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ANDREW INGAMELLS [b. 1956] The Midland Hotel, St Pancras, 1987.etching on wove paper, edition of 175, printed at Clarendon Graphic, signed in pencil and inscribed 'Publisher's Proof'.59 x 55.5cm [plate size]. Framed.Provenance: Curwen Gallery. [very good condition, unexamined out of frame]. Buyers premium of 20% + VAT is payable on hammer price of all lots in this auction. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price.
BARTON HARGREAVES [1975 - ]. Progression, 2011 etching, edition of 25, 1/25, signed on reverse. 56 x 75 cm sheet size - overall including frame 66 x 84 cm. Provenance: acquired directly from the artist at the Royal Academy Summer exhibition, 2011; Private collection, London. [very good condition - some reflections in the glass in the light blue area]. Buyers premium of 20% + VAT is payable.
KEN WHITE [1943 - ]. Baptist Hill, 2010. etching, edition of 100, 23/100, signed. 35 x 35 cm sheet size - overall including frame 41 x 41 cm. Provenance: Panter & Hall, London; Private collection, London, 2010. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
OSSIP ZADKINE [1890-1967]. L'Espugue, 1966. etching - 1st state print, edition of 25 [25/25], signed in the plate. 25 x 16 cm [overall 32 x 23 cm including frame]. Inspired by Robert Ganzo poetry. Big international sculptor and printmaker - included in most of the best museum collections, Tate Gallery, MOMA [NY], etc. [very good condition - old tape remains at top of reverse of the print - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
OSSIP ZADKINE [1890-1967]. L'Espugue, 1966. etching print - 1st state, edition of 25 [25/25]. Signed in pencil. 25 x 16 cm [overall 32 x 23 cm including frame]. Inspired by Robert Ganzo poetry. Big international sculptor and print maker - included in most of the best museum collections, including the Tate and MOMA [NY]. [good condition - old tape remains at top of reverse - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
OSSIP ZADKINE [1890-1967]. L'Espugue, 1966. etching, 1st state, edition of 25 [25/25]. Signed in pencil. 25 x 16 cm [overall, including frame 32 x 23 cm]. Inspired by Robert Ganzo poetry. Zadkine is a big international sculptor and print maker - in most of the best museum collections. [very good condition - old tape remains at top edge on reverse - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
MICHAEL AYRTON [1921-75]. Au Cirque, 1939. etching & aquatint, edition of 8 [2/8]. signed. 17 x 13 cm image [overall including frame 44 x 34 cm]. Provenance: acquired directly from the artist by the family of the current owner. The Tate Gallery collection includes this print. [good condition - some time toning to the paper - unexamined out of frame]. Buyers premium of 20% + VAT is payable..
ROBERT CLATWORTHY, R.A. [1928-2015]. Figures, 1952. etching with hand colouring - not editioned, only a few artist's proofs exist, signed and dated. Provenance: private collection, UK. 20 x 30 cm image - overall including frame 34 x 44 cm. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
MICHAEL AYRTON [1921-75]. Minotaur Rising, 1971. etching, edition of 75, artist's proof X/X. Signed in pencil [rare, most of the edition was signed with the studio stamp signature]. 40 x 54 image cm [overall including frame 65 x 85 cm]. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable..
MICHAEL AYRTON [1921-75]. Minotaur as Yearling, 1971. etching, edition of 75, artist's proof X/X. Signed in pencil [rare, most were stamped with studio stamp signature only]. 34 x 54 cm image [overall including frame 65 x 85 cm]. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.
A large collection of glass to include - a Thomas Webb claret jug, circa 1900, with diamond and fan cut body, faceted stopper and polished pontil, 23.5cm high; an Orrefors claret jug engraved with flowers, circa 1950s, signed, 27.5cm high; a 1970's Thomas Webb heavy glass claret jug, signed, 32.5cm high; 1980's claret jug with spire stopper, 33cm high; 1950's cocktail shaker with twin spout and silver lustre banded decoration, 24.5cm high; Scandinavian 'Up & Over' Night Time water carafe, 25cm high; Victorian bottle decanter with engraved cartouche 'Shrub' and a mushroom stopper, polished pontil mark, 24.5cm high; 1930's cocktail shaker with a black stopper and floral engraving to the body; a Victorian mallet decanter and stopper engraved with ferns and with a star cut base, 23.5cm high, two Vasart bowls with waved and crimped rims in lilac and purple colourways, Whitefriars green footed glass vase, WM.F. pale vase, Orrefors crystal vase and a mouth blown amber vase with trailed body and crimped upper rim, and a pair of Silesian Olive Green Glass "Romers" after Theresienthal, circa 1880, the olive green glass with applied raspberry prunted knops to the bowl and hand enamelled with gilded decoration and hollow glass stems, 14.5cm high, a large salmon pink bowl and stand, frosted pressed glass dish, dimpled ruby glass bowl, two large Swedish Schnapps flasks, Kosta Boda amber glass jug and bowl with crimped rim, a ship's decanter with faceted stopper, a Stuart's shaft and globe decanter with greek key etching and set of eight matching glasses and a carafe engraved with birds (large quantity)
Bird (Charles). Picturesque Old Bristol. A Series of Fifty-Two Etchings ... with Letterpress by John Taylor, 2 volumes, Bristol: Frost and Reed, 1885, 53 etched sepia plates (including frontispiece), tissue-guards, volume 2 with half-title, index leaf and publisher's notice, offsetting to tissue-guards, occasional spotting, contemporary half morocco gilt, joints & extremities rubbed and slightly worn, large 4to, together with Egan (Pierce) , Walks through Bath, Describing every thing worthy of interest connected with the Public Buildings, the Rooms, Crescents, Theatre, Concerts, Baths, its Literature, &c. including Walcot and Widcombe, and the Surrounding Vicinity; with Sketches of Prior Park House, the Rocks of Wick, Corsham House..., also an Excursion to Clifton and Bristol Hot-Wells..., Bath: Meyler & Son, 1819, half-title, engraved frontispiece and 20 plates, bound with Tunstall (James) , Rambles about Bath, and its Neighbourhood, 2nd edition, 1848, engraved frontispiece and 13 plates, without map, occasional spotting, all edges gilt, near contemporary half morocco, slight loss of leather at head of spine, old small paper label to central panel, extremities rubbed, thick 8vo (Qty: 3)NOTESPicturesque Old Bristol: Limited edition 7/125. 25 copies of the artist proof edition were printed on large paper, with each etching signed by the artist. There were also as here 125 unlettered proof copies on smaller paper, and 240 sets of etchings without letterpress; the publisher's notice in the second volume notes that many of the latter were sent to the colonies.
Scottish. Victorian 2nd VB Argyll & Sutherland Highlanders Officer’s Presentation Broadsword.A rare 1898 presentation sword given to Quarter Master Erskine in 1889. The sword is the regulation Highland pattern, the straight doubled edged, double fuller blade with etched decoration of the regimental devices and title “2VB Argyll & Sutherland Highlanders”. Also a presentation inscription “ PRESENTED BY THE SERGEANTS OF THE PAISLEY COMPANIES TO QUARTER MASTER ERSKINE ON THE OCCASION OF HIS PROMOTION 1898.” The forte with the retailer’s details of “Henderson 14 West Nile St Glasgow”. The hilt with regulation basket guard with scarlet and buff leather lining and crimson tassel. Housed in its steel scabbard. Etching to blade bright and clear minor age wear to the scabbard and guard. VGC
Victorian Hussar Officer’s Mameluke hilted Levee Sword.A good and scarce example. The blade is etched with Crowned VR reverse Cypher, trophy of arms and floral decoration. Also with the retailer’s details of “Hamburger & Co 30 King Street”. Gilt crossguard with floral decoration and and crescent device to the centre. Two piece grip with two pairs floral head gilt studs (1 stud absent). Housed in original polished steel scabbard with ornate gilt mount, two loose rings. Fire gilt to hilt fresh, etching to the blade clear.
Victorian Hampshire Royal Engineers Volunteers 1857 Pattern Senior NCO’s Issue Sword.This example conforms to the Officer’s pattern, with etched decoration of a Crowned entwined VR cypher. The forte of the blade with the cutler’s details of Robert Mole and with various WD inspection and issue stamps indicating 1895. The hilt is of the Royal Engineers 1857 pattern, with brass guard with floral decoration. The shagreen grip retaining twist wire binding. Housed in steel scabbard, this with issue stamps indicating the 1st Hampshire Engineer Volunteers 1896. GC etching clear, scabbard with some rust pitting.
Georgian Napoleonic War Period Royal Welsh Fusiliers Regimental Pattern Officer’s Sword.A rare example of the pattern adopted by the 23rd Foot Circa 1800 to be worn by Field and Flank Officers. The curved flat blade with etched decoration incorporating Prince of Wales Plume, a flaming grenade and regimental title. The hilt of special pattern, the gilt metal cross guard with large oval langets, to the centre Prince of Wales Plume, this surrounded by title “Royal Welch Fuzilers”. The shagreen grip with twist wiring binding and is surmounted by a lion head pommel and backstrap. Housed in original black leather and gilt mounted scabbard. The blade with edge knocks, staining and surface pitting, etching faint.The 23rd Foot wore this pattern circa 1800 to 1809.
Victorian Royal Navy Officer’s Sword.A regulation example with 30 inch piped back blade. The hilt with gilt folding guard embossed with a crowned fouled anchor, enclosing a white shagreen grip, this surmounted by a lion head gilt pommel. Scabbard absent. Gilt remains bright no etching to blade visible.
Two Late 19th century bronze medals. One awarded to Laura Johnson, later Dame Laura Knight (1877-1970), one of Britain's most famous painters and the other to her mother, Charlotte Johnson. Laura became the youngest student to enrol at Nottingham School of Art at the age of 13 in 1890. The medals were presented to Charlotte in 1881 and her daughter, Laura in 1893.They were awarded by the Science and Art Department of South Kensington Museum in London, now the V&A. Both medals measure 5.5cms approx. The edge of Laura's medal is inscribed with words 'Laura Johnson Subject 8b2 1893', while her mother's medal says 'Charlotte Johnson Nottingham Stage 16a 1881.' We understand 16a refers to painting the human figure or animals in monochrome from casts in oil, watercolour or tempura. 8b2 is unknown. Laura went on to become one of Britain's most famous and respected artists, paving the way for other female artists to gain recognition.Laura worked in oils, watercolours, etching engraving and drypoint and in 1903 married fellow artist Harold Knight. Known for capturing London's world of theatre and ballet in canvas and for her work as a war artist. She was also inspred by marginalised communities such as circus performers and gypsies. Laura became the only woman to be given First and Second World War commissions. In 1926 she was a made a Dame of the British Empire; in 1936 she was the first woman elected to full membership of the Royal Academy and in 1946 she was the only British artist to cover the Nuremberg trials
After James Priddy (1916-1980)Etching"Waterloo Street, Birmingham", signed lower right and with artist's blind studio stamps lower right, entitled lower left, together withAfter James PriddyColoured aquatint"Scafel Pike from Derwent Water", signed in pencil and artist's blind studio stamp lower right, entitled lower left, together withAfter James PriddyColoured aquatint"After the storm", signed in pencil with artist's blind studio stamp lower right, entitled lower left (3)

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