78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
78475 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnieren- Liste
- Galerie
-
78475 Los(e)/Seite
Los 470
§ John Brunsdon ARCA (1933-2014) Glaciated Valleysigned 'John Brunsdon' (lower right); numbered 94/150etching and aquatint24.5 x 32cmScratches visible in the secondary images are on the perspex 'glazing' only and not on the print itself. The work has not been examined out of the frame, the outer margins are obscured by the mount so not available for inspection. Overall the work appears to be in nice and presentable condition throughout with no foxing noted.
Los 467
§ John Brunsdon ARCA (1933-2014) Dusksigned 'John Brunsdon' (lower right); numbered 24/100etching and aquatint47 x 62cmNot examined out of the frame. The margins display some light and uniform toning, the perspex 'glazing' with surface scratches and scuffs throughout visible under raking light and with one loss in the top left corner. Otherwise in nice overall condition.
Los 9123
(Victorian and Edwardian Illustrated Books, Caricatures & Humour, Engraving, Etching etc.) Fourteen assorted volumes, including Muirhead Bone (ill.); Gertrude Bone: 'Children's Children', London, Duckworth, 1908, limited edition, number 126 of 215 copies only, numbered and signed by the illustrator Muirhead Bone, tissue guarded frontispiece and many further full page and vignette illustrations by Muirhead Bone as called for, 4to, original Japanese vellum gilt, top edge gilt, armorial bookplates of Walter McLennan Citrine, 1st Baron Citrine (1887–1983), and Norman Arthur Citrine, 2nd Baron Citrine (1914–1997), to FFEP and front pastedown; "Phiz" (Hablot Knight Browne): 'Sketches of the Seaside & Country', L, Ward Lock & Tyler, c.1870, 28 full page sepia/black & white plates as called for, oblong large 4to, orig. cloth backed pictorial paper covered boards; Edward Tennyson Reed: 'Mr. Punch's Prehistoric Peeps.', L, Bradbury Agnew, c.1895, ills. throughout, oblong large 4to, original pictorial cloth gilt, all edges gilt; 'Phil May's Gutter-Snipes. 50 Original Sketches in Pen & Ink', L, Leadenhall Press, c.1896, illustrations throughout, large 4to, original pictorial cloth gilt; Charles Knight: 'Old England', L, Sangster, c.1870, 2 volumes, coloured litho plates and b/w engraved ills. throughout, folio, original blindstamped decorative cloth gilt, all edges gilt; F. Carruthers Gould: 'The Westminster Cartoons No.2', 1896, limited edition, No.55 of 250 copies, numbered & signed, b/w ills. throughout, ex library, folio, original cloth gilt; plus 7 others John Leech, Birket Foster/Brothers Dalziel, L. Raven-Hill, Phil May, Charles Keene, William Rothenstein & Charles E. Brock (14)
Los 508
RUBAIYAT OF OMAR KHAYYAM, FITZGERALD (EDWARD), GEORGE HARRAP & CO., LONDON 1930 no. 333 from a limited edition of 750, with illustrations by Willy Pognay, signed by the illustrator, including etching also signed by the illustrator in pencil, gilt tooled full morocco boards, housed in original cardboard case
Los 350
AFTER STEPHEN PEASE "Study of huntsman on horseback and hounds", black and white etching, signed lower left, 64 cm x 90 cm, AFTER "T.C. Garth Esq. M.F.H, Haines Hill Twyford Berks 1890", artist's proof coloured engraving, written in ink on the right hand side, 56 cm x 35 cm, together with a box of various prints, engravings, etc. (1 box plus 2 loose)
Los 395
AFTER ALBANY E HOWARTH "Tom Tower Oxford", etching, signed in pencil lower right, 30 cm x 17 cm, together with others in the same hand to include "St. Giles Edinburgh", "Ely Cathedral", "Richmond Yorkshire", "Choir Transept and Pilgrim Steps Canterbury", "La Porte Guillaune Chartres", "Micklegate Bar York", "The Great Screen Winchester", "The Choir and Screen Toledo", "The Great Screen and Choir Burgos", "Chancel Ely Cathedral", together with another untitled, varying sizes and AFTER TOM WHITEHEAD "Port St. Michael Paris", etching, signed and titled to the bottom margin, 28 cm x 37.5 cm (13)
Los 532
Porch Gate, St Mary-the-Virgins, Oxford, etching on laid paper, signed, titled and dated 1884 in the plate, unframed, 14½ x 10½in. (36.8 x 26.7cm.), together with a collection of sixteen unframed 19th century etchings by various artists of mostly architectural subjects, some signed in pencil, largest 14½ x 10½in. (36.8 x 26.7cm.), and twenty-six hand coloured etchings and engravings, various artists and subjects. (43)*Joseph Pennell etching with very light foxing, otherwise in good condition with generous margins.
Los 416
* Howard (Thomas, 1473-1554), 3rd Duke of Norfolk. A fine vellum document dated 24 May 1553, made in the first year of the reign of our sovereign Lady Mary Queen of England, the document from Thomas Duke of Norfolk, Earl Marshall of England relates to him having had and received from Edward Lord Clynton [Clinton] (1512-1584/5 English Admiral) the sum of £300 for all his woods and underwoods in his manor, document signed by Thomas Duke of Norfolk with large fragment of his pendant wax seal remaining, together with a vellum deed, 30 October 1553, being a settlement between Thomas Melkforde of Radwinter in Essex and Richard Westleye of Hempstead, to Robert Mordaunte of Hempstead, relating to the manor of Wynslowes and Goldingham, both in Hempstead, with 2 red wax seals appended (1 with 'TM'), plus 2 other 16th-century vellum deeds with fragments of wax seals appended, plus Hollar (Wenceslaus). Illustris & Excellent D.mus Dominus Thomas Howard comes Arundeliae Surriae..., 1646, uncoloured etching after A. Van Dyck, trimmed to neat line and window mounted, 265 x 195 mmQTY: (5)
Los 1012
ARR Henry Wilkinson (1921-2011)Retriever with Dead Gamesigned in pencil to margin, ed 110/150etching and aquatint23.5cm x 28cmwith a second sporting etching by the same hand (2) Both framed and glazed. The leading print in the lot is generally in good condition, with some undulation below the glazing and limited foxing. The second etching is in worse condition, with very prominent foxing.
Los 13
Jack Youngquist (American, 1918-1993). Group of six prints and drawings including:Etching titled "Prone F/Tri-Sequence" depicting figures lying on their backs, 1975. Pencil numbered "Artist's Proof" 3/3 along the lower center.One graphite on paper drawing titled "Guardian" depicting a nude figure on their back with their head, depicted in several angles, resting in the lap of another, 1972. Signed and dated along the lower right; titled along the lower center. The verso with a gouache painting of a circus.One lithograph titled "The Burbank-Livingston-Griggs House" depicting a view of the historic Summit Avenue, St. Paul home, 1975. Signed and dated along the lower right; numbered 23/200 along the lower center; titled along the lower left.One lithograph titled "The Cutter House" depicting a historic Minneapolis home, 1975. Signed and dated along the lower right; numbered 43/200 along the lower center; titled along the lower left.One lithograph titled "The Alexander Ramsey House" depicting a historic home in St. Paul, Minnesota, 1975. Signed and dated along the lower right; numbered 84/200 along the lower center; titled along the lower left.One graphite on paper drawing depicting a gathering of five nudes.With two catalogs of shows featuring Jack Youngquist.Height ranges from 15 1/2 in to 21 in; width ranges from 18 in to 26 in.Condition:(Prone F/Tri-Sequence) There is a loss along the upper left corner. There is a 1-inch long tear along the lower center. Three small tears along the lower right. Some water exposure along the lower right. A few light creases. Some discoloration and toning throughout. Old tape affixed along the edges. The work is not framed. (Guardian) Some smudging/transfer of graphite throughout. There are small spots of water exposure throughout the left side of the work. Some toning and matburn visible. There are a couple of pinholes along the margin, likely original to the artistic production. Old tape affixed throughout the verso. The work is not framed. (Burbank-Livingston-Griggs House) The sheet is toned. There is some light wear along the edges. A few light creases/handling marks throughout the margins. Not framed. (Cutter House) The sheet is slightly toned. A few light handling marks/creases along the margins. Light wear to the edges. Not framed. (Alexander Ramsey House) The sheet is slightly toned. A few light handling marks/creases along the margins. Light wear to the edges. Not framed. (Five Nudes) There is wear throughout the sheet including some small tears, creases, and transferring/smudging of graphite. Not framed.
Los 130
A large painting depicting Old Court House Street, Calcutta, after the print by Thomas Daniell Chinese School, probably Canton, 19th Centurygouache on paper, Chinese patterned silk border, framed 137.5 x 210 cm.; with frame 150 x 225 cm.Footnotes:ProvenanceA private San Francisco collection, assembled in the 1960s and 70s.Bonhams, San Francisco, Fine Asian Works of Art, 29th June 2009, lot 8281.In the collection of Ed Hardy, San Francisco.Abell Auction Company, Los Angeles, USA, March 2023.Our painting was probably executed between 1820 and 1860, on the basis of comparison with the development of Chinese oil paintings depicting Canton. From the late 18th Century views of the waterfront there were produced by local artists for western merchants and ship owners visiting the port. At first they were painted in bodycolour on paper, fine linens or silk, but canvas and oil paints appear to have been introduced to the Cantonese artists' studios in the last quarter of the 18th century.William Sargent notes: 'Exactly how Chinese artists learned western techniques and what their attitudes were towards their customers is not known [...] There are no records of East Asian artists studying under western teachers, other than in schools established in Asia by the Church specifically for the production of religious art. However, European artists did visit Asia, and their presence in coastal trading ports eventually influenced local imitators. It is more likely, however, that Asian artists learned western techniques from copying prints, book illustrations or other secondary sources'. A watercolour from a series of one hundred, in the Victoria and Albert Museum, depicting trades, produced in Canton, circa 1790, shows a Chinese artist painting on to glass with a European engraving propped up in front of him (see William R. Sargent, 'Asia in Europe: Chinese Paintings for the West', in A. Jackson, A. Jaffer (edd.), Encounters: the Meeting of Asia and Europe, 1500-1800, London 2004, pp. 274-275, and plate 21.2). For another example, circa 1800, see P. Conner, Paintings of the China Trade: the Sze Yuan Tang Collection of Historic Paintings, Hong Kong 2013, p. 118, no. 103.A Chinese porcelain dish of circa 1795 bears a design derived from an English engraving of 1794 of Fort William (the Company settlement which became Calcutta); the service of which the dish was part was probably produced for export to India for the use of Company employees (see P. Conner, The China Trade, 1600-1860, Brighton 1986, pp. 100-101, nos. 135 and 136). A second example is a painting on linen or silk by a Chinese artist of the late 18th Century, after a print depicting Stockholm harbour by the Swedish artist Olaf Jacobsson Arre (1731-1809). Conner notes that 'while following the original engraving in most respects, the Cantonese export artist has lent a decidedly Chinese quality to some of the ships in the harbour' (see P. Conner, op. cit. (2013), p. 85, no. 74).The copying of a Daniell print here represents an interesting complication of the direction of influence, for the Daniells were amongst the first British artists to visit China (in their case, on their homeward journey from India in 1793-94 as part of a convoy including Lord Macartney, himself returning from an embassy). Thomas Daniell produced views of the waterfront at Canton (from which prints were derived): see P. Conner, The Hongs of Canton: Western Merchants in South China, 1700-1900, as seen in Chinese Export Paintings, London 2009, pp. 61-63, and figs. 2.33 and 2.34. However, as Sargent and Conner note, prints and illustrations seem to have been the main source for the Asian artists.The Cantonese artists, in their frequent depictions of the Hongs (waterfront offices and warehouses) at Canton and the European 'factories' there, were used to portraying streets and buildings, as well as the population filling them: see, most strikingly in relation to our painting, an 1807 work showing a street scene with officials arriving outside the hongs before the trial of European seamen in Canton (see P. Conner, 2013, p. 142, no. 127). Here then, in our painting, they combine their source in a European print with the sort of scenes they were already painting of their home background - while doubtless being aware of the commercial possibilities of producing a view of Calcutta for British consumption. While our painting is still in gouache on paper, its scale is clearly related to a new familiarity with Western oil paintings of the late 18th Century.The view in our painting is a close copy of the print (coloured etching with aquatint) depicting Old Court House Street from the north, no. 9 from Thomas Daniell's Views of Calcutta, 1788 (illustrated in, for example, M. Archer, Early Views of India: the Picturesque Journeys of Thomas and William Daniell 1786-1794, London 1980, fig. 12; or J. P. Losty, Calcutta: City of Palaces, London 1990, p. 57, fig. 27).Archer writes in his caption:Old Court House Street ran north-south from the Old Court House in Tank Square along the eastern side of Government House to the Maidan. Its comfortable mansions of many different designs are set in compounds on either side of the road. The street is busy with varying forms of Indian and British transport - an elephant, a canopied bullock carriage, sedan chairs, palanquins and carriages. People of many types, including an ascetic, mingle in the road.For further information on this lot please visit Bonhams.com
Loading...-
78475 Los(e)/Seite