78472 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenAFTER FRED GOOLDEN "The Oldest Licensed House in Great Britain", etching, signed in pencil lower right, together with AFTER FRED GOOLDEN "Street Scene", etching, signed lower right and "The Book!" - "Or The Proceedings and Correspondence Upon the Subject of the Enquiry into the Conduct of Her Royal Highness The Princess of Wales Under a Commission Appointed by the King in the Year 1806", published by T Davison, Whitefriars London 1813
AFTER JOSEPH PENNELL (1860-1926) "Power and Steam Pennsylvania Station Philadelphia", etching, framed and glazed, titled and signed in pencil to margin, together with AFTER MALCOLM OSBORNE RA (1880-1963) "Cattle and Carts", etching, signed lower right and AFTER ALBANY HOWARTH "Street Scene", etching, signed lower right
AFTER GLYNN THOMAS "Mersea Boats", limited edition coloured etching No'd. 64/75, titled, No'd and signed together with ANDY LE POIDEVIN "Frost and Stream", watercolour, framed and glazed, titled, signed and dated 1984 verso and bears "The Marlborough Studio Art Gallery" label verso, together with a box of various paintings and prints
Jennifer Dickson RA (South African, b.1936), The Trysting Place, etching with colour, titled, signed in pencil under red stamp, 21 of 30, 32cm x 45cm, Dappled Sunlight, Bowood, titled, signed and numbered 28/30 in pencil, 37cm x 47cm, Kirsty Wither, Where you take me, limited edition print signed and numbered 171/875 in pencil, 32cm x 43cm (3).
NO RESERVE France.- Vernet (After Joseph, 1714-1789) Vue de la Ville et du Port de Bordeaux, large detailed view of Bordeaux harbour by Nicholas Cochin and Le Bas, from 'Vues des ports de France', after the series commissioned by King Louis XV, etching and engraving, a good impression on thick laid paper with armorial watermark, sheet 530 x 735 mm. (20 3/4 x 29 in), trimmed within the platemark, carefully repaired tear in the upper right, another small area of restoration to the upper left margin, unframed, 1764.
NO RESERVE London.- A quantity of modern miscellaneous prints of London and its environs, including topographical reprints and views, etching restrikes, satellite views, posters, and miscellaneous printed material, as well as modern etchings of London panoramas by Adrian Bevington and contemporaries, various sizes, mainly large c. 700 x 900 mm. (27 3/4 x 35 1/2 in), all unframed and presented in portfolio, mainly 20th century (Qty.)
Jamaica.- Hakewill (James) [A Picturesque Tour of the Island of Jamaica, from Drawings Made in the Years 1820 and 1821], title with twelve plates only (of 21), etching and aquatint with fine original hand-colouring, on Whatman wove paper with several watermarked '1825', each platemark approx 225 x 300 mm. (8 7/8 x 11 3/4 in), sheets each c.265 x 370 mm. (10 1/2 x 14 1/2 in), some occasional surface dirt and light spotting, stitch-marks from binding, faint handling creases, loose and unframed, Hurst and Robinson, 1825.Literature:Abbey, Travel 683
•Frantisek Burant (b.1924) - flying insect, possibly a moth, a signed artist's proof, also dated 1980 and numbered 15/25, black and white etching, 25" x 34" - **Sold together with a photocopy giving details of the artist's studies and exhibitions, also the Galleries and Museums he is represented in
Lievens (Jan, 1607-1674). Bust of a young man, facing right, etching on laid paper, the second state, with publisher's name Franciscus van den Wyngaerde exc to upper left, and lettered I Livens towards lower left, numbered in an old hand in ink 78 to upper left corner of the plate, small wormhole touching plate mark towards upper left, plate size 14.5 x 12.3 cm (5.8 x 4.85 ins), sheet size 30 x 19.5 cm (11.8 x 7.75 ins), together with Bust of a bearded man facing right, etching on laid paper, second state with publisher's address to upper right F. v. Wyn. exc, and lettered I L. fec. towards centre of left margin, 2 small wormholes towards upper left, the smaller inside the plate mark, the slightly large just outside the plate mark, plate size 14.5 x 12.3 cm (5.8 x 4.85 ins), sheet size 30.3 x 19.6 cm (11.9 x 7.7 ins), plus Bust of an old man, facing right, etching on laid paper, the second state, lettered towards lower right I L, 2 small wormholes towards upper left, one just inside the plate mark, plate size 12.3 x 10 cm (4.8 x 4 ins), sheet size 30.1 x 19 cm (11.9 x 7.5 ins), each window-mounted (Qty: 3)Bartsch 26, 28 & 35. Hollstein 44, 4th state (of 4); 46, 3rd state (of 3) with reworking to the beard and hair; 54, 2nd state (of 2).One of the prints has a watermark of a fleur de lys within a shield surmounted by a coronet similar to Heawood 1674, dateable to 1688-92.
Rembrandt (Harmensz. van Rijn, 1606-1669). Three Oriental Figures (Jacob & Laban), 1641, etching on laid paper, with partial crown and shield watermark, a later (20th century) impression, plate size 145 x 113 mm (5.75 x 4.5 ins), with wide margins, sheet size 25 x 16.7 cm (10 x 6.6 ins) (Qty: 1)NB: This is in fact the edition of 1868, printed by P.G. Hamerton in his book Etching and Etchers, which is printed from the original plate by Hamerton, and later editions of the same work did not include this print
Rembrandt (Harmensz. van Rijn, 1606-1669). Christ Before Pilate, 1636, etching on thick laid paper, lettered to lower left blank margin Rembrandt f 1636. Cum Priv, trimmed to plate mark, a few very short closed marginal tears and minor surface marks, 56.5 x 45 cm (22.25 x 17.7 ins), framed and glazed (Qty: 1)Hind 143 iv. Biorklund 77 iv.This large-scale etching is not on laid paper as we originally described it, but on a very heavy wove paper, perhaps dating from the early part of the 19th century, or at the earliest, later 18th century. There is therefore no watermark to identify in the paper itself.
Brangwyn (Frank, 1867-1956). St. Peter's of the Exchange, Genoa, 1913, etching on handmade wove paper, watermarked J GREEN & SON 1912, published by the Fine Art Society in an edition of 150, some marks and surface soiling, plate size 56 x 65 cm (22 x 25.5 ins), sheet size 68.5 x 102.5 cm (27 x 40.3 ins) (Qty: 1)
Feuillets d'Art, numbers 1-5, Paris, Mai, Aout, Octobre, Decembre, 1919 & Avril 1920, woodcut illustrations to each issue, colour reproductions, including one or two heightened with gold, hors-texte colour illustrations by Georges Lepape, Charles Martin, Llano Flores, Benito, Georges Barbier, Robert Bonfils, D'Erlanger, Halouze, and other art-deco illustrations and advertisements, as well as an original etching by Laboureur, an original etching by Odilon Redon (Passage d'une Ame), a colour pochoir by Van Dongen (Le Rimmel), all loose in original publisher's printed wrappers, a little rubbed and marked, one or two leaves very slightly frayed to extreme margins, 5th issue, with outer wrappers worn (mainly to spine), folio (Qty: 5)Feuillets d'Art was published by Lucien Vogel (1886-1954), who was also the publisher of the Gazette du Bon Ton, edited by Edmond Moussié and Michel Dufet, and included literary contributions by Marcel Proust, Georges Duhamel, Jean Giraudoux, Verhaeren and others. One or two leaves of text apparently missing, as well as the colour reproduction of Picasso's Fenetre ouverte a Saint-Raphael in issue number 3. This group of 5 issues therefore sold as seen, not subject to return.
Lowenthal (Julia H., active 1915-35). Chinese Dancers, 1930, aquatint on thin tissue, signed, dated and titled in pencil to lower margin, pale spotting to margins and light creases to upper and right hand blank margin, plate size 25.5 x 20.5 cm (10 x 8 ins), sheet size 33 x 22.5 cm (13 x 8.8 ins), corner mounted on old card, together with Urushibara (Yoshijiro, 1888-1953), Cypress Trees at Dusk, colour aquatint on laid paper, signed and numbered 83 in pencil, some light toning, small snag with slight paper loss to the sky, image size 25.5 x 36 cm (10 x 14.25 ins), sheet size 28.8 x 42.5 cm (11.3 x 16.75 ins), plus other various etchings, etc., including Auguste Lepere, Entrance to the Canal St. Martin, signed (closed tear), Charles W. Bartlett, Breton Woman Praying, signed etching, Beatrice Mary Christy (1910-2003), Corn Stooks, wood engraving, signed and numbered 10/95, a monochrome woodblock by Hokusai, a soft-ground etching by Ettore Burzi, Sheila Robinson, Bridge Street, Great Bardfield, woodcut, titled and numbered 3/50, etc. (Qty: 11)
Palmer (Samuel, 1805-1991). The Herdsman's Cottage, or, Sunset, 1850, etching on pale cream laid paper, the seond and final state, with printed initials SP lower left, as issued in The Portfolio in 1872, image size 97 x 76 mm (3.8 x 3 ins), plate size 124 x 102 mm (4.8 x 4 ins), sheet size 305 x 220 mm (12.1 x 8.7 ins) (Qty: 1)Lister E3 ii/ii.
Palmer (Samuel, 1805-1881). The Morning of Life, 1860-61, etching on chine appliqué laid onto wove, the 7th state (of 7), published in Etchings for the Art Union of London, 1872, with artist's name, title and numeral 13 etched below the image, mount stain, plate size 14.6 x 21.5 cm (5.75 x 8.5 ins), sheet size 26.1 x 36.8 cm (10.25 x 14.5 ins) (Qty: 1)Lister 10.
Paunzen (Arthur, 1890-1940). Akt Studie, 1935, etching on wove paper, signed, numbered 3/20, and inscribed 'von der universitäten Platte', some overall toning, plate size 16.5 x 19.7 cm (6.5 x 7.8 ins), framed and glazed, together with another similar etching of a female nude, signed and dated 1933 in the plate, signed in pencil to lower margin, plate size 29.5 x 16.8 cm (11.6 x 6.6 ins), framed and glazed (Qty: 2)Viennese artist Arthur Paunzen and his wife Cornelia Westreich-Paunzen fled Nazi Austria for England in June 1938, but on the 12th/13th May 1940 he was reclassified as an enemy alien, arrested and transported to the central internment camp at Douglas on the Isle of Man, where he died of tuberculosis on the night of the 8th August 1940.
Renoir (Pierre-Auguste, 1841-1919). Sur la plage a Berneval, 1892, etching on laid paper, plate size 13.4 x 9.2 cm (5.3 x 3.6 ins), sheet size 33.3 x 25.7 cm (13.2 x 10.1 ins), with label of Redfern Gallery giving the purchaser's name as Miss B. Holland, dated December 16th 1968 (Qty: 1)Delteil 5.
Tunnicliffe (Charles Frederick, 1901-1979). The Wheatfield, etching on antique wove paper, watermarked 1825, mount-stained, minor glue discolouration to extreme top blank margin, short closed tear to top right margin, hairline tear along platemark to upper left (with very small loss of paper to blank area adjacent), signed and numbered 3/75 in pencil, plate size 16 x 28 cm (6.25 x 11 ins), sheet size 19.5 x 30.5 cm (7.7 x 12 ins) (Qty: 1)
Horstkotte (Gisela, 1928-). Coastal Village, etching, drypoint and carborundum, signed, titled and numbered 3/10 in pencil to lower margin, plate size 24 x 24 cm (9.5 x 9.5 ins), with margins, framed and glazed, with United Society of Artists label to verso, together with 7 other etchings by the same artist, including Treefolk of Sissinghurst, Secrets of an Old Cherry Tree, Fantasy, Dryad, The Proposition, and Moffi's Circus I, each signed, titled and marked Artist's Proofs, or from editions of 10, all framed and glazed, together with 10 further etchings by Horstkotte, unframed (Qty: 18)Gisela Horstkotte was born in Germany in 1928, and initially studied music after the Second World War. From 1960 she has lived and worked in London. Since 1994 she has been studying print making techniques at Morley College, London, and also works with her own studio press.
Sheila OLINER (1934)Etching Together with five small works from Rose's cottage This very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.
δ Arpad Szenes (1897-1985)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 277 x 128mm (10 3/4 x 5in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Giacomo Manzù (1908-1991)Ommagio a MichelangeloEtching, 1975, signed and numbered from the edition of 200, on wove paper, printed by Calcografia Nazionale, Rome, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Vladimir Vélickovic (b.1935)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 247 x 194mm (9 3/4 x 7 5/8in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Fritz Wotruba (1907-1975)Ommagio a MichelangeloEtching, 1975, signed by the artist's wife Lucie Wotruba and numbered from the edition of 200 in pencil, on wove paper, printed by Edition Tusch, Wien, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Jean Ipoustéguy (1920-2006)Ommagio a MichelangeloEtching, 1975, signed and numbered from the edition of 200, on wove paper, printed by Lacourière et Frélaut , Paris, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Jorge Camacho (b.1934)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 255 x 192mm (10 x 7 1/2in) (unframed)
NO RESERVE δ Joachim Grommek (b.1957)MillimeterpapierEtching printed in colours, 1994, signed and numbered from the edition of 50 in pencil, on Somerset White Satin paper, with full margins, 390 x 290mm (15 3/4 x 11 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
NO RESERVE δ Clive Burton (b.1947)"Ysabel's Table Dance" (By Charlie Mingus)Etching with aquatint printed in blues, 1987, signed, dated, titled and numbered from the edition of 48 in pencil, on cream wove paper, published by the Royal College of Art, London, the full sheet, 305 x 305mm (12 x 12in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Robert Couturier (1905-2008)UntitledEtching with aquatint printed in colours, 1976, signed and inscribed from the edition of 45 in pencil, an artist's proof aside from the edition of 100, on wove paper, printed by Ateliers Georges Visat, Ateliers Lacourière et Fréaulat and Ateliers Crommelynck, published by Georges Visat, Paris, with full margins, plate 255 x 196mm (10 x 7 3/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
NO RESERVE δ John Hewitt Big Race WinnerEtching with aquatint, 1987, signed, dated, titled and numbered from the edition of 48 in pencil, on cream wove paper, published by the Royal College of Art, London, the full sheet, 306 x 306mm (12 x 12in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Emilio Greco (1913-1995)Ommagio a MichelangeloEtching printed on a coloured ground, 1975, signed and numbered from the edition of 200 in pencil, on wove paper, printed by Schneider, Berlin, published by Foundation Bruckmann Stiftung, Munich, the full sheet, 800 x 700mm (31 1/2 x 27 1/2in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Loading...
![Jamaica.- Hakewill (James) [A Picturesque Tour of the Island of Jamaica, from Drawings Made in the Years 1820 and 1821], titl](https://cdn.globalauctionplatform.com/2844b6c2-458c-409c-9df4-aa8000a89c38/c2236a71-0c8c-48d2-b7ba-aa880113ca34/468x382.jpg)
