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.
1216 items found
Page 7 of 13
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Stay, Please,
£190Stay, Please,
A framed chromolithograph picturing Mr Justice William Ventris Field, Baron Field of Wakenham. Queen's Council, later Queen's Bench, he oversaw the reorganisation of the court system following the Judicature Act of 1881 which established Judges Chambers in England and served (especially in the court of Chancery) to make trial without a jury the normal mode of trial, except in certain instances. In 1890, he retired from the bench and was raised to the peerage as Baron Field, of Wakenham in the County of Surrey, on 10 April 1890. He had been sworn of the Privy Council earlier the same year.£190 -
Westminster from Vauxhall
£190Westminster from Vauxhall
A hand-coloured engraving by George Cooke of a watercolour by Samuel Prout showing a view across the Thames from the Vauxhall shore towards Westminster Cathedral and the Palace of Westminster. Taken from Cooke's 'Views in London and its Vicinity'. In the immediate foreground we are presented with a scene outside a Lambeth boat-builders yard while barges and wherries crowd the river in the middle distance. On the Westminster shore we can see St John's Smith Square and beyond that the massy bulk of Westminster Abbey, later to sit in a somewhat diminished relation to Barry and Pugin's rebuilt Houses of Parliament of 1840-1876 Samuel Prout was a great favourite of John Ruskin who went as far as to comment in 1844, "Sometimes I tire of Turner, but never of Prout". Prout was noted for his paintings of great European cities and picturesque ruins and particularly for his ability to imbue his subjects with 'breadth and largeness'. George Cooke was leading English line-engraver of the 19th Century and commissioned eight of leading British landscape artists to create works, including this, for his 1826 collection of 'Views in London and its Vicinity'. This is a first edition of 1827. Interestingly the old Palace of Westminster, depicted here, would burn to the ground only seven years after this work was created.£190 -
An English plaster section of frieze
£185An English plaster section of frieze
the frieze comprising fruit-filled campagna urns linked by a laurel swag with a foliate wreath above and ribbon-tied reeds below,£185 -
A plaster cast of an anthemion in relief
£185 -
Cricket at Kennington Oval
£180Cricket at Kennington Oval
Engraved by Henry Winkles from the original study by William Tombleson. Originally published in the part-work series “Tombleson’s Views of the Thames and Medway” (London : 1833-1834).£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Joan Miró, lithographs
£180Joan Miró, lithographs
In 1967, printer Robert Dutrou introduced Joan Miró to a new printmaking technique: Silicon carbide engraving. More commonly known as carborundum, this technique became the artist’s final technical development in his graphic work.£180 -
Lambeth Bridge, by J. H. Wiley
£180 -
St John Gate, Clerkenwell, by J. H. Wiley
£180 -
Bill,
£180Bill,
A framed chromolithograph by ELF picturing Robert Henry Foster, lawyer, author, poet, oarsmen and pioneering Romano-British archaeologist. His excavations at Roman Corbridge on Hadrian's Wall were seminal in the fledgling field of British archaeology. He wrote widely about Hadrian's Wall and the Roman presence in his native Northumberland. A keen oarsman, he rowed in the first boat of his college's Lady Margaret Boat Club and in the crew sent to Henley in 1888, winning both the Thames cup and Ladies plate. He later became joint secretary of the Thames Rowing Club in 1892. Starting out with a legal career in mind, he was called to the Bar in 1892, having been McMahon Law Student the year before. However, his writing soon took precedence, to be joined by his archaeological interests.£180 -
The Ball,
£180 -
A Match for the King’s Plate,
£180A Match for the King’s Plate,
A hand coloured etching by George Cruikshank commenting on the contest for seat of Westminster. George Lamb and John Cam Hobhouse, 1st Baron Broughton are shown astride a lamb, Sir Francis Burdett, 5th Baronet, on a fine but injured charger and Henry 'Orator' Hunt straggles behind on an old carthorse representing the 'Father of Reform' Major John Cartwright. All five figures are shown racing for the winning post at the gate of His Majesty's Treasury with an implication that the contest is for one for both power and political patronage while the twin devils or radical reform and universal suffrage inadvertently 'steal a ride' on the Baronet's charger. The election of 1818 was the first to be staged after the end of the Napoleonic wars and was to become both a distillation of the latent class-conflicts bubbling over in the United Kingdom, and a fore-warning of the growth of militant radicalism that was to envenom and fracture British politics in the early parts of the 19th Century. Sir Francis Burdett was the Radical incumbent in Westminster and yet was firmly set against the new Radicalism which was beginning to colour the politics of the manufacturing districts of the North. This extreme and confident movement for universal manhood suffrage and political reform was by now associated with Henry Hunt, Major Cartwright and the writer and journalist William Cobbett. Caught in a cleft stick by his need both to mollify the prosperous and respectable Westminster electorate and yet maintain his own character as a tribune of the plebeians and Radical leader, Burdett was in a classic political double-bind. To the eye of the exiled Cobbett the Baronet was a placeman and an establishment 'traitor' but to his Tory opponents and the wavering freeholders and burgesses of Westminster he was beginning to appear a dangerous extremist. The suicide of Sir Samuel Romilly, the second member for Westminster, in November 1818 threw the situation wide open and the resulting by-election became something of a national sensation.£180 -
Lega Idimu mask (E)
£180Lega Idimu mask (E)
Similarly to the pipibudze masks of the Kwele tribe, the Lega’s Lukwakongo (miniature) masks have a heart-shaped face framed by a line formed by the nose, the eye rows and the planes of the cheeks. The wooden face is whitened and smoothed with kaolin clay, which is said to allude to the refined and perfected nature of the Bwami initiate, some of whom use the masks during initiation ceremonies. This mask would rarely be worn on the front of the face, but instead on the side of the face, the forehead, tied to the body, displayed on the fences, or dragged across the floor during Bwami meetings and ceremonies. The two faces share a mouth and a beard.£180 -
Kusu Nsembu mask
£180Kusu 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.£180 -
The Victorian auction bill posters of Jonas Paxton,
£180 eachThe Victorian auction bill posters of Jonas Paxton,
each of the advertisements printed on paper, advertising the location and prime lots at an upcoming auction,£180 each -
A cast plaster relief of clustered plums
£180A cast plaster relief of clustered plums
after an original cast by Brucciani and Co. and bearing their stamp,£180 -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals,
£175 eachLinden Botanicals,
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
A large English plaster roundel relief plaque,
£175A large English plaster roundel relief plaque,
the raised ovals and roundels variously depicting various minatures of classical allegory and portrait,£175 -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
18th Century French Engravings of Dogs
£175 each18th Century French Engravings of Dogs
Published for, Histoire naturelle, générale et particulière (1749–1804), which was the first modern attempt to systematically present all existing knowledge in the fields of natural history, geology, and anthropology.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Linden Botanicals
£175 eachLinden Botanicals
L’Illustration Horticole, was a monthly horticultural review, founded in 1854 in Ghent, Belgium, by Ambroise Verschaffelt, a nurseryman who specialised in new plant introductions from South America. The lavish illustrations were produced by some of the very best botanical artists and lithographers – A. Goosens, P. De Pannemaeker and J. Goffart. The L’Illustration Horticole although founded by Jean Jules Linden (1817 – 1898) became a collaborative effort of many great horticulturists and field botanists of the day. Jean Linden in his own right was a renowned orchid grower and collector. Each monthly edition featured chromolithograph of botanical prints. Plants such as orchids, camellias, roses and leafy plants such as ferns and palm trees were represented. The magazine’s scope included pictures, descriptions, the history and culture of “the most remarkable plants,” new introductions, horticultural history, botanical expeditions, and accounts of the major expositions and of new works on botany and horticulture as well as garden descriptions and layouts.£175 each -
Chess,
£175Chess,
Framed chromolithograph by APE (Carlo Pellegrini) picturing Joseph Henry Blackburne, British chess master nicknamed 'The Black Death'. Despite only taking up the game at the age of 17 Blackburn became a world champion many times over and an icon of 'Romantic Chess'.£175 -
Steam
£175Steam
A framed chromolithograph by SPY (Leslie Ward) depicting Frederic Abernethy Coleman, writer, journalist, military historian & motoring pioneer. He popularised the White Steam Car in England and was a fierce opponent of the 'petrol car brigade' preferring and championing steam powered motorcars. Steam powered cars had the ascendancy in early British motoring, particularly in hill-climbs until they were banned from competition by advocates of the petrol engine,£175 -
Luba-Hemba triple figural group,
£175Luba-Hemba triple figural group,
Triple maternal power figure with draped cloth fibres and checkered scarification to the belly and head. These wooden power figures would have served to protect the Songye community from evil spirits and practitioners.£175 -
Tchokwe Pwo mask,
£175Tchokwe 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. Minimal scarification design to face and woven natural fibre covering.£175 -
Luba Bilume Kifwebe mask (A)
£175Luba Bilume Kifwebe mask (A)
The people of Songye are mainly known as a farming community, however they also take part in hunting and trading with other neighbouring communities. The distinct Songye style is easily recognisable in the Kifwebe mask by the mass of closely carved lines and bold shapes such as the protruding sagittal crest and X carved mouth. The intertwining of the red, black, and white colouring in these masks are said to symbolise the struggle between good (white) and evil (black and red) - the combination of these colours embodying the positive and dangerous force held within the mask. Further, it is believed that the sagittal crest and conical protrusion contain the magical strength of the mask.£175 -
Anatomical prints,
£175 eachAnatomical prints,
reproduction based on the 1765 work by the Rev. Middleton. In black frame. 'Facing Muscle Plate LX'.£175 each -
The Victorian auction bill posters of Jonas Paxton,
£175 eachThe Victorian auction bill posters of Jonas Paxton,
each of the advertisements printed on paper, advertising the location and prime lots at an upcoming auction,£175 each -
Her Majesty the Queen Empress,
£170 -
In His Military Capacity,
£170In His Military Capacity,
Framed Chromolithograph by SPY (Leslie Ward) depicting Mr Montagu Williams QC, teacher, British Army officer, actor, playwright, barrister and magistrate. His succesful defence of Mr John Young in his manslaughter trial, after the death of an opponent in the boxing ring, established a legal precedent around the sport.£170 -
Balliol,
£170Balliol,
Framed Chromolithograph by Spy (Leslie Ward) depicting Edward Caird FRSA FBA. Scottish philosopher on the latter part of the 19th century, Caird is considered one of the fathers of the British Idealist school, a philosophical movement that was influential in Britain from the mid-nineteenth century until its overthrow by the Analytic Philosophy associated with Bertrand Russell. He served as Master of Balliol college until 1907.£170 -
First Violin,
£170First Violin,
Framed Chromolithograph by Spy (Leslie Ward) picturing HRH The Duke of Edinburgh, Alfred Ernest Albert, later Duke of Saxe Coburg and Gotha. The second son of Victoria and Albert he joined the Royal Navy at 14, he rose through the ranks to attain the position of Admiral of the Fleet by 1893 having served as Cadet, Lieutenant and Captain of HMS Galatea which he commanded in the Pacific Ocean. He commanded both the Channel fleet and, later, the Mediterranean Fleet from his flagship HMS Alexandra. The Duke survived an assassination attempt while visiting Sydney Australia and went on to marry a Grand Duchess of Russia. Alfred was a musical enthusiast and took a leading role in the establishment of the the Royal College of Music in 1882. He was a particularly keen violinist although his playing was not of the first quality. After a dinner party given by one of his brothers where he was persuaded to play Sir Henry Ponsonby would write: 'Fiddle out of tune and noise abominable'£170 -
Eduard Strauss,
£170Eduard Strauss,
Framed Chromolithograph signed EBN depicting the Austrian composer and conductor Eduard Strauss, brother of Johann II and Josef Strauss.£170 -
Crystal Palace,
£170Crystal Palace,
Framed Chromolithograph by Spy (Leslie Ward) picturing Sir August Friedrich Manns, German born British Composer and a key figure in the musical life of the Crystal Palace where he conducted a 90 piece orchestra.£170 -
Jimmy,
£170Jimmy,
Framed chromolithograph picturing the Revd. James Leigh Jones, English clergyman and schoolmaster at Eton College. Teacher of Swinburne and the Duke of Argyll. Famed for his application of the birching rod and his regular flogging of his pupils.£170 -
An English cast plaster foot,
£170An English cast plaster foot,
the contorted right foot, the heel truncated, cast with an integral supporting plinth,£170 -
The Victorian auction bill posters of Jonas Paxton,
£170 eachThe Victorian auction bill posters of Jonas Paxton,
each of the advertisements printed on paper, advertising the location and prime lots at an upcoming auction,£170 each -
A plaster cast of a classical foot
£170A plaster cast of a classical foot
the right foot with a strapwork sandle on a low plinth/sole,£170 -
Tchokwe Pwo mask,
£165Tchokwe 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. The occasion is also said to mark the dissolution of intimate bonds between mothers and their sons, which may be represented through the tear carvings and motifs seen on the face. Further, facial scarification as seen on this mask would have been used to make the person less desirable to the spirit of death, and in women specifically would mark the birth of a baby boy.£165 -
An elegant English cast plaster corbel bracket (large),
£165An elegant English cast plaster corbel bracket (large),
the turned moulded dias with a pendant terminus in the manner of Sir John Soane,£165 -
An English cast plaster death-mask of the Versailles head gardener
£165An English cast plaster death-mask of the Versailles head gardener
from the 18th Century original,£165 -
Pont Neuf, Paris, by Herbert Hillier
£160 -
Snakes engravings published c1860
£160 eachSnakes engravings published c1860
Charles Henry Dessalines d'Orbigny was a French botanist and geologist specializing in the Tertiary of France. He was the younger brother of French naturalist and South American explorer, Alcide d'Orbigny. At the National Museum of Natural History in Paris, d'Orbigny identified many of the flowering plant species returned to France from his brother's natural history collecting journeys through South America.£160 each -
Snakes engravings published c1860
£160 eachSnakes engravings published c1860
Charles Henry Dessalines d'Orbigny was a French botanist and geologist specializing in the Tertiary of France. He was the younger brother of French naturalist and South American explorer, Alcide d'Orbigny. At the National Museum of Natural History in Paris, d'Orbigny identified many of the flowering plant species returned to France from his brother's natural history collecting journeys through South America.£160 each -
Snakes engravings published c1860
£160 eachSnakes engravings published c1860
Charles Henry Dessalines d'Orbigny was a French botanist and geologist specializing in the Tertiary of France. He was the younger brother of French naturalist and South American explorer, Alcide d'Orbigny. At the National Museum of Natural History in Paris, d'Orbigny identified many of the flowering plant species returned to France from his brother's natural history collecting journeys through South America.£160 each -
Snakes engravings published c1860
£160 eachSnakes engravings published c1860
Charles Henry Dessalines d'Orbigny was a French botanist and geologist specializing in the Tertiary of France. He was the younger brother of French naturalist and South American explorer, Alcide d'Orbigny. At the National Museum of Natural History in Paris, d'Orbigny identified many of the flowering plant species returned to France from his brother's natural history collecting journeys through South America.£160 each -
Path through a wood. Oil on Canvas
£160 -
Original aquatint,
£160 -
Original aquatint,
£160 -
Original aquatint,
£160 -
Waterloo Bridge,
£150Waterloo Bridge,
Hand colured and engraved, framed and mounted print depicting John Rennie's Waterloo Bridge by the artist and engraver John Shury after a painting by W.G. Moss.£150 -
Antique engraving after Sir Martin Arthur Shee,
£150Antique engraving after Sir Martin Arthur Shee,
depicting a child with rife in landscape, engraved by T. Nugent, hand coloured. Framed£150 -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish,
£150 eachWoodcuts by Eric Fitch Dalglish,
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish
£150 eachWoodcuts by Eric Fitch Dalglish
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Woodcuts by Eric Fitch Dalglish
£150 eachWoodcuts by Eric Fitch Dalglish
Eric Fitch Dalglish was a wood-engraver, painter, draughtsman, author, illustrator and naturalist. Born in London, he studied at university both in London and Bonn, Germany and after WWI was taught engraving by Paul Nash. He exhibited at the Redfern Gallery, with the Society of Wood Engravers, of which he was a member, and the New English Art Club. Examples of his work are held by the British Museum, V&A Museum, Manchester City Art Gallery, and British Council Collection.£150 each -
Watercolour by Ross Foster
£150Watercolour by Ross Foster
Watercolour and Ink image presented as part of a 19th century photographic album. Signed£150 -
Watercolour by Ross Foster
£150Watercolour by Ross Foster
Watercolour and Ink image presented as part of a 19th century photographic album. Signed£150 -
Watercolour by Ross Foster
£150 -
Oversized ladle
£150 -
Tracks and Triggers,
£150Tracks and Triggers,
A Framed chromolithograph by WHO picturing Mr Walter Winans, American marksman, hunter and artist. Author The Art of Revolver Shooting, Winans owned hunting and shooting rights to 250,000 acres in the Scottish Highlands across Glen Strathfarrar, Glen Cannich and Glen Affric. In 1884 he attempted to prosecute a Scotsman, Muirdoch Macrae, for grazing a lamb on the ancestral lands of Clan McCrae but owned in law by Winans. The failure of Winans' prosecution established the right to roam which was a key element in opening British parklands to the public.£150 -
Force No Remedy
£150Force No Remedy
A framed chromolithograph by Harry Furniss picturing a prison warder, Charles Stewart Parnell and John Dillon pictured on remand in Kilmainham Gaol, Dublin. Parnell and Dillon were united in opposition to the Irish Land Act of 1881 which aimed to resolve landlord tenant relations in late 19th Century Ireland and neutralise the militancy of the Irish Land League. Accused of "sabotaging the Land Act", the pair were arrested on the 12th of October 1881 for their role in the declaration and propagation of the No Rent Manifesto, a radical proposal by the Land League calling for a campaign of passive resistance by the small tenant farmers of Ireland and the withholding of rent to landlords.£150 -
The New Judge
£150The New Judge
A framed chromolithograph by SPY (Sir Leslie Ward) picturing the Hon. Sir Arthur Charles who presided over the first trial of Oscar Wilde for sodomy and gross indecency in which the Jury failed to agree a verdict.£150 -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Didelphys Orientalis Pall.'£150 each -
De Buffon, 18th Century natural history,
£150 eachDe Buffon, 18th Century natural history,
Animal prints, based on he work of Georges-Louis Leclerc, count de Buffon, who attempted to systematically present all existing knowledge in the fields of natural history, geology, and anthropology in a single publication. Published c1740, Latin and German text. Presented in faux bamboo frames. 'Viverra tigrina'.£150 each
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