78475 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenDame Elizabeth Frink R.A. (British, 1930-1993), I Flew Through a Black Cloud...., signed and inscribed A/P (from edition of 48) in pencil, etching on wove 1987, as included in the Artists' Choice Portfolio published and printed by The Royal College of Art, London, unframed. 30.5cm square. Note: this lot may be subject to ARR.
Krishna Reddy (Indian, 1925-2018) 'Tree Trunk' colour etching on paper, signed, titled and inscribed 'Imp. by the artist' to lower margin 15¼ x 18¾in (38.7 x 47.7cm), dark grey and gilt oak frame (56.5 x 64.25cm) * Condition: Acidic mount and light mount burn to sheet visible. Sheet is slightly cockled and faint toning. No other faults - the colours appear strong. Not examined out of frame.
Three etchings & prints, framed and glazed, comprising: 1. Maggie Burley (British, contemporary) - 'Gift Wrapped', colour etching, signed, titled and numbered 16/100 in pencil, 13.5 x 8.2 cm 2. Audrey Hammond (British, 20th century) - 'Robb asleep', etching, signed, titled, dated '5.82', A/P lower margin, 12.7 x 16.2 cm. 3. after Louis Wain, late 19th century hand-coloured engraving of five kittens, 8.75 x 13.5 cm.
After Gerald Spencer Pryse (1882-1956)"Night"Signed in pencil, a black and white print, together with a further 5 prints and engravings after various artists to include Portrait of a Young Girl after Karl Sterrer, 2 coloured prints of scenes in Cairo after David Roberts, an engraving by John Martin "Son of Heaven and Earth", and an etching after William Hogarth, "Boys Peeping at Nature", Ken Symonds screenprint, 34.5cm by 35.5cm and various other sizes (7)
Thomas William Ward (British 1918-2000) Townscape Signed, dedicated and dated '54 in pencil in the margin, etching.plate size 30 x 12.5cm (framed 44 x 27cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There is a single spot of foxing in the upper margin of the paper. The print is framed and glazed. The frame has some minor scuffs and knocks.
Harry Norman Eccleston (British 1923-2010) Scrap pile and figures Signed and dated 1957 in pencil in the margin, etching.24 x 17.5cm (framed 37.5 x 29.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two minor spots of foxing on the paper. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Various Industrial Artists Group lot of seven industrial scenes A group lot of seven industrial scenes to include, in order of photographs; an etching by Margaret Harris (American 1934-2004), an ink pen drawing by Rod Alder (British 20th/21st century), an indistinctly signed limited edition print, a limited edition print signed Raymond Murray (British 20th/21st century), an indistinctly signed watercolour, and two limited edition prints by Michael Milner, (7).Ranging from 19 x 19cm (framed 30 x 30cm) to 25 x 34.5cm (framed 39 x 48.5cm)Qty: 7Please refer to the pictures provided for condition, or request more information below.
Louis Orr (American 1876-1966) "Cleveland" Signed and titled in pencil in the margin, etching.20.5 x 24.5cm (framed 47.5 x 37.5cm)The print is in very good, original condition. There is some light time staining and yellowing around the edges of the print near the mount board. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age and there are a few small areas of water staining along the lower edge of the mount board.
Frank Brangwyn (British 1867-1956) Factory scene with working figures Signed in pencil in the margin, etching.23.5 x 15cm (framed 43 x 32.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in fair, original condition. The paper has browned slightly and there is extensive foxing across the sheet. The print is framed and glazed. The frame has some minor knocks and losses commensurate with age, and there is further foxing across the mount board.
A box containing assorted plated cutlery etc together with a box containing a Victorian mahogany and parquetry inlaid jewellery box, a modern metronome, a set of postal scales etc together with 20TH CENTURY ENGLISH SCHOOL "Westerham Kent" colour print, 35 cm x 59 cm together with another similar "Lydford Kent", 35 cm x 59 cm, AFTER HENRY G WALKER "Tom Tower - Christchurch College" coloured etching, signed in pencil, 26 cm x 15 cm, AFTER E.J. MAYBERY "Old courtyard Falaise" etching, signed and titled in pencil, 20 cm x 13 cm and three various other decorative pictures (2 boxes and 7 pictures)
EMERSON, Peter Henry (1856-1936). Wild Life on a Tidal Water, London, 1890, 4to, 30 photogravure plates, folding chart, original buckram gilt (spine and corners rubbed). FIRST EDITION. NUMBER 21 OF 500 COPIES. RARE. With 3 medals awarded to Emerson. (4)EMERSON, Peter Henry (1856-1936, photographer). Wild Life on a Tidal Water. The Adventures of a House-Boat and her Crew ... Illustrated with Thirty Photo-Etchings by P. H. Emerson and T. F. Goodall ... Together with an Appendix "Breydon Past and Present". London: Sampson Low, Marston, Searle and Rivington, Limited, 1890. 4to (232 x 255mm). Half title, title printed in red and black, 30 fine photogravure plates by Peter Henry Emerson, including one after a painting by Thomas Frederick Goodall, folding "Plan of Breydon from Yarmouth Bridge to the Junction of the Yare at Waveney" at the end (very faint spotting and staining to text, some plates very lightly and consistently browned [or possibly printed on a different paper stock], a few plates with very light spotting and staining, but the majority unblemished, one tissue guard torn without loss). Original roan-backed pictorial blue buckram lettered in gilt, top edges gilt, others uncut, brown endpapers (spine and corners rubbed). Provenance: R. C. Fiske, Morningthorpe (ex-libris label); from the Collection of the late John Anthony Benjafield (1938-2023). FIRST EDITION of this work by the pioneer of "naturalistic photography". NUMBER 21 OF 500 COPIES OF THE "ORDINARY EDITION." RARE. Emerson believed that photography was less a mechanical process concerned with representing the world in forensic detail and more an art form, and that a photograph should reproduce as faithfully as possible what the eye actually saw, just as the Impressionists did with painting. This then radical approach did not always find favour with the photographic establishment who saw Emerson as something of a renegade. Although the wording of the title page of the present work may suggest that it was an equal collaboration between Emerson and Goodall, most of the input was Emerson's since he provided both the photogravures and the text. As the opening of his preface states, "This simple record of my impressions and experiences, whilst living with my friend, T. F. Goodall, on his house-boat on Breydon Water in Norfolk, may prove interesting to the public who have so kindly welcomed my previous productions. The plates illustrating this book were taken during this sojourn on that great tidal water in the summer of 1887. They form a series of separate chapters which will help to give the reader an idea of the wild life on Breydon and in Great Yarmouth, the old fishing town on its shore. The photo-etchings must speak for themselves; I have thought it unnecessary to write anything concerning them. The photo-etching, The Last of the Ebb, is from Goodall's large painting of Great Yarmouth from Breydon: his opus magnum during our sojourn there. It was exhibited in the Royal Academy of 1888, and will be known to some of my readers. The remaining plates are photo-etchings from photographic plates, all taken by me." Thereafter, the tone changes and displays some of the author's characteristic cantankerousness as he bemoans "... the ruinous manner in which some of my plates were printed in a previous publication." A pencil note on the front free endpaper, probably in the hand of John Benjafield, states: "This [book] rarely has its original spine and has not been rebacked. It is one of the rare copies to do so." Kahan & Colson Peter Henry Emerson (1972) pp.80-81; Newhall P. H. Emerson. The Fight for Photography as a Fine Art (1978) pp.50-53. See also Peter Turner & Richard Wood's P. H. Emerson. Photographer of Norfolk (1974) and John Taylor's The Old Order and The New. P. H. Emerson and Photography 1885-1895 (2007), the latter published to accompany the National Museum of Photography, Film and Television's exhibition of the same name. Included in the lot are 3 medals awarded to P. H. Emerson for photography: 1) [Obverse:] "'Amateur Photographer'. Prize Tour 1886. P. H. Emerson. B.A. M.B. Prize Medal" [Reverse:] "Presented by the 'Amateur Photographer'. Daguerre. Woodbury. Abney. Fox Talbot." 2) [Obverse:] "P. H. Emerson. For Instantaneous Photography" [with a view of Crystal Palace] [Reverse:] "Exposiçao Internacional de Photographia No Palacio de Crystal. Porto 1886 [with 3 allegorical figures] and 3) [Obverse:] "Amateur Photographic Exhibition. Awarded by the London Stereoscopic & Photographic Company (Limited) to P. H. Emerson M.B." [Reverse:] [3 putti in a photographic studio.] (4)
A collection of 16th and 17th century engravings and etchings, including 16th century prints by Cherubino Alberti (1553–1615) after Polidoro da Caravaggio: Rape of the Sabines, engraving, circa 1590, from the set of five, together with three further 16th century engravings, one by Jan Collaert, and two copies after engravings by Hendrick Goltzius and Albrecht Dürer. Joachim von Sandrart the Elder (1606-1688), Roman Ruins in the Egyptian Period, etching, together with a collection of mainly 17th century engravings by or after D. Barrière, J.W. Baur, J. van Beverwijck (6 copies in reverse), J. P. Beerendrecht, P.G. Bianchi, A. van der Cabel, S. Cantarini (one by and one copy in reverse), S. Le Clerc, H. Collaert, W.B. Crabeth I, F. Desquenoy, I. Duvivier, L. Gautier, A. van de Kablel, M. Küsel, G. de Lairesse, J.P. Le Bas, C. Le Brun, Claude Gellée le Lorrain, M. Merian II, F. Meyer, C. de Passe, G. Perelle, F. Perrier, P. Potter, J.A. Riedel, Rembrandt, J. Rigaud, J. van Sandrart, F. Schiaminossi, C. Schut II, I. Silvestre, H. Swaneveld, W. Vaughan, J. van de Velde, A.P. van de Venne, P. Veronese, C. Visscher, S. Vouet, J.B. de Wael, A. Waterloo, A. van Westerhout A. Wierix, and F. Wierotter, 28cm x 39cm and smaller (a collection).
A collection of mostly 18th century old master prints, mostly etchings and engravings, by or after W. Baillie, J. Barbault, P.S. Bartoli, F. Bartolozzi, J. G. Bergmüller, Bertaux, J. J. de Boissieu, F. and J.C. Brand, C. I. Carloni, P. Q. Chedel, Mrs Cosway and R. Cosway, Jacques Couché, W. Delamotte, M. Desmarais, D. Deuchar, L.F. Dubourg, P.F. Duflos, I. Duvivier, C. Eisen, English School, I. Fougeron, S. Gessner, C. Grignion, G. Hackert, G. Huquier, U. Kraus, J. P. Le Bas, L. Legrand, Leonardo da Vinci, M. de Longueil, C.F.A. Macret, L.J. Masquelier, J. Mathieu, J.S. Negges (2 mezzotints), Abbé de Saint Non, P. Parrocel, B. Picart, J. Pillement, F. Place, M. Plonski (1802), T. Prattent, J. Rigaud, H. Robert, S. Rosa (a copy of a Rosa etching), Tzetter, F. Vivares, F. E. Weirotter, R. Wilson, a map of South America, probably 1766, and two anonymous English and Italian prints, 26cm x 40cm and smaller (a collection).
After Rowland Langmaid (1897-1956) View of St. Pauls' Cathedral from the Thames and The Tower of LondonDrypoint etchings, 29 x 21cm both signed in pencil lower right, framed and glazed ,Plus After Rowland Langmaid (1897-1956)Waterloo Bridgedrypoint etching, 17 x 41cmsigned in pencil lower right, framed and glazed, label verso
Luc Waring Limited Edition Photoprint Titled Deja Vu Edition 1/5 In Glazed Black Simple Frame 64 x 85cm Luc Waring, Formerly Known As Artmani, Is Recognised For Elegantly Playing With Our Obsession With Branding, Advertisement And Consumerism. He Explores The Trends And Pressures Adopted By Our Modern Society, Whilst Satirically Examining The Mechanics Of Capitalism And So Called Democracy Urban Style Utilises Spray-Paint, Screen-Printing, Etching And Other Techniques, Encompassing A Sense Of Pop Art Culture Throughout His Work. His First Major Fine Art Show At The Courtauld Gallery Saw His Work Hung Alongside Works By Monet, Van Gogh And Gauguin. This Was The First Exhibition In Which The Courtauld Gallery Had Exhibited Live Artists, Securing A Name For Waring In The Fine Art World. Notable Collectors Of His Work Include The Dowager Viscountess Rothermere And Kate Moss. Waring Is Currently Represented By Some Of Londons Most Talked-About Galleries, Including Imitate Modern, Gggallery, And Graffik Gallery. ( Asset No: HH/211)
Pooja Shah Acrylic On Canvas Abstract Acrylic Painting With Texture From The Etching In Of Marks In The Under Layers On Gallery Wrapped Canvas With A Gloss Varnish Signed Verso 125 x 65cm Pooja Shahs Unique And Fresh Style Uses A Lot Of Colour, Silhouettes, Sometimes Geometric Designs, And A Lot Of Different Art Styles That Range From Street Art To Cubism To Create Absolutely Unique And Fresh Art Pieces ( Asset No: HH/151)
Valerie Christmas Titled Fan Tails Limited Edition 10/200 Signed In Wood Glazed Frame 35 x28cm Valerie Was Born In Surrey. She Studied Drawing And Book Illustration For Four Years At The Wimbledon School Of Art And Gained Entrance To The Royal College Of Art, London From Which She Graduated With An Honours Degree In Painting. After Moving With Her Family To Dorset, Valerie Began Studying Etching At The Bournemouth And Poole School Of Art And Design While Also Working As An Art Teacher. Her Work Was Exhibited At The Royal Academy Summer Exhibition And Because Of The Success She Took Up Etching Full Time. ( Asset No: HH/126)
Valerie Christmas Titled Puffins Artist Proof In A Distressed Wood Glazed Frame 25 x 25cm Valerie Was Born In Surrey. She Studied Drawing And Book Illustration For Four Years At The Wimbledon School Of Art And Gained Entrance To The Royal College Of Art, London From Which She Graduated With An Honours Degree In Painting. After Moving With Her Family To Dorset, Valerie Began Studying Etching At The Bournemouth And Poole School Of Art And Design While Also Working As An Art Teacher. Her Work Was Exhibited At The Royal Academy Summer Exhibition And Because Of The Success She Took Up Etching Full Time. ( Asset No: HH/127)
Armand Seguin (1869–1903) Breton Woman in a Working Headdress (1893/94) Etching 16.5 x 15cm (plate size) Numbered 33 in an edition of 35 With initials stamp under mount. (Field, Strauss and Wagstaff, catalogue of Seguin prints, number 48) In the summer of 1893, Seguin and Roderic O’Conor worked together in Le Pouldu, a coastal village near Pont Aven in Brittany, on a series of highly experimental etchings, probably printed on a small proofing press in limited numbers, usually finding subjects in the landscape and the traditional customs and costumes of Brittany. Seguin met Gauguin in 1894 and the latter wrote an introduction for Seguin’s only one-person exhibition in Paris in 1895. In 1964, twenty-four of Seguin’s original plates were printed by Maurice Malingue in a main edition of thirty-five prints, of which these are part. They have a pale green initial stamp in the lower right corner.
Loading...
