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78475 Los(e)/Seite
Los 467
TWO BOXES OF METALWARE, BOOKS AND SUNDRIES, to include a cast 'The Queen' set of balance scales with brass pan and weights, a French Pe Ge coffee grinder, a circular silverplate serving tray, a 1932 second volume of Modern Masters of Etching by James McNeil Whistler, Caxton volume I and II of The Family Physician, etc. (s.d) (2 boxes)
Los 105
After Rembrandt van Rijn (Dutch, 1606-1669) The Card Player, later state from the plate created 1641 Purchased via Park West Galleries From accompanying documentation: 'B. Holl. 136; H. 190; BB 41-M; Etching on Ingres d'Arches off-white laid paper (watermark) with wide margins. From the Millennium Edition limited to 2500 examples. Plate Size: 3.5 x 3.25 in. Overall Framed Size: 22 x 22 x 1.5 in. Framed behind glass.
Los 1270
P.M. Caffyn (20th Century), a watercolour, A house and its courtyard, signed and dated 1990 to the lower left, framed, mounted, and under glass, 17cm x 24cm, & 33cm x 39cm overall, together with two other pictures, a monochrome etching of Arncliffe Bridge, after M. Duke Miller (20th Century), and a print of a watercolour depicting the same Yorkshire village
Los 1295
Walter Lishman (1900-1986), a monochrome etching, 'Durham Cathedral fr. Court Lane', signed to the lower right in pencil, framed, mounted, and under glass, 19cm x 28cm, & 33cm x 43cm overall, together with two other etchings of Durham, by the same artist, comprising 'Durham Castle & Cathedral fr. Framwellgate' and 'The Nave, Durham (Cathedral)'
Los 215
Ca. 200-300 AD.Crafted from silver, this pendant exhibits a circular and flat form, distinguished by a serrated edge and a suspension loop positioned on the upper side. At the center of the pendant, a raised cell is discernible, possibly intended to accommodate an inset or precious gemstone. The focal point of this pendant is the delicate etching of a six-pointed star, expertly rendered within a circular border. Size: L:31mm / W:24mm ; 4.36g Provenance: Private London collection; formerly acquired in the US in the 1990s.
Los 630
Rembrandt Harmenszoon van Rijn (1606-1669) was a Dutch painter and etcher, widely regarded as one of the greatest artists in European art history. He is known for his mastery of light and shadow, his ability to capture human emotions, and his profound understanding of human character. Here are some key points about Rembrandt:1. Early Life and Training: Rembrandt was born on July 15, 1606, in Leiden, Netherlands. He showed early talent in art and began his formal training at the University of Leiden before becoming an apprentice to a local painter. Later, he studied in Amsterdam under the renowned history painter Pieter Lastman.2. Painting Style and Technique: Rembrandt's painting style is characterized by his innovative use of light and shadow, known as chiaroscuro, which added depth and drama to his compositions. He employed a loose brushwork technique, often leaving visible brushstrokes that added texture and vitality to his works.3. Portraits and Self-Portraits: Rembrandt was renowned for his portraits, which captured the essence and individuality of his subjects. He had a remarkable ability to convey human emotion and psychology through his portraits, revealing the inner thoughts and feelings of his sitters. He also painted numerous self-portraits throughout his career, providing insight into his own self-reflection and artistic development.4. Biblical and Historical Scenes: In addition to portraits, Rembrandt also painted biblical and historical subjects. His religious paintings, such as "The Night Watch" and "The Return of the Prodigal Son," are characterized by their narrative power, emotional depth, and the way they explore the human condition.5. Etchings and Printmaking: Rembrandt was a skilled etcher and produced a large body of etchings during his career. His etchings, characterized by their intricate detail and expressive qualities, are highly regarded and considered among the greatest achievements in printmaking.6. Personal Life and Legacy: Rembrandt experienced both success and financial difficulties during his lifetime. He had numerous pupils and admirers, but his extravagant lifestyle and collecting habits led to financial strain. After his death, his works fell out of favor for some time but were rediscovered and celebrated in the 19th century. Today, Rembrandt's art is cherished for its technical brilliance, emotional resonance, and profound insights into the human condition.Rembrandt's ability to capture the essence of his subjects, his innovative use of light and shadow, and his mastery of various artistic techniques continue to inspire and influence artists to this day. His legacy as a master of painting and etching remains unparalleled, solidifying his place as one of the most important figures in the history of art.Measures 24 x 36 (image), 28 x 40 (framed).Sold "after"/in the style of Rembrandt.
Los 101
Salvador DALI (1904-1989). "The Golden Fleece." Color etching from 1974. Signed "Dali" in pencil at the bottom right. Numbered 287/300. Dimensions 65 x 50 cm. This artwork is listed in the catalogue raisonne "The Official Catalog of the Graphic Works of Salvador Dali" on page 91, under number 14-16-A. - Weight: 4.60 kg - Shipping available - Region: Esapgne - Period: XXeme - Sizes: H 520 MM L 390 MM - At first glance: good condition - Author / artist: Salvador DALI - Object type: gravure
Los 254
Jules DE BRUYCKER (1870-1945), etching L'Echauguette de Quai St-Pierre Gand, signed.Added: Albert Baertsoen etching signed and numbered 60/100Jules DE BRUYCKER (1870-1945), ets L'Echauguette de Quai St-Pierre Gand, getekendToegevoegd: ets Albert Baertsoen getekend en genummerd 60/10033.5 x 24 cm en 38.5 x 37.5 cm Provenance: private collection Alfred Vander Stegen, Belgian liberal, mayor of Ghent (1921-1946) and Philippe Vander Stegen (descendant)Provenance: privé collectie Alfred Vander Stegen, Belgisch liberaal, burgemeester Gent (1921-1946) en Philippe Vander Stegen (nazaat)
Los 255
Lot of etchings Jules DE BRUYCKER (1870-1945), etching Ruelle, signed and Albert BAERTSOEN (1866-1922), Row of houses, signed and added chalk drawing 2 horsemen on horseback, signedLot etsen Jules DE BRUYCKER (1870-1945), ets Ruelle, getekend en Albert BAERTSOEN(1866-1922), Huizenrij, getekend en toegevoegd krijttekening 2 ruiters te paard, getekend39 x 27.5, 34 x 14, 37.5 x 36 cm
Los 257
Jules DE BRUYCKER (1870-1945), etching Houses on the waterfront Ghent, signedadded drawing François PYCKE (1890-1960), signed and dated 1911Jules DE BRUYCKER (1870-1945), ets Huizen aan de waterkant Gent, getekendtoegevoegd tekening François PYCKE (1890-1960), getekend en gedateerd 191134.5 x 25 & 24 x 16 cm
Los 86
Collection of etchings Jos Verdegem, De Cooman & Jacob Smits, etching 24/25 1st state, Baigneuses, signed and dated 1939, Etching 22/26, signed and dated, Etching, signedLot etsen Jos Verdegem, De Cooman & Jacob Smits, Ets 24/25 1e staat, Baigneuses, getekend en gedateerd 1939, ets 22/26, getekend en gedateerd, ets, getekend26 x 14, 22.5 x 32 & 21 x 26 cm
Los 184
Clifford Montague (fl.1885-93), Stormy seascape with sailing vessels in a heavy swell, watercolour, bears a signature 'C. Montague', 23cm x 50cm, framed, together with Edgar James Maybery, (British, 1887-1964), 'Peter Pan, Kensington Gardens, London', etching, signed and titled by artist in pencil to lower margin, image size 33cm x 20cm, framed (2)
Los 225
Willi Kissmer (German, 1951-2018), Rückenakt, colour etching, artist's proof, signed in the margin and inscribed in pencil, image size 34cm x 20cm, overmounted and framed. Provenance: Parkview Fine Paintings, Clifton, Bristol; sold together with sales invoice dated 01.02.97, two Willi Kissmer / Parkview Fine Paintings exhibition brochures, 1997 and 1999, and four postcards of the artist's work (a lot)
Los 308
Albrecht Dürer (1471, Nürnberg - 1528, ebda.) Kupferstich auf Bütten, 1496, "Der verlorene Sohn", Wasserzeichen Schrobenhausener Wappen, ca. 23,5x18,5cm, ungerahmt, beschnitten, unterer Motivrand mit Monogr. fehlt, am oberen Rand auf Pappe montiert Provenienz: Privatsammlung Offenbach, Kaufbeleg (Kopie) Karl Vonderbank, Frankfurt a.M. und Echtheitsbestätigung, je dat. 4.Oktober 1973 beiliegend Lit.:Jaro Springer (Hrsg..), Albrecht Dürer, Kupferstich, Holbein-Verlag, München, 1914, Abb. 5 (B.28) Campbell Dodgson, Masters of Engraving and Etching, Albrecht Dürer, The Medici Society, London, 1926, S. 13, Abb. 10 Erich Schneider (Hrsg.), Dürer als Erzähler, Ludwig & Höhne, Schweinfurth, 1997, S. 178/179
Los 309
Albrecht Dürer (1471, Nürnberg - 1528, ebda.) Kupferstich auf Bütten, 1523, "Apostel Bartholomäus", u.l. im Druck monogr. und dat. 1523, ca. 12x7,5cm, ungerahmt, auf dem Plattenrand beschnitten, verso von fremder Hand bleistiftbetitelt, oberer Rand auf Pappe montiert Provenienz: Privatsammlung Offenbach, original Kaufbeleg Karl Vonderbank, Frankfurt a.M., dat. 26. September 1972 beiliegend Lit.:Jaro Springer (Hrsg..), Albrecht Dürer, Kupferstich, Holbein-Verlag, München, 1914, Abb. 96 (B.47) Campbell Dodgson, Masters of Engraving and Etching, Albrecht Dürer, The Medici Society, London, 1926, S. 127, Abb. 97
Los 1803
BACHEM, BELE (1916-2005), Konvolut: Bronzefigur UND Radierung, die Bronze: vollplastische Figur einer jungen Frau, einen Blumenkorb auf dem Kopf tragend, H: ca. 43 cm; die Radierung: Surreale Stadtansicht mit liegender Frau im Vordergrund, mit Bleistift von Hand signiert und num. 132/165, HxB: Platte ca. 17x14 cm (Außenmaße Rahmen ca. 36x30 cm), mit Rahmen. Je Altersspuren, die Radierung mit Lichtrand.| BACHEM, BELE (1916-2005), mixed lot: bronze figure AND etching, the bronze: fully plastic figure of a young woman, carrying a basket of flowers on her head, H: approx. 43 cm; Etching: Surreal city view with a woman lying in the foreground, signed by hand in pencil and numbered. 132/165, HxW: plate approx. 17x14 cm (external dimensions of frame approx. 36x30 cm), with frame. Each with signs of age, the etching with a light edge.
Los 1817
NÄGELE, REINHOLD (1884-1972), 2 Radierungen für Dr. Willy Tropp, Höchst am Main, 1.) "Viel Glück 1923", Radierung, in der Platte signiert und datiert 1922, darunter mit Bleistift von Hand signiert, HxB: Platte ca. 7,5x12 cm. 2.) "Ex Libris", Radierung, in der Platte u.li. monogrammiert und datiert 'RN 23', HxB: Platte ca. 6,5x8 cm. Je Altersspuren, gebräunt und leichter Lichtrand. Je im Passepartout hinter Glas gerahmt (Außenmaße bis ca. 20,5x24,5 cm).| NÄGELE, REINHOLD (1884-1972), 2 etchings for Dr. Willy Tropp, Höchst am Main, 1.) "Good luck 1923", etching, signed in the plate and dated 1922, signed by hand in pencil underneath, HxW: plate approx. 7.5x12 cm. 2.) "Ex Libris", etching, in the plate l.l. monogrammed and dated 'RN 23', HxW: plate approx. 6.5x8 cm. Signs of age, browned and slight light edge. Each framed behind glass in a passe-partout (external dimensions up to approx. 20.5x24.5 cm).
![Clerk, John, of Eldin [Collection of etchings] on laid or wove paper, apparently either proof impressions or impressions othe](https://cdn.globalauctionplatform.com/bc80e8b7-d26a-42a0-aa0c-b06900ce413d/d86c5f09-55a3-4fa8-a4e5-b07300ca9d5d/468x382.jpg)
Los 65
Clerk, John, of Eldin [Collection of etchings] on laid or wove paper, apparently either proof impressions or impressions otherwise independent from either of the two Bannatyne Club editions (q.v.), all in card window-mounts, variable margins, many with pencilled captions in margin or on verso, plate number on which each etching appears in the 1855 edition of Clerk's etchings given in square brackets:[Trees bordering road] [Unnumbered plate];[After Weirotter] [Unnumbered plate];[After Rembrandt] [Unnumbered plate];[Studies of Heads] [Unnumbered plate];[Volunteer 1745] [Unnumbered plate], trimmed to platemark along right edge;Arthur's Seat from Lochend [2];Tower at Leith [5];Tower at Leith [5], with added grey wash;Sherriff Hall [9];Melville Milne [10];Borthwick Castle [13], trimmed to platemark along left edge;Borthwick Castle from the South-West [13], trimmed to platemark along all sides;Crichton Castle [14];Blackness Castle [15];Ravensheuch [16];Rossyth Castle [16], with added grey wash, trimmed to platemark along top edge, small chip to upper left corner;Ibid., probably a later impression (plate worn);Adam's Tower [18], printed in sanguine;Clackmannan Tower [21], in a mount with Elen Stalker, with a Tree [34];Dunstaffnage [34];Trees and Church, Composition [38];A River Scene, After Weirotter [38];[Arthur's Seat and Salisbury Crags] [N/A], trimmed to edge of platemark;[Roslin Castle] [N/A], 2 copies, apparently different statesNote: Note: 'A true child of the Enlightenment' (ODNB), John Clerk of Eldin (1728-1812) was a Scottish polymath remembered especially today for his Essay on Naval Tactics (1790). After his death a selection of 28 of his etchings of Scottish views were presented by his son to the Bannatyne Club of Edinburgh, who published them in book form in 1825. A few months after publication a large number of additional plates were discovered. In 1848 the Bannatyne Club purchased the entirety of the rediscovered plates 'and such impressions as had been printed' and in 1855 issued them in a greatly enlarged edition containing some 90 drawings in total. 'Clerk was an exceptional amateur artist. His wealthy background afforded him the luxury of entertaining numerous careers, including medicine and business, and he also showed a considerable interest in geology. In the 1740s he began sketching alongside his brother-in-law, Robert Adam, and the artist Paul Sandby. Clerk travelled extensively throughout Scotland, recording a wide range of landscapes and ancient buildings. His sketches of Edinburgh and the surrounding areas are highly personal representations of his native countryside' (National Galleries of Scotland, online).
Los 54
Australia - Racism and Emigration George Cruikshank Probable Effects of Over Female Emigration, or Importing the Fair Sex from the Savage Islands in Consequence of Exporting all our own to Australia!!!. Hand-coloured etching by George Cruikshank, 16 x 40.5 cm, pasted into a Victorian scrapbook with other lithographs, etchings, cartoons, some of Crystal Palace; includes large double page cartoon "The Australian Gold Diggings. A Stirling Picture. The Consequences of the Diggins over there", 33 x 49cm [n.d.] Note: Note: From its first colonisation, men outnumbered women in Australia to a huge degree, resulting in grave social problems for the new colony. Active attempts to address the imbalance included drives for women in Britain to emigrate. Cruikshank's now very politically incorrect cartoon imagines that the supposed departure of women who took up offers of assisted passage to Australia has created a critical shortage of women in England. His dockside scene depicts a large gathering of Pacific Island women - all of whom are stereotyped as "savages" with exaggerated features, who have responded to the desperate call of the assembled pallid Englishmen, greeting them upon arrival.The satirical etching is an example of 19th-century racist stereotyping.
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78475 Los(e)/Seite