Gillray (James) John-Bull and the Sinking-Fund _ P(r)etty scheme for Reducing the Taxes - & off the National Debt, etching with original hand-colouring, on wove paper without watermark, sheet 252 x 350 mm (9 7/8 x 13 3/4 in), trimmed to or just within the platemark, expert restoration to loss at lower left corner, minor surface dirt, unframed, [BM Satires 10704], Hannah Humphrey, 1807 ⁂ Satire on the hugely complex and controversial scheme proposed by the Chancellor of the Exchequer, Lord Henry Petty, to bridge the shortfall between normal annual revenue and the cost of war, as he shovels coins from an enormous sack that weighs heavily on a crouching John Bull, showering them down onto ministers eagerly catching them in hats, robes, bags and bowls.
78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
78472 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
-
78472 Los(e)/Seite
Daniell (Thomas) and William Daniell. A Mosque at Juanpore, from Oriental Scenery, etching and aquatint with full hand-colouring, an excellent impression on Whatman wove paper with watermark date '1801', platemark 485 x 655 mm (19 x 25 3/4 in), sheet 530 x 720 mm (20 3/4 x 28 1/4 in), some spotting, minor surface dirt, unframed, [Abbey 420, no. 85], published by the artist, 1802.Provenance:From the Collection of the Late W.G. and Mildred Archer; thence by descent.Literature:Archer, Mildred, Early Views of India, The Picturesque Journeys of Thomas and William Daniell 1786-1794, 1980, no. 73.
Michael Ignaz Mildorfer (Innsbruck, 1690 - 1747) Austrian School The fire at Ruhelust Castle, Innsbruck, Austria (15th-16th March, 1728) Oil on panel Inscribed extensively verso Michael Ignaz Mildorfer was born into an esteemed family of painters. His father ran a successful etching, engraving and printing workshop, having come to Innsbruck from Straubing brandishing his own family crest and a charter allowing him to work unhampered by the need to join any local guild. Michael's sister Maria Elisabeth found fame as a miniaturist and spent most of her life in Rome. Michael himself worked, together with the more established painter Josef Waldmann, on prestigious projects such as the decorations and frescoes for the splendid Herkulessaal in the Imperial Palace and the Servitenkirche in the centre of Innsbruck. He was also active as an engraver and printer. In 1712 Michael Ignaz married Ursula, the widow of his colleague Josef Waldmann; this alliance further enhanced his position among Tyrolean artists. The fact that an Innsbruck nobleman by the name of Michael de Lama acted as godfather at the christening of the couple's son, Josef Ignaz, confirms this impression. Of their six children only three survived into adulthood: Maria Susanna (1714-1753) who would since marry the Innsbruck painter Joseph Pögl; Maria Anna, who was sickly and confined to a hospital and, lastly, Josef Ignaz (1719-1775) who would go on become a famous painter in his own right. Ruhelust castle was built in 1522 by Ferdinand I, Holy Roman Emperor of the Habsburg dynasty, within the vast formal gardens around his Innsbruck Palace. His successor, Ferdinand II, appointed architect Giovanni Lucchese in 1567 to refit the castle for him in the Italian Renaissance style for use as a summer residence. Made up of several smaller buildings, Ruhelust was built from timber (a deliberate choice of material to make it withstand recurring earth quakes), and consisted of an upper and a lower section with ample space to accommodate the royal baths, the Archduke's offices, his antiquities collection, a chapel, a designated ball house and workshops. Later additions would include a hall for dressage riding displays curiously combined with an opera house-cum-theatre. By 1582 the lengthy and costly building work had been completed. Having neglected the Hofburg, their main residence, in the process and having expended vast sums on warfare during the 30 Years' War, the imperial family made Schloss Ruhelust their private residence. However, in 1636 Ruhelust was ravaged by fire and suffered extensive damage. It was eventually reconstructed, but the Habsburg dynasty had moved to Vienna by 1665, shifting the focus of its power to that city. In 1728 Ruhelust succumbed to a second fire, which entirely destroyed it. According to the inscription on the reverse, our painting depicts this last fire, which occurred in the night of 15-16 March 1728. Mildorfer appears to have witnessed the actual event, recording in paint the turmoil and destruction. Another, much larger and more comprehensive, version of this painting is in the collection of The Ferdinandeum, the Tiroler Landesmuseum, in Innsbruck. Interestingly, (not least because none of the other figures seem to be repeated from one painting to another), the figure of one well-dressed gentleman appears in the lower middle ground in both paintings. In Mildorfer's allegorical etching and engraving of Charles VI, circa 1726, a similar figure is seen presenting a folio to the Emperor. This would indicate that all three depictions could be self-portraits of the artist. Dimensions: (Panel) 12 1/4 in. (H) x 15 3/4 in. (W)
A set of 22 Canaletto etchings produced by J.G. Links With a catalogue and foreward by John R. Hale 12 framed and 10 loose in folio Etching on paper To be sold without reserve Property of a Nobleman Framed: [a] Le Porte del Dolo [b] La Torre di Malghera [c] Prato della Valle [d] Ale Porte del Dolo [e] A Town on a River Bank [f] Sistina in Pra della Valle [g] The Portico with a Lantern [h] Al Dolo [I] Mestre [j] Imaginary View of a Walled Town [k] Imaginary View of Venice [l] Title-Page Folio: [a] View of a Town with a Bishop's Tomb [b] La Libreria V and La Piera del Bando V [c] Le Procuratie Niove e S. Ziminian V and Le Person. V. [d] Market on the Molo and Market at Dolo [e] Landscape with Tower and Two Ruined Pillars and The Terrace [f] Imaginary View of San Giacomo di Realto, Venice and Landscape with Ruined Monuments [g] Landscape with a Pilgrim at Prayer and Mountainous Landscape with Five Bridges [h] The Equestrian Monument and Imaginary View of Venice [I] Landscape with a Woman at a Well and two views of a bridge [j] view of mountains with two pillars to the right Dimensions: (Paper) 16.5 in. (H) x 21 in. (W) (Frame) 18.75 in. (H) x 24 in. (W)
TANGUY YVES: (1900-1955) French surrealist painter. A good A.L.S., Yves Tanguy, two pages, 4to, Woodbury, Connecticut, 20th June 1947, to [Alain] Gheerbrant, in French. Tanguy bemoans the fact that he only received his correspondent’s letter that morning and that it has taken eighteen days to arrive via air mail and continues to inform Gheerbrant that ‘Je n'ai pas sous la main l'eau-forte que vous me demandez pour Benjamin mais je puis la faire - je vais la faire de toute facon. Vous avez l'air presse et je ne peux guere vous la garantir avant une quinzaine de jours (par avion vous pourrez l'avoir vers le 10 juillet au plus tard)’ (Translation: ‘I don’t have on hand the etching that you asked for for Benjamin, but I can do it – I’m going to do it anyway. You seem to be in a hurry and I can hardly guarantee it before a fortnight (by plane you will be able to have it around 10th July at the latest)’), further adding that Pierre Matisse had left last Saturday, and also referring to Andre Breton and Jacqueline Lamba, ‘Autre chose: Mrs David Hare, ex Madame Breton me demande d'urgence d'envoyer quelque chose pour une vente au benefice du meme Benjamin Peret. En temps normaux j'aurais fait une gouache pour cela mais je travaille comme un damne a faire precisement une serie de gouaches precisement, pour une possible exposition a Paris, alors j'avais pense que vous pourriez vous desaisir de ces documents de l'ex Vrille au benefice de l'actuel Peret? Et si vous voulez bien avoir la patience d'attendre un peu que je sois moins surmene je vous demanderai de bien vouloir accepter une autre gouache en compensation de toute la peine que vous voulez bien vous donner pour moi et pour nous. Si cela vous convient, voulez-vous remettre a Breton ces petites choses en question. Je vais d'ailleurs ecrire a Breton bien que je sois terrifie de le faire car je n'ai jamais ecrit depuis son depart! Je plaide coupable, dites-le lui’ (Translation: ‘Another thing: Mrs David Hare, ex Madame Breton, urgently asks me to send something for a sale for the benefit of the same Benjamin Peret. Normally I would have made a gouache for this but I am working like hell to make a series of gouaches precisely, for a possible exhibition in Paris, so I thought that you could part with these documents from the ex Vrille for the benefit of the current Peret? And if you would like to have the patience to wait a little until I am less overworked, I would ask you to accept another gouache as compensation for all the trouble you are willing to give yourself for me and for us. If that suits you, would you like to ask Breton these little things in question. I’m going to write to Breton even though I’m terrified to do so because I’ve never written since he left! I plead guilty, tell him'). A letter of fine content. Some feint, consistent ink bleeding to the page, causing significant show-through to the verso. VG Alain Gheerbrant (1920-2013) French writer, editor, poet and explorer, the first avant-garde publisher who founded the publishing house K Editeur. Benjamin Peret (1899-1959) French poet and Dadaist, a founder and central member of the French Surrealist movement. Andre Breton (1896-1966) French writer and poet, the co-founder, leader and principal theorist of surrealism. Breton’s second wife, from 1934-43, was Jacqueline Lamba (1910-1993) French painter and surrealist artist.
GALLE EMILE: (1846-1904) French artist and designer who worked in glass and is considered one of the major innovators in the French Art Nouveau movement. A.L.S., with his initials E. G., one page, 4to, Nancy, 19th August 1889, to Alfred de Lostalot, in French. Galle consents to an etching being published in the gazette, and advises on the caption, continuing ‘Maintenant, pour me recompenser de cette concession a mon sentiment intime, tachez donc, mon cher Monsieur de Lostalot, de me presenter de profil, a vos lecteurs, dans une 2e eau-forte........n'est-il pas juste que mon oeuvre, dont le sens a ete precise par plusiers critiques depuis quelque temps, soit representee dans un recueil important comme le votre, par un objet essentiellement typique de ma maniere? C'est a dire le rendu de textes poetiques par des colorations vitrifiees, et sous la forme de plantes et floraison symboliques? Ces figurations vegetales sont plus frequentes sur mes vases, la figure humaine me paraissant moins propre a revetir un texte mysterieux et sensitif. Le vase monte par Mr Froment-Meurice n'est de moi que par la matiere; la forme japonaise m'a ete imposee par une maison de Paris qui l'a gravee elle-meme d'un ornement sans signification particuliere. Il ne doit meme pas porter ma signature, car M. F. Meurice n'a sur la provenance que par un chemin, n'a aucun droit a prendre la place, dans la gazette, de telle oeuvre parachevee par moi avec amour, infusee d'une petite ame sensible. Publiez la donc comme piece d'orfevrerie, comme un ideal et precieux bijoux mais comme Froment-Meurice, sans mettre Galle en jeu pour si peu et trahir d'autre part la veritable maniere’ (Translation: ‘Now, to reward me for this concession to my private feelings, try, my dear Monsieur de Lostalot, to present me in profile, to your readers, in a second etching…….is it not fair that my work, the meaning of which has been clarified by several critics for some time, is represented in an important collection like yours, by an object essentially typical of my style? That is to say the rendering of poetic texts through glazed colourings, and in the form of symbolic plants and flowers? These plant representations are more frequent on my vases, the human figure seems to me less suited to covering a mysterious and sensitive text. The vase assembled by Mr. Froment-Meurice is mine only in terms of the material; the Japanese form was imposed on me by a house in Paris which itself engraved it with an ornament without any particular meaning. It should not even bear my signature, because M. F. Meurice only has one way of knowing the provenance, has no right to take the place, in the gazette, of such a work completed by me with love, infused with a little soul. Publish it therefore as a piece of goldwork, as an ideal and precious jewel but as Froment-Meurice without putting Galle at stake for so little and also betraying the true manner’). A letter of interesting content. The letter is annotated in Galle’s hand to the upper left corner ‘Duplicata de ma letter a Mr. de Lostalot’ and was presumably therefore his own retained copy. Some very light, minor age toning and a few very small tears to the edges, otherwise VGAlfred de Lostalot (1837-1909) French art critic and designer, editor-in-chief of the Gazette des Beaux Arts.Emile Froment-Meurice (1837-1913) French goldsmith with the Maison Froment-Meurice, son of Francois-Desire Froment-Meurice (1802-1855) French goldsmith who worked in a free and naturalistic manner in the tradition of Mannerist and Baroque masters. In 1888 Emile Froment-Meurice had designed and executed the Paris Tiara which was presented to Pope Leo XIII by the people of Paris to commemorate his Golden Jubilee as a priest.
Poetry interest Poems by W. B. Yates Frontispiece etching of Yates; T Fisher Unwin Ltd, London: Adelphi Terrace; handsome impressed decoration to front board and gilt decoration to spine; third edition. Together with The Burning Glass and other Poems by Walter de la Mare, 1945, first edition and Captain Ronald A Hopwood, RN; The Old Way & Other Poems, 1916.
Simon Bull (contemporary) "Blue Evening", a vibrant, bold, multi layered abstraction enhanced with gold leaf, monoprint etching, signed and titled, in double card mount and parcel gilt frame under glass, 49 cm x 52 cm overall [Bull is the 2019 official artist for the National Cherry Blossom Festival in Washington DC, was official artist to boxing legend Muhammad Ali and the official artist for the 2002 Winter Olympics. He also won the Artist Print Award for the top-selling printmaker in the United Kingdom.]
Simon Bull (contemporary) "Soaking, soaking in it all", a vibrant, floral abstraction enhanced with gold leaf, monoprint etching, signed and titled, 1/1, in double card mount and parcel gilt frame under glass, 62 cm x 66 cm overall [Bull is the 2019 official artist for the National Cherry Blossom Festival in Washington DC, was official artist to boxing legend Muhammad Ali and the official artist for the 2002 Winter Olympics. He also won the Artist Print Award for the top-selling printmaker in the United Kingdom.]
Simon Bull (contemporary) "Vapours constantly change the face of Blencathra while sun strikes the lover fells", a study of the Lakeland fell enhanced with gold leaf, monoprint etching, signed and titled, 1/1, in double card mount and parcel gilt frame under glass, 62 cm x 66 cm overall [Bull is the 2019 official artist for the National Cherry Blossom Festival in Washington DC, was official artist to boxing legend Muhammad Ali and the official artist for the 2002 Winter Olympics. He also won the Artist Print Award for the top-selling printmaker in the United Kingdom.]
Simon Bull (contemporary) "On the wings of the night", a nude study of a reclined female figure enhanced with gold leaf, monoprint etching, signed and titled, in double card mount and gilt frame under glass, 69 cm x 59 cm overall [Bull is the 2019 official artist for the National Cherry Blossom Festival in Washington DC, was official artist to boxing legend Muhammad Ali and the official artist for the 2002 Winter Olympics. He also won the Artist Print Award for the top-selling printmaker in the United Kingdom.]
Simon Bull (contemporary) "Your eyes will be opened", a bold, geometric abstraction enhances with silver leaf, monoprint etching, signed and titled, in double card mount and parcel gilt frame under glass, 49 cm x 91 cm overall [Bull is the 2019 official artist for the National Cherry Blossom Festival in Washington DC, was official artist to boxing legend Muhammad Ali and the official artist for the 2002 Winter Olympics. He also won the Artist Print Award for the top-selling printmaker in the United Kingdom.]
William Lee Hankey (1869-1952) "The Trinket Box", a sentimental, chiaroscuro study of a figure admiring the contents of their trinket box, drypoint etching, signed, titled on label verso, in card mount and ebonised frame under glass, 44.5 cm x 33.5 cm overall [Hankey studied at the Royal College of Art and has exhibited at the Royal Academy, he is known for his landscapes and portraits of pastoral life, often depicting mothers and children.]
Jacques Callot (French, Nancy 1592–1635 Nancy), 245 etchings from 'Les Images De Tous Les Saincts et Saintes de L'Année' (Images of All of the Saints and Religious Events of the Year), published Paris, Israël Henriet, 1636, each etching approx. size 6.5 x 5cm, trimmed close to margins, 245 individual etchings mounted on 123 leaves (244 on 122 leaves, final etching mounted separately on 1 leaf), leaves approx. 15.5 x 10cm, each with old manuscript page number to top corner, housed loose between old half calf gilt boards
Howard Hodgkin (1932 - 2017), David's Pool at Night (1979 - 85) (Tate 42), 54/100 edition, initialled and dated '85, etching with hand colouring, 63.5 x 79 cm, framed and glazed 79 x 94 cmPetersburg Press labels versoOverall in good condition, floating mounted with some slight buckling of the paper around the edges. Sealed in a frame and glazed, not inspected out of the frame.
Toyen (1902 - 1980), Fountain in the Tower - Shards of Dreams or The Tower of Desire, signed in pencil, Artist's Edition 2/20, drypoint etching, 22 x 16 cm, framed and glazed 39.5 x 31.5 cm The Estate of Dame Barbara Mary Quant, DBE CH FCSD RDIEditions Graphiques label verso dated 23/12/76 Purchaser: A Plunket Greene Print is sealed in the frame and glazed - it has not been inspected out of the frame. Paper is discoloured, commensurate with age. Glass and frame require cleaning and wear to the silver finish of the frame.
Willian Lionel Wylie (1851-1931), sailing boats in The Solent, signed in pencil in the margin lower left, etching. 17 x 35 cm (see illustration). CONDITION REPORT: This etching has not been examined outside of its frame. There are areas of discolouration, these are light but are in places along the edge of the margin where it meets the mount card. There are very occasional spots of foxing, these are small and pinprick in size. There are numerous indentations to the paper, these are visible and run mostly along the top of the etching. There is also a further indentation to the bottom right of the margin. Overall the paper is intact, no tears or holes and clearly signed in pencil lower left.
Rachel Ann Le Bas N.E.C, R.E (1923-2020), a signed etching "Ducks". 10 x 17.5 cm, framed and mounted. ARR. CONDITION REPORT: This etching has not been examined out of its frame. There is staining from acid from the mount to the edge of the margin of the print. The print itself has no visible tears or losses and is firmly held within the mount card. It is clearly signed and inscribed in pencil.
Bank Markazi Iran, a group of initial engravers’ workings on transparent acetate showing the outlines of plate designs for obverse of 5000 Rials, 1981 Issue design as issued, showing the entire design including the march scene, a unique and remarkable survivors, as most were simply treated as printers’ waste, dated 1981 in top margin BNB B272, Pick 133a for design £60-£80 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
South African Reserve Bank, initial engravers’ workings on transparent acetate showing the outlines of the plate design for a proposed reverse design, circa (1960’s-80’s), featuring a large coat of arms similar to the one used on the 1928-147 issues, unique and remarkable survivor, as most were simply treated as printers’ waste BNB B739a, Pick 110 £60-£80 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
United Arab Emirates Currency Board, initial engravers’ workings on transparent acetate showing the outlines of the plate design for an obverse of notes from the 200 Dirhams, circa 1989, design as issued, unique and remarkable survivor, as most were simply treated as printers’ waste, an interesting record BNB B211a, Pick 16 for design £100-£150 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
Central Monetary Authority of Fiji, initial engravers’ workings on transparent acetate showing the outlines of the plate design for the obverse of $10, 1980s issues, showing outline of the key part of design including Elizabeth II, design as issued, minor glue residue, a unique and remarkable survivor, as most were simply treated as printers’ waste BNB B410a, Pick 79a for design £80-£120 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
Central Bank of Cyprus, initial engravers’ workings on transparent acetate showing the outlines of the plate design for the obverse of £5, 1990, design as issued, a unique and remarkable survivor, as most were simply treated as printers’ waste, glue residue n areas, an interesting piece! BNB B314, Pick 54 for design £60-£80 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
State Bank of Pakistan, initial engravers’ workings on transparent acetate showing the outlines of the obverse plate design for 5 Rupees, similar to design for 1982-1986 issues, the main features are similar to the design issued, the decorative border and patterns differ from the issued note, unique and remarkable survivor, as most were simply treated as printers’ waste, an interesting record showing an attractive proposed design BNB B218a, Pick 33 for similar design £100-£150 --- This item is photographed on a white background to show it properly, but is an etching on transparent acetate (plastic). No returns will be accepted on grounds of failing to read or understand the description.
Loading...-
78472 Los(e)/Seite