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An Edward VII Royal Mail cast-iron wall-mounted post box
£2,150An Edward VII Royal Mail cast-iron wall-mounted post box
the fascia plate cast in relief with the crown and monogram of Edward VII, the hooded slot cast in relief with "POST OFFICE" above the hinged door - with working lock and key - and bearing the maker's name "W.T.ALLEN, LONDON", the interior with sections of the collection basket and two enamelled indicators "Good Friday" and "Bank Holiday",£2,150 -
Lead statue of the Neopolitan Fisherboy
£1,850 -
Early twentieth century cast iron and brass fire basket
£1,450Early twentieth century cast iron and brass fire basket
the torchere supports flanking bars shaped as archers' bows. English.£1,450 -
A very large English riveted galvanised steel cistern
£1,200A very large English riveted galvanised steel cistern
the 3500litre tank with riveted seems, well weathered,£1,200 -
A Victorian cast-iron semi-lobed campana urn on a stoneware pedestal,
£1,125A Victorian cast-iron semi-lobed campana urn on a stoneware pedestal,
the flared vase with lobed rim, applied with acathine scrollwork to the body (some lacking), a pair of mask and loop handles and raised on a spreading socle foot, the pedestal modelled with a wreath to each side and bearing the maker's stamp to the foot "Lindsey & Anderson, Lillie Hill, Terracotta Works, Dunfermline.£1,125 -
The Parthenon Marbles: A sculptural relief from the West façade of the Doric Frieze,
£995The Parthenon Marbles: A sculptural relief from the West façade of the Doric Frieze,
the rectangular panel cast in low-relief with a rearing horse restrained by a handler wearing a dramatic billowing cloak standing behind,£995 -
Large Edwardian silver plate Corinthian column table lamp,
£950Large Edwardian silver plate Corinthian column table lamp,
The well cast Corinthian capital above a fluted column on a stepped foot, GS stamped to the front edge. Circa 1905.£950 -
A series of massive, concrete, Brutalist treeplanters
£950A series of massive, concrete, Brutalist treeplanters
the Modernist lines echoing the architecture of the Richard Seifert designed tower, some with wooden slatted benches attached,
£950 -
French Riviera Garden, by George Charlton,
£900French Riviera Garden, by George Charlton,
Intimate scene of a lady sitting at a table in a garden on the French Riviera. Oil-on-board. Framed£900 -
Portrait of a Gentleman
£900 -
A large Edwardian plan of “Warlingham Mental Hospital”
£650 -
A French wrought iron window grille
£630 -
Black Hill, by Gordon House
£575 eachBlack Hill, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Pages, by Gordon House
£575 eachBlack Hill, Pages, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Rostra, by Gordon House
£575 eachBlack Hill, Rostra, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Work Shop, by Gordon House
£575 eachBlack Hill, Work Shop, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
An Art Deco cast iron grille
£525 -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
A Victorian cast iron weight-limit sign for a canal-bridge
£375A Victorian cast iron weight-limit sign for a canal-bridge
the rectangular plate with a raised border and inset corners, cast in relief with raised lettering: "WARWICK AND BIRMINGHAM CANAL NAVIGATION, TO TRACTION ENGINE DRIVERS AND OTHERS, THIS BRIDGE IS INSUFFICIENT TO CARRY WEIGHTS BEYOND THE ORDINARY TRAFFIC OF THE DISTRICT 24 & 25 VICT GAP 70 , NOTICE, NO LOCOMOTIVE TRACTION OR OTHER ENGINE WILL BE ALLOWED TO PASS OVER THIS BRIDGE WITHOUT THE CONSENT OF THE CANAL COMPANY, BY ORDER"£375 -
Mid-Victorian brass door knocker
£350 -
Mixed fruitwood Parquet D’Etoiles,
£320 Per PanelMixed fruitwood Parquet D’Etoiles,
Original antique parquet panels incorporating geometric patterns of apple, walnut, and sycamore backed by pine. French, early C19th 45cm square. Will need some pest treatment. Borders available.£320 Per Panel -
A narrow Victorian four panel pine door
£100 +VAT -
A North African terracotta vase,
£95 -
Original copper-engravings of fish by Marcus Elieser Bloch,
£85 eachOriginal copper-engravings of fish by Marcus Elieser Bloch,
Copper-engraving based on the work of Marcus Elieser Bloch (1723-1799). 'The Finger Fish, and The Silver Striped Herring'.£85 each -
Original copper-engravings of fish by Marcus Elieser Bloch,
£85 eachOriginal copper-engravings of fish by Marcus Elieser Bloch,
Copper-engraving based on the work of Marcus Elieser Bloch (1723-1799). 'The Notucanith'.£85 each -
A pair of aged bronze mushroom door handles,
£62 -
An aged bronze bathroom thumbturn,
£48 -
A cast plaster flowerhead roundel,
£42 -
Gilt-brass escutcheon
£30 -
Mahogany and brass escutcheons
£20 each
Featured Items
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Divagations II, by Henri Matisse, Verve Vol. 1 / No. 1.
£600Divagations II, by Henri Matisse, 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 Moon by André Masson, Verve Vol. 1 / No. 2.
£600The Moon by André Masson, Verve Vol. 1 / No. 2.
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 -
Printemps by Marc Chagall, Verve Vol. 1 / No. 3.
£800Printemps by Marc Chagall, Verve Vol. 1 / No. 3.
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 -
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