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 279
"The Studio".- Modern Masters in Etching, a broken run from 1924-33, 15 vol., introductions by Malcolm C. Salaman, etched plates with captioned paper guards, bookplates to front pastedowns, library stamps, original boards with mounted printed label, some toning, spines with manuscript numbering, extremities rubbed, 1924-33; Decorative Art, 1928. "The Studio" Year-Book, black and white illustrations, library stamps to numerous pages, cloth, slightly sunned, [1928]; and another, v.s. (17) ⁂ Volumes Modern Masters of Etching present are: Frank Brangwyn (1); James McBey (2); Anders Zorn (3); J.L. Forain (4); Sir Frank Short (5); Frank W. Benson (6); Sir D.Y. Cameron (7); E.S. Lumsden (17); G.L. Brockhurst (19); L.C. Rosenberg (22); Arthur Briscoe (23); Levon West (24); William Russel Flint (27); Frank Brangwyn (30); Sir D.Y. Cameron (33)
Los 103
NO RESERVE Commedia dell'Arte.- Cornelis Vermeulen (c. 1644-1708) Portrait of the actor Angelo Costantini in the role of Mezetin in the Commedia dell'Arte, after François de Troy, engraving and etching, on laid paper, a good impression of the lettered state, with six lines of French text by De La Fontaine, and etched date of 1694 partially removed, platemark 560 x 395 mm. (22 x 15 1/2 in), sheet 690 x 505 mm. (27 1/4 x 19 7/8 in), full margins, light even browning to the sheet, minor spotting and surface dirt, some small nicks and tears in margins, handling creases, bears [?]collector's initials 'P.B.' lower right [not in Lugt], [circa 1694].Literature:Hollstein 103 ⁂ Scarce. The original painting by François de Troy is held in the Museé Condé, Chantilly.
Los 19
NO RESERVE Maritime.- Corsica.- Andrews (George) Representing the Squadron under the orders of Capt. Barrie, commencing the Engagement... in Sagone Bay, etching and aquatint by R & D. Havell, with hand-colouring, on wove paper probably mounted on support, 490 x 610 mm (19 1/4 X 24 in), under glass, some surface dirt and browning, unexamined out of framed, [1811]
Los 558
Folio of unframed prints and engravings, to include: after Willaim Hogarth, 'The Company of Undertakers'; after Paulus Potter (Dutch, 1625-1654), 18th or early 19th Century bookplate restrike etching of 'The Frisian Horse', 'Quadrupeds', some gilt-enriched prints from the Journal of Indian Arts and Industries, etc
Los 101
Ursula Querner (1921-1969), by and after, 'Roman Fountain', signed in pencil to margin, etching, 42cm x 33cm; Robert Jennison, by and after, 'Bright Day', signed, titled, dated 1971, and numbered 17/20 in pencil to margin, 67cm x 52cm; Celia Ellis, by and after, 'Pattern', screenprint; Natalie Dumitresco (1915-1997), by and after, 'Les Lignes', unsigned, attribution to verso, screenprint, 40cm x 43cm; Gerard Clements, by and after, 'Start Point', signed, titled, dated 1975, and numbered 4/5 in pencil to margin, 38cm x 38cm
Los 102
Freidrich Ahlers Hestermann (1883-1973), by and after, 'Childhood Memories', signed in pencil to margin, lithograph, 42cm x 27cm; Hans Frank (Austrian, 1884-1948), by and after, 'With the Harrow', signed in pencil to margin, coloured woodcut, 20cm x 30cm; Hubert Andrew Freeth (1912-1986), by and after, 'Prodigal Son', signed, dated 1939, and titled in pencil to margin, etching, 26cm x 19cm, (3).
Los 156
Graham Clarke (bn. 1941), by and after, 'St. Anthony's', signed and titled in pen to margin, linocut print, 49.5cm x 76cm; another, Susan Dorothea White (Australian, bn. 1941), by and after, 'Camel', signed, titled, and with A/P attribution in pencil to margin, coloured etching, 77.5cm x 58cm.
Los 198
Charles Stuart, by and after, 'Jacob's Coat', signed, titled, and numbered 41/50 in pencil to margin, screenprint, 63cm x 44cm; Paul Rogers, by and after, 'Beneath the Pond', signed, titled, and numbered 1/35 in pencil to margin, colour etching; Pauline Aitken, 'These Modifications of Matter', signed, titled, and numbered 5/50 in pencil to margin, colour etching; Danka Napiorkowsky, by and after, Anemone II, signed and titled in pencil to margin, screenprint, 76cm x 51cm; Alex Mackay, by and after, 'Fuchsia', screenprint; Rosalind Forster, by and after, 'In the Summer House', signed, dated '87, and numbered 123/150 in pencil to margin, lithograph, 79cm x 57cm; John Wolsley, 'Cycle of Life no. IV', signed and titled in pencil to margin, coloured etching, 58cm x 77.5cm (7).
Los 201
Dietmar Lemcke (bn. 1930), by and after, 'Sea Wall in Brittany', signed and dated 1958 in pencil to margin, etching, 35cm x 40cm; Otto Eglau (1917-1988), by and after, 'Afrika', signed and titled in pencil to margin, etching, 20cm x 31cm; Ian McWhirter, by and after, 'Burn's Monument, Attoway', signed in pencil to margin, etching; Alexander H. Kirk, by and after, 'Santa Maria', signed and titled in pencil to margin, etching; E. H. Groom, by and after, 'Big Ben', signed and titled in pencil to margin, etching; After Rubens, reproduction print, 'Albertina Facsimile' blindstamp to margin; Jacobus Houbraken (1698-1780), by, after Holbein, 'A Portrait of Catherine Howard', etching, 40.5cm x 25cm; along with a small portfolio of prints, qty.
Los 78
Salvador Dali (1904-1989), 'A L'Eternelle Madame', limited edition and signed drypoint etching, from 'Les Amours Jaunes' (1974), with added colour and gilt embellishments, numbered 27/300 on Arches paper, 29.5 cm x 21 cm with margins, the page under tissue paper, in a protective red slip-case, gilt-tooled 'Dali' to the cover, 41 cm x 30 cm.Private collection, London deceased estate.Condition report: Tissue paper appears a little stuck to the surface, but it has protected the etching / paper.
Los 3441
Piranesi, Giovanni Battista: (1720 Mogliano - Rom 1778). "Veduta dell'Isola Tiberina. A Avanzi delle Sostruzioni del Tempio d'Esculapio". Radierung, 1775. 47,6 x 71 cm, Blgr. ca. 53,7 x 78 cm. Focillon 836, Wilton-Ely 254, Hind 121,I (von III). Vor der Nummerierung oben rechts. - Geglättete Mittelfalte, stockfl., einige Klebereste sowie kl.Montagelöcher außerhalb d. Darstellung. - Etching. Before the numbering on the upper right. Smoothed centrefold, foxing, some glue remnants and small mounting holes outside of the image. D
Los 2186
Hartmann, Johann Joseph: (1753 Mannheim - Cotterd 1830). I. u. II. vue de l'Isle St. Pierre sur le Lac de Bienne. 2 Bl. Radierung u. Gouache 1787. Je ca. 28 x 42 cm. Auf Orig.-Unterlage mit vierfacher Tuschumrahmung, Titel u. handschr. Bezeichn.: "peint et gravé par Hartmann a Bienne 1787". Unterlage tls. angestaubt, feuchtigkeitsrandig u. fleckig, mit Leimresten auf d. Rändern von abgelößtem Passepartout. Unterlage u. Bilder mit einigen Wurmlöchern. - Selten. - Lake Biel. 2 Etching a. gouache 1787. On original backing with four ink frames, title and handwritten inscription. D
Los 3503
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Der Tod der Maria. Radierung 1639. 40,9 x 31,5 cm. In d. Platte sign. u. dat. (unten links, undeutlich). B-99. H-161. BB 39-A (Modern). Seydlitz 99 V (von V). - Abdruck wohl aus den Recueil des Henry Louis Basan, um 1807-08, mit horizontaler Faltung in der Blattmitte u. Montierresten oder -spuren an d. Ecken der unteren Blatthälfte. Linke Blatthälfte mit Wasserrändern, kl. Randeinr. rechts im Falz. - The Death of the Virgin. Etching. Signed and dated on the plate. Print probably from the Recueil of Henry Louis Basan with horizontal folding. - Partly mounting remains, water streaks at left, small marginal tear at the fold. R
Los 3501
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Studienblatt mit Saskia und fünf anderen Frauenköpfen. Radierung, 1636. Ca. 15 x 12,5 cm, auf Plattenkante beschnitten, tls. mit feinem Rändchen. I.d.Platte sign. u. dat. Unten rechts mit 16 (Tusche) num. Punktuell auf Trägerkarton mont. New Hollstein 157 II, Hollstein 365, ╔Nowell-Usticke 365. C1 dort als "nicht sehr häufig" beschrieben.╗ - Minimal stockfl., tls. leicht dünnhäutig. - - Study sheet with Saskia and 5 other female heads. Etching on fine laid paper. Trimmed on platemark. Minimally foxed. R
Los 3848
Salmon,A.: Rive Gauche. Quartier Latin - Plaisance - Montparnasse - Les Quais - Saint-Germain-des Prés. Paris, Selbstvlg. 1951. Gr.4°. ╔Mit 1 sign. Orig.-Radierung╗ u. 15 (10 farb.) Taf. in Heliogravure von Maurice de Vlaminck sowie 2 mont. Portr. (Doña Elvira und Vlaminck) von Modigliani. Lose Lagen in OU mit farb. Deckelillustr. u. Opp.-Decke mit Japan-Holzfurnier-Überzug, in Olwd.-Kassette mit Japan-Hohlfurnier-Auskleidung. (Schuber etw. verblichen). Walterskirchen XIX F. Monod 10104. - Eines v. 25 alphabetisch bez. Künstlerex. mit der sign. Orig.-Radierung Paysage d'été (Von Walterskirchen 147) u. dem Selbstportr. mit der eh. Widmung "Hommage de Vlaminck" (Walterskirchen Anhang II 5b). - Nur stellenweise etw. stockfl. u. gebräunt. - One of 25 copies. With 1 signed original etching and 15 plates in heliogravure by M. de Vlaminck and 2 mounted portraits (Doña Elvira and Vlaminck) by Modigliani. Loose sheets in original wrappers and original card boards with japanese wood veneer covering, in original cloth case (case slightly faded). - Only partly foxed and browned.
Los 3500
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Faust. Radierung um 1652. 21 x 16 cm., Blgr. 22,2 x 17,2 cm. Auf bräunlichem Papier, an den Ecken auf Büttenpapier geklebt. B-270. H-260. BB 52-4. Seydlitz 270 IV (von IV). Björklund-B. 52- 4 (IV). - Abdruck von der überarbeiteten Platte, wohl aus den Recueil von Henry Louis Basan, um 1807-08, auf dem Orig.-Bl. aufgeklebt (WZ-Fragment der Unterlage "RO"). - Etching. On brownish paper, glued at the corners. Impression from the overworked plate, with watermark fragment. R
Los 3502
Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669) nach. Juda und Tamar (Judah und Thamar). Anonyme Radierung wohl nach einer Zeichnung von Rembrandt, 17. Jh. Plgr. 8,6 x 12, Blgr. 10,2 x 14,2 cm. Mit dem Namenszug "Rembrand (!) delin." i.d. Platte. Verso die Radierung mit Bleistift nachgezogen. Etw. fleckig, li. Heftlöcher. - Anon. etching probably after a drawing by Rembrandt. - Some stains, punchholes left. R
Los 510
AFTER HENRY WILKINSON "Guns at Pegs", study of driven shooting, limited edition coloured etching No'd. 59/150, signed in pencil, 27 cm x 35 cm, together with three others by the same hand "Labrador and Guns on Peg", No'd. 99/100, 27.5 cm x 38 cm, "Huntsman on horseback with hounds", No'd. 36/150, 27.5 cm x 36 cm and "Pheasants breaking cover", No'd. 31/150, 27.5 cm x 32 cm CONDITION REPORTS Areas of foxing on all four but predominantly on the Huntsman on horseback and Labrador and guns on peg. Otherwise all have general wear and tear to include presence of thunderbugs beneath the glass on both images and mounts. Frames a little tired. In need of a clean. See images for more details.
Los 112
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Nu et sculptures", "Suite Vollard", 1933.Etching.Signed in pencil. 37`8 x 29´7 cm (print); 44´5 x 33´6 cm (paper).In common agreement with historians and specialists, The Vollard Suite is considered the supreme work of 20th century engraving. The Vollard Suite is the fruit of intensely creative moments in which Picasso, in the manner of a graphic diary, developed his obsessions on themes of love, desire and existential fears. The definitive edition of the series began to be printed in 1939, before Vollard's death in July of the same year. Once the print run was completed, the prints went, along with other unpublished series, to the French art dealer's warehouses. The Vollard Suite prints were shown for the first time in 1979 at the exhibition held at the Musée d'Art Moderne de la Villa in Paris, from where they became part of the holdings of the Musée Picasso in Paris. Throughout the Vollard Suite the main protagonist is Marie-Thérèse Walter, Picasso's great love of the 1930s. From 1932 onwards his interest in her as a model increased, she appears so frequently in his paintings, drawings, prints and sculptures, in her various moods and forms, that she can be considered the great heroine of Picasso's fictional world. Caught between the anger of his wife Olga and his passion for Marie-Thérèse, Picasso came to consider it the worst moment of his life. In many prints from the 1930s, all the female characters are portraits of the young woman.Marie-Thérèse was for Picasso the antithesis of death, the fullness of life, the ardour of youthful love, the woman-child and the embodiment of his pictorial ideal already proclaimed in the neoclassical female figures of the 1920s.The Vollard Suite is a clear testimony to Picasso's skill as a draughtsman. The one hundred prints cover a wide variety of subjects in Picasso's universe. The series is a considerable part of Picasso's graphic production from 1930 to 1937, and many of the works not included in it have similar themes. Each of the prints becomes comprehensible when analysed in the context of the series as a whole: it is the themes and motifs that preoccupied Picasso that impart unity and coherence to the prints. The major themes are: the passion of love personified in the model, her relationship with artists past and present, and the extent to which creative activity can be considered divine. The two preferred incarnations of the artist are as a classical sculptor and as a Minotaur, opposing personalities that form a typological dichotomy comparable to Nietzsche's Apollonian-Dionysian antithesis. In the prints, an Apollonian linear style is sometimes fused with dark, baroque strokes of Dionysian impetus.
![* Elisabeth Frink [1930-1993]-Anthony and Cleopatra,:-etching in colours,signed and numbered 150/175 in the margin80 x 60cm.*](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/0c759d41-56d8-42d2-b9e1-ae2800ca5309/468x382.jpg)
![* John Brunsden [1933-2014]-Dorset Beach,:- etching in colourssigned, inscribed and numbered 63/150 in the borderimage size 2](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/cb618116-426b-4c84-9a49-ae2800ca869f/468x382.jpg)
![Four variour prints,:- comprisingAdolph Cieslarczyk [1916-2003]- Epouse d'Ariste, lithograph, signed and inscribed, sheet siz](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/ccf06ad0-5977-4012-9024-ae2800ca5518/468x382.jpg)
Los 52
Four variour prints,:- comprisingAdolph Cieslarczyk [1916-2003]- Epouse d'Ariste, lithograph, signed and inscribed, sheet size 64 x 48cm, Valerie Thornton [1931-1991] - etching, signed and numbered 8/50, sheet size 50 x 70cm, Bernard Kay [b.1927]- Noon Landscape, signed and inscribed, sheet size 53 x 69cm and Tony Avora [b.1937], artist proof, signed, sheet size 51 x 60cm, all unframed. [4]* Notes Please refer to websites for further images of this lot - www.the-saleroom.com & www.easyliveAuction.com
![* Jacqueline de Champvallins [Contemporary]-Homage a Gershwin,:-etching with aquatint, triptychsigned in pencil and numbered](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/a1c4fee3-fb5f-4aa0-acdc-ae2800cac040/468x382.jpg)
![* Julian Trevelyan [1910-1988]-Chiswick Mall,:-etching in colours, Artist's Proof,signed and inscribed in pencilsheet size 59](https://cdn.globalauctionplatform.com/25ea1a08-995e-47f6-824a-ae1f016f32d3/3f4dddd4-fc73-4248-8935-ae2800ca5a11/468x382.jpg)
Loading...-
78475 Los(e)/Seite