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Preisdatenbank abonnierenCecil Charles Windsor Aldin (British 1870-1935), The Passing Coach, colour lithograph, signed in pencil lower left, 43 x 75cm. Together with four further unsigned prints by Aldin and two by L. Thackeray Edwards.(7) Framed and glazed. Condition Report: All under glass, some discolouration, one part lot with damp staining,
John Minton (British, 1917-1957) 'The Street', couple in an industrial town, lithograph, signed in pencil and dated 1946 and dedicated 'To Joan and Bernard' [Leach], 24 x 27cm.Condition Report: Fair overall condition, thin line of acid damage on the margins of the mount, some foxing throughout, some age related discolouration to the paper.
Roy Lichtenstein, 1923 New York – 1997 ebendaSTUDY FOR A TEMPLE (1968)Zeichnung, Farbstift und Bleistift auf Papier.23 cm x 17,5 cm.Vorderseitig signiert und datiert.Eine antike Tempelfront bestehend aus dorischen Säulen, ist durch Risse vom Verfall gezeichnet. Lichtenstein versteht es den Kontrast zwischen Motiv und Medium zu überwinden. Durch seine knallbunten Gemälde und Graphiken, die Comic-Strips gleichen, kreierte Roy Lichtenstein eine völlig neue Ästhetik und dies zu der Zeit, in welcher der Abstrakte Expressionismus in der Kunstwelt vorherrschte. Lichtenstein betonte bewusst die Künstlichkeit seiner Bilder und benutzte flache, einfarbige Punkte, die er per Hand mit Hilfe von Farbe und Schablonen herstellte, so dass der Eindruck einer Rasterung entsteht. In der klassischen Perfektion des vorliegenden Werks schwelgt Lichtenstein in der dramatischen Manipulation des Raums, denn das Nebeneinander von Flächigkeit und Tiefe führt unseren Blick auf der Bildebene durch den flächigen blauen und gelben Hintergrund hinauf zur trotzigen skulpturalen Plastizität des Tempels. In seiner konkreten Silhouette hebt sich die grafische Kühnheit des Bauwerks mit entschlossener Klarheit von der hypnotischen Energie der hinteren Bildebene ab.Lichtenstein untersuchte in seinem Werk die Beziehung zwischen Kunst und Populärkultur und verwandelte sorgfältig ausgewählte Bilder aus zeitgenössischen Magazinen, Zeitungen und dem Stadtbild in monumentale Ikonen. Der Künstler sagte dazu, dass er seine Bilder wie programmiert aussehen lassen möchte. Die Fähigkeit eines Bildes, zu kommunizieren, übte eine große Faszination auf Lichtenstein aus. Sein Werk basiert auf einer umfassenden Erforschung dessen, was ein Bild für den Künstler und den Betrachter ausmacht, was sich in dem von ihm verwendeten Vokabular und den von ihm gewählten Formen ausdrückt. Seine künstlerische Sprache ist von universeller, unmittelbarer Anziehungskraft: eine kühle und mechanische Ästhetik, die sich durch graphische Präzision und kompositorische Klarheit auszeichnet. Lichtenstein wollte darauf hinweisen, wie wichtig es für den modernen Menschen ist, den Unterschied zwischen Bild und Wirklichkeit zu kennen.Im Laufe seiner langen Karriere hat der Künstler nur sehr wenige fertige Zeichnungen angefertigt. Diese Studie ist der Vorläufer der Lithografie Temple, die im Rahmen der Tempel und Ruinen Reihe entstanden ist. Lichtenstein war ein Bewunderer von Gesimsen – horizontale architektonische Strukturen auf Säulen – ursprünglich aus der klassischen griechischen Architektur stammend. In den 1970er Jahren entdeckte Lichtenstein Gebälk an Gebäudefassaden rund um die Wall Street und Lower Manhattan. Diese Beobachtungen inspirierten den Künstler und wurden der Ursprung der Gebälkserie, die für seine Arbeitspraxis einzigartig war. Anders als in den 1960er Jahren, als Lichtenstein sich auf Comics, Cartoons und Werbung bezog, schuf er in diesen späteren Fällen sein eigenes Quellenmaterial, indem er lokale Beispiele der New Yorker Architektur fotografierte. 1970, als er die Spiegelserie fortsetzte, begann er, sich mit dem Thema des Gebälks zu beschäftigen. Das Gebälk ist ein architektonisches Element, das einem Band oder einer Leiste ähnelt, die waagerecht über den Säulen eines Gebäudes liegt. Ursprünglich stammt das Motiv aus der Architektur des antiken Griechenlands und war auch in Amerika im Beaux-Arts- und griechisch-römischen Revival-Stil des frühen zwanzigsten Jahrhunderts, der für öffentliche Gebäude wie Museen und Bibliotheken verwendet wurde, weit verbreitet.Provenienz:Privatsammlung, New York.Kunsthandel, Deutschland.Privatsammlung, Deutschland. (1420516) (1) (10)Roy Lichtenstein, 1923 New York – 1997 ibid.STUDY FOR A TEMPLE (1968)Drawing, coloured pencil and pencil on paper23 cm x 17.5 cmSigned and dated on the frontAn ancient temple front consisting of Doric coloumns is marked by cracks from decay. Lichtenstein knows how to unite the contrast between motif and medium. Through his brightly colored paintings and graphics that resemble comic strips, Roy Lichtenstein created a completely new aesthetic at the time when Abstract Expressionism was dominant in the art world. Lichtenstein deliberately emphasized the artificiality of his paintings, using flat, monochromatic dots that he made by hand using paint and stencils, creating the impression of a grid. In the classical perfection of the present work, Lichtenstein revels in the dramatic manipulation of space, as the juxtaposition of flatness and depth leads our eye up the picture plane through the flat blue and yellow background to the defiant sculptural plasticity of the temple. In its concrete silhouette, the graphic boldness of the structure stands out with determined clarity against the hypnotic energy of the back picture plane.Lichtenstein’s work explored the relationship between art and popular culture, transforming carefully selected images from contemporary magazines and newspapers into monumental icons. In the artist’s words, “I want my pictures to look as if they have been programmed, I want to hide the traces of my hand.” The ability of an image to communicate held a great fascination for Lichtenstein. His work is based on an extensive exploration of what constitutes an image for the artist and the viewer, expressed in the vocabulary he uses and the forms he chooses. His artistic language has a universal, immediate appeal: a cool and mechanical aesthetic characterized by graphic precision and compositional clarity. Lichtenstein wanted to point out how important it is for modern man to know the difference between image and reality.Throughout his long career, the artist made very few finished drawings. This study is the precursor to the Temple lithograph, which was created as part of the Temples and Ruins series. Lichtenstein was an admirer of cornices – horizontal architectural structures on columns – originally derived from classical Greek architecture. In the 1970s, Lichtenstein discovered entablatures on building facades around Wall Street and lower Manhattan. These observations inspired the artist and became the origin of Gebälkserie, which was truly unique to his working practice. Unlike the 1960s, when Lichtenstein referenced comics, cartoons, and advertisements, in these later cases he created his own source material by photographing local examples of New York architecture. In 1970, as he continued the mirror series, he began to explore the theme of entablature. The entablature is an architectural element that resembles a band or molding that lies horizontally across the columns of a building. The entablature is an architectural element that resembles a band or ledge that lies horizontally above the columns of a building. The motif originated in the architecture of ancient Greece and was also widely used in America in the Beaux-Arts and Greco-Roman Revival styles of the early twentieth century, which were used for public buildings such as museums and libraries.Provenance:Private Collection, New York.Art Trade, Germany.German Private Collection.
Andy Warhol, 1928 Pittsburgh – 1987 New York, nachMARILYN (CASTELLI MAILER), 1981Offsetlithografie auf leichtem Karton.30,5 x 30,5 cm.Rechts, seitlich signiert, links unten im Druck bezeichnet „ANDY WARHOL“, rechts unten bezeichnet „Castelli Graphics“.Freigestellt in Passepartout, hinter Glas in vergoldetem Rahmen.(1420513) (1) (18)Andy Warhol, 1928 Pittsburgh - 1987 New York, afterMARILYN (CASTELLI MAILER), 1981Offset lithograph on thin card. 30.5 x 30.5 cm.Signed sideways on the right, inscribed “ANDY WARHOL“ on print lower right and inscribed “Castelli Graphics“.
This limited-edition lithograph, displayed with a blue mat board, features the iconic 1980s environmental art installation Surrounded Islands, Biscayne Bay, Greater Miami, 1980-83. Created by husband-and-wife duo Christo and Jeanne-Claude, the project was initiated in 1980 and completed on May 7, 1983. The installation surrounded 11 islands in Biscayne Bay, Greater Miami, Florida, including locations near Bakers Haulover Cut, Broad Causeway, 79th Street Causeway, Julia Tuttle Causeway, and Venetian Causeway. A total of 6.5 million square feet of vibrant pink polypropylene fabric, cut into 79 custom patterns, extended 200 feet into the bay around each island, accentuating their shapes and creating a striking visual spectacle. The lithograph is signed and numbered in the top right corner. Christo - Surrounded Islands, Biscayne Bay, Greater Miami, 1980-83. Christo/C.V.J. Corp. Photo Wolfgang Volz. Frame size: 33"L x 1.25"W x 46.5"H. Sight size: 24.5"L x 38"H. Artist: Christo Vladimirov Javacheff (Bulgarian, 1935-2020) and Jeanne-Claude Denat de Guillebon (Moroccan, 1935-2009)Issued: 1980-1983Dimensions: See DescriptionEdition Number: 435 of 1000Country of Origin: United StatesCondition: Age related wear.
Sir William Gore Ouseley (British 1797-1866): 'Views in South America, from original drawings made in Brazil the River Plate, the Parana, &c', folio containing twenty six (26) tinted lithograph plates with lithographed titled and plan, dedication to Prince Albert with list of plates on verso, pub. London: Thomas McLean 1852, bound in oxblood leather and brown cloth
Laurence Stephen Lowry (1887-1976)Berwick on Tweed, 1976signed in pencil (in the margin), Fine Art Trade Guild blindstampfrom an edition of 650offset lithograph on wove paper42 x 32cm. Colour and print appear very bright and in good condition. Evidcence of very slight toning to the margins. Glass in need of a good clean and some marks to the mount and frame.
Keith Vaughan (1912-1977)The Woodman (Blue Boy), 1949signed in pencil (lower right)lithograph published by the Redfern Gallery, London50 x 36cm. Generally good condition with slight creasing to the paper notable in the top right and bottom left. Slight toning to the paper. Minor foxing notable for the margins. Surface dirt to the mount and dents nicks and scratches to the frame.
David Hockney (b.1937)Igor Stravinsky, 1981for the Metropolitan Opera lithograph printed by Petersburg Press97 x 43cm, unframed. Other than the bottom left corner the condition is good. The bottom left corner with many foxing dots, and slight fold to paper. Inscription '403' in pencil top back left corner. Two pin prick sized indents to cream. Photos added.
Howard Hodgkin (British 1923-2017) "Shutter" from 'More Indian Views' Signed and numbered on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
Howard Hodgkin (British 1923-2017) "Sky", from 'More Indian Views' Signed, dated 1976 and numbered 18/60 on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 35 x 43.5cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Howard Hodgkin (British 1923-2017) "Moon (Black Version)" Initialled, dated 1987 and numbered P (Proof) in pencil, printed by Solo Press Inc., New York, with blind stamp, hand embellished lithograph. 30.5 x 51.5cm (framed 45 x 64.5cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition. There are one or two slight undulations running horizontally across the sheet. The print is ornately framed and glazed. The frame has some very minor scuffs and knocks commensurate with age.
Howard Hodgkin (British 1923-2017) "Window", from 'More Indian Views' Signed and numbered on verso, with artist's blind stamp, colour lithograph. 22 x 30.5cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The print is framed and glazed.
Howard Hodgkin (British 1923-2017) "Sun", from 'More Indian Views' Signed and dated on verso, with artist's blind stamp, colour lithograph. 22 x 30cm (framed 36.5 x 45cm) Gallery 21, Shrewsbury, Shropshire.Private Collection, U.K. Artists’ Resale Right (“droit de suite”) may apply to this lot. The print is in very good, original condition with no obvious faults to report. The painting is framed and glazed.
Φ Dame Elisabeth Frink CH, DBE, RA (1930-1993)Bear (Wiseman 36)Signed Frink (in pencil lower right) and numbered 42/70 (in pencil lower left)Lithograph, from the Eight Animals series, 197050.6 x 61.5cm (image)Provenance:Curwen Gallery, London, 1982, where purchased by the present private collector
Φ The Curwen Studio 50th Anniversary PortfolioThe complete portfolio comprising:1. Mark Hearld, Anniversary;2. Stanley Jones, Umbra;3. Colin Wilkin, Byway & Bicycle;4. Carry Akroyd, Something Fenny;5. Robert Scott Simon, High Octave;6. Tim Wood, Coast;7. Mary Dalton, Pea Pods;8. Thomas Martin, Radial 1;9. Bernard Dunstan, Early Morning;10. Noel Myles, Suffolk Hops;11. Jenny Roland, Salt of the Universe;12. Sargy Mann, Seated Girl;13. Luke Elwes, Prayer;14. Stephen Walter, Road Signs no. 2, 2009;15. Mary Fedden, Fourteen;16. Rosie Corcoran, Hunted;17. Michael Papworth, Tournesol;18. Virginia Powell, Pond;19. Darryl Nantais, Evolution;20. Wilf Roberts, 'Bwlch';21. Claudia Williams, Beach;22. Glynis Mills, Unicorn;23. Angie Lewin, Autumn;24. Bernard Cheese, Green Apples;25. Hen Coleman, 'disencharted by the day, the land set out to sea';26. Sheila Ingham, Narragansett R.I;27. Mike Hawkins, D40 x6E;28. Roger Phillippo, Red Sail;29. Kate Dicker, Toy Racers;30. Diana Armfield, Full Field of Sunflowers, South of France;31. Dale Devereux Barker, Perfect FinishThirty one, each signed by the artist and numbered pp3/5Each lithograph, a printers proof in addition to the edition of 50, commissioned and published by The Curwen Studio 2008-2009, together with an additional impression of Kate Dicker, Toy RacersEach 25.5 x 30.5cm (sheet), within a single presentation frame (32)
† D. WOODS; a colour screen print, 'Charlie Chaplin', signed, titled and dated March 1980 in pencil, 39.5 x 34.5cm, framed and glazed, together with Derick Bown; colour lithograph, limited edition print, 'Highland Grouse', signed and numbered in pencil to margin, 36/350, 38 x 54cm, framed and glazed (2).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org
ARR James Hart Dyke (British b.1966) A Year with MI6 Series, 2011, signed lower right, numbered 334/350, lithograph, 25.5 x 35.5cm, 42 x 59.5cm (SH)Note: This print is part of the artist's project and exhibition 'A Year with MI6'. As 2009 was marking the centenary of MI6, the British Secret Intelligence Service, James Hart Dyke was invited behind their very closed doors and documented the secret world of espionage through a series of paintings and drawings. Condition:The print is a lithograph, unframed. The full margins are present. The sheet is in very good condition, the edges are crisp and the sheet free from losses, creasing or tears. The print colours are well preserved and stable
Two rat-catching scenes, 19th century prints, Engraved by A Butler, 'Tiny - The Wonder - Weighing Only 5 1/2 Lbs', lithograph print 1848, with some hand colour, text panel below, 67 x 75cm (framed size); 'Billy, the Celebrated Rat Killing Dog... 1823', colour print late 19th century, 46 x 58cm (visible)
Four equestrian related prints, comprising a Vanity Fair Spy lithograph depicting Danny Maher, 34cm x 20cm, further Spy print depicting Fred Archer, 26cm x 15cm, after Basil Nightingale, Tom Firr on White Legs 27 Years Huntsman of the Quorn, colour engraving, 30cm x 44cm, together with J Harris after C Hancock, Attila, Winner of the Derby Stakes at Epsom 1842 Ridden by W Scott, print, 23cm x 28cm.
Leiris,M.: Joan Miro. Litografo I. Barcelona, Ed. Poligrafa 1972. Gr.4°. Mit 12 (inkl. Umschl.) tls. dplblgr. Orig.-Farblithogr. von J.Miro u. zahlr., meist farb. Abb. 231 S., 4 Bl. Olwd. mit farb. illustr. OU. (Dieser mit schwachen Gebrauchssp.). Spanische Ausg. - ╔Dabei: Calas,N. u. E.╗ Joan Miro. Der Lithograph IV (1969-1972). Genf, Weber 1982. 4°. Mit 6 (inkl. Umschl.) Orig.-Farblithogr. v. J.Miro u. zahlr., meist farb. Abb. 208 S. Olwd. mit farb. illustr. OU. - Zus. 2 Bde.
A Cecil Aldin nursery print of Goldilocks and the Three Bears, The "A.L." Fairy Tale Pictures (no. 51), published E.J. Arnold & Son, Leeds & Glasgow, colour lithograph, laid down on board, with three horizontal scenes, framed and glazed —39in. (99cm.) high x 28 ½in. (72.5cm.) (slight damage to frame)
MATISSE HENRI: (1869-1954) French artist. A good T.L.S., H Matisse, two pages (separate leaves), 4to, Paris, 18th September 1951, to Monroe Wheeler, in French. Matisse states that he is taking advantage of his son, Pierre, taking a flight to deliver the two covers that Wheeler had asked him to create, remarking ´ Je dois avant tout vous prier de m´excuser de ne pas avoir compose la couverture du catalogue en trois couleurs seulement. La chose ne m´a pas ete possible et j´espere que son attrait pour le publie ainsi vous permettra d´en vendre suffisemment pour couvrir les frais de l´impression des six couleurs´ (Translation: ´First of all, I must apologise for not having composed the catalogue cover in three colours only. It was not possible for me to do so, and I hope that the appeal of publishing it in this way will enable you to sell enough to cover the cost of printing the six colours´) and further offering some instructions for the printing process, ´1. Pour aider l´imprimeur a trouver pour l´impression des couleurs absolument fideles, je joins a la composition des echantillons de ces couleurs de surfaces plus grandes. 2. Le noir des yeux doit etre le meme que celui de la band noire. 3. Les noms des Musees qui font l´exposition doitent etre imprimes en caracteres petits mais tres noirs sur la bande blanche inferieure. 4. Les petits filets blancs entre les bandes de couleurs ne doivent pas exister: la jonction des deux couleurs est une ligne droite. 5. Pour l´epaisseur du dos du catalogue veuillez ajouter la quantite necessaire de jaune et de rose a la ligne indicant la pliue de la couverture´ (Translation: ´1. To help the printer find absolutely faithful colours for printing, I am enclosing samples of these colours on larger surfaces. 2. The black of the eyes must be the same as that of the black band. 3. The names of the Museums in the exhibition must be printed in small but very black characters on the lower white band. 4. The small white lines between the colour bands must not exist: the junction of the two colours is a straight line. 5. For the thickness of the back of the catalogue please add the necessary amount of yellow and pink to the line indicating the fold of the cover´). The artist also makes reference to a dust jacket and lithograph, writing ´Pour la jaquette du livre de Monsieur Barr - j´ai toujours cru que c´est une couverture a relier que vous m´avez demande et je suis tres surpris qu´elle ne doit servir que de jaquette. Vous pourrez imprimer le titre du livre sur la partie rouge du dos. Quant a la lithographie que j´avais remis a la maison Mourlot, je ne pourrai pas signer et numeroter toutes les epreuves. Etant un peu fatigue actuellement, ce travail serait trop long pour moi. Je me suis donc souvenu que votre premiere idee etait que je signe la lithographie dans le corps de la planche et c´est moi qui vous ai dit que je ferai davantage - je signerai chaque epreuve. Je vous prie de m´excuser de n´avoir pas realise ma bonne intention´ (Translation: ´For the dust jacket for Mr Barr's book - I always thought it was a binding cover that you asked for and I am very surprised that it is only to be used as a dust jacket. You can print the title of the book on the red part of the spine. As for the lithograph I gave to Mourlot, I will not be able to sign and number all the proofs. As I'm a bit tired at the moment, this work would take too long. So I remembered that your first idea was that I should sign the lithograph in the body of the plate and it was I who told you that I would do more - I would sign each proof. I apologise for not realising my good intention´). A letter of excellent content and associations. VGMonroe Wheeler (1899-1988) American publisher and museum curator who was employed in several posts at the Museum of Modern Art in New York, including as Director of Publications.Alfred H. Barr Jr. (1902-1981) American art historian and the first director of the Museum of Modern Art in New York.Matisse´s letter refers to his collaboration in the publication of Barr´s Matisse: His Art and His Public by the Museum of Modern Art in 1951. The work was also published in a limited edition of 495 copies signed by Barr and with an original lithograph by Matisse created especially for the edition bound in opposite the limitation page.
MOTHERWELL ROBERT: (1915-1991) American abstract expressionist painter. A good printed small 4to softcover exhibition catalogue for Motherwell´s Bilder und Collagen 1967-1970 at the Galerie im Erker in St. Gallen, Switzerland, 12th June to 28th August 1970, the German text limited edition featuring various colour and monochrome illustrations, largely of Motherwell´s works, a poem by Octavio Paz entitled The Skin/Sound of the World, two essays including Robert Motherwell at St. Gallen by Bryan Robertson, a biography etc. Bound in colour illustrated paper wraps. Limited edition numbered 77 of 100 and signed by Motherwell in black fountain pen ink to the inside back cover. Accompanied by an original 13.5 x 9 lithograph by the artist, signed by him with his initials RM to the lower left corner and also numbered 77 of 100. Loosely contained within the catalogue and with a central vertical fold, evidently as issued. Some very light, extremely minor age wear, VG
THOMAS GALSWORTHY DUTTON AFTER NICHOLAS CONDY (1793-1857)'H.M. BRIG ACORN''16 Guns in Chase of the Piratical Slaver Gabriel, 6 July 1841', lithograph; the image 30 x 40cm.Note: This rare engraving depicts a vessel of the British West Africa Squadron enforcing the recent anti-slavery legislation. After a chase that lasted twelve hours the Gabriel was finally dismasted and captured.
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