70555 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen
70555 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
-
70555 Los(e)/Seite
Los 942
LAURENCE STEPHEN LOWRY RA RBA (BRITISH 1887-1976) A BUSY INDUSTRIAL LANDSCAPE Offset Lithograph, signed with Fine Art Trade Blind Stamp, 45 x 57cm (17.75 x 22.5") Condition Report:In general a few light foxing spots evident over image, in particular top left quarter section and some discolouration noticeable over areas of lower margin
Los 1
PABLO PICASSO (Malaga, 1881 - Mougins, France, 1973)."Le Vieux Roi, 1959.Lithograph on Vélin de Arches paper, edition of 1000.Signed and dated on plate. Signed and dedicated by hand.Printed by Mourlot.Referenced in Bloch 896; Mourlot 317; Güse-Rau 682.Size: 67 x 52 cm; 83 x 67 cm (frame).Creator of cubism together with Braque, Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso held his first solo exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal, and in 1900 he moved to the French capital for a short period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterised by the use of these colours and by their subject matter with sordid, isolated figures, with gestures of grief and suffering. The painting of these early years of the 20th century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practised collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso was the great revolutionary, and when all the painters were interested in Cubism, he was preoccupied with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with what had gone before, introducing into his work distorted figures with great force and not exempt from rage and fury. Picasso is represented in the most important museums all over the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St Petersburg, the National Gallery in London and the Reina Sofía in Madrid.
Los 128
VICTOR VASARELY (Pécs, Hungary, 1906 - Paris, 1997)."Untitled", ca.1970-80.Lithograph, copy 29/90.Hand signed and numbered.Slight damageSize: 66.5 x 66.5 cm; 71 x 71 cm (frame).Syncopated geometric rhythms and patterns immerse us in a work that is completely distinctive of Vasarely's language. In it, the Franco-Hungarian artist relies on pure geometric composition to draw us into a cosmic universe, in which the dice seem to liquefy, defining the vibrant rhythm of his imagery.Considered the father of Op Art, Victor Vasarely began his artistic training at the Muheely school, founded in Budapest by a Bauhaus pupil. He settled in Paris in 1930, where he produced what is now considered the first Op Art work, "Zebra" (1937). In Paris he worked as a graphic designer for advertising agencies. During this period his artistic style shifted from figurative expression to a constructive and geometric type of abstract art, with an interest in the representation of perspective without vanishing points. Between 1936 and 1948 he participated regularly in the Salon des Surindependants and the Salon des Nouvelles Réalités. From 1948 onwards he exhibited regularly at the Denise René gallery. In the 1950s his work moved towards the use of new materials and supports, such as aluminium and glass. He also began to produce works that integrated with space, such as Homage to Malevich. In the 1960s he took part in numerous group exhibitions, such as The Responsive Eye at the Museum of Modern Art in New York, as well as solo exhibitions in Europe and America. Among the numerous awards he received during his lifetime, the Guggenheim Prize (1964), the Brussels Art Critics' Prize and the gold medal at the Milan Triennial are particularly noteworthy. In 1970 he was made a Knight of the Order of the Legion of Honour. He is represented in the museums dedicated to him in Aix-en-Provence, Pécs and Budapest, but also in the most important contemporary art centres in the world, such as the Tate Gallery in London, the MoMA in New York, the Guggenheim in Venice and the Reina Sofía in Madrid.
Los 141
EDUARDO ARROYO (Madrid, 1937)."Untitled", 1990.Lithograph, P.A.Signed and dated by hand.Size: 53 x 53 cm; 77 x 79 cm (frame).Painter, sculptor and engraver, Arroyo stands out as an important figure in the neo-figurativist movement. After starting his career in journalism, he began to paint at the end of the fifties, appearing for the first time at the Salón de Pintura Joven in 1960. At the beginning of the 1960s his plastic vocabulary moved under the American influence of Pop Art, and in 1964 his break with informal art became definitive. In 1982 he was awarded the Premio Nacional de Artes Plásticas, and anthological exhibitions were devoted to him at the Biblioteca Nacional in Madrid and the Centre Pompidou in Paris. Arroyo is currently represented at the Museo Nacional Reina Sofía in Madrid, the Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, the Hirshhorn Museum and Sculpture Garden in Washington D.C. and the Museo de Arte Moderno in Lille (France), among others.
Los 154
ANDY WARHOL (Pittsburgh, USA, 1928 - New York, USA, 1987)."From de Sonaben Collection, Gagosian, 2009.Lithograph poster.Unsigned.Size: 76 x 50,5 cm.Double-sided lithograph poster with Warhol's Sonnabend Collection in the show at Gagosian New York in 2009.Warhol's Sonnabend Collection remains, to this day, one of the most iconic pieces of his work. The Gagosian wanted to create a poster for the exhibition that would be "a snapshot of the history of Warhol's art collecting".An American visual artist who became the best known representative of pop art, an artistic trend in vogue during the 1950s and 1960s that was inspired by mass culture. The son of Slovakian immigrants, he began his art studies at the Carnegie Institute of Technology between 1945 and 1949. In the latter year he began his career as an advertising cartoonist for various magazines such as Vogue, Harper's Bazaar, Seventeen and The New Yorker. At the same time he painted canvases with everyday, advertising and comic themes. He soon began to exhibit in various galleries. He progressively eliminated any expressionist traits from his works until he reduced them to a serial repetition of a popular element from mass culture, the world of consumerism or the media. This evolution reached its peak of depersonalisation in 1962, when he began to use a mechanical silkscreen printing process as his working method, by means of which he systematically reproduced myths of contemporary society, the most representative examples of which are the series dedicated to Marilyn Monroe, Elvis Presley, Elizabeth Taylor and Mao Tse-tung, as well as his famous treatment of Campbell's soup cans, all works produced during the fruitful decade of the 1960s. The use of mass-circulated images, easily recognisable by all kinds of audiences, such as the aforementioned soup cans or Coca-Cola bottles, became one of the most interesting and stable features of his entire output. On other occasions he crudely depicted real situations, such as accidents, street fights, funerals or suicides; within this theme, Electric chair is one of his most significant works. This appropriationism, a constant feature of the work of the supporters of Pop Art, extended to universal works of art by authors such as Raphael Sanzio, Giorgio de Chirico, Edvard Munch and Leonardo da Vinci. Through mass reproduction, he succeeded in stripping the media fetishes he used of their usual referents, turning them into stereotypical icons with a decorative meaning. In 1963 he set up the Factory, a workshop in which many of New York's underground culture gathered around him. The frivolity and extravagance that marked his way of life established a coherent line between his work and his life's trajectory; his peculiar appearance, androgynous and permanently topped with a characteristic blond fringe, ended up defining a new icon: the artist himself. He was one of the first artists to consciously exploit his image for self-promotional purposes; through a process of identification, he acquired in the eyes of the public the significance of just another advertising product. In 1963 he began a film career based on the same principles as his plastic work (such as visual reiteration), sometimes with a strong sexual and erotic content.
Los 16
ANTONI TÀPIES PUIG (Barcelona, 1923-2012).Untitled, part of the series "Nocturn Matinal", 1970.Lithograph on Guarro paper, copy X.Signed and justified by hand.Work referenced in "Tàpies. Obra gráfica. Graphic work 1947-1972", Mauricia Galfetti, Editorial Gustavo Gili, S.A., p.148.Measurements: 61 x 107,5 cm; 83 x 101 cm (frame).Work made for the book "Nocturn Matinal", with text by Joan Brossa and 7 lithographs by Antoni Tàpies, published by La Polígrafa, Barcelona, and printed on Guarro paper.Antoni Tàpies begins to work in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit at the Salones de Octubre in Barcelona, as well as at the Salón de los Once held in Madrid in 1949. After his first solo exhibition at the Galerías Layetanas, he travelled to Paris in 1950, with a grant from the Institut Français. During these years he began to take part in the Venice Biennale, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's gallery in New York. From then on he exhibited his work, both in group and solo shows, all over the world, in leading galleries and museums such as the Guggenheim in New York and the Musée d'Art Moderne in Paris. He has been awarded prizes such as the Prince of Asturias, the Praemium Imperiale of the Japan Art Association, the National Culture Prize, the French Grand Prix for Painting, etc., and anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). He is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MOMA in New York and the Tate Gallery in London.
Los 175
NO RESERVE London.- Weller (Edward) London, large map in nine sections on a scale of 9 1/2" to the mile, lithograph, each sheet approx. 470 x 635 mm (18 1/2 x 25 in), edged with green silk and mounted on linen, each sheet varnished with toning and browning to varnish, minor scuffs and small splits with losses, handling creases, unframed, rolled, Peter Cassell, [circa 1863]; together with Nicolas Coltman's A New Survey of the Environs of London, Extending Twenty Miles North & South from the Parallel of St. Pauls..., engraving with outline hand-colouring, total sheet approx. 550 x 690 mm (21 3/4 x 27 1/8 in), split completely into 2 parts along central fold, surface dirt and abrasions, browning and surface dirt, folding into original slipcase with publisher's printed label to upper cover, very worn, 8vo, Laurie & Whittle, 1807 (2)
Los 903
Laurence Stephen Lowry ( 1887- 1976 ) Artist Signed In Blue Biro - Original Lithograph - Titled ' Deal ' Depicting a Beach Scene In detail, Signed In Blue Pen on Wove Paper, Offset Lithograph Printed In Colour, Published by Venture Prints Ltd. Un-numbered From the Edition of 850. With The Fine Art Trade Guild Blind stamp, and the Full Sheet, Printed to the Edges. 7 x 10 Inches, With Frame 11,5 x 14,5 Inches.
Los 8
William Derby (British, 1786-1847)James Scarlett, Esq., M.Psigned and dated 'W.Derby/Pinx/1826' (lower left) and inscribed 'J Scarlett Esq/MP' (on papers centre left); further inscribed with sitters name (on exhibition label attached to stretcher on the reverse) oil on canvas 142.3 x 113cm (56 x 44 1/2in).Footnotes:ExhibitedPossibly London, Royal Academy, 1826, no. 169.London, Victoria and Albert Museum, 1868.James Scarlett, 1st Baron Abinger was a prominent English lawyer, politician, and judge. In 1835, the title Baron Abinger, of Abinger in the County of Surrey and of the City of Norwich, was created for Scarlett, who was the most successful lawyer at the bar from 1816 when he first joined the inner bar of court until 1834. Scarlett's successes also saw him become an Attorney General and Knight Bachelor, as well as latterly being appointed Lord Chief Baron of the Exchequer in 1834, he presided in that court for more than nine years.There is a lithograph in the National Galleries of Scotland of the same sitter which differs slightly in composition and may be after another version of this painting.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Los 1
Baikie (William Balfour). Narrative of an Exploring Voyage up the Rivers Kwo'ra and Bi'nue (commonly known as the Niger and Tsadda) in 1854, 1st edition, London: John Murray, 1856, frontispiece, title vignette, folding lithograph plate, folding map, partly unopened, light stains to endpapers, original cloth, spine faded, some dampstaining to covers, 8voQTY: (1)NOTE:An account of the first successful Niger expedition of 1854, funded by the Liverpool entrepreneur Macgregor Laird, aimed at opening up West Africa to trade by steamships able to navigate the key rivers into the interior. A scottish naval surgeon and naturalist, William Balfour Baikie (1825-1864) took command of the expedition after the death of the ship's captain, and was the first to successfully trial the use of quinine on board quinine; not one of the Europeans on board the Pleiad died of fever.
Los 173
* Scrap Album. An attractive folio scrap album of colour lithographs and other prints and watercolours, circa 1820-50, containing 50 various mostly full-page views and figure subjects, including 23 hand-coloured, 2 watercolours (a front elevation of a Regency house in parkland, and a fine silhouette with colour of a boy presenting a posy of flowers to a seated young lady at a table with books, with girl holding a wicker basket behind), 9 Baxter prints, the remainder mostly uncoloured lithographs, all mounted on 24 pink silk leaves, some plates trimmed with loss of publisher's imprint, without marks of ownership to endpapers or elsewhere, contemporary maroon half morocco, some wear with joints cracked or near-detached, loss to foot of spine, folio (37.5 x 28.5 cm)QTY: (1)NOTE:Contents include: [Currier & Ives, The Living Chinese Family, arrived in New York April 1850... exhibited under the auspices of P. T. Barnum, 1850], trimmed to image, 8 colour lithographs of animal and figure subjects (The Farm Yard, Hunting the Elephant, The Rabbit Fancier, The Water Cart, The Grandmother, The Last of the Coaches, The Sailing Match, and Meeting of Ship Owners), each trimmed to image, Dean & Co., The Royal Children feeding the foreign poultry at the Chinese Summer House, Buckingham Palace Gardens, The Royal Children in the Home Park, & The Little Royal Party in their Goat Chaise , four colour lithograph views of the Great Exhibition of 1851 (Grand Entrance to the Great Exhibition of All Nations, North View of the Great Exhibition from the Serpentine, The Great Exhibition of All Nations, & Interior of the Great Exhibition of All Nations), Terriers by J. Clark after Henry Alken, published by T. McLean, January 1, 1820, Vases et Croquis Chinois Number 3, by Frey after C. Lassalle, A Sissoo Tree in Barrackpore Parke looking towards Silaghur from an original watercolour drawing by George Chinery, drawn on stone by P. Savignhac for the Amateur's Repository Calcutta, 1827. Baxter prints include News from Australia, & Australia News from Home, Saint Ruth's Priory, Queen Victoria & Prince Albert, and four smaller views, plus uncoloured prints, mostly lithographs including Barley Wood, Mrs. Hannah More's, printed by Hullmandel, Ryde, Isle of White by George Brannon, Interior of the Large Vine House at Hampton Court by Augustus Turrell, 1840, C. de Lesteyrie, Polichinel pres le pont des Arts, & Vue de la Terrasse et Chateau de Nice, etc.
Los 19
Mackay (Charles). The Thames and its Tributaries; or, rambles among the rivers, 1st edition, 2 volumes, London: Richard Bentley, 1840, wood-engraved vignette half-titles, wood-engravings and decorative initials to the text, occasional spotting to preliminaries, ownership inscriptions erased from title upper margins, contemporary black half calf gilt over green marbled boards, rubbed, 8vo, together with Evans (John). Richmond, and its vicinity, with a glance at Twickenham, Strawberry Hill, and Hampton Court, 1st edition, Richmond: James Darnill, 1824, lithograph frontispiece, 3 lithographs, occasional light spotting, contemporary calf gilt, lightly rubbed, 12mo, plus another copy of the same work bound in 20th-century green morocco gilt, lightly rubbed, 12mo, and 26 others relatedQTY: (30)
Los 22
Pennant (Thomas). The Journey from Chester to London, 1st edition, London: B. White, 1782, engraved title, 22 engraved plates, armorial bookplate to front pastedown, occasional spotting, 19th-century green morocco gilt, worn, 4to, together with Brayley (Edward). A Topographical History of Surrey, 5 volumes, London: G Willis, 1850, vignette titles printed in red and black, lithograph frontispieces to each, lithographic plates throughout, occasional spotting, brown half morocco gilt, a few marks, 8vo, plus Parry (J.D). An Historical and Descriptive Account of the Coast of Sussex, 1st edition, Brighton: Printed for the Author, 1833, lithograph title, folding topographical frontispiece, 6 lithographs, additional watercolours bound in, armorial bookplate of Edward Weedon Pimlico to front free endpaper verso, scattered spotting and toning, contemporary red cloth, rebacked (endpapers renewed), rubbed, 8vo, and 17 others relatedQTY: (24)
Los 289
Austen (Jane). Sense and Sensibility, A Novel, London: Richard Bentley, 1856, half-title, lithograph frontispiece, lithographic title, additional title, lightly spotted, hinges cracked, original green blindstamped cloth gilt, a few light marks, 8vo, together with: Northanger Abbey, A Novel, London: Richard Bentley, 1856, half-title, lithograph frontispiece, lithographic title, additional title, light spotting to preliminaries, hinges cracked, original green blindstamped cloth gilt, lightly rubbed, 8vo, with Pride and Prejudice, A Novel, London: Richard Bentley, 1833, lithograph frontispiece, lithographic title, lacking general title, preliminary leaves toned, a few spots, contemporary half calf over brown marbled boards, lacking front board and backstrip, worn, 8voQTY: (3)
Los 29
Humphreys (Henry Noel and Westwood, John Obadiah). British Moths and their Transformations, 2 volumes, 1st edition, London: William Smith, 1843-1845, half-titles present, 118 hand-colour lithograph plates only (of 124, lacking plates 16-21), volume 1 lacking pages 57-88, some toning and scattered spotting, original front & rear printed wrappers of issue 1 & 21 bound-in at front of volumes, 20th century maroon quarter morocco with cloth sides (lightly faded), extremities rubbed, 4to, together withMorris (Francis Orpen), A History of British Butterflies, London: Groombridge & Sons, 1864, 71 hand-coloured and 2 uncoloured wood engraved plates (including frontispiece), tissue guard to frontispiece discarded and gathering M detached and text-block split, light toning and scattered spotting, original cloth gilt, rubbed and extremities worn, 8voQTY: (3)NOTE:Originally issued in parts.
Los 309
Beethoven (Ludwig van). Fidelio, Oper in Zwey Aufzugen nach dem franzosischen bearbeitet von F. Treitschke. In musik gesetzt von Lud. van Beethoven. Clavierauszug, [Op. 72] [vocal score], Bonn: N. Simrock, [1815], lithograph title and cast list, 159 pp., plate number 1136 (lacking on pages 22, 76 and 148; page 154 with plate number 1153), lacking index leaf of contents, small losses to one or two corners, occasional slight soiling, T. Boosey & Co. ink stamp at foot of title, disbound in modern plain green wrappers, a few small tears, oblong folio, sheet size 24.5 x 33.5 cm, together with Quintetto pour 2 Violons, 2 Violes at Violoncelle composée par L. v. Beethoven, Oeuv. 20, 2 parts (numbers 1 & 2), Leipzig: Bureau de Musique de C. F. Peters, [circa 1815], five separate parts, engraved throughout, plates numbered 110 and 111, two engraved titles to the part for 1st violin, light spotting to margins, disbound without covers, slim 4to, plus Siebente Grosse Sinfonie von Ludw. van Beethoven, 92tes Werk. Partitur, Vienna: T. Haslinger, [1831], 2nd engraved edition of the full score, plate number 2560, engraved title, dedication leaf, 180 engraved pages, many with pencil annotations in an unidentified hand, signed presentation inscription in pencil by Felix Weingartner at foot of first page, "Zum Andenken an die Auffuhrung in Prag, 14/1 1926. Felix Weingartner", occasional light marginal spotting, some leaves detaching, original printed wrappers (detached), rubbed and some soiling, with wear to spine, folio (34 x 26.5 cm)QTY: (3)NOTE:First work Hoboken 322. One of the first editions of the third version, which is also the first under the name "Fidelio" (the opera was previously called "Leonore").Paul Felix Weingartner (1863-1942) was an Austrian composer and conductor and the first to record all nine Beethoven symphonies. From 1907 to 1910 he was the Director of the Vienna Hofoper, succeeding Gustav Mahler; he retained the conductorship of the Vienna Philharmonic until 1927.
Los 89
Canada. Arrowsmith (Aaron, lithographer), Plan of part of Ottawa and North Rivers, From a survey made by the officers of the Royal Staffs Corps, Ordered by the House of Commons, James and Luke G. Hansard & Sons, 1831, lithograph with contemporary outline colouring, old folds, 320 x 620 mm, together with Basire (J. lithographer). Plan of the Carillon Canal. Comm. Rl. Engineer's Office, Quebec 8th March 1830, E. W. Durnford Col. Comm. Royal Engineers, Canada, Ordered by the House of Commons to be Printed, James & Luke Hansard & Sons, February 1831, lithograph with contemporary outline colouring, old folds, 295 x 705 mmQTY: (2)
Los 290
Laurence Stephen Lowry,Huddersfield,lithograph in colours, signed in pencil, Fine Art Trade Guild blindstamp,image 45cm x 57cm,mounted framed and glazed, 72cm x 82.5cm.Condition report:No foxing, tears, scuffs or damage to the paper, paper slightly discoloured evenly all over, colours slightly muted, possibly laid down as paper is very flat, papered and taped into the frame on the reverse. Overall good condition.
Los 238
The Boy's Own Paper "Football Colours of our Public Schools", circa 1914 the coloured lithograph of the football/rugby colours of the public schools of England, mounted, glazed and framed, overall 40 by 103cm., slight wear to frame and signs of fold lines; sold together with The Boy's Own Paper "Some Famous Rugby Football Jerseys" featuring international and club jersey's, mounted, glazed and framed, overall 42 by 34cm., (2) Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Los 239
William Rothenstein (British, 1872-1945) 'J Conway Rees' lithograph during his time at Oxford University,featuring the rugby player in standing pose with his hands in his pockets, bears pencil artist initials and '93, framed, overall 61 by 43cm.J Conway Reed was captain of Oxford University and later a Wales international.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
Loading...-
70555 Los(e)/Seite