78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

* RICHARD "TURNERAMON" TURNER ARCA (BRITISH 1930 - 2013), GUARDIAN OF THE SHADES OF MEMORY oil on canvas, signed, titled and dated 2011 verso 60cm x 76cm Unframed Note: Richard Turner was noted post modernist artist born in Derby England and was educated at Bemrose Grammar School. In 1960, he enrolled at the Derby College of Art where he won the J. Andrew Lloyd scholarship for Landscape, enabling him to study at the Royal College of Art in London, from 1963. There, he was tutored by Carol Weight and Sir Peter Blake. He graduated in 1966 with an Associate of the Royal College of Art Degree, as well as prizes in Life Drawing, Life Painting, and Landscape Painting. His work was much admired by his contemporaries and his tutors. For the next two years, Turner was a lecturer at the Guildford School of Art; working on environmental installation projects with Australian artist Tony Underhill. He was introduced to etching by Peter Olley and Norman Ackroyd. In 1968, he was employed as an epigraphic artist and photographer by the Oriental Institute of the University of Chicago. For five years, he was based at Chicago House in Luxor, Egypt making facsimile drawings of the reliefs on the walls of the Temple of Khonsu, Karnak and Medenet Habu, adjacent to the Valley of the Queens. In 1973, Turner returned to England, lecturing at Salisbury College of Art for three years, before being re-employed in Egypt by the University of Chicago, for a further four years. During this time he made full scale tracings of all columns in the Great Hypostyle Hall of Luxor Temple. In 1980 he moved to the USA; built a split-level chalet style house in Big Bear, California, and ran his own gallery, named Minnelusa Gallery, on the shores of Big Bear Lake. He also worked as a graphic designer with Treasure Chest Advertising, based in Los Angeles. Four years later, Turner returned to the United Kingdom, and briefly lived in Edinburgh before moving south for five years. He returned to Scotland in 1989, and ran a successful "art holiday" home business from Park House in Kirkcudbright, as well as lecturing part-time in various colleges and schools. In 1993, Turner met HM The Queen and Prince Philip, at the opening of Tolbooth Art Centre in Kirkcudbright. Prince Philip commented on Turner's work saying it looked "refreshingly different". Turner exhibited widely throughout his career including multiple solo shows in London, Manchester, San Francisco, Palm Springs, San Bernardino, Los Angeles, Paris, Cairo, Luxor, Kirkcudbright and around the UK.

* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), ELEGY TO CAPTAIN FERGUSON, FROM A NIGHT OF ISLANDS, 1991 colour etching on paper from the edition of 40 signed beneath the backing board 'Will MacLean R.S.A' 75cm x 53cm Mounted, framed and under glass Label verso: Louise Pickering Fine Art, 58 Clapham Common, London.

MAUD BUTLER 'Bruges', etching, signed in pencil, 27cm x 15cm, framed.

Hans THOMA (1839 - 1924). ''Am Strand, 1917''. 9 cm x 14 cm. Radierung. In der Platte ligiert. Signiert. Verso Etikett mit weiteren Informationen. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Hans THOMA (1839 - 1924). ''Am Strand, 1917''. 9 cm x 14 cm. Etching. Ligated in the plate. Signed. Verso label with further information. Shipping of this object by a third party provider possible. A list of selected trusted shipping partners is included with each invoice. The auction house does not ship.

Hans THOMA (1839 - 1924). "Weg v.d. Gerbermühle Frankfurt a. M. 13.8.92" 17 cm x 31,5 cm. Radierung. Original Titel spiegelbildlich in der Platte. Signiert. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Hans THOMA (1839 - 1924). "Weg v.d. Gerbermühle Frankfurt a. M. 13.8.92" 17 cm x 31.5 cm. Etching. Original title mirror image in the plate. Signed. Shipping of this object by a third party possible. A list of selected trustworthy shipping partners is included with every invoice. The auction house does not ship.

* Artists' Autographs. A group of 16 autograph letters signed by British artists, 19th & 20th century, including Alfred Elmore (listing in detail five of his paintings suggested for an exhibition), Count Alfred D'Orsay (mentioning a bust), Gerald Kelly (about a commission to paint Sir John Simon), John Landseer (about an etching), Thomas Lawrence (mentioning a painting), Alfred Munnings (mentioning a horse), Lord Leighton (about a meeting), Edward Poynter (to the art critic Marion H. Spielmann), Solomon J. Solomon (to the art critic Marion H. Spielmann (mentioning a sketch), Haymo Thorneycroft (to the artist W.P. Frith about RAC matters), Augustus John (mentioning a painting and a sitting), G.F. Watts (about a meeting), Phil May (a business letter to a solicitor's office), Benjamin Leader (acceding to the request for his autograph), Samuel Prout (mentioning a visit to London and a meeting of the Graphic), Frank Dicksee (about a meeting, plus a typed letter signed from Dicksee about the use of the Royal Academy and a vellum indenture signed at foot by the artist William Fisk, mostly one page, 4to/8voQty: (18)

SIR WILLIAM RUSSELL FLINT (1880-1969); a signed black and white print of a seated female, image 15 x 9.5cm and a signed black and white etching 'The Last Match' by Pascoe Holman, image 17.5 x 12.25cm, both framed and glazed (2).Additional InformationAreas of foxing and staining to the Russell Flint print, the Pascoe Holman example has some staining to the mount, light scuffs to the frames.

A collection of prints and watercolours including, 'Dr Sibly's Re-Animating Solar Tincture, or Pabulum of Life', engraving, 42 x 31.5cm; H Pyall after T T Bury, 'Entrance of the Railway at Edge Hill, Liverpool', aquatint, publ. London for R. Ackermann & Son 1831, 25 x 31cm (pl.); Charles Knapton after Claude Lorrain, 'E Musaeo Dni Jonathanis Richardson', etching, 20 x 29.5cm; a watercolour of flowers signed 'F/E (?) Hurrell 1997', 16.5 x 12cm; Arthur J F Bond (1888-1958), Bosham Creek, inscribed with title verso, etching, unglazed, signed in pencil lower right 'A J F Bond', and a few others (qty)

Edward W. Sharland (1884-1967), "St Georges Chapel, Windsor”, signed in pencil lower right, etching, 42cm x 24cm; and An Interior of a cathedral, signed in pencil lower right, etching, 42 x 22.5cm (2)

Edgar L. Pattison (b.1872), A Moorish Gateway, signed and titled in pencil, coloured etching, 22 x 26cm

James McNeill Whistler PRBA (American 1834-1903), Billingsgate, 1859, drypoint etching, state 9 or 9, 16.5 x 24cm unframed

A gilt gesso frame in the 16th century style with etching print in the manner of Pieter van Borscht. Frame with carved crest 'I.K 1559'W:103cm x D:7cm x H:90cm

Luigi Kasimir (1888-1962) Austro-Hungarian, 'Kornmesserhaus in Bruck', colour etching signed in pencil, 13" x 11" and two additional etchings of Venice and a lake district scene.

An art nouveau etching of a mermaid with a fish, indistinctly signed in pencil, 7.5" x 2.5".

Julian Trevelyan (1910-1988) British, 'Hangars', An Airport scene, etching and aquatint, signed inscribed and numbered 23/52 in pencil, 14" x 19".

William Lionel Wyllie (1851-1931) British, A scene of sailboats off a headland, etching, 6.5" x 9".

Marie Laurencin (1883-1956) French, An etching of a seated lady, 8" x 6.5".

John Henry Dowd (1883-1956) British, An etching of a mother and child, signed in pencil, 4" x 6", and a woodblock print by George Reiss, 'A bend in the river', signed and numbered '33 of 50', circa 1929, 5" x 6.5".

λ AGUSTÍ PUIG (SPANISH B.1957)MAN AT ONE SIDE, 2017Mixed media on linen laid to board Signed and inscribed Barcelona verso 220 x 330cm (86½ x 129¾ in.)Unframed SALEROOM NOTICE:Please note the measurements are 122cm wide, 160cm high, and not as stated in the printed catalogue. Agustí Puig was born in Barcelona in 1957. Puig learned a great deal of his craft working in different artist's studios as a young art student at Escola Massana and Cercle Artistic Sant Lluc in Barcelona. Whilst his first solo exhibitions were in Barcelona and other Spanish cities he was soon to break through onto the international exhibition circuit with shows in Lisbon, London, Paris, Germany, Japan and the United States. Puig's large scale canvasses are monumental in size and impact. The works are layered with thick pools of paint and impasto which flow smoothly across the canvas. The artist also works with ceramics and sculptures. His interest in tactile materials is evident in these canvases and the way he has built up the layers. The figures are sometimes represented in side profile or facing one another, like the diptych presented in this auction. The juxtaposition of black, white and red is particularly powerful and reiterates the scale of the works as the viewer stands beneath the works soaring above them. The singular lines, splashes, scratching out and thick impasto don't immediately look like figures and then one sees the outline of a head, or an eye peering through and this is when you realise the body of the work as a whole. Puig also has a passion for etching and printmaking and most famously worked on the poster and postage stamp for the 1992 Barcelona Olympic Games. Condition Report: There are some minor scuffs and abrasions to the edges and in two small spots on the thicker areas of surface impasto, but generally it appears to be in excellent original condition. SALEROOM NOTICE:Please note the measurements are 59.5cm x123cmCondition Report Disclaimer

λ  AGUSTÍ PUIG (SPANISH B.1957)FIGURE AND CURTAIN, 2016Mixed media on linen laid to board Signed and inscribed Barcelona verso 160 x 122cm (62 x 48 in.)UnframedAgustí Puig was born in Barcelona in 1957. Puig learned a great deal of his craft working in different artist's studios as a young art student at Escola Massana and Cercle Artistic Sant Lluc in Barcelona. Whilst his first solo exhibitions were in Barcelona and other Spanish cities he was soon to break through onto the international exhibition circuit with shows in Lisbon, London, Paris, Germany, Japan and the United States. Puig's large scale canvasses are monumental in size and impact. The works are layered with thick pools of paint and impasto which flow smoothly across the canvas. The artist also works with ceramics and sculptures. His interest in tactile materials is evident in these canvases and the way he has built up the layers. The figures are sometimes represented in side profile or facing one another, like the diptych presented in this auction. The juxtaposition of black, white and red is particularly powerful and reiterates the scale of the works as the viewer stands beneath the works soaring above them. The singular lines, splashes, scratching out and thick impasto don't immediately look like figures and then one sees the outline of a head, or an eye peering through and this is when you realise the body of the work as a whole. Puig also has a passion for etching and printmaking and most famously worked on the poster and postage stamp for the 1992 Barcelona Olympic Games. Condition Report: There are drying cracks in the paint surface but generally it appears to be in excellent original condition. There are minor scuffs and abrasions to the edges. Condition Report Disclaimer

λ  AGUSTÍ PUIG (SPANISH B.1957)DIPTYCH Mixed media on board One panel signed, inscribed and variously dated 2012 Sabadell A.P.P. 2011 verso Each 350 x 125cm (137¾ x 49 in.)Overall 350 x 300cm (37 3/4 x 98in.) (2)UnframedAgustí Puig was born in Barcelona in 1957. Puig learned a great deal of his craft working in different artist's studios as a young art student at Escola Massana and Cercle Artistic Sant Lluc in Barcelona. Whilst his first solo exhibitions were in Barcelona and other Spanish cities he was soon to break through onto the international exhibition circuit with shows in Lisbon, London, Paris, Germany, Japan and the United States. Puig's large scale canvasses are monumental in size and impact. The works are layered with thick pools of paint and impasto which flow smoothly across the canvas. The artist also works with ceramics and sculptures. His interest in tactile materials is evident in these canvases and the way he has built up the layers. The figures are sometimes represented in side profile or facing one another, like the diptych presented in this auction. The juxtaposition of black, white and red is particularly powerful and reiterates the scale of the works as the viewer stands beneath the works soaring above them. The singular lines, splashes, scratching out and thick impasto don't immediately look like figures and then one sees the outline of a head, or an eye peering through and this is when you realise the body of the work as a whole. Puig also has a passion for etching and printmaking and most famously worked on the poster and postage stamp for the 1992 Barcelona Olympic Games. Condition Report: The picture is canvas attached to board and not as described in the catalogue. There are fine drying cracks in the paint layer, but the surface is stable. There are very minor abrasions, including on the edges , but these are all very minor. It appears to be in excellent original condition.Condition Report Disclaimer

λ  AGUSTÍ PUIG (SPANISH B.1957)THREE FIGURES AND TWO RED FACES, 2016Mixed media on linen laid to board Signed and inscribed Barcelona verso 210 x 122cm (82½ x 48 in.)UnframedAgustí Puig was born in Barcelona in 1957. Puig learned a great deal of his craft working in different artist's studios as a young art student at Escola Massana and Cercle Artistic Sant Lluc in Barcelona. Whilst his first solo exhibitions were in Barcelona and other Spanish cities he was soon to break through onto the international exhibition circuit with shows in Lisbon, London, Paris, Germany, Japan and the United States. Puig's large scale canvasses are monumental in size and impact. The works are layered with thick pools of paint and impasto which flow smoothly across the canvas. The artist also works with ceramics and sculptures. His interest in tactile materials is evident in these canvases and the way he has built up the layers. The figures are sometimes represented in side profile or facing one another, like the diptych presented in this auction. The juxtaposition of black, white and red is particularly powerful and reiterates the scale of the works as the viewer stands beneath the works soaring above them. The singular lines, splashes, scratching out and thick impasto don't immediately look like figures and then one sees the outline of a head, or an eye peering through and this is when you realise the body of the work as a whole. Puig also has a passion for etching and printmaking and most famously worked on the poster and postage stamp for the 1992 Barcelona Olympic Games. Condition Report: There are drying cracks in the paint layer but the surface appears stable. The canvas is quite loose on the board and is slightly sagging along the lower edge. There are some minor abrasions to the edges, but generally it appears to be in excellent original condition.Condition Report Disclaimer

λ  AGUSTÍ PUIG (SPANISH B. 1957)ONE CHAIR Mixed media on linen laid to board Signed and inscribed Barcelona verso 150 x 122cm (59 x 48 in.) Unframed Agustí Puig was born in Barcelona in 1957. Puig learned a great deal of his craft working in different artist's studios as a young art student at Escola Massana and Cercle Artistic Sant Lluc in Barcelona. Whilst his first solo exhibitions were in Barcelona and other Spanish cities he was soon to break through onto the international exhibition circuit with shows in Lisbon, London, Paris, Germany, Japan and the United States. Puig's large scale canvasses are monumental in size and impact. The works are layered with thick pools of paint and impasto which flow smoothly across the canvas. The artist also works with ceramics and sculptures. His interest in tactile materials is evident in these canvases and the way he has built up the layers. The figures are sometimes represented in side profile or facing one another, like the diptych presented in this auction. The juxtaposition of black, white and red is particularly powerful and reiterates the scale of the works as the viewer stands beneath the works soaring above them. The singular lines, splashes, scratching out and thick impasto do not immediately look like figures and then one sees the outline of a head, or an eye peering through and this is when you realise the body of the work as a whole. Puig also has a passion for etching and printmaking and most famously worked on the poster and postage stamp for the 1992 Barcelona Olympic Games. Condition Report: There are drying cracks and the paint is lifting where the artist has scratched into the paint layer, particularly on the left figures head. There are some minor spots of dirt to the edges, but generally it appears to be in original condition and there are no visible signs of damage or restoration. Condition Report Disclaimer

* Railways. A collection of 54 prints and engravings, 19th century, engravings and lithographs of trains, railway buildings, cuttings and viaducts, including Oesterlein (A. lithographer). Crumlin Viaduct in Süd-Wales, circa 1860, tint stone lithograph after R. Baumeister, occasional repaired marginal closed tears, 350 x 550 mm, together with Ingrey & Madeley (lithographers). The Railway at Cheshunt in Hertfordshire; Invented by Henry R. Palmer, Civil-Engineer, circa 1850, hand-coloured lithograph narrow margins, laid on later paper, 125 x 280 mm, mounted, with Hake (W. after). The Opening of the Bristol and Exeter Railway as seen from Exwick Hill, circa 1844, hand coloured lithograph, narrow margins, 180 x 245 mm, mounted, with another uncoloured example, plus Davy (Henry). The Eastern Union Terminus, St Mary Stoke, Ipswich, Suffolk. This Railway was opened by the Directors on Thursday, June 11, 1846, uncoloured etching, some creasing and spotting, occasional repaired marginal closed tears, 180 x 260 mm, mounted, and Fordyce (W. publisher). Old Locomotive Engine, Constructed by the Late George Stephenson for Killingworth Colliery, circa 1860, uncoloured engraving, 200 x 260 mm, mounted, with Bourne (J. C.). Avon and Railway, Fox's Wood, printed C. F. Cheffins, circa 1850, hand coloured lithograph, small margins, 185 x 305 mm, plus others similar, various sizes and conditionQty: (54)

* Ballooning. A collection of 21 prints and engravings, mostly 19th century, aquatints, etching, engravings and lithographs, including Bonnington (R.). The Ascent of Mr Sadler the Celebrated British Aeronaut at Nottingham November 1st 1813, published by R. Bonnington, Nottingham, Jany. 17th, 1814, aquatint with contemporary hand colouring, 405 x 260 mm, together with Alvey (F. lithographer). The Vauxhall Royal Balloon, Formed of 2000 yards of silk and capable of ascending with Twenty Eight Persons, beside ballast and Apparatus..., First Ascent with 9 Persons made from Vauxhall September 9th 1836, William Spooner, circa 1836, uncoloured lithograph, upper right corner torn and repaired but not affecting image, one repaired marginal closed tear, slight dust soiling, 285 x 230 mm, with Lake (W. lithographer). The Ascent of the Royal Nassau Balloon from Vauxhall with the Parachute attached [and] The Fatal descent of the Parachute by which Mr Cocking lost his life. The Sketch taken by an Eye-witness, William Follit, Leicester Square & Reeves & Sons Cheapside, circa 1835, two hand-coloured lithographs on one sheet (as published), slight toning and dust soiling, 250 x 335 mm, plus Cauci (P. lithographer). A View in the Neighbourhood of Sevenoaks, selected by Mr T. R. Joliffe and Professor Cornillot for the scene of their first aerial ascent..., circa 1825, tint stone lithograph, some old tape and adhesion scarring to lower margin, not affecting title or image, very slight spotting to margins, 190 x 215 mm, and Murray (J. publisher). The ascent of Mr Sadler and Captn. Paget from Hackney, 12thg August 1811 from a drawing taken on the spot, August 19th [1811], uncoloured etching, 255 x 170 mm, with Pollard (R.). The Natives of Tornea Lapmark assembled at Enontekis to witness the launching of the first Balloon within the Arctic Circle, T. Cadell & W. Davies, 1819, uncoloured engraving after E. D. Clarke, 160 x 210 mm, plus Senell (J. publisher). View of the Ascent of Mr Lunardi's Celebrated Air Balloon from the Artillery Ground, Sept. 15th 1784, The European Magazine, Oct. 1784, uncoloured engraving, 230 x 170 mm, with others similar, various sizes and conditionQty: (21)

* Fairgrounds. A collection of ten engravings and lithographs, 19th century, engravings, etchings and lithographs, nine with hand colouring, including Annan (W. publisher). Croydon Fair as it Appeared on the 2nd, Octr. 1833, printed and published Croydon, Oct 3rd 1833, hand coloured lithograph, trimmed to neat line and laid on later paper, together with Rowlandson (Thomas). Sports of a Country Fair, Thomas Tegg, circa 1820, etching with contemporary hand colouring, 250 x 350 mm, with Rowlandson (Thomas, after). Bartholomew Fair, circa 1825 (or later), etching by John Nixon with contemporary hand colouring, thread margins, old central fold, laid on later paper, 235 x 330 mm, plus De Lasteyrie (C.). Montagnes de Glaces, circa 1840, hand coloured lithograph of a wooden 'ice slope' constructed to thrill and amuse, possibly in Northern Europe or Russia, 250 x 360 mm, with another copy similar but an inverted image, and Les Montagnes Russes de la Barrière du Roule, circa 1840, unattributed French engraving with contemporary hand colouring of a large wooden slide, with fashionable ladies availing themselves of the amusement, 260 x 310 mm, together with Williams (C.). Flying Mountain, circa 1830, hand-coloured aquatint of a large wooden slide, 190 x 250 mm, mounted, with Gaucci (A. lithographer). Untitled view of a Fair, circa 1835, lithograph with bright contemporary hand colouring, thread margins, 210 x 320 mm, with two others similarQty: (10)NOTESThe last described item is described on the verso as 'Ladies Fancy Fair and Bazaar [for the benefit of the] Charing Cross Hospital [at John Penn Esq Spring Gardens, St James Park]. This appears to be erroneous as The British Museum holds two copies of a print with this title and the image is different from the one catalogued here.

Studio (publisher). Studio Special Numbers, 9 volumes, 1908-1929, comprising the Specials for Spring 1908, 1917, 1919-1922 (1920 2 volumes), 1928-1929, titles include: Londoners Then and Now (1920), Peasant Art in Roumania (1929), Spanish Painting (1921), The Art Collections of the Nation (1920), etc., some colour and numerous monochrome illustrations to each volume, editions for 1921, 1928 & 1929 with top edges gilt, and in original cloth with dust jackets (some spotting and dust-soiling, 1921 with loss at foot of front joint), the remainder in original printed wrappers, occasional edge-chipping and toning, a few minor marks, some with booksellers ticket to front cover, 1 with loss to rear corner, but generally in very good condition, 4to, together with: Modern Masters of Etching, 14 volumes (including 2 duplicates), 1925-1931, comprising numbers 3-4, 7-9, 16, 20-21, 23-25, 27, with numbers 4 & 24 duplicated, artists include: W. Russell Flint, Rembrandt, Alphonse Legros, etc., occasional spotting (mainly to edges), original boards (some spotted or mottled), each with printed paper label to front cover (1 with surface loss), 5 with dust jackets, some fading or toning to spines, 1 mottled, 1 with 3.5cm tear to front panel, some edge-fraying in places, oblong 4to, plus: Wheatley (Francis, illustrator), Cries of London, with an introduction by Stanford Rayner, London: Art Publishing Co., [1929], 16 tipped-in plates, most in colour, original cloth-backed boards, minor fraying to spine cloth at head, slim folioQty: (24)

Rackham (Arthur [illustrator]). The Rhinegold & The Valkyrie, by Richard Wagner, Heinemann, 2019, 33 tipped-in colour plates, bookplate to front pastedown, blind-stamp to top corner of the front endpaper, some light toning, publishers original gilt decorated brown cloth, boards & spine lightly rubbed to head & foot, 8vo, together with; Foster (Birket [illustrator]), Milton's L'Allegro and Il Penseroso, David Bogue, 1855, 30 black & white steel etching illustrations, some light toning & spotting, all edges gilt, contemporary gilt decorated green cloth bound by Hatton, boards & spine slightly rubbed, 8vo, and Bain (F. W.), An Incarnation of the Snow, James Parker and Co., 1908, A Mine of Faults, James Parker and Co., 1909, The Ashes of God, 1st edition, Methuen & Co., 1911, Bubbles of the Foam, Methuen, 1st edition, 1912, all with black & white frontispieces, some light spotting & toning, publishers uniform original boards, slightly marked & rubbed to head & foot, 8vo, plus other mid-19th & 20th century fiction & illustrated literature, including Three Letters on The Horse, Master and Donkey, by Blunt Spurs, 2nd edition, William Ridgway, 1883, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQty: (3 shelves)

FRANK BRANGWYN (1867-1956), Skin Scrapers, etching signed in pencil, plate size 6" x 4 1/2", and another "Man with Pile of Books", unsigned, 7 3/4" x 3? 1/4", both framed (2) (Est. plus 21% premium inc. VAT)

17th Century Italian School: etching by Cristofano Paolo Gelli, after Cantagallina, landscape with tower, 14 x 20 cm, framed

Rona Swallow: "Wood Chip", lino/woodcut, signed in pencil, 31 x 29 cm, framed and glazed; Robert R Greenhalf: "The Gleaners", limited edition coloured etching, signed in pencil, 17 x 17 cm, framed and glazed; a Hogarth print; H B Thorpe: Nether Alderley Mill and a similar work, 2 artist signed limited edition prints; a selection of coloured prints, framed and glazed, other pictures and prints

Attributed to Sir David Muirhead Bone (1876-1953) etching laid on paper, Santiago, printed in a limited edition of 50, this numbered 3, image 16 x 25 cm. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

Framed and glazed hand tinted map of Anglesea and an antique etching. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Giovanni Battista Piranesi (1720-1778), ''Rovine d´una Galleria di Statue nella Villa Adriana a Tivoli'' (Der Zentralraum der großen Therme der Hadriansvilla). Radierung auf Kupferdruckpapier, mit der Nummer 820 am linken Gewölbebogen, fleckig, Lichtrand, 45,5 x 59 cm, hinter Pp. ger. (ohne Glas) 66 x 80 cmGiovanni Battista Piranesi (1720-1778), ''Rovine d'una Galleria di Statue nella Villa Adriana a Tivoli'' (The Central Room of the Great Thermae of Hadrian's Villa). Etching on copperplate paper, with the number 820 on the left arch, stained, light margin, 45.5 x 59 cm, framed behind mount (without glass) 66 x 80 cm.

A.D. McCormick nach Dollman, ''The Health of the Bride'', kol. Radierung, gebräunt, 33 x 45 cm, hinter Glas u. Pp. ger. 51 x 62 cmA.D. McCormick after Dollman, ''The Health of the Bride'', col. Etching, browned, 33 x 45 cm, framed behind glass u. Passepartout 51 x 62 cm

Max Liebermann (1847-1935), ''Selbstbildnis 1913'', Kaltnadelradierung auf Kupferdruckpapier in: ''Max Liebermann, sein Leben und seine Werke von Erich Hancke mit 303 Abbildungen'', bei Bruno Cassirer in Berlin 1914, Originalradierung mit Hemdchen, etwas fleckig, Bucheinband stärker ber. u. best., H. 30 cmMax Liebermann (1847-1935), ''Self Portrait 1913'', drypoint on copperplate in: ''Max Liebermann, his life and works by Erich Hancke with 303 illustrations'', by Bruno Cassirer in Berlin 1914, original etching with shirt, somewhat stained, book cover more rubbed and bumped, h. 30 cm

Philipp Franck (1860-1944), Berliner Maler u. Grafiker, gründete mit Lovis Corinth und Max Liebermann die Berliner Secession. ''Raub der Töchter dess Leukippos'', Radierung mit Kaltnadel, u. re. handsign., u. li. bez. '7. Probedruck', der breite Rand etwas unfrisch, Plattenmaße 26,5 x 33,5 cm, Blattmaße 53 x 37 cmPhilipp Franck (1860-1944), Berlin painter and graphic artist, founded with Lovis Corinth and Max Liebermann the Berlin Secession. ''Raub der Töchter dess Leukippos'', etching with drypoint, u. r. signed by hand, u. li. inscribed '7. Probedruck', the wide margin somewhat unfresh, plate dimensions 26,5 x 33,5 cm, sheet dimensions 53 x 37 cm

Heinrich Vogeler (1872-1942), ''Dornröschen'', Radierung auf sandfarbenem Velin, u. re. handsigniert, etwas unfrisch, ca. 27 x 24,5 cm, Blattmaße 40 x 32,5 cmHeinrich Vogeler (1872-1942), ''Sleeping Beauty'', etching on sand-colored wove paper (papier vélin), signed by hand at lower right, somewhat unfresh, approx. 27 x 24.5 cm, sheet measures 40 x 32.5 cm

Lesser Ury (1861-1931), 'Allee in Berlin', Radierung auf Kupferdruckpapier, Rosenbach 54, verso mit dem Stempel 'Nachlass Lesser Ury Griffelkunst 82', tadellos, 14,8 x 12 cm, Blattmaße 33 x 25 cmLesser Ury (1861-1931), 'Allee in Berlin', etching on copperplate printing paper, Rosenbach 54, stamped 'Nachlass Lesser Ury Griffelkunst 82' on verso, perfect condition, 14.8 x 12 cm, sheet measures 33 x 25 cm

Hugo Ulbrich (1867-1928), große Ansicht der Marienburg, nahe Danzig (Ordensburg des Deutschritterordens, von der Nogat aus gesehen), Radierung, 48,5 x 75,5 cm, hinter Glas u. Pp. ger. 62 x 93 cmHugo Ulbrich (1867-1928), large view of Marienburg, near Gdansk (castle of the Teutonic Knights, seen from the Nogat River), etching, 48.5 x 75.5 cm, framed behind glass and passe-partout 62 x 93 cm

Max Brüning (1887-1968), junge Frau mit gemustertem Kopftuch nach rechts, rötelfarbene Radierung, u. re. handsign., 20 x 28,5 cm, hinter Glas u. Pp. ger. 51 x 63 cmMax Brüning (1887-1968), young woman with patterned headscarf to the right, reddish etching, signed on the right side, 20 x 28,5 cm, framed behind glass and passepartout 51 x 63 cm

Otto Dix (1891-1969), ''Nelly II'', Radierung auf Kupferdruckpapier, (1923/24 bzw. 1968), eines von 20 Exemplaren der späten Auflage von 1968, handsigniert unten rechts, bezeichnet ''Nachdruck 1967'', herausgegeben vom Fackelträger-Verlag 1968/70 in der Vorzugsausgabe ''Otto Dix. Das graphische Werk''. Nelly ist das erste Kind des Künstlers, sie wurde 1923 in Düsseldorf geboren. 19 x 13,5 cm, hinter Glas u. Pp. ger. 46 x 39 cmOtto Dix (1891-1969), ''Nelly II'', etching on copperplate paper, (1923/24 and 1968 respectively), one of 20 copies of the late edition of 1968, signed by hand lower right, inscribed ''Nachdruck 1967'', published by Fackelträger-Verlag 1968/70 in the special edition ''Otto Dix. The graphic work''. Nelly is the first child of the artist, she was born in Düsseldorf in 1923. 19 x 13.5 cm, framed behind glass u. Passepartout 46 x 39 cm

Richard Müller (1874-1954), Maler, Grafiker und Professor an der Dresdner Akademie, ''Der dreiste Freier'', Radierung auf Japan, in der Platte monogrammiert und dat. 1923, 30 x 24 cm, hinter Glas u. Pp. im Wechselrahmen 70 x 50 cmRichard Müller (1874-1954), painter, graphic artist and professor at the Dresden Academy, ''Der dreiste Freier'', etching on Japan, monogrammed and dated in the plate 1923, 30 x 24 cm, behind glass a. passepartout in exchangeable frame 70 x 50 cm

Eduard Binder, Berliner Maler und Grafiker Mitte 20. Jh., Ansicht des Brandenburger Tores mit Staffage, große, aquarellierte Radierung, u. re. handsign., im Rand etwas fleckig, Knickspur, 50 x 62 cm, hinter Glas ger. 69 x 83 cmEduard Binder, Berlin painter and graphic artist mid-20th century, view of the Brandenburg Gate with staffage, large, watercolor etching, signed on the lower right, somewhat stained in the margin, crease mark, 50 x 62 cm, framed behind glass 69 x 83 cm

Gerd Mackensen (*1949 Nordhausen), ansässig in Sondershausen, Radierung mit Aquarell/Bütten, 1984, u. re. mit Blstft. sign. G. Mackensen sowie u. li. unleserl. betit., in der Platte u. re. unleserl. bez. sowie u. li. dat., unter Pp. hinter Glas ger. 48,5 x 57,5 cm, Pp.-Ausschn. 33,5 x 42,8 cm, ungeöffn.Gerd Mackensen (*1949 Nordhausen), resident in Sondershausen, etching with watercolor / handmade paper, 1984, u. r. with Blstft. signed G. Mackensen as well as u. li. illegible titled, in the plate u. r. illegible inscribed as well as u. li. dated, framed under mount behind glass 48.5 x 57.5 cm, mount cut-out 33.5 x 42.8 cm, unopened.

Horst Janssen (1929-1995), Liselotten-Land, 1987, Radierung/dünnes Japan, u. re. mit Blstft. sign. sowie in der Platte betitelt und dat., Platte 29,1 x 20,6 cm, Blatt 43,5 x 30,5 cm, an o. Ecken auf Untersatz mont., lichtrandig, unter Pp. hinter Glas ger. 66 x 51,2 cmHorst Janssen (1929-1995), Liselotten-Land, 1987, etching/thin Japan, signed u. r. with blstft. as well as titled and dated in the plate, plate 29.1 x 20.6 cm, sheet 43.5 x 30.5 cm, mounted at o. corners on backing, light-margined, framed under passepartout behind glass 66 x 51.2 cm

Menno Fahl (*1967), ansässig in Hannover, 2 Köpfe, Aquatintaradierung, u. re. sign. Menno Fahl sowie u. li. numm. 5/15, unter Pp. hinter Glas ger. 50,6 x 60,6 cm, Pp.-Ausschnitt 30 x 37 cm, ungeöffnetMenno Fahl (*1967), resident in Hannover, 2 heads, aquatint etching, u. r. signed Menno Fahl as well as u. li. numm. 5/15, framed under mount behind glass 50.6 x 60.6 cm, mount cut-out 30 x 37 cm, unopened

Horst Janssen (1929-1995), ''Angeber'', Radierung mit Aquatinta, u. re. handsign. u. dat. (19)83, u. li. num. 38/90, 29,5 x 11,5 cm, Blattmaße 37 x 23,5 cmHorst Janssen (1929-1995), ''Angeber'', etching with aquatint, lower right signed and dated (19)83, lower left numbered 38/90, 29,5 x 11,5 cm, sheet size 37 x 23,5 cm

Wolf Vostell (1932-1998), ''Der Diskobol von Myron, Gouache/Goldfarbe über Radierung u. Heliogravüre, 1989, handsigniert, dat. u. als A.P. bezeichnet, 49 x 39 cm, Blattmaße 60 x 46 cmWolf Vostell (1932-1998), ''The Discobol of Myron, gouache/gold paint over etching a. heliogravure, 1989, signed, dated a. inscribed A.P., 49 x 39 cm, sheet measures 60 x 46 cm

Jonathan Meese (*1970), ''Die Exe Schrympylei'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 35 cm, Blattmaße 75 x 57,5 cmJonathan Meese (*1970), ''Die Exe Schrympylei'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 35 cm, sheet dimensions 75 x 57.5 cm

Jonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', Radierung mit Aquatinta und Kaltnadel aus Somerset Velvet Papier, u. re. handsign., 49,5 x 39 cm, Blattmaße 75 x 56,5 cmJonathan Meese (*1970), ''Der Hohlste Kunsthistoriker'', etching with aquatint and drypoint on Somerset Velvet paper, signed lower right, 49.5 x 39 cm, sheet measures 75 x 56.5 cm

Herbert Zangs (1924-2003), ''X Less is more'', Radierung, u. re. mit Bleistift monogrammiert , u. li. nummeriert 14/30, 19,5 x 24 cm, hinter Glas ger. 45 x 55 cmHerbert Zangs (1924-2003), ''X Less is more'', etching, monogrammed in pencil lower right, numbered 14/30 lower left, 19.5 x 24 cm, framed behind glass 45 x 55 cm

Gotthard Graubner (1930-2013), Zwei Kissen, Radierung, u. re. handsigniert u. dat. (19)69, u. li. num. 33/50, 14 x 21,5 cm, hinter Glas u. Pp. ger. 57 x 42 cmGotthard Graubner (1930-2013), Two cushions, etching, u. r. signed and dated (19)69, u. l. numbered 33/50, 14 x 21,5 cm, framed behind glass and passepartout 57 x 42 cm

Pit Morell (*1939), großes Konvolut von 34 Papierarbeiten: vier Aquarelle bzw. Farbstiftzeichnungen mit Elchen und Hasen, 13 Exemplare der Radierung ''Hase für H.B.'', 17 weitere Radierungen und Lithographien (teils in Mehrfachausführung), jeweils handsigniert, Blattmaße bis 31 x 46 cmPit Morell (*1939), large group of 34 works on paper: four watercolors and colored pencil drawings with moose and hares, 13 copies of the etching ''Hare for H.B.'', 17 further etchings and lithographs (partly in multiple execution), each signed by hand, sheet dimensions up to 31 x 46 cm

Ernst Fuchs (1930-2015), Theopanie, Radierung auf Bütten, u. re. handsign., Lichtrand, 31 x 24 cm, Blattmaße 41,5 x 33 cmErnst Fuchs (1930-2015), Theopanie, etching on laid paper, signed on the lower right, light margin, 31 x 24 cm, sheet dimensions 41.5 x 33 cm

Hans Hartung (1904-1989), o.T., Radierung auf Kupferdruckpapier, u. re. mit Bleistift handsign., u. li. num. 56/90, 35 x 24 cm, Blattmaße 56 x 45,5 cm, hinter Glas u. Pp. ger. 91 x 81 cmHans Hartung (1904-1989), o.T., etching on copperplate printing paper, signed in pencil on the lower right, numbered 56/90 on the lower left, 35 x 24 cm, sheet measures 56 x 45.5 cm, framed behind glass and passepartout 91 x 81 cm

Hans Hartung (1904-1989), o.T., Radierung mit blauer Tonplatte auf Kupferdruckpapier, u. re. mit Bleistift handsign., u. li. num. 56/90, leicht fleckig, 34,5 x 24,5 cm, Blattmaße 56 x 45,5 cm, hinter Glas u. Pp. ger. 81 x 11 cmHans Hartung (1904-1989), o.T., etching with blue clay plate on copperplate printing paper, signed in pencil lower right, numbered 56/90 lower left, slightly stained, 34.5 x 24.5 cm, sheet measures 56 x 45.5 cm, framed behind glass and passepartout 81 x 11 cm

Maxim Kantor (*1957), russischer Maler, Grafiker, Schriftsteller und Dramatiker, Essayist und Kunsthistoriker. Aquatintaradierung, u. re. kyrill. handsign. u. dat. (19)98, u. li. num. 1/50, 30 x 59,5 cm, hinter Glas ger. 52 x 80 cmMaxim Kantor (*1957), Russian painter, graphic artist, writer and dramatist, essayist and art historian. Aquatint etching, u. r. Cyrill. handsigned u. dated (19)98, u. li. num. 1/50, 30 x 59,5 cm, framed behind glass 52 x 80 cm

Zwei Miniaturrahmen im Biedermeierstil, 20. Jh., hinter Glas im Oval jeweils eine kol. Radierung eines Schmetterlings aus einer Publikation des 19. Jh., 14 x 11,5 cmTwo miniature frames in Biedermeier style, 20th century, behind glass in the oval each a col. Etching of a butterfly from a publication of the 19th century, 14 x 11,5 cm

Wolfgang Domröse (*1948), ''Annäherung II'', Radierung, am u. Rand handsign. u. dat. 1984, betitelt u. num. 1/10, 24 x 32 cm, hinter Pp. 30 x 37 cmWolfgang Domröse (*1948), ''Annäherung II'', etching, at the lower margin signed and dated 1984, titled and numbered 1/10, 24 x 32 cm, behind passepartout 30 x 37 cm