** Marc Chagall (1887-1985) after.L'Horloge (Maeght 1202)Etching with aquatint printed in colours, circa 1950, signed in pencil, numbered from the edition of 300, printed by G. Visat, published by Maeght, Paris, on wove paper, with wide margins, sheet 397 x 310mm (15 5/8 x 12 1/4in)** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
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δ Salvador Dalí (1904-1989)Intra-Uterine Paradesiac Locomotion, from Imaginations and Objects of the Future (Field 75-11D; M&L 825d)Etching with lithography, screenprinting and collage, 1975/6, signed in pencil, numbered from the edition of 75 in roman numerals, printed by Ateliers Rigal, Paris, published by Merrill Chase, Chicago, on Japan paper, with full margins, sheet 771 x 557mm (30 3/8 x 21 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Cottage and Boundary Post on the Spaarndammerdijk ('The Landscape with the Obelisk')Etching and drypoint, circa 1650, a good impression of New Hollstein's second state of two, printing with subtle sulphur tinting in the sky and remnants of drypoint burr in the lower right corner, sheet 85 x 162 mm (3 1/4 x 6 3/8 in), trimmed to or just within the platemark, small loss restored in the lower left corner, small repair to nick in centre right and small perforated spot in the upper right quadrant, some toning (framed)Literature:Bartsch 227; New Hollstein 249Provenance:Karl Ferdinand Friedrich von Nagler (1770-1846) [Lugt 2529]Kupferstichkabinett der Staatlichen Museen [Lugt 1606 & 2398]J. G. Guildal (1855-1920) [Lugt 1110a]; his auction The Guildal Collection, Winkel & Magnussen, 1931, cat. no. 250
Rembrandt van Rijn (1606-1669)Jan Uytenbogaert, 'The Gold Weigher'Etching and drypoint, 1639, a good impression of New Hollstein's third state (of three), printing with some wear in the densely hatched areas, on laid paper with watermark of the letters 'IV', platemark 254 x 202 mm (10 x 8 in), sheet 258 x 222 mm (10 1/8 x 8 3/4 in), good margins, minor toning (unframed)Literature:Bartsch 281; New Hollstein 172 iii/iii
Rembrandt van Rijn (1606-1669)Abraham casting out Hagar and IshmaelEtching with touches of drypoint, 1637, a good but slightly later faint impression of the only state, on laid paper with partial watermark [probably Foolscap, cf. Hinterding ZZ.zz 4], sheet 127 x 95 mm (5 x 3 3/4 in), small margins, some abrasion and brown marks within the image, minor surface dirt (unframed)Literature:Bartsch 30; New Hollstein 166 i/i
δ Salvador Dalí (1904-1989)From Les Amours Jaunes (Field 74-15J; Michler & Löpsinger 693)Etching with gold ink, 1974, signed in pencil, a proof aside from the edition of 300, on Arches paper, with wide margins, sheet 377 x 280mm (14 7/8 x 11in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Anthony Gross (1905-1984)Chez les Druses (Arab Horse Bath) (Herdman 5404)Etching, 1954, signed and titled in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 332 x 505mm (13 x 19 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)Bust of an old bearded man, looking down, directed three-quarter to the rightEtching, 1631, a good impression from the reduced plate, New Hollstein's third state (of three), on laid paper without watermark, sheet 118 x 107 mm (4 5/8 x 4 1/8 in), thread margins but lower edge towards right corner slightly trimmed within the platemark, minor surface dirt, tipped at upper corners onto paper support, minor surface abrasion to lower right corner (unframed)Provenance:Unidentified Rembrandt collector [Lugt 4636]Literature:Bartsch 260; New Hollstein 84 iii/iii
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: the small plateEtching with touches of drypoint, 1642, a very good clear impression of New Hollstein's first state (of two) before any rework, on laid paper with watermark of Foolscap with seven-pointed collar [cf. Hinterding K.a.2], platemark 150 x 114 mm (5 7/8 x 4 1/2 in), sheet 160 x 121 mm (6 1/4 x 4 3/4 in), minor spotting surface dirt, light toning to sheet (unframed)Literature:Bartsch 72; Hind New Hollstein 206 i/ii
δ Anthony Gross (1905-1984)Heath Scene (Herdman 5101)Etching, 1951, signed and titled in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 280 x 378mm (11 1/8 x 14 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rembrandt van Rijn (1606-1669)The Raising of Lazarus: The Larger PlateEtching and engraving, circa 1632, a good impression of New Hollstein's seventh/eighth state (of nine), on laid paper with indistinct countermark initials, sheet 367 x 255 mm (14 1/2 x 10 1/4 in), trimmed within the platemark to arched border, faint central horizontal fold, minor surface dirt, printers' crease to upper left (unframed)Literature:Bartsch 73; New Hollstein 113 vii-viii/ixTogether with a quantity of copies after Old Master prints, including Rembrandt and Albrecht Dürer.
Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: With the lampEtching, 1654, a good impression of New Hollstein's final state (of three), on thin laid paper without watermark, platemark 106 x 130 mm (4 1/4 x 5 1/8 in), sheet 117 x 138 mm (4 5/8 x 5 3/8 in), some small spots (unframed)Literature:Bartsch 45; New Hollstein 279 iii/iii
After Rembrandt van Rijn (Dutch 1606-1669) Two figures at a table Signed and dated 1636 in the plate, inscribed in pencil "hand printed by Rae Boer" in the margin, etching.13 x 12cm (framed 47 x 34.5cm)The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
FEYENOORD ROTTERDAM, JERSEY CIRCA 1970 Bukta FORUM label, stitched number 3 verso, short sleevedNote: Believed swapped with Rinus Israel. Originally thought to be a match worn shirt from the 1970 European Cup final victory over Celtic, the Bukta label suggests this is a 1969/70 season shirt (Le Coq Sportif worn in the 1970 cup final). The shirt was swapped with Bertie Auld and it is therefore possible the player retained his Le Coq shirt, and gave Auld a season shirt. Swapped with Bertie Auld; The Bertie Auld Collection.The 1970 European Cup final will forever be remembered as the night when Dutch football made history. On 6th May 1970, at the iconic San Siro stadium in Milan, Feyenoord, led by their rock-solid defender Rinus Israel, defeated Celtic 2–1 after extra time, securing their first and only European Cup triumph.Marinus "Rinus" David Israël, born on 19th March 1942, was a Dutch football legend. Nicknamed "Iron Rinus," he was known for his unwavering tenacity and solid defensive skills. During his career, Israel played for several clubs, including DWS, Excelsior Rotterdam, PEC Zwolle and, of course, Feyonoord.It was at Feyenoord that Israel achieved his greatest success, forming an unyielding defensive partnership with Theo Laseroms. During his time with the club, Feyenoord won three Eredivisie titles, a KNVB Cup, a UEFA Cup, and the prestigious European Cup.Israel's achievements extended to the international stage, where he was a prominent player for the Netherlands national team, representing his country in 47 matches and scoring three goals from 1964 to 1974. He played a vital role in the 1974 FIFA World Cup, helping the Netherlands secure victories against Brazil and Argentina.The 1970 European Cup final was a momentous occasion for both Feyenoord and Celtic. For Celtic, it was their second appearance in the European Cup final, following the triumphant Lisbon Lions victory against Inter in 1967. They entered the match as strong favourites, but Feyenoord had different plans.Tommy Gemmell gave Celtic the lead after 30 minutes, but that wouldn’t last long. Rinus Israel's unmarked header drew Feyenoord level, with Celtic’s defensive lapse and Israel’s clinical finish changing the momentum of the game. The goal was Feyenoord's first in the campaign outside their home stadium.The Dutch team, managed by Ernst Happel, tactically outplayed Celtic, double-marking Jimmy Johnstone, the Celtic winger, throughout the game. The midfield trio of Franz Hasil, Willem van Hanegem, and Wim Jansen dominated their Celtic counterparts, making it a challenging night for the Scottish club.Despite a hard-fought match, the score remained 1–1 at the end of regulation time, forcing the game into extra time. With just a few minutes remaining, Feyenoord seized their moment. A long free-kick from the Feyenoord half was launched towards the Celtic penalty area. Billy McNeill, Celtic's captain and defender, stumbled in the box, allowing Ove Kindvall of Feyenoord to run onto the loose ball and chip it over the advancing goalkeeper Evan Williams. The ball gracefully sailed into the net, sealing Feyenoord's 2–1 victory and making them the first Dutch club to win the European Cup.Rinus Israel's contribution to the match cannot be understated. As a central figure in Feyenoord's defence, he played a crucial role in containing Celtic's attacking threats and scored the all-important equalizer. His leadership and defensive prowess ensured that Feyenoord lifted the European Cup that night, etching his name in footballing history.
Giovanni Battista Piranesi (1720-1778) Dimostrazioni dell' Emissario del Lago Albano. Etching. Plate XI, Numbered Tav. XI along upper right edge, signed lower-right in the cartouche 'Piranesi F.'Traces of central fold.Plate size 41x56cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.These are in excellent restored condition. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Veduta del Tempio ottangolare di Minerva MedicaEtching. Signed lower-left in the plate 'Piranesi F.'Traces of central fold.Plate size 46.5x70cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista PIRANESI(1720-1778) Avanzi del Tempio detto di Apollo nella Villa Adriana vicino a Tivoli Etching. Signed lower-left in the plate 'Cavalier Piranesi inc.' Traces of central fold. Plate size 47.5x62.5cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Veduta degli avanzi del tablino della Casa aurea di Nerone detti volgarmente il Tempio della Pace Etching. Signed lower-left in the plate 'Cavalier Piranesi F.' Traces of central fold. Plate size 48x70cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista Piranesi (1720-1778) Dimostrazioni dell' Emissario del Lago Albano. Etching. Plate V, Numbered Tav. V along upper edge, Signed in the plate lower left 'Piranesi F.'Traces of central fold.Plate size 45x64cmBlack frame, gilt slipFrom Jennifer Sherwood, Ladbroke Sq.These are in excellent restored condition. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
Giovanni Battista PIRANESI(1720-1778) Veduta del tempio della Sibilla in Tivoli Etching. Signed lower-right in the plate 'Piranesi Fec.' Traces of central fold. Plate size 41.5x62cm Black frame, gilt slip From Jennifer Sherwood, Ladbroke Sq. Joanna Payne has conserved these prints, any watermarks were not recorded, however, we believe them to be 18th century
SALMON (William) Polygraphice; or The Arts of Drawing, Engraving, Etching, Limning, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming, Second Edition, with many large additions, London 1673, 8vo, engraved title for R. Jones, 15 full page engravings (one with a little added grey wash above the figure), 352pp, bound without prelim dedication and preface, and 8pp. index at end but main text complete, later calf, a little rubbed
Sporting illustration including angling BEAZLEY (David) Images of Angling, no. 38/50 de luxe copies, signed, Creel Press 2010, 4to, full blue morocco, slip case; LYNE (Michael) Horses Hounds and Country, 1938, 4to, no.13/25 special signed copies with a pencil remarque, quarter vellum; DERRICK (John) The Fox's Prophesy, no.26/150 deluxe copies, signed; SHAW SPARROW (W) Angling in British Art, 1923, 4to, no.10/125 copies, signed, with an original etching by Norman Wilkinson, uncut, cloth gilt; and others, mainly modern works (22)
ERNEST STEPHEN LUMSDEN RSA RE (BRITISH 1883 - 1948), INDIAN MARKET oil on board, signed and dated 1914 mounted, framed and under glass image size 25cm x 35cm, overall size 46cm x 55cm Note: Lumsden studied at Reading Art School from 1889 under Frank Morley Fletcher and briefly at the Académie Julian in Paris in 1903. In 1908 he accepted an appointment at the Edinburgh College of Art, where he taught for a few years. He travelled several times to India between 1912 and 1927 and is noted for his prints of Benares on the River Ganges. Between 1905 and 1946 E.S. Lumsden produced some 350 etchings most of which are represented in a collection held in the Burnaby Art Gallery, British Columbia, Canada. He always printed his own plates. Lumsden was elected an associate of the Royal Society of Painter-Etchers in 1909 and raised to the full membership in 1915. He was elected an Associate of the Royal Scottish Academy in 1923 and a full member in 1933; and he was President of the Society of Artist Printers from 1929 to 1947.In 1925 the publishers Seeley Service issued what is still regarded as the seminal treatise on the subject of etching, called The Art of Etching. In the book Lumsden describes the various techniques of intaglio printing using etching, drypoint, mezzotint and aquatint; he describes the history and development of etching through Rembrandt, Goya and the etching revival; and he reproduced personal, illustrated notes from several eminent etchers of the period on their techniques including: Marius Bauer, Frank Benson, Muirhead Bone, George Clausen, David Young Cameron, Frank Short, Augustus John, Frank Brangwyn, James McBey, Edmund Blampied, Percy Smith, Christopher Nevinson, Laura Knight, and John Everett. The book was published as a trade edition, which is still in print, and as a limited edition of 150 copies containing four original etchings by Lumsden. In 1913 Lumsden married Mabel Allington Royds, a noted artist in woodcuts.
AFTER GIOVANNI BATTISTA PIAZETTA (ITALIAN 1682-1754) ABBATI ANGELO MARIAE LABIA; COMMITI ANTONIO ABBATI CONTI - A PAIReach: etching by Joannes Cattirisome light staining both: 42 x 32cm; 16 1/2 x 12 1/2in49.5 x 39cm; 19 1/2 x 15 1/2in (framed)(2)Property of a European Collector ProvenanceChristopher Gibbs, London*offered for sale without reserve
Pierre Molinier (1900-1976)'Pierre Molinier', par Raymond Borde, texte d'André Breton Plaquette illustrée de 60 photographies dont 6 en couleur, 50 exemplaires sur Marais ornés d'une eau forte de Pierre Molinier, imprimée en 1964. Exemplaire personnel de Molinier, accompagné de 15 tirages argentiques d'époque, certains longuement annotés au dos, tampon encré 'Pierre Molinier' sur le colophon. Chaque tirage est monté sur onglet en regard du tableau correspondant. Reliure Bradel moderne. On joint : ouvrage 'Pierre Molinier', par Raymond Borde, texte d'André Breton, éditions Le Terrain Vague, 1964.Brochure illustrated with 60 photographs, 6 of which are in color, 50 copies on marshes decorated with an etching by Pierre Molinier, printed in 1964.Personal copy of Molinier, accompanied by 15 vintage silver prints, some long annotated on the back, stamp inked 'Pierre Molinier' on the colophon.Each print is mounted on a tab next to the corresponding table. Modern Bradel binding.26 x 17 cm.Footnotes:ProvenanceCollection particulière, FranceThis lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
HUGH CRONYN (BRITISH 1905-1996) INTERIORsigned, titled, inscribed and dated Artist's proof, Interior, Hugh Cronyn / '72 lower margin; stamped with the artist's name and Hammersmith address on the backboardetching47 x 35cm; 18 1/2 x 13 3/4in (plate) 78 x 57.5cm; 30 3/4 x 22 3/4in (framed)Using Julian Trevelyan’s press Cronyn investigated etching as a reprise of his pre-war wood engravings (see lots 141 & 142). The Cronyns kept connections with Suffolk by renting various cottages there. The subject of the present work is a view through the kitchen of one to the minute part of the River Stour that runs through the village of Nayland.ARR may apply
British George V 1897 Pattern Infantry Officers Sword, universal pattern sword with George V crowned cipher to the hilt, grip with wire binding intact. Housed in brown leather field service scabbard with damaged brown leather hanging frog attached. Standard blade with etching. Retailer stamp of ‘ALKIT LTD CAMBRIDGE CIRCUS W.C.2’. Blade 82cms, overall 103cms.
AFTER ALPHONSE LEGROS "Young girl seated with cow by trees" dry point etching No'd 2 to the margins 27.5 cm x 36 cm, bears label with info verso together with 19TH CENTURY CONTINENTAL SCHOOL "Farmyard scene with chickens in foreground" watercolour heightened with white, unsigned 34 cm x 25.5 cm and 20TH CENTURY ENGLISH SCHOOL "Study of fishermen and fishing boat" screen print, inscribed indistinctly lower right and dated '84 to margin 42.5 cm x 31 cm (3)
A large collection of decorative pictures and prints etc to include AFTER A.W. ETSO AURABULL "Sylvan Winter" etching titled and signed to the bottom 20 cm x 28.5 cm, EARLY 20TH CENTURY SCHOOL "Navidiar Bridge on Dar Lake canal", SRINAGAR-KASHMIR reverse print on glass, bears labels verso 8.5 cm x 14 cm (2 boxes plus 8 loose)
PRESILEY LUMLEY SAVILE "Self portrait study", oil on canvas, unsigned, 56 cm x 46 cm, together with another similar, 61 cm x 46 cm, 20TH CENTURY ENGLISH SCHOOL "Study of cow and cattlemen", oil on canvas, unsigned, 25.5cm x 36cm, AFTER GEORGE MORLAND "Young couple working", print, 26cm x 32cm and an etching of Lord Chancellor Maitland, plate size 19cm x 13.5cm (5)

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