is more worthy of the county court than of the Treasury Bench." He then went on famously to declare: "I venture to warn the government that the people of this country will neither forget nor forgive a party which, in the heyday of its triumph, denies to the infant Parliament of the Empire one jot or tittle of that ancient liberty of speech which our predecessors in this House vindicated for themselves at the point of the sword." He was a, according to the ONDB a 'champion of hard-drinking patriotic men' in the face of the temperance movement before his early death of cirrhosis of the liver.£270 -
An English plaster cast of a Greek Ionic capital,
£265An English plaster cast of a Greek Ionic capital,
the spirally cast volutes above a flat pilaster header,£265 -
Monkeys – Full-Bottom Monkey,
£260 EachMonkeys – Full-Bottom Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Striated Monkey, Red Tailed-Monkey,
£260 EachMonkeys – Striated Monkey, Red Tailed-Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Oran Otan
£260 EachMonkeys – Oran Otan
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Great-Eared Monkey, and Fair Monkey,
£260 EachMonkeys – Great-Eared Monkey, and Fair Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Cochinchina Monkey,
£260 EachMonkeys – Cochinchina Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Oran Otan,
£260 EachMonkeys – Oran Otan,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Black Oran-Otan,
£260 EachMonkeys – Black Oran-Otan,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Dog-Faced Baboon,
£260 EachMonkeys – Dog-Faced Baboon,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Pygmy Ape, and Alpinus Ape,
£260 EachMonkeys – Pygmy Ape, and Alpinus Ape,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Hare-Lipped Monkey, and Lion-Tailed Monkey,
£260 EachMonkeys – Hare-Lipped Monkey, and Lion-Tailed Monkey,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Spotted, or Diana Monkey and Mona,
£260 EachMonkeys – Spotted, or Diana Monkey and Mona,
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Monkeys – Horned Monkey and Four-Fingered Monkey
£260 EachMonkeys – Horned Monkey and Four-Fingered Monkey
The English Encyclopaedia was published in 1802 by George Kearsley and it gave an unusual insight into early 19th century new discoveries in zoology.£260 Each -
Waltham Cross by Hubert Williams (1905-1989)
£260Waltham Cross by Hubert Williams (1905-1989)
Hubert Williams was an accomplished artist and illustrator who had the confidence to include the detail of everyday life in his views. Signed. Framed£260 -
La Mosca Roja, Spanish political poster.
£250La Mosca Roja, Spanish political poster.
A framed Spanish political poster depicting a moustachoied figure, possibly Fransisco Serrano, 1st Duke of La Torre. He is shown dressed in harlequinade and mounted on a white hare proffering a scroll of reactionary and traditionalist demands while dark smoke, containing 'grand hopes' escapes from a breach in his skull. Cannons ppint out from behind his ears and The Pope is secreted between his eyes. Printed in Barcelona in the 1880s.£250 -
La Mosca Roja, ‘La Caminito de Moscou’
£250La Mosca Roja, ‘La Caminito de Moscou’
A framed chromolithographic Spanish political cartoon of the 1880s showing a heavily armed figure walking through a minefield towards the domes and towers of the Moscow Kremlin with a bad of Seville oranges on his hip. A cloud of disembodied demonic heads are ranged in a wintry sky while the word 'Nihilism' is written in smoke accross the heavens. In 1881 Tsar Alexander II had been assasinated in St Petersburg by the Revolutionary Socialist, Nihilist secret society, Zemlya i volya.£250 -
General The Earl of Mulgrave,
£250General The Earl of Mulgrave,
A hand coloured, framed mezzotint of Henry Phipps, the 1st Earl of Mulgrave after an original painting by John Hoppner. Baron (later Earl) Mulgrave served the King during the American Rebellion and in Europe during the French revolutionary wars. He later entred politics serving as Foreign Secretary and later as First Lord of the Admiralty where he was involved in the planning of the naval expedition against Copenhagen.£250 -
Little Church Street, Chiswick’
£250Little Church Street, Chiswick’
A signed watercolour by Josephine Ghilchick (née Matley Duddle) showing Church Lane in Chiswick, West London.£250 -
Which Shows How There’s Many A Tip Between The Jug And Lip
£250Which Shows How There’s Many A Tip Between The Jug And Lip
A framed and mounted original Edwardian colour plate by the the British artist and illustrator Cecil Aldin.£250 -
Tess,
£250Tess,
Framed Chromolithograph by Spy (Leslie Ward) depicting Thomas Hardy, novelist author, poet and architect. Writer of controversial and socially engaged novels such as Tess if the D'urbervilles, Jude the Obscure and popular classics such as Far from the Madding Crowd and The Mayor of Casterbridge. He lived to be appointed to the Order of Merit and his ashes are interred in Poets Corner, Westminster Abbey.£250 -
Cricket, Railways, and Agriculture,
£250Cricket, Railways, and Agriculture,
A framed chromolithograph by Spy (Sir Leslie Ward) picturing Charles George Lyttleton, 8th Viscount Cobham, Liberal MP for East Worcestershire. A first class cricketer who played 35 first class matches in his life, he was elected President of the Marylebone Cricket Club in 1888. Cobham was also a member of the Tennis Committee of the MCC and was responsible for framing standardised rules for the new sport of lawn tennis. These unified Laws of Lawn Tennis were published on 29 May 1875.£250 -
Pelican wall tile panel
£250 -
Kusu Nsembu mask
£250Kusu Nsembu mask
The Nsembu mask was used exclusively by members of the Nkunda Secret Society for the purposes of adult initiation and divination; the mask representing the diviners spirit. The chequered pattern may represent the interaction of opposites - day and night, man and woman, good and evil - within ones spiritual journey. It is also reminiscent of certain scarification practices. The Kusu people inhabit the Ituri rainforests, located in the northeastern part of the Congo.£250 -
Tchokwe Pwo mask,
£245Tchokwe Pwo mask,
The Pwo is a classic Chokwe mask genre that honours their founding female ancestries as guardians of fertility and procreation. Chokwe masks were made and worn by men, often performed during the celebrations that mark a completion of initiation into adulthood and with means to honour women who had survived the difficulty of childbirth.£245 -
A relief cast plaster mask fragment of a Mesopotamian king,
£245A relief cast plaster mask fragment of a Mesopotamian king,
the male with ornate headwear and full beard,£245 -
William Nicholson, London Types,
£245William Nicholson, London Types,
From a set of framed original woodblock prints, c1898. With original mounted poem relating to the image on reverse. "When William Nicholson designed his stylish 'London Types' in 1898 - that together with his 'Almanac of Twelve Sports' and 'An Illustrated Alphabet' were to make his reputation as a printmaker - his son Ben, who was to eclipse him entirely in the history of British Art through his Modernist works, was only five years old. While working within the culture of the British popular print, William Nickerson deliberately chose to use the coarse-grained side of the wood block in his wood cuts, in a style that owed more to Toulouse Lautrec and Japanese precedents than to native visual traditions - which give these prints an innovative quality, even as they might seem to be celebrating unchanging roles in British society. Although not strictly 'Cries of London,' some of these characters are familiar from earlier series of prints stretching back over the previous centrury and, recognising this, Nicholson portrays them as quaint curiosities from another age. In each case, the ironic doggerel by W.E. Henley that accompanied them poked fun at the anachronistic nature of these social stereotypes, through outlining the ambivalent existence of the individual subjects - whether the street hawker displaced in Kensington far from his East End home, or the aristocratic lady at Rotten Row challenged by her suburban counterparts, or the drunken Sandwich-man displaying moral texts, or the fifteenth generation Bluecoat boy at Charterhouse School in Smithfield now moved out to Horsham." - The Gentle Author.£245 -
The Effusions of Loyalty, to be performed this evening at Vauxhall Gardens
£240The Effusions of Loyalty, to be performed this evening at Vauxhall Gardens
Written by M.P. Andrews, Esq. and composed by Mr. Hook£240 -
Kusu Nsembu mask
£240Kusu Nsembu mask
The Nsembu mask was used exclusively by members of the Nkunda Secret Society for the purposes of adult initiation and divination; the mask representing the diviners spirit. Painted with natual coloured pigments, its design is reminiscent of certain scarification practices. The Kusu people inhabit the Ituri rainforests, located in the northeastern part of the Congo.£240 -
Pair of faux bamboo picture frames,
£240 the pairPair of faux bamboo picture frames,
Smaller frame is 7 cm x 9 cm high x 2 cm deep, the aperture is 5 cm x 7 cm, Larger frame is 12 cm x 15 cm high x 2.5 cm deep, the aperture is 8.5 cm x 12 cm.£240 the pair -
Pair of green marble bookends,
£240 per pairPair of green marble bookends,
each pair of the polished book-ends, rectangular in section and with mouldings to the top edge, some with chips.£240 per pair -
Original 18th century anatomy print,
£240Original 18th century anatomy print,
Copper engraving of the Science of Anatomy. Engraved by Royce and published by Alexander Hogg in1788. Framed.£240 -
Original 18th century anatomy print,
£240Original 18th century anatomy print,
Copper engraving of the Science of Anatomy. Engraved by Royce and published by Alexander Hogg in1788. Framed.£240 -
A series of English printed posters, automotive exploded-view diagrams,
£240 eachA series of English printed posters, automotive exploded-view diagrams,
the posters, landscape in format, demonstrating the components of the British-made family saloon: "Engine External Components". Rear Suspension and Drum Brakes" etc.£240 each -
A pair of plaster Sphinx, cast in relief
£240 -
A cast plaster acanthine flowerhead roundel,
£230A cast plaster acanthine flowerhead roundel,
the spirally modelled leafy flowerhead emanating from a central boss,£230 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
£225Natural History of Carolina, Florida and the Bahama Islands, published 1729 – 1747.
Mark Catesby was born in Essex to a family owned a farm and house, Holgate, in Sudbury, Suffolk. His acquaintance with the naturalist Reverend John Ray, a leading English naturalist of the late 17th century and co-author of an early classic study on birds started Catesby’s life-long becoming interest in natural history, which he went on to study in London. His life changes when in 1712, he arrived at Williamsburg, Virginia, accompanying his married sister Elizabeth Cocke and two of her children. During his seven-year stay in Virginia that Catesby developed a passionate in the native flora and fauna. He began collecting botanical specimens, especially seeds, and sending them to friends in England and he met William Byrd II, who was an amateur naturalist, a member of the colonial Council and a Fellow of the Royal Society. When he returned to England in 1719, influential members of the Royal Society, then chaired by Sir Isaac Newton, had learned of his work in the colonies. Led by William Sherard, “one of the most celebrated botanists of the age,” members began soliciting sponsors to finance Catesby for a botanical expedition to South Carolina. By 1722, Catesby was again crossing the Atlantic to further his work in the New World. Catesby, was one of the first people to recognize how natural and man-made destruction and depredation of a species’ habitat lead to extinction. He was the first to depict birds, in conjunction with environmentally relevant plants. He returned to England in 1726, and then spent the subsequent two decades years developing his work that would eventually be published as, "The Natural History of Carolina, Florida, and the Bahama Islands" It was first fully illustrated study of the natural history of North America and the most comprehensive to date. Working virtually alone, Catesby personally oversaw every aspect of the work’s production, even learning the difficult art of etching on copper plates. To finance this expensive printing project, Catesby sought subscriptions, offering his book in sections of 20 plates to be published every four months. Published in eleven sections and featuring more than 220 hand-coloured etchings. Published in eleven sections and featuring more than 220 hand-coloured etchings. He personally presented the first section to Her Majesty Queen Caroline in May 1729, and later he dedicated the first volume of the Natural History to her. Following a collapse, Mark Catesby died at his home on Old Street, London, on 23 December 1749, and he was buried in the churchyard of St Luke’s Church£225 -
An English relief cast plaster lidded half-urn
£225An English relief cast plaster lidded half-urn
the vase-shaped body with wrythen flutes raised on a socle foot,
£225 -
Fruit Growers Guide – Portugal Quince, Durondeau, Van Mons Leon le Clerc, Gansel’s Bergamot,
£220 EachFruit Growers Guide – Portugal Quince, Durondeau, Van Mons Leon le Clerc, Gansel’s Bergamot,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Nouvelle Fulvie, Easter Beurré, Olivier de Serres,
£220 EachFruit Growers Guide – Nouvelle Fulvie, Easter Beurré, Olivier de Serres,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Muscat of Alexandria, Madresfield Court,
£220 EachFruit Growers Guide – Muscat of Alexandria, Madresfield Court,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Gascoigne’s Seedling, Sandringham,
£220 EachFruit Growers Guide – Gascoigne’s Seedling, Sandringham,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Doyenné du Comice, Beurré Superfin, Souvenir du Congrès,
£220 EachFruit Growers Guide – Doyenné du Comice, Beurré Superfin, Souvenir du Congrès,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Milton, Goldoni, Victoria, Newton, Stanwick Elruge,
£220 EachFruit Growers Guide – Milton, Goldoni, Victoria, Newton, Stanwick Elruge,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Tom Putt, Wealthy, Queen Caroline,
£220 EachFruit Growers Guide – Tom Putt, Wealthy, Queen Caroline,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Green Gage, Red Warrington, Red Champagne, Yellow Champagne, White Smith, Pitmaston Green Gage,
£220 EachFruit Growers Guide – Green Gage, Red Warrington, Red Champagne, Yellow Champagne, White Smith, Pitmaston Green Gage,
Published by John Wright in 1894.£220 Each -
Fruit Growers Guide – Duke of Buccleuch, Gros Colman, Lady Downe’s Seedling,
£220 EachFruit Growers Guide – Duke of Buccleuch, Gros Colman, Lady Downe’s Seedling,
Published by John Wright in 1894.£220 Each -
The Hon. Edward Boscawen
£220The Hon. Edward Boscawen
A framed and mounted three-quarter-length mezzotint portrait of Edward Boscawen (1711–1761) hero of the battle of Porto Bello during the War of Jenkins' Ear in 1739. His bravery earned him the naval nickname "Old Dreadnaught". Depicted wearing flag officer’s undress uniform and a wig. Boscawen stands on the rocky shore, and with his back to a stormy sea. A ship is visible in the distance on the left. This portrait was engraved in mezzotint by James Macardell and published by in London in 1757 by Robert Sayer. It is engraved after an original full-length painting by Sir Joshua Reynolds, which was painted between 1755 and 1757. Reynolds' painting remains in the possession of the Boscawen family under the current Lord Falmouth.£220 -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Northern Hemisphere’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Northern Hemisphere’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Southern Hemisphere’.
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Constellations of the Southern Hemisphere’.
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Phases of the Planet Saturn’
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Phases of the Planet Saturn’
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
Early British natural history copper engravings – A Roe Buck, The Hart,
£220 eachEarly British natural history copper engravings – A Roe Buck, The Hart,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Merlin, The Honey Buzzard,
£220 eachEarly British natural history copper engravings – A Merlin, The Honey Buzzard,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Kite, The Mountain Falcon,
£220 eachEarly British natural history copper engravings – A Kite, The Mountain Falcon,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – An Ape, The Bear Ape, The Fox Ape,
£220 eachEarly British natural history copper engravings – An Ape, The Bear Ape, The Fox Ape,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Porcupine, A Badger, A Hedg Hog,
£220 eachEarly British natural history copper engravings – A Porcupine, A Badger, A Hedg Hog,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Jay, The Toucan, The Roller,
£220 eachEarly British natural history copper engravings – A Jay, The Toucan, The Roller,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Robin Red Breast, Sky Lark,
£220 eachEarly British natural history copper engravings – Robin Red Breast, Sky Lark,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
£220 eachEarly British natural history copper engravings – Turtle Dove, Stock Dove, Runt, Cropper, Broad-Tail’d Shaker,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
£220 eachEarly British natural history copper engravings – Marsh Titmouse, A Wren, Crested Titmouse, Blue Titmouse, Indian Sparrow, Long-Tailed Titmouse,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Ounce, A Rompo, A Buffalo
£220 eachEarly British natural history copper engravings – The Ounce, A Rompo, A Buffalo
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Vulture, The Buzzard,
£220 eachEarly British natural history copper engravings – The Vulture, The Buzzard,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Sterling, Ring Ouzel, Black Martin, The Martin,
£220 eachEarly British natural history copper engravings – Sterling, Ring Ouzel, Black Martin, The Martin,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Opossum, The Potto, The Coati Mondi, The Tatus,
£220 eachEarly British natural history copper engravings – Opossum, The Potto, The Coati Mondi, The Tatus,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Turkey, A Cock, A Pheasant’,
£220 eachEarly British natural history copper engravings – A Turkey, A Cock, A Pheasant’,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Baboon, Monkeys,
£220 eachEarly British natural history copper engravings – A Baboon, Monkeys,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
£220 eachEarly British natural history copper engravings – Kingfisher, Hoopoe, Bee-Eater, Water Ouzel,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Mastiff, A Bull Dog, A Greyhound,
£220 eachEarly British natural history copper engravings – A Mastiff, A Bull Dog, A Greyhound,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – The Camelopardal, A Rain Deer,
£220 eachEarly British natural history copper engravings – The Camelopardal, A Rain Deer,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Ruff, Tamatia, Coot,
£220 eachEarly British natural history copper engravings – Ruff, Tamatia, Coot,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Raven, A Crow,
£220 eachEarly British natural history copper engravings – A Raven, A Crow,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Crocodile,
£220 eachEarly British natural history copper engravings – A Crocodile,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – Virginian Nightingale,
£220 eachEarly British natural history copper engravings – Virginian Nightingale,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
Early British natural history copper engravings – A Civet Cat, A Gennet Cat, A Pole Cat, A Common Cat,
£220 eachEarly British natural history copper engravings – A Civet Cat, A Gennet Cat, A Pole Cat, A Common Cat,
Francis Barlow (c. 1626 – 1704) was an English painter, etcher, and illustrator.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cetus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cetus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Canis Major’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Canis Major’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Ophiucus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Ophiucus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Aquila’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Aquila’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Lynx’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Lynx’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cepheus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cepheus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Orion’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Orion’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Indus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Indus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Hercules’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Hercules’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Centaur’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Centaur’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Bootes’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Bootes’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Auriga’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Auriga’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Arco Navis’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Arco Navis’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Pegasus’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Pegasus’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cygnus & Lyra’,
£220 each“The Beauty of the Heavens: A Pictorial Display of The Astronomical Phenomena of The Universe” by Charles Blunt, ‘Cygnus & Lyra’,
In the mid-19th century, Home Education had become very popular for the masses and lecturer, Charles Blunt seeing a gap in the market came up with these illustrations. Blunt who specialised in astronomy and natural philosophy, saw the need for a series of ‘accurate yet popular’ plates illustrating the known Universe. These hand-finished aquatints prints were based on Blunt’s own drawings, depicting celestial and astrological subjects.£220 each -
The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge
£220The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge
The Burning of the Vauxhall Railway Station, seen from Battersea-Bridge, 1856. '...a sudden alarm of fire arose, and the same instant it was discovered that a small ante-room adjoining the booking-office, and occupied by the clerk in charge, was in flames. In a very few moments the fire had extended to the booking office itself; and so remarkably rapid was its progress that the officials present, so far from being able to stay its ravages, were compelled to make a hasty retreat...the fire travelled with the rapidity ot electricity, seizing upon the whole of the offices, then extending to the ticket depots, and finally seizing upon the roof of the station; and burning both upwards and downwards, it assumed such a formidable aspect as to convince everyone that the entire station was doomed to be wholly destroyed...[fortunately] not a single person was injured'.£220
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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 -
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 -
Portrait by Andre Derain, Verve Vol 2 / No. 5-6.
£800Portrait by Andre Derain, 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.£800 -
Head of a Girl by Paul Klee, Verve Vol 2 / No. 5-6.
£800Head of a Girl by Paul Klee, 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.£800