We found 3352 price guide item(s) matching your search

Greetings Cards, a selection of 200+ greetings cards dating from the late 19th to the mid 20thC. Valentines (most 1960s), New Year, Christmas etc. together with 3 books 'Sweethearts & Valentines by Judith Holder, Compliments Of The Season (King Penguin) and Love Letters by Michelle Lovric (gd, some with adhesive marks to reverse)

Entertainment Photographs/Autographs, a selection of signed and unsigned images to include 20 1980s postcard sized photos of TV stars to include David Griffin, Bert Kwouk, Su Pollard, Claire Oberman, Judith Jacob, Kate Saunders, Susan Gilmore, Stephanie Cole, Ken Sharrock, Tonia etc. many with dedications to 'Nicholas', 50+ 1980s p/c sized, facsimile signed images of TV stars, 30+ b/w film stills and press photos dating from the 1930s to the 1950s and a few lobby cards (fair/gd)

A collection of Art and Design reference books and catalogues, including; Erte Graphics, Erte Sculpture, Erte at 95 the Complete New Graphics Mary Seton Watts Unsung Heroine of the Art Nouveau, Icart by Michael Schnessel, The Designs of William De Morgan, The Designs of CFA Voysey by Stuart Durrant, Arts and Crafts and Art Deco by Judith Miller, The Best of Clarice Cliff, The Bizarre Affair, Clarice Cliff L'Odeon catalogue, and Erte by Charles Spencer, (a lot) ProvenanceThe collection of William Billy Kidd and Elizabeth Kidd.

A Gordon Russell Helix mahogany and Bombay Rosewood veneer sideboard designed by David Booth and Judith Ledeboer, model no. R407, the two doors with routed Helix design, applied Gordon Russell label, 122cm. wide, 84cm high46cm. deep LiteratureLesley Jackson, Modern British Furniture, Design Since 1945, V&A, page 113 figure 117 for a comparable piece illustrated.

A Dutch walnut and marquetry table cabinet, circa 1700; the top with trailing foliage within a cartouche, with strapwork borders and foliate spandrels; the twin doors and sides decorated with standing figures in Roman dress, Cleopatra and either Judith or Salome; the back with further foliate panels and strapwork borders; with moulded base and turned feet; the door interiors with marquetry depictions of a gentle man and a lady within foliate borders; with an arrangement of eight drawers around a door, depicting a figure with a bird in further marquetry; 38cm high, 41cm wide, 25cm deep

Ca. 2640 - 2150 BC.An Egyptian alabaster alabastron carved with a pyriform body connected to a short cylindrical neck with a flared rim. The upper body of the vessel has two short handles. For similar see: MET Museum Accession Number: 74.51.5101.Size: (with stand) 140mm x 55mm; Weight: 115gProvenance: Private UK collection; Ex. Estate of Judith Fresco, inherited from late Robert Fresco, NYC, 1990s.

Art Nouveau heavy bust of female based on Judith by Goyeau, H 45cm

Hunt (Leigh) The Poetical Works, presentation inscription "To Mr. Henry William Sparkes, with the Author's best wishes" to half-title, printed slip "The printed List of Subscribers is withheld at present..." tipped-in before title, advertisement leaf at end, bookplate of Henry Charles Blaksley, book-labels of Simon & Judith Adams Nowell-Smith, some spotting to half-title and fore-edge, modern cloth, Edward Moxon, 1832 § [Ainsworth (William Harrison)] May Fair. In Four Cantos, advertisement leaf at end, brief A.L.s. from the author tipped in at beginning "I have much pleasure in complying with your request to possess my autograph", ownership inscription of Brent Gration-Maxfield to head of pastedown, light spotting, original boards, rebacked in cloth, covers quite worn, William H. Ainsworth, 1827, first editions, book-label of J.O. Edwards; and others, 19th century poetry, including Thomas Moore's "Odes Upon Cash, Corn, Catholics, and Other Matters", 8vo & 12mo (c.20)  

THE WAY WE LIVE - A CANDLE FOR JUDITH LP (UK ORIGINAL - DANDELION - DAN 8004). An original UK LP pressing of the acid-folk album A Candle For Judith by The Way We Live (DAN 8004, 1971 UK pressing on Dandelion. Labels are bright and legible. The record is in glossy, strong VG condition. Each side displays a number of hairline/ light surface marks, nothing feelable of note. The gatefold sleeve is Ex condition, bright clean covers and a fully legible spine edge).

Artist: Alexander Archipenko (Ukranian-Russian-American, 1887 - 1964). Title: "Kneeling [unrecorded signed lifetime impression]". Medium: Original drypoint. Date: Composed 1920. Dimensions: Overall size: 15 x 10 11/16 in. (381 x 271 mm). Image size: 7 x 5 in. (178 x 127 mm).Pricing:   Starting Price: $3,000  Reserve Price: N.A.  Auction Sale Price Estimate: $4,000/5,000Lot Note(s): Signed in pencil, lower right. Not editioned in Archipenko's lifetime. Cream wove paper. Full margins (deckle edges all four sides). Fine impression; printed in brown ink. Very good condition. Literature/catalogue raisonne: Karshan 4. Provenance: The estate of John and Valere Butterwick, Kewanee, Illinois. Comment(s): Exceedingly rare, perhaps unique, proof. Unknown to Karshan. As he states,"Kneeling is the second drypoint of only three that the artist executed ["Kneeling," "Bending," "Angelica"]. The original copper plates [of these three] were discovered by the artist's widow in 1966 at his atelier in Woodstock, New York. These plates were in sufficiently good condition to permit posthumous editions to be printed, since only one life-time proof was known of "Bending," two of "Angelica," and none of "Kneeling." These three editions were printed in New York by Miss Judith Foster in 1967, under the supervision of the artist's estate." Donald Karshan, "Archipenko: The Sculpture and Graphic Art." Tubingen: Ernst Wasmuth, 1974, pg. 75. Image copyright © Estate of Alexander Archipenko / Artists Rights Society (ARS), New York. [25193-4-3000-NA]

Teenage Mutant Ninja Turtles (1990), British Quad, 40 x 30 inches, folded Director Steve Barron Stars Judith Hoag, Elias Koteas Condition Report: Good condition, fold creasing, edge wear, light fold separation,text in black marker to reverse

Two vintage Judith Lieber swarovski crystal encrusted clutch purses, with pocket mirror, 14cmW and 16.5cmW

Two vintage Judith Lieber swarovski crystal encrusted purses, one with wavy edge and bow form push clasp, the other with flower design and clasp set with a bullet cabochon paste, both with gilt metal hardware, together with pocket mirror and comb, labels to interior, 9cmW and 15cmW (2)

Two vintage Judith Lieber swarovski encrusted purses, one rectangular with purple and blue flowers, 19cmW, the other navy blue with white floral spray, 13cmW, with mirror and comb, both with labels to interior (2)

Two vintage Judith Lieber swarovski crystal encrusted purses, one in the form of a fan decorated with flowers, 18cmW, the other in the form of a sack, 12cmW, both with label to interior (2)

Two vintage Judith Lieber swarovski crystal encrusted purses, one in the form of a red heart, 13.5cmW, the other a green faceted octagonal casket, 13cmW, both with label to interior (2)

Two vintage Judith Lieber swarovski crystal encrusted purses, one with pink flowers on a black background with loop handle and silver hardware, 14cmW, the other hexagonal with gold hardware, 14.5cmW (2)

A Judith Lieber geometric swarovski encrusted cube purse, with gold hardware and interior, with certificate of authenticity, 9.5cmW

A Judith Lieber swarovski encrusted purse in the form of a shell, with gold hardware and interior, approx. 11.5cmW

Two Judith Lieber purses, one encrusted with black and white crystals, 10.5cmW; the other gold tone with Japanese fan and flowers, 17cmW (2)

Two Judith Lieber purses, one rectangular box form with black silk body and edges channel set with large square crystals, 13cmW; the other black and silver crystal checkered design, 18cmW (2)

A Judith Lieber Art Deco style leather purse with floral crystal studded design, the frame set with three onyx plaques set with paste and amethyst, 23cmW

Two vintage Judith Lieber Art Deco style purses, one 'Silver Karung Bag' c.1974, metallic mauve snakeskin effect, the clasp set with carved rock crystal in the form of a scarab, with a rock crystal drop, 18cmW; the other petrol blue snakeskin style with geometric blue and clear paste set frame, 17cmW, both with labels to interior (2)

Two Judith Lieber purses, one silver with leaf designs, both 21.5cmW

Two vintage purses with marcasite detail, one by Judith Jack, 20cmW (2)

A Judith Lieber black leather bag with stitched floral detail, including comb, mirror and purse, 25cmW

Hugh Walpole books, two signed first editions The Fortress and Judith Paris and unsigned first edition Vanessa

AN EARLY GEORGE III NEEDLEWORK SAMPLERBY JUDITH BUCKHURST, DATED 1761worked in colours with alphabets and numerals above a proverb and the inscription 'Judith Buckhurst Havant 1761', a dog, deer, insects and flowers, a country house flanked by a pair of trees and owls, inside a meandering floral border, in a later glazed gilt frame30.5 x 19cmProvenancePurchased from Mac Humble Antiques, 11 Queen Street, Bath, 25th November 1983 for £355.Glen House, Bruton.

A BRONZED FIBREGLASS BUST OF A YOUNG LADYBY R W WEBSTER, 20TH CENTURYtitled 'Judith', on an oak plinth, signed39.8cm high (max)ProvenanceFrom a Private Collection, West Yorkshire, formed in the 1970s and 1980s.

GERTRUDE HERMES (BRITISH 1901-1983) HAND AND BABY - 1929 Wood engraving, signed ‘GH’ in print, dated and inscribed ‘With love and best wishes from Blair, Gert, Judith & Simon' in ink to margin image size 11.5cm x 7.75cm (4.5in x 3in), unframed From the Estate of William McCance. The Art Edit is delighted to present paintings, drawings and prints by William McCance and his circle. The collection includes a portrait of McCance’s first wife Agnes Miller Parker (1895–1980), cards printed and inscribed by artist friends, and designs produced during McCance’s tenure as Controller of the Gregynog Press. All works come from the Artist’s Estate and have never before appeared on the market.Like any modernist worth his salt, William McCance sought to document twentieth century industrial life. His subject is often domestic, but is realised using a vorticist schematisation which promotes underlying geometric volumes. Thus, organic forms assume an almost mechanised quality: a human figure is transformed into a strange automaton; a grove of trees is delineated as if it were a cluster of factory pipes.McCance moved to London in 1920 with Agnes Miller Parker, where they were amongst the earliest Scots to adopt a Wyndham Lewis-inspired vorticism. Their mutual inclination towards line and pattern lent itself well to the graphic arts; Miller Parker was a talented wood engraver and illustrator, while McCance worked across painting, printmaking, design, sculpture, writing and typography.In 1930 McCance became second Controller of the Gregynog Press, a significant private press in Montgomeryshire, Wales. The Press flourished under his stewardship, and he oversaw the production of several exquisite limited edition publications.Gregynog was unique at the time in that publications were printed, typset, illustrated and bound under one roof. McCance and Miller Parker contributed designs and engravings, as did the artists Gertrude Hermes (1901–1983) and Blair Hughes Stanton (1902-1981), who was also employed at the Press in a directorial capacity. However, owing to fraught relations with the owners of the Press, McCance resigned after three years.By 1943 McCance was lecturer in Typography and Book Production at the University of Reading. The few works from this later period held in public collection indicate a preoccupation with the Venus of Laussel, the c.25,000 year old limestone figure of a female nude discovered in 1911 in a rock shelter in the Dordogne. McCance likely encountered the Venus during a visit to the region after the Second World War, and nude figures with smooth simplified curves inspired by the Venus recurred within his work hereon. McCance parted ways with Miller Parker in 1955, and by 1960 he had retired to Scotland. He died in Ayrshire in 1970.

Judith Caulfield, a watercolour study of 2 clowns, by Irish artist Judith Caulfield, signed bottom right, in wooden glazed frame, overall 62cm x 50cm

Two Royal Doulton Lady Figures Midinette HN2090 and Judith HN2089 (2)

Anne Imhof (Gießen 1978). Untitled (Self). 2017. Siebdruck. 104,5 x 75,5 cm. Ungerahmt. Verso mit Bleistift sign. und dat. Anne P. Imhof 2017 sowie num. 58/60. - Deutsche Künstlerin. Studium an der Hochschule für Gestaltung Offenbach und an der Städelschule in Frankfurt a. M. bei Judith Hopf. Ihr vielseitiges Werk reicht von Zeichnungen und Malerei bis hin zu Installationen und Performances. Sie wurde u.a. 2015 ausgezeichnet mit dem Preis der Nationalgalerie für junge Kunst und 2017 mit dem Goldenen Löwen für die Gestaltung des deutschen Pavillon der 57. Biennale. Mus.: Frankfurt a.M. (MMK)

A Troika cylindrical vase, probably Judith Illsley, 14cm, monogrammed; a Troika mug, by Avril Bennet, 11cm, monogrammed, c.1975; two Troika style stone ware vases (4)

A Gordon Russell 1950s sideboard designed by Judith Ledeboer & David Booth with rosewood panel doors with routed Helix design, purchased at the Great Exhibition in 1951, 1220mm wide x 835mm high x 475mm deep

Sassoon (Siegfried) The War Poems , first edition, presentation inscription signed with monogram from the author to Stephen Tennant on Valentine's Day on half-title, light browning to endpapers, book-labels of Simon Nowell-Smith and Judith Adams Nowell-Smith to front pastedown, original cloth, paper labels to upper cover and spine, very light sunning to spine, minute chip to spine-label, light bumping to spine ends and corners, dust-jacket, light browning to spine, spine ends and corners a little chipped, closed tear to head of upper joint, extremities a little rubbed, an excellent example, 8vo, 1919.*** A superb association copy inscribed from Sassoon to his lover Stephen Tennant on Valentine's day less than a year after their first meeting. Sassoon and Tennant were introduced by the Sitwells in June 1927, they fell passionately in love and began an affair that lasted nearly six years. 

North Eastern BO-BO Electric Locomotive by Judith Edge Kits: Unbuilt kit so Unchecked for completeness. Box Condition is Good with previous owners notes.

1 bt Judith Schäfer Laubenheimer Vogelsang Riesling Auslese 1976 2 bts Pieroth Neusiedlersee Bouvier-Traminer 1986 Beerenauslese 1 bt Pieroth Grün-Gold Freinsheimer Musikantenbuckel Auslese 1998 1 bt Niederthäler Wallertheimer Vogelsang Beerenauslese 1992 1 bt Niederthäler Hof Albiger Petersberg Auslese 1994 Above 6 bottles

Italienischer Maler des 17. JahrhundertsJUDITH UND HOLOFERNESÖl auf Leinwand.180 x 143 cm.Das klassische und kraftvolle Hell-Dunkel der italienischen Kunst des 17. Jahrhunderts sowie die traditionelle Farbpalette und die wiederkehrende Thematik kennzeichnen dieses bedeutende Gemälde mit Judith und Holofernes. Vor einem voluminösen roten Vorhang hebt die junge Frau, von direktem Licht angestrahlt, den Kopf des Holofernes an den Haaren hoch. Hinter ihr liegt der hilflose Körper auf dem Bett, der Helm auf dem Boden im Vordergrund. Rechts im Bild bereitet sich ein Diener darauf vor, der jungen Frau zu helfen.Die Komposition der Szene erinnert an das Gemälde mit demselben Thema von Peter Paul Rubens, das sich in den Uffizi in Florenz befindet (RKD Nr. 197909). Judith dominiert das Bild, indem sie ihren Platz in der von links nach rechts verlaufenden Diagonale einnimmt. Mit der linken Hand hält sie Holofernes‘ Haupt an den Haaren und reicht ihn dem Diener. Die kleinen Abweichungen des Gemäldes im Vergleich zu Rubens‘ Vorlage deuten darauf hin, dass der Künstler Gelegenheit hatte, in Mittelitalien zu reisen und sich von den barocken Malern inspirieren zu lassen. (1410202) (3) (19)Italian School, 17th centuryJUDITH AND HOLOFERNES Oil on canvas.180 x 143 cm.

Lavinia Fontana, 1552 Bologna – 1614 RomSELBSTBILDNISÖl auf Kupfer, versilbert.14 x 10 cm.Altes Rähmchen, Nussholz, mit Blumen und Früchten beschnitzt.Beigegeben Expertisen von Vera Fortunati, o.D., sowie von Prof. Daniele Benati, 13. Februar 2009, in Kopie.Das Werk wird in den in Vorbereitung befindlichen Catalogue raisonné von Vera Fortunati aufgenommen. Die Malerin zeigt sich hier, wie auch in anderen Selbstbildnissen, etwa am Spinett, äußerst selbstbewusst. Lavinia wurde von ihrem Vater, dem Maler Prospero Fontana ausgebildet, sah jedoch in der zwanzig Jahre älteren Sofonisba Anguissola (ca. 1530-1625) ihr Vorbild. Es ist anzunehmen, dass sie bei Denis Calvart weiterstudiert hat. Sie gilt zweifellos als eine der bedeutendsten Malerinnen ihrer und der nachfolgenden Zeit. Als Portraitistin erhielt sie vor allem von adeligen Damen ihre Aufträge. Aus jedem Gesicht dieser weiblichen Bildnisse spricht Selbstbewusstsein, Stolz und nahezu Ausdruck einer Überlegenheit. So erstaunt es nicht, dass sie sich in ihrem Oeuvre dem Thema Judith und Holofernes gewidmet hat, aber als erste Malerin auch dem Thema der Aktmalerei. Ihr großer Erfolg, auch unterstützt durch Papst Gregor XIII. sicherte ihr hohe Honorare, vergleichbar mit denen für Van Dyck. So folgten auch Familienporträts, etwa „Bianca Degli Utili Maselli mit ihren Kindern“.Die Künstlerin war eine italienische Malerin des Manierismus. Sie ist insbesondere für ihre Portraits und historischen Darstellungen sowie religiöse Motive bekannt. Ab den 1580er-Jahren malte sie auch großformatige Altarbilder. 1603 zog sie mit ihrer Familie auf Einladung des Papstes Clemens VII nach Rom und es folgten weitere Aufträge für Altargemälde sowie private Historienbilder. Sie war sehr erfolgreich und zählt zu den besten Malpersönlichkeiten ihrer Zeit.Anmerkung:Das kleine Gemälde ist laut beiliegenden Expertisen eine in Abwandlung des Formats geschaffene Wiederholung nach dem in den Uffizien in Florenz aufbewahrten Rundbild. Das Museumsexponat mit einem Durchmesser von 15,7 cm ist auf Kupfer gemalt und auf 1579 datiert. In beiden Bildern hat sich die Künstlerin nach links sitzend wiedergegeben, den Blick auf den Betrachter gerichtet. Kleidung, Halskrause und Haartracht sind in beiden Bildern entsprechend. Im Uffizien-Tondo ist ihre Hand mit Schreibfeder auf einem mit Papierbogen gezeigt, am Bildrand sowie im dunklen Hintergrund lassen sich Statuetten erkennen. Das hochquadratische Format hier dagegen verzichtet auf diese zusätzlichen Bildinhalte. Die Malweise zeigt sich in derselben Feinheit, die Silberplatte anstelle von Kupfer verrät hier eine besondere Wertgebung. Die Zuweisung des Gemäldes an die Malerin erfolgte 2009 durch Prof. Daniele Benati, der die Entstehung in den Zeitraum 1579/80 setzt, also in Nähe mit ihrem Selbstbildnis am Spinett von 1577, von dem es ebenfalls eine Wiederholung gibt (Christie‘s 2013). Beigegeben ein Aufsatz von T. Cantaro zum Thema der Selbstbildnisse im Spinett.Literatur:Vgl. Caroline P. Murphy, Lavinia Fontana. A Painter and Her Patrons in Sixteenth-Century Bologna, New Haven 2003.Vgl. Debra N. Mancoff, Frauen, die die Kunst veränderten, München 2012.Vgl. Leticia Ruiz Gómez (Hrsg.), A tale of two women painters. Sofonisba Anguissola and Lavinia Fontana, Madrid 2019.Vgl. Maria Teresa Cantaro, Lavinia Fontana. Il primo autoritratto alla Spinetta ritrovato e una breve disamina sugli autoritratti della pittrice, 2014. (1411057) (11) (†)Lavinia Fontana,1552 Bologna – 1614 RomeSELF-PORTRAIT Oil on silver copper.14 x 10 cm.Accompanied by expert’s reports by Vera Fortunati; Prof Daniele Benati, 13 February 2009, in copy. The work will be included in the catalogue raisonné by Vera Fortunati, currently in preparation.Notes:According to the accompanying reports, the small painting is a repetition of the round painting held at the Uffizi in Florence, but in a different format. The museum exhibit, with a diameter of 15.7 cm, is painted on copper and dated 1579. In both paintings, the artist is depicted sitting to the left, looking at the viewer. Her attire, ruff and hairstyle are the same in both paintings. In the Uffizi tondo, her hand holding a quill is shown on a sheet of paper, and there are statuettes at the edge of the painting and in the dark background. By contrast the tall square format here dispenses with this additional image content. The painting style is just as delicate, and the material of a silver plate instead versus copper shows special appreciation here. Professor Daniele Benati attributed the painting to the female painter in 2009 and dated the painting to ca. 1579/80, close to her Self-portrait at the Spinet of 1577, of which there is also a repetition (Christie’s 2013). Attached is an essay by T. Cantaro about self-portraits at the spinet.Literature:cf. Caroline P. Murphy, Lavinia Fontana. A Painter and Her Patrons in Sixteenth-Century Bologna, New Haven 2003.cf. Debra N. Mancoff, Frauen, die die Kunst veränderten, Munich 2012.cf. Leticia Ruiz Gómez (ed.), A tale of two women painters. Sofonisba Anguissola and Lavinia Fontana. Museo Nacional del Prado, Madrid 2019.cf. Maria Teresa Cantaro, Lavinia Fontana. Il primo autoritratto alla Spinetta ritrovato e una breve disamina sugli autoritratti della pittrice.

James Bond first day stamp cover signed by Judith Dench. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Kerry: Corca Dhuibhne. Dingle Peninsula Archaeological Survey by Judith Cuppage. 1986

JUDITH REIGL (born 1923) Process, circa 1970 Sérigraphie en couleur. Signée et numérotée 10/60Zeefdruk in kleur. Getekend en genummerd 10/60Silkscreen print in colour. Signed and numbered 10/60 100.5 x 76.5 cmThis lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

UGLY BETTY: A good selection of signed colour 8 x 10 photographs and very slightly larger (1) by various cast members of the American comedy-drama television series Ugly Betty (2006-10) comprising America Ferrera (Betty Suarez; the image depicting her standing in a three-quarter length pose in character costume from the series), Ana Ortiz (Hilda Suarez), Ashley Jensen (Christina McKinney), Vanessa Williams (Wilhelmina Slater), Michael Urie (Marc St. James), and Judith Light (Claire Meade). All are boldly signed in blue or black inks to lighter areas of the images and none are inscribed. Generally VG to EX, 6

CRACKER: Small selection of four signed 8 x 10 photographs by various principal cast members of the British crime drama television series Cracker (1993-2006) comprising Robbie Coltrane (criminal psychologist Dr. Edward ´Fitz´ Fitzgerald), Christopher Eccleston (DCI David Billborough), Geraldine Somerville (DS Jane ´Panhandle´ Penhaligon) and Barbara Flynn (Judith Fitzgerald; the image depicting the actress in a head and shoulders pose in costume as Jill Swinburne from The Beiderbecke Affair, 1985). All are boldly signed, two in fountain pen inks, largely to clear areas of the images and none are inscribed. Colour (2). VG to EX, 4

Dinosaur ischium bone (pelvic bone) with Tyrannosaurus bite marks, Corythosaurus sp., late chalk (75 million y), Judith River Formation, Jordan, Montana, USADinosaurus ischium bot (bekkenbot) met Tyrannosaurus bite marks, Corythosaurus sp., laat krijt (75 milj j), Judith River Formation, Jordan, Montana, USAL 75 / H 73 cm

Folk Rock and Country rock LP's forty-three albums comprising of The Band - Stage Fright, The Last Waltz, Buffalo Springfield - Buffalo Springfield, Again, Last Time Around, Expecting to fly, Judy Collins - Judith, Tru Stores, Crosby Stills and Nash - Crosby Stills and Nash, Deja Vu, 4 Way Street, Daylight Again, American Dream, CSN, David Crosby - If Only I Could Remember My Name, Oh Yes I Can, Eagles - On The Border, Hotel California, Desperado, Little Feat - Little Feat, The Last Record Album, Time Loves A Hero, Jackson Browne - Lawyers In Love, Hold Out, Word In Motion, Lives In The Balance, Late For the Sky, For Everyman, Joni Mitchell - Wild Things Run Fast, Don Juan's Reckless Daughter, Dog Eat Dog, Mingus, Shadows and Light, Hejira, Blue., generally good - very good

925 sterling silver cuff bracelet with braiding detail. Accented with three square purple amethyst gems. Total weight: 50g. Signed Judith Ripka 925 CZ Thailand. Includes Judith Ripka pink pouch. Artist: Judith RipkaIssued: 21st centuryDimensions: Approximately 7"cir. Condition: Age related wear.

925 sterling silver cuff has classic lines and is accented with cubic zirconia diamonique. It is hinged to keep it securely on your wrist. Total weight: 48g. Signed Judith Ripka 925 CZ Thailand. Includes Judith Ripka pink pouch. Artist: Judith RipkaIssued: 21st centuryDimensions: Approximately 7"cir. Condition: Age related wear.

Stunning adjustable 925 sterling silver necklace with 25 cubic zirconia diamonique dew drops each measuring 0.50"L x 0.25"W. Total weight: 52g. Closes with a lobster claw clasp signed Judith Ripka 925 CZ Thailand on clasp. Artist: Judith RipkaIssued: 21st centuryDimensions: 20"LCondition: Age related wear.

925 sterling silver and cubic zirconia diamonique heart shaped enhancer pendant surrounds a grey chalcedony gemstone in the center. It closes with a box clasp to keep it secure on any chain. Total weight: 16g. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st centuryDimensions: 1.5"L x 1.25"W x 0.25"DCondition: Age related wear.

This beautiful flower cluster ring has 18 cubic zirconia diamonique set in 925 sterling silver. Size 7.25. Total weight: 8g. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st centuryDimensions: 0.75"L x 0.5"W x 10.5"HCondition: Age related wear.

Black onyx beaded necklace with 925 sterling silver lobster clasp accented with cubic zirconia diamonique. The oval onyx pendant is set in 925 sterling silver measuring 1.75"L x 0.25"D. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st centuryDimensions: 16"LCondition: Age related wear.

925 sterling silver rope chain is adorned with six decorative heart, each with a cubic zirconia diamonique in its center, each measuring 0.50"L x 0.25"D. Closes with a lobster claw clasp. Total weight: 20g. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st centuryDimensions: 15"LCondition: Age related wear.

Seven beautiful smoky quartz hearts set in 925 sterling silver surrounded with sparkling cubic zirconia diamonique accents.The round shaped statement piece pendant closes with a box clasp to keep it secure on any chain. Total weight: 16g. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st CenturyDimensions: 1.75"L x 1.25"W x 0.5"DCondition: Age related wear.

925 sterling silver chain closes with a toggle clasp. The T bar has a CZ heart in the center and chalcedony stones at each end. Total weight: 48g. Signed Judith Ripka 925 CZ Thailand. Artist: Judith RipkaIssued: 21st centuryDimensions: 15"LCondition: Age related wear.

Women's Rights [Drake (Judith)] An Essay in Defence of the Female Sex In which are inserted the Characters of a Pedant, a Squire, a Beau, a Vertuoso, a Poetaster, a City-Critick, &c. In a Letter to a lady Written by a Lady, London: Printed for A. Roper and E. Wilkinson at the Black Boy and R. Clavel at the Peacock, in Fleet Street, 8vo, 18th century calf, Second Edition, engraved frontispiece of 'The Compleat Beau', title within double-ruled border, with final line on p.148 reading "the mean Performance of", pencil shelf mark to front endpaperOmbersley Court, WorcestershireThe first English feminist tract, also attributed to Mary Astell but now generally accepted to be by Judith Drake, whose husband wrote the commendatory verses at the beginning. The treatise is a defence against male accusations of ignorance, vanity, enviousness etc. in women and also addresses the faults of men, particularly satirizing some of her contemporaries.cover scuffed and a little abraded, spine dry without label, head and foot of spine with slight losses, hinges cracked, browned front pastedown with slight loss upper centre, pages toned, title page with tear but no loss to just below upper border (right), p. 20 with ink smudges, from left margin over text but not obscuring, p57/58 leaf with small hole just before margin with slight loss to text. Free endpaper, frontispiece, title A1 (no sig.), dedication A2-A4, preface A5-B2 (no sig.), two leaves 'To the ingenious Mrs ___ ...', B-L2, 2 leaves of 'The contents'

MUSIC - A group of music-related signed books comprising of 'If I Was... ' signed by MIDGE URE, 'The Judith Durham Story Colours of My Life' signed by JUDITH DURHAM, 'The Hurdy Gurdy Man' signed by DONOVAN LEITCH, 'Who's Crazee Now?' signed by NODDY HOLDER and 'Sound Pictures' signed by KENNETH WOMACK (5)

Art Nouveau heavy bust of female based on Judith by Goyeau, H 45cm

A pastel of a Garret Room, Signed Judith Rothchild.