Marlborough Antiques and Interiors Wall Decorations

Limited Edition Poster entitled 'Little Stanley Sleeping', 1987 signed by David Hockney This limited edition poster is one of an edition personally signed by David Hockney on Octobe...

Pauline Chamberlain - A Set of Six Large Architectural Drawings circa 1915 in Pen and Ink that are highly decorative. These are all signed ...

A Framed and Glazed Set of Eight Photographic Prints of Famous Racehorses from the supplement to The Ilustrated Sporting and Dramatic News of 1933 for 2 year olds. Naming the Owner, ...

After George Finch Mason - A Set of Four Aquatints - 'The Billiard Stakes' From original drawings by Finch Mason , Published March 20th 1894 by Messrs Fores, 41 Picadilly, London. O...

An Iconic Original Bullfighting Large Poster (September Month 1971) that has been beautifully framed for the The Plaza de Toros de Albacete a bullring in the town of the Albacete, in...

Tracey Emin’s 20-Year Retrospective Lithographic Poster published by the Scottish National Gallery of Modern Art Publisher: Scottish National Gallery of Modern Art Publication Date: 2nd August 2008 Dimensions: Height: 70 cm Width: 50 cm Edition: Open edition but the print run was limited to 500 impressions. Condition: Excellent The provocative imagery chosen for the poster advertising her first landmark retrospective held at the Scottish National Gallery of Modern Art from 2 nd August to 9 th November 2008 not only reflects the defiance behind the often-sexually provocative attitudes depicted in her work but also resonates with the feminist tenets she has advanced throughout her career with her wide-ranging creations. It is after the original photograph of Tracey Emin taken by Scott Douglas MacNee. The Scottish National Gallery of Modern Art, erring on the side of caution, only printed 500 imprints of this poster, which were all sold out in a matter of days. Tracey Emin was born in 1963 to Turkish Cypriot parents to Margate in Kent. Her young life was a mixture of promiscuous sex and self-destructive activities as she moved between different men and art schools. Rape, abortion, family tragedy and a host of unpleasant diseases figure in her early life and most of these tragic events were well-documented in the ‘20 Years’ Retrospective held at the Scottish National Gallery of Modern Art. She was the ‘enfant terrible’ of the group that came to be known as the YBAs in the 1980s (Young British Artists) which included such artists as Sarah Lucas, Damien Hirst, Gary Hume and Sam Taylor...

Series of Six Fabulous Coloured Lithographs by Victor Adam depicting scenes of six Amazon women on horseback in battle with wild animals. Date 1851. Size plus frame: Height 65 cm, W...

Rare Olympic Games Munich 1972 Limited Edition 'Poster entitled 'Five Black Athletes in a Relay Race' signed and numbered by Jacob Lawrence Dimensions: Sheet Size: Length 109.5 × 69.5 cm Image Size: Length: 87 × 64 cm Edition Size: 200 Edition Number: 24 marked in pencil by Jacob Lawrence Signed: Jacob Lawrence 71 in pencil by Jacob Lawrence Serigraph – Screenprint Printed words on the left hand corner of the sheet read as follows: © Edition Olympia 1972 Gmbh 1971 Dietz Officin Lengmoos Description Bold colours fresh and vibrant as when originally issued Overall condition: Very good for age A minor tear at the top edge has been repaired and the poster has been given a conservation wash by one of UK’s leading paper conservators, in the main, to remove soluble pollutants, which if left untreated in a poster, in particular, one printed more than 50 years ago would accelerate its degradation. This first class conservational treatment will ensure that the poster would retain its present condition if professionally framed with museum-quality glass and not exposed to direct sunlight or put into long-term storage following the specialist guidelines for the storage of posters and prints. Jacob Lawrence was one of a number of artists who were invited to design posters for the 1972 Olympic Games held in Munich. He was first non-white artist to commissioned by an Olympic Games Committee. Lawrence created an image to commemorate the involvement of black athletes in the Olympic Games, as track was the field in which they had traditionally excelled. This striking poster depicts five black runners with grimacing faces take giant strides around a large, curving track as they head toward the finish line. They hold batons in their hands to show that they are competing in a relay race. Each athlete is shown with his arms, legs, and head in a slightly different position, one has his head back and his right leg stretched forward, almost straight. Lawrence used bold colours to depict the runners' stylised faces and legs as well as the repeated shapes of the track. He combined the flat, simplified shapes and empty spaces of modernism with silhouetted figures and the rhythmic patterns and colours of Harlem scenes. He labelled his pictorial style 'dynamic cubism'. Lawrence's poster embraces several themes: a) the intensity of competition in a relay race with invariably dramatic endings; b) memories of the African American athlete, Jesse Owens...

Francis Bacon Grand Palais Poster inscribed to Gordon, signed by hand. This is an imprint of the posters published to advertise an extensive retrospect of the works of Francis Bacon ...

Heinz Henghes - Nude Etching - Numbered 6/10 - Signed and Dated 1970 - Image Size 25 x 20 cm Heinz Henghes was born in Hamburg in 1906. Died in 1975 . At an early age he went to Ame...

A Set of Six Highly Decorative Unframed Art Deco French Advertising Prints all mounted, cellophaned and line drawn and coloured around print ready to go in a frame of your choosing....

A Fabulous Set of Eight Mr Goulds Tropical Birds in excellent order over 69 years old and of good size being 40 x 30 cm. Unframed for you to choose your framing! In 1830, John Gould...

Kathleen Ball - An Abstract Mixed Media - Image Size 17 x 23 cm .Having first discovered art at the age of nine, many years were spent developing her interest in illustration, portra...

A reproduction imprint of the Iconic 1932 – 33 ‘Bodyline Tour’ poster specially signed by Sir Donald Bradman This reproduction imprint of the iconic travel poster created for the 1932-33 ‘bodyline’ Ashes series entitled ‘Go Out to Australia for the Test Matches September 1932- March 33’ has been specially signed by the all-time greatest batsman, Sir Donald Bradman towards the centre of its image. The original poster was published by Troedel and Cooper Pty Ltd Melb. It was reproduced with permission of the Percy Trompf Estate and published by Post-Age Pty Lid (Sydney). Dimensions: Height - 89 cm Width - 63.5 cm Condition – Very Good This poster was created by Percival Alfred Trompf (1902 – 1964). Trompf was an Australian commercial artist best known for his travel posters, books, advertising hoardings and pamphlets promoting the nation’s tourist industry and Australian and international corporations and companies. His colour lithography was recognised as distinctive during his career and since, Art Decoin style, and innovative in its use of flat colour. Sir Donald George Bradman (27 August 1908 – 25 February 2001) known as Don Bradman and nicknamed ‘The Don’ was an Australian international cricketer who was regarded as the greatest batsman of all time. His career Test batting average of 99.94 collected over 52 matches is considered by some commentators to be the greatest achievement by any sportsman in any major sport. Before the 1932-33 Ashes tour, Douglas Jardine, the captain of England noted that Bradman was uncomfortable facing deliveries higher than usual at a faster pace, having observed him to step back consistently out of the line of the ball. Jardine felt that Bradman was nervous about standing his ground against intimidatory bowling, contrary to orthodox batting technique and decided that the bodyline bowling tactic should be used against him and other top batsmen in forthcoming test matches. Bodyline bowling was a cricketing tactic devised by English cricket team for their 1932-33 Ashes tour to Australia to counter the extraordinary batting skills and prowess of Australia’s leading batsman, Donald ‘Don’ Bradman and curb his scoring. A bodyline delivery was one in which the cricket ball crick was bowled at pace, aimed at the body of the batsman in the expectation that when he defended himself with his bat, a resulting deflection could be caught by one of several fielders placed close on the leg side. At that time, no helmets or upper body protective gear was worn, and critics of the tactic, both in Australia and England, considered it intimidating, overly aggressive, physically threatening and unfair, in a game that was traditionally supposed to uphold traditions of sportsmanship. Over time, several of the Laws of Cricket were changed to render the bodyline tactic less effective and increase player safety. This iconic poster reported to have been signed by The Don as a special gesture for an Australian sports journalist ranks as a unique item of cricket memorabilia...

William Knox (1862-1925). A fine Watercolour Drawing of the Grand Canal, Venice. Signed to bottom right William Knox dated '23'. The Picture is currently without glass, but this can ...

Henry Sanders - A Wonderful Impressionist City Scene - believed to be London but possibly continental. Painting only Width 90 cm and Height 60 cm Painter Henry Sanders was born Helmuth Saloman, in Dresden, Germany in 1918. After Hitler rose to power he left Germany in 1933 and travelled to Holland and then England, where he studied at Hornsey College of Art from 1935-39, returning to study under Russell Reave and John Moody...

A truly rare poster from the officially issued monochrome version of the 1930 World Cup poster bearing the all-important official stamp of the Comite Ejectivo of the governing body of football in Uruguay. The 1930 FIFA World Cup was the inaugural FIFA World Cup, the world championship award for men’s national association football teams. The tournament was held in Uruguay from 13th to 30th July, 1930. Dimensions: 52 × 28 cm  Condition: Very good for age devoid of tears, creases or excessive age-toning and with a few printer’s roller-marks that provide the poster with its own innate provenance and authenticity The 1930 Word Cup Poster Two types of posters were commissioned by the Uruguayan Football Federation, AUF for the tournament. They were the Official Poster in colour (78.5 × 38 cm; 38 × 15 in) and a smaller monochrome version of the Official Poster with the official stamp of the Comite Ejecutivo (52 × 28 cm; 201/2 by 11 in) designed by the Uruguayan graphic artist, Guillermo Laborde...

A Fabulous Set of Six Framed and Glazed Intricate Gouache's of Italian Landmarks/Places of Interest taken from 19thc. Each frame has three intricate gouache's, beautifully detailed a...

A Highly Impressive and Decorative Very Large Flemish Oak Figure of a Winged Angel, late 17th Century, previously part of a church interior. The piece has been beautifully carved wit...

Poster for Joan Miro Exhibition at Galerie Maeght Lithograph printed in colours for an exhibition of Miro's work in Paris from November 1978 to January 1979 signed in pencil from an edition of 75. This one numbered 37/75 on wove paper Printed by Arte Adrien Maeght, Paris in 1978 and Published by Maeght Editeur, Paris Full sheet printed to the edges with Dimensions: 78.1 x 57.2 cm Condition: Very Good Joan Miro I Ferra (20 April 1893 – 25Decemer 1983) known in the art world as Joan Miro was a Spanish painter, sculptor and ceramicist born in Barcelona into a family of a goldsmith and a watchmaker in the Barri Gotic neighbourhood. He studied at the Cerce Artistic de Sant Lluc and had his first solo show in 1918 at the Galeries Dalmau, where his work was ridiculed and defaced. Inspired by Fauve and Cubist exhibitions in Barcelona and abroad, Miro was drawn towards the arts community that was gathering in Montparnasse and moved to Paris in 1920, but continued to spend his Summers in his native Catalonia. In Paris, under the influence of poets and writers, he developed his unique style: organic forms and flattened picture-planes drawn with a sharp line. Generally thought of as a Surrealist because of his interest in automatism and the use of sexual symbols, Miro’s style...

A Fabulous set of Hand Coloured Etching by Joaquim Terruella Matilla (1891-1957) of Bullfighting Nephew and follower of Segundo Matilla, Joaquín Terruella was also a disciple of Sa...

Rare Munich 1972 Olympic Games Limited Edition 'Spirale' Emblem Official Poster designed by Otl Aicher, Coordt von Mannstein and Victor Vasarely and signed...

Fabulous Signed 20th century oil painting on paper by Ding Bin, 1992, 106 x 106 cm. Ding Bin was born in Beijing in 1960, graduated from the Department of Chinese Painting, CAFA. ...

Flight from Tyranny: For Amnesty International, 1975 by Alexander Calder Hand-signed, limited edition offset lithograph in colours on wove paper, H/C signed in pencil, and numbered ...

Wonderful watercolor of working dogs by Raoul Millais. Signed with Monogram HRM Raoul Millais (1901-1999) : Born in Horsham, Sussex in 1901, Raoul Millais was the grandson of the artist Sir John Everett Millais. His early introduction to art and culture was supplemented by his enrolment at the Byam Shaw School of Art and later the Royal Academy Schools in 1921. During his studies, Millais became interested in the depiction of animals, a field in which he excelled. In 1924 he accompanied his father, the artist John Guille Millais, to Africa where Millais spent time in Sudan completing a series of studies which would later become illustrations in the book ‘Far Away Up the Nile’ (1924). The following year, Millais travelled to Angola where he continued to sketch studies of exotic animals. Upon his return to England in 1925, he settled in Wiltshire where he established himself as an equestrian portraitist. His career as an equine painter proved to be very successful, and in 1936 the artist participated in a one-man exhibition of almost 50 paintings in London. During the Second World War Millais served in the Scots Guards and continued, where possible, to paint and draw. In 1943 the artist was given leave to complete a commission to paint the Royal horses Big Game and Sun Chariot for King George VI. In the years that followed, Millais completed a great number of portraits of winning racehorses, including commissions from Sir Winston Churchill. In 1958 the artist purchased...

This iconic poster was printed to advertise the first retrospective exhibition in Russia granted to a living British artist since the Russian Revolution, an event that provoked passi...

Alfred Wheeler (1852-1932) Oil on Panel of the Brilliant Racehorse Pretty Polly. Signed and Dated 1906 with Jockey Danny Maher up and Trained by R Gilpin and Owner Major Eustace Loder. Alfred Wheeler was born near Bath in Somerset to John Alfred Wheeler (1821-1877), who retired early from the Army to pursue a successful painting career. Alfred is thought to have studied under his father and to have worked closely with him. He married Catherine Muspratt in 1874 and moved next door to his father at Raglan Villas, Bath. Alfred then followed his father when he moved to Hanwell. Alfred and Catherine had six children of whom Walter Herbert and John Frederick became artists. The Wheeler family specialised in sporting subjects such as horseracing and foxhunting. They also painted animal portraits. There is often confusion between Alfred Wheeler and his father because their style is so similar and they both signed J. A. Wheeler or A. Wheeler senior. They even painted some of the same racehorses and both received commissions from Baron Rothschild and the Prince of Wales. Alfred's work is thought to be less prolific. However, Alfred did contribute to many of his father's paintings toward the end of his life. Generally, Alfred's pictures tend to have more of a photographic quality about them than those of his father. Pretty Polly (March 1901 – 17 August 1931) was an Irish-bred, British-trained Thoroughbred racehorse and broodmare. One of the greatest fillies ever to race in Britain, she won fifteen consecutive races and was only the fifth horse to win the British Fillies Triple Crown since its inception in 1814. Pretty Polly also became one of the greatest broodmares of the century. Pretty Polly was bred and owned by Major Eustace Loder and trained by Peter Gilpin, she won nine races from nine starts as a two-year-old in 1903. The following year, Pretty Polly won the 1,000 Guineas as 1-4 favourite, winning easily by three lengths in record time. Other wins as a three-year-old were The Oaks, the Coronation Stakes at Royal Ascot, the Nassau Stakes at Goodwood, the St. Leger Stakes (completing the Fillies' Triple Crown) and the Park Hill Stakes with jockey William Lane. Pretty Polly stayed in training as a four and five-year-old, winning six more races, including the Coronation Cup...

Attributed to William Shayer Snr. (1787 – 1879) A Stable interior with a horse and donkey by a briar, baskets and panniers on the floor beside them. Oil on Canvas. This painting was part of Dauntsey Estate, Wiltshire has never been at auction. 51 x 61 cms image only. William Shayer was an English landscape painter and figure painter who became prominent during the Victorian era. William Shayer was a self-taught artist, who began by painting decorations on rush-bottom chairs. He moved on to painting carriages in the town of Guildford, after which he started doing heraldic painting...

Offered for sale is this fabulous Louis Icart (1888-1950) Etching of two women overlooking Paris. It has been signed. In very good condition. It has been re-framed. A larger than no...

William Heytman Oil on Canvas - Still Life. It was rare for Heytman to do a Still Life. 70 x 50 cm Image only It would not be too far fetched to say that painting is in William...

Miss Ethel Mortlock an oil on canvas called 'Town' of Marie Adelaide Brassey (aged 3) who became Marchioness of Willingdon (see below) and is buried in the Nave at Westminster Abbey, signed and dated 1878. Picture 60 x 45 cm Ethel Mortlock (1865-1928) an extraordinary woman and sought after portrait painter, she painted this aged 16!. Born in Cambridge and lived in London. She exhibited at The Royal Academy between years 1878-1893 no less than 29 paintings also at the Grosvenor Galleries. Many of Paintings in museums (See History below and her sitters). Marie Adelaide Brassey - Marie Adelaide Freeman-Thomas, Marchioness of Willingdon, GBE, CI DStJ (née Brassey; 24 March 1875 – 30 January 1960) was a daughter of Thomas Brassey, 1st Earl Brassey. On 20 July 1892, she married Freeman Thomas , 1st Marquess of Willingdon (12 September 1866 – 12 August 1941), the future Governor General of Canada and Viceroy of India. She became : Invested as an Imperial Order of the Crown of India (C.I.) in 1917, Decorated with the Kaisar-i-Hind Gold Medal , Invested as a Dame of Justice, Venerable Order of St John (D.J.St. J.),Decorated with the Order of Mercy. Invested as a Dame Commander of the Order of the British Empire (DBE) in December 1917. Invested as a Dame Grand Cross of the Order of the British Empire (GBE) in the 1924 Birthday Honours. Marie Canyon on the Cowichan River, Vancouver Island is named for her, commemorating a 1930 canoe trip from Cowichan Lake down that river to the city of Duncan, British Columbia. The Lady Willingdon Hospitol in Lahore, Pakistan is named after her .The Lady Willingdon Hospital in Manali, Himachal Pradesh, India, is named after her. About Ethel Mortlock : Her clientèle of sitters included members of the aristocracy and European nobility and included, by her account, the Shah of Persia (1900) and the ‘Chinese Ambassador’, Li Hung Chang (who was actually the Chinese Viceroy), à propos which sitting the Sketch published an illustrated interview with Ethel in August 1896. Ethel was thought pretty grand by the American papers who reported that Chang had to go to her studio for sittings in 1896 rather than she wait upon him. He brought her a roll of silk and a white jade palette as presents. Li Hung Chang was a pretty big cheese; his wife had two thousand servants waiting on her. The Chatham, NY, Courier reported that Ethel had painted every Ambassador who had come to London. These last clients, allegedly by failing to pay the £1000 charged for their portraits, landed Ethel in trouble. They were, of course, conveniently unavailable to the bankruptcy commissioners so this sob-story could not be checked. Strapped for cash she was caught out when the executors of a racehorse owner called Edward Overall Bleakley found, in his effects, IOUs for hundreds of pounds (Bleakley had bequeathed his own portrait by Ethel to Manchester Infirmary [Daily News, 1.8.98]). Ethel went to court, claiming that these were offset by painting commissions, but the court found against her and she was told to pay up. Now saddled with legal costs, she was caught again when Captain Noel Hoare, her man of business, died and it was found that he had mortgaged to Hoare’s Bank, without her knowledge (she said), three properties in Sloane Street that she had been building. She tried to buy back one of these but lost a £500 deposit when she could not complete, making a bad situation rather worse. Bleakley’s executors now broke her and her examination in bankruptcy in 1901 can be read in the PRO as above. Her troubles were attributed to extravagance and betting - the Bleakley IOUs were assumed to be in fact gambling debts and the creditors now included all sorts of tradesmen and the Hotel Cecil where Ethel was then living, presumably in some style. She did not help herself by claiming an income of £250 p.a. when individual commissions were on her own account at the £1000 mark as above, meaning that the Chinese and Persian portraits alone would have occupied her last eight years and she would have obtained these prestigious commissions at the age of 18 (she gave her age as 26). Faced by the raised eyebrows of her superiors in mental arithmetic Ethel then upped her declared usual income to a still rather modest £800. She claimed to keep no sort of cash book, accounts, or any memoranda. Proceedings closed with Ethel declared bankrupt and a number of people out of pocket; the settlement was at 7/6 in the pound. Ethel went back to her easel. Some financial aspects seem never to have been sorted out; funds in Chancery relating to her, Hoare and Bleakley were still being recorded in the London Gazette every few years at least up to 1938; maybe the born in Cambridge; she appears never to have married. The 1881 census had not heard of her - she may have been in the United States at that time. However, standard works about Victorian painters, such as the Antique Collectors’ Club Dictionary of British Artists (Johnson %26 Greutzner, 1976) and their Dictionary of Victorian Painters (C Wood, 2nd edition, 1978) tell us that she was a pupil of Sir William Orchardson (who came to London in 1863) and that by 1904 she had exhibited 29 works at the Royal Academy. I have listed these, usually prestigious, sitters, who included Don Carlos...

ALLAN GWYNNE-JONES (1892-1982) "H M The Queen when Princess Elizabeth" study for No. 47 depicting the Princess in Windsor Great Park, oil on board, ...

Yuri Gusev (Russian, 1928-2012) Young standing male nude signed and dated '55 l.r., pencil Measures: 61 × 45cm. Yuri Gusev was born in Moscow in 1928. Studied at Moscow Intermedi...

Erte - A limited edition screen print after the Love and Tennis suite Numbered ,signed, mounted, glazed and framed. Image size: 20 x 24 inches , Sheet size: 24 x 32 inches Medium s...

A Wonderful Thomas Blinks 'Full Cry' - Oil on board - Highly sought after artist from a family originally probably purchased from artist , never been to auction. Measures: In Frame W...