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Preisdatenbank abonnierenAFTER GIOVANNI BATTISTA PIRANESI (1720-1778) "A view of the Capitol of Rome", etching, 41 cm x 56 cm CONDITION REPORTS Overall with some yellowing and dirt, frame separating at joins. Etching has not been removed from the frame for inspection, although the frame does appear to have some age.
AFTER GIOVANNI BATTISTA TIEPOLO (CIRCA 1696-1770) "Young man leaning against an urn", black and white etching from a set of ten from "Vari Capricci", 15 cm x 19 cm CONDITION REPORTS Overall with some wear and scuffs. Some undulations to paper. Some slight yellowing. Small nick/tear near top edge of picture (located about 4cm in from the left and 1cm down) The print is sealed within the frame, and has not been removed for inspection. It is not known which edition this print is from. Bears various printed and typed labels verso (please see photos)
Micheal Farrell (1940-2000) TRINITY II, 1964 etching; (no. 1 from an edition of 15) signed and dated in the margin lower right; titled centre; numbered lower left; with artist`s name and title inscribed on Dawson Gallery label 17.75 by 23.75in., 44.375 by 59.375cm. L Dawson Gallery;Private collection The work of Micheal Farrell has recently been highlighted by Solstice Arts Centre with support of the Arts Council/An Chomhairle Ealaíon with a touring exhibition [Solstice Art Centre, Navan; The Crawford Gallery, Cork and The RHA, Dublin 2013/2014] to encourage a re-evaluation of his important contribution to Irish life as an artist, and as a cultural commentator.
Stuart Morle (b.1960) STILL LIFE WITH LIZARD, APPLE AND PORTUGUESE TILE oil on copper signed on ledge lower right 8 by 10in., 20 by 25cm. L The two still lifes [lots 159 & 160] in this auction are painted on copper sheet. Copper has been used for several centuries as a support for oil paintings, and artists often used the reverse side of old etching plates for their works. Though limited in dimensions, this material provides a smooth and stable surface which is unaffected by humidity and does not deteriorate with time.Stuart Morle often employs a small format to experiment with intimate arrangements of simple objects. These studies then enable him to approach larger and more complex compositions with greater confidence. An example of the combination of still life into a painting with a figure may be seen in his Pictura which was exhibited and sold last year at the Royal Academy Summer Exhibition, London.
Stuart Morle (b.1960) FIVE APPLES IN A DRAWER oil on copper signed lower right 6 by 10in., 15 by 25cm. L The two still lifes [lots 159 & 160] in this auction are painted on copper sheet. Copper has been used for several centuries as a support for oil paintings, and artists often used the reverse side of old etching plates for their works. Though limited in dimensions, this material provides a smooth and stable surface which is unaffected by humidity and does not deteriorate with time.Stuart Morle often employs a small format to experiment with intimate arrangements of simple objects. These studies then enable him to approach larger and more complex compositions with greater confidence. An example of the combination of still life into a painting with a figure may be seen in his Pictura which was exhibited last year at the Royal Academy Summer Exhibition, London.
Eugene Bejot (1867-1931)/Les Lavoirs/signed in pencil, dated 1908/Laran 274, edition of c. 40 impressions/etching and aquatint, 29.25cm x 20.25cm (11.5"x 8")/Provenance: exhibited in the 1909 Salon; reproduced in 'The Studio' p.60, Autumn 1915/Palais D'Orsay, Paris signed in pencil, dated 1914/etching, 21.5cm x 29.25cm (8.5" x 11.5")/Le Cheval Blanc, Honfleur signed and dated 1919, dedicated to Pierre-Louis Moreau, an artist friend of Bejot staying with him at the Cheval Blanc at the time/Laran 334 ii/2/etching, 15.25cm x 22.75cm (6"x 9")/paper watermarked 'Eug Bejot'/Provenance: exhibited in the 1920 Salon Condition Report: This is all glazed and framed. Small mark lower left. Palais d'orsay print. Otherwise in good condition.
Eugene Bejot/Bateau dan le Vieux Port, Marseilles/signed in pencil, dated 1926/Laran 387 ii/3, edition of c. 50/etching, 22.75cm x 27.25cm (9"x 10.75")/Le Pont de Segovia, Madrid/signed in pencil, dated 1913/Laran 307 ii/3, edition of 80 impressions, bears the Atelier Bejot stamp verso/ etching, 22.75cm x 28cm (9"x 11")
Rembrandt Harmenz van Rijn (1606-1669)/Jan Uytenbogaert, Preacher of the Remonstrants/signed Rembrandt f and dated 1635 Haarlem/4th or 5th state of six, Bartsch 279, Hind 128/etching and drypoint, 22.75cm x 19cm (9"x 7.5")/Note: the plate started off rectangular, it was cut to this form and the inscriptions were added in the 4th state/see illustration Condition Report: This Rembrandt print has slight discoloration to the paper.
Gillian Ayres R.A. (b.1930), "Sikar II", signed and dated `93 in pencil in the margin, numbered 52/100, etching with aquatint with extensive hand colouring in acrylic paint on wove paper, 92 x 90cm.; 36.25 x 35.5in. Artists` Resale Right ("droit de suite") may apply to this lot. Condition report: see terms and conditions.
A framed engraving after V. Louden (1413), a double 19th Century Portuguese narrative print of a couple and their child, together with a framed facsimile etching of the Thames at St Paul`s, and a framed coloured engraved portrait, Sir Joseph Williamson. 29 x 42cm, both 14.4 x 10cm, 14.5 x 20cm and 15 x 12.5cm respectively
Hollar, W. (ills.) "The Dance of Death painted by Holbein", engraved plates, library stamps top right hand corner, title page missing, contemporary boards worn and rubbed, another, published 1890, Leipnik, F.L. "A History of French Etching from the 16th Century to the Present Day", John Lane, The Bodleyhead, 1924, numerous plates, library stamp top right hand corners, Pietsch, Ludwig "Contemporary German Art at the Centenary Festival at the Royal Academy of Arts Berlin", George Bell, 1888, 2 volumes, plates with tissueguards, one or two missing, rebound library cloth and three other related volumes (8) Please note we do not guarantee books regarding collation. Bidders must be completely satisfied with condition and collation before bidding.
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