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Lot 207
Simon Rivett (Northern British Contemporary): 'Slash Dalbeg' Isle of Lewis Scotland, oil on board, signed dated '04 verso with artist's studio title label 19cm x 23cmNotes: Simon Rivett trained at Goldsmiths College in London and gained a BA (Hons) in Fine Art. He has been painting landscape from his days as a student, painting the declining industrial landscape of his home in Newcastle, living and working in Lewis and exploring the unique rural landscape of the Outer Hebrides, before moving recently to live in Edinburgh.Condition Report: Very good condition, well presented behind glass, ready to hang
Lot 435
Sam Francis (American, 1923-1994). Monotype on handmade paper titled "Chariot," 1985. This print depicts an abstract composition of amorphous forms in various colors such as red, blue, yellow, black, and green. Signed in pencil along the lower right. Original artist pencil inventory number on the lower edge of the verso "GTW-VF-VB. 03-#2-1985." With detached gallery labels.Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Flanders, Minneapolis, Minnesota; Private Minnesota Collection.Lot Essay:Sam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Height: 30 in x width: 25 1/2 inCondition: The sheet is in excellent condition with no tears, rips, losses, or restorations. The colors are bold and bright. Along the verso there are two areas of framer's tape along the top left and right edge. There are two rectangular areas of skimming to the sheet along the upper left and right corners of the verso. Each measure 1 inch x 1.5 inches. Purple and red spots along the verso original to the artistic process. It is possible that there is very light wear along the deckled edges. There are natural areas of unevenness to the paper due to the handmade nature of the material. Not framed.
Lot 380
Rod Massey (American, b. 1949). Oil on panel painting titled "Between Houses, Spring" depicting two white homes, 2000. Likely depicting houses in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. Signed, dated, and titled along the frame along the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 10 in x width: 12 1/4 in. Framed; height: 15 in x width: 17 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no cracks, losses, or restorations when inspected under UV light. Some soiling (paint) along the verso, likely original to the artistic process. Light wear to the frame.
Lot 379
Rod Massey (American, b. 1949). Oil on panel painting titled "Blue House Behind Trees" depicting a bright blue home and a line of trees, 2006. Likely depicting a home in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. The leafless trees and green grass give the impression of late fall or early spring. Signed, titled, and dated on a card affixed to the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota Collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 49 in x width: 38 in. Framed; height: 50 1/4 in x width: 39 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 378
Rod Massey (American, b. 1949). Oil on panel painting titled "East Diamond Lake Road, Winter" depicting the home at 209 E. Diamond Lake Road in Minneapolis, MN, 2002. The snow-filled landscape with the pale, cloudy sky is iconic of Minnesota's long winters. Signed, dated, and titled along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Height: 17 in x width: 13 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 465
RENOIR PIERRE-AUGUSTE: (1841-1919) French Impressionist Artist. A fine and good association A.L.S., `Renoir´, two pages, written to the first and third page, small 8vo, Cagne, 8th January 1908, to Claude Monet, in French. Renoir writes to his long life friend Monet `Mon cher ami…´ ("My deaf friend…"), and first asks about his correspondent´s health `Tu me diras si tu as toujours mal à l´estomac, c´est une maladie qui rend triste, il faut vite guérir´ ("Tell me if you still have a stomach ache, it's a disease that makes you sad, you have to heal quickly") Renoir further refers to Vollard, their art collector supporter, stating `Vollard est ici, je le portraiterai´ ("Vollard is here, I will make a portrait of him") Further again Renoir thanks Monet and his daughters for the letters they often send him, and before concluding makes a sharp critic of a colleague´s exhibition, stating `Une pièce que je n´irai certainement pas voir c´est celle de Geoffroy à l´Odéon…´ ("A painting that I will certainly not go to see is the one of Geoffoy at the Odeon") To a post-scriptum Renoir referring to the new year 1908, states `Ce 8 me fait bien vieillir´ ("This 8 makes me feel older") VG Claude Monet (1840-1926) French Impressionist Painter.Ambroise Vollard (1866-1939) French art Dealer. One of the most important dealers of his time in French contemporary art. He supported many painters such as Cézanne, Renoir, Gauguin, etc… Jean Geoffroy (1853-1924) French Painter and Illustrator, best known for his scenes with children.
Lot 642
Typograph. Typographica 2. Contemporary Typography and Graphic Art. Lund Humphries. 28 pages. Good copy in publisher's card covers 9" x 12". Circa 1940s. From single vendors book collection. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99. 30kg box UK £15, EU £40, ROW £60
Lot 541
A mid 20th century malachite and diamond-set ring by George Weilthe central navette-shaped malachite plaque with five brilliant-cut diamonds to either side, collet-set within a high tiered wavy textured setting, the inner shank signed in script 'G.Weil' and '18ct PLAT'ring size K/M, 20.3g, length 3.7cmCondition: Overall condition very good. Little sign of waer.Escaping from Vienna to London at the start of World War II, Georg Weil studied sculpture at St Martin's School of Art, producing portrait busts including those of Winston Churchill and Sammy Davis Jr. He then trained in jewellery design and manufacture but retained his strong love of sculpture, as exemplified by this ring. Weil was a contemporary of Andrew Grima, who also influenced his work. He closed his jewellery studio in 1979 and emigrated to Israel. A diamond-set , gold and platinum asymmetric abstract ring by Weil is held in the V&A Collection (M.2-1993)
Lot 651
A large 20th Century contemporary lithograph art print titled 'The Lost Post, The Last Contact' (Avebury / Wiltshire) by Maurice Giraffe'. Maurice Giraffe is the pseudonym of Julian Crook, an artist and engineer best known for his drawings of ancient sites such as Stonehenge, Avebury and Silbury Hill, and for his collaborations with his late father, historian and author Eric M Crook. Framed and set within a gilt frame. Includes 4 x reference books titled Unusual aspects of Avebury, Wiltshire - A Journeyman's Tale, Curious Wiltshire & Stonehenge and neighbouring monuments. Frame measures 90cm x 76cm.
Lot 653
A large 20th Century contemporary limited edition 1/50 lithograph art print titled 'Five Stones Barn' (Wiltshire) by Maurice Giraffe'. Maurice Giraffe is the pseudonym of Julian Crook, an artist and engineer best known for his drawings of ancient sites such as Stonehenge, Avebury and Silbury Hill, and for his collaborations with his late father, historian and author Eric M Crook. Certificate of authenticity attached to reverse. Framed and set within a gilt frame. Frame measures 75cm x 65cm
Lot 641
A pair of contemporary Uttermost composite table lamps, each modelled as an Art Nouveau style gilt foliate spray, impressed maker's marks to bases, each 67.5cm high (2) Lighting lots are sold as decorative items only, prospective buyers must consult with a qualified electrician before use or installation of these items.Condition reportGeneral light rubbing wear to both lamps, very minor chip to one leaf tip, mottled rubbing wear to one base.Minor play in the lamp joints, electrical fitting loose on one lamp.
Lot 35
AN ART DECO DIAMOND BRACELET, CHAUMET, CIRCA 1925The openwork articulated band set at the centre with a stylised meander motif highlighted with old European and single-cut diamonds, between similarly-cut diamond borders, with millegrain detailing throughout, mounted in platinum, diamonds approximately 13.00cts total, with maker's mark 'JC' for Joseph Chaumet, French assay mark, with case by 'Armour-Winston Ltd, 43 Burlington Arcade, W1', length 17.4cmBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. A couple of links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010.Joseph Chaumet: maker's mark registered in 1890 until 1928 - located in the 2nd district of Paris, then place Vendome in the 1st district in 1902.A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Business boomed for jewellers during the interwar period. Jewellers, as was also the case with visual artists, interior designers and product designers, were influenced by the new Art Deco architecture and design. Art Deco buildings were often streamlined with minimal decoration, especially compared to the recent Victorian past. Designers and architects used new materials such as chrome, steel, decorative glass and aluminium, to create a forward looking, modern style. Dubbed ‘the vertical style’ in New York, elements included vertical windows, stylised floral patterns, and above all, abstract, geometric motifs. This Art Deco influence on jewellery is made clear by Georges Fouquet in the article La Bijouterie at la Joaillerie Modernes, published in Figaro’s Supplément Artistique on June 13th 1929, where he stated that: “the composition of a piece of jewellery must be really understood and it must be constructed of simple lines, free from all its point of departure it must have a principle of construction in which the harmonious rhythm of lines, masses and colours manifests itself.” During this turbulent but creative period, the firm of Chaumet managed to retain both their pre-war client base and their reputation. At that point in time their longevity already stretched back over a century and a half and their client base had included Emperor Napoleon, Empress Josephine and Queen Victoria. In 1928 at the height of the Art Deco era, Marcel Chaumet took over management of the firm on the death of his father, Joseph Chaumet, for whom the business was eponymously named. Declaring, at his father’s funeral that: “continuing the furrow he ploughed, perpetuating his work in every sphere, such is my goal, to which I will devout all my effort.” Recorded in Chaumet, Parisian Jeweler since 1780, directed by Henri Loyrette. Chaumet fully embraced the Art Deco trend, participating in the ground-breaking Exposition Internationale des Arts Décoratifs, in Paris in 1925. Their jewellery became more geometric in design and used a more eclectic range of gemstones than before, such as rock crystal, onyx, turquoise and red coral. These were often arranged either in monochromatic black and white or a riot of bright colours. If monochromatic, the diamond reigned supreme. Advances in gem-cutting had allowed new, innovative cuts such as the baguette and the calibre-cut and these were often contrasted with onyx or black enamel and set in platinum.At the exposition especially, the rising concept of the freed woman or named ‘garçonne’ in France became so popular and inspired books written about female empowerment, such as in the 1922 novel by Victor Margueritte, La Garçonne. During the war, women had replaced men in the working world as men were called to the front line, and in doing so it became evident that women held a new independence and freedom in society. Fashion designers of the time noticed this and created lines for the contemporary woman which included Coco Chanel’s little black dress. Such popularity of the concept inspired jewellery designed by Chaumet’s innovation and style. Stated in Chaumet, Parisian Jewler since 1780, Vogue even recommended Chaumet for the “chic woman’s wardrobe…jarred and bored by the jangling of many bracelets, one single cuff made for her by Chaumet -a thing of beautiful and intricate design.”The Art Deco period was also an effort to cast aside ideas of the past. Additionally, more exotic influences included Egyptian, Chinese and Japanese, often shown in the use of stylised motifs such as dragons, pagodas and Persian flower motifs. These influences also expressed themselves in the use of jade, coral, enamels, lacquer and pearls. In the 1920’s, Art Deco bracelets were often composed of intricate links set with coloured gemstones in geometric designs and there was a fashion for wearing multiple bracelets, high on the arm. The design of this intricate bracelet is based on the Greek key pattern and was inspired by the architectural motifs of Classical Greece. This pattern that is both interlocking and unbroken, became popular once again in the Art Deco era due to its pleasingly geometric character, and was said to represent both infinity and unity. As the 1930’s approached, larger, pave-set bracelets with outsized links gained in popularity and ‘convertible jewellery’ which could be worn in more than one way, became popular again. Condition Report: Diamonds: approx. 13.00cts total - overall bright and lively - estimated colour H/I, estimated clarity VS-SI (a few I)Partial Maker's mark: JC and star (no crescent visible) located on the tongue of clasp - dog's head for French platinum located on the tongue of claspOne dent visible on the rail track of the braceletClasp: secureNormal signs of wear given the age of the bracelet - overall in good conditionBy family repute, the mother of the current owner bought this bracelet in the 1960s on Burlington Arcade. Two links (not included) were taken out to shorten the bracelet and fit the owner. Accompanied with an insurance valuation from Humphrey Butler, dated August 13th 2010. A very similar bracelet was sold at Sotheby's in May 2008 for CHF 37,000.- (lot 68)Total gross weight approx. 42.9g
Lot 144
An Arts and Crafts enamel and opal pendant by James Cromar Watt, circa 1905, of organic design, the central opal matrix collet-set within an open framework of butterflies decorated in polychrome translucent enamels, to a scrollwork opal-set surmount, the whole suspending a small black hardstone drop, mounted in gold, the reverse with conjoined maker’s initials ‘JCW’, length 6.7cm. £1,500-£2,000 --- James Cromar Watt (1862-1940) was born and grew up in Aberdeen and in 1879 he began his training as an architect with W & J Smith of Aberdeen. In the late 1880s he travelled in Belgium, Germany and Italy which inspired his love of Renaissance arts and crafts. On his return he rejoined W & J Smith, and qualified as an architect at the Architectural School of the Royal Academy, London. Watt continued his travels in the 1890s, spending time in Greece, where his love for decoration and craft skills deepened. In the course of his travels, he appears to have begun dealing in works of art, taking a particular interest in ancient metalworks. By 1896, he had resigned his architectural associateship to concentrate exclusively on his work with precious metals. He took a particular interest in developing his skills in the ancient techniques of gold granulation and translucent foiled enamelling, working firstly on large objects, then concentrating on jewellery. Inspiration from contemporary artists, included Alexander Fisher and Phoebe Traquair. During the First World War, Watt was engaged on secret government work - the true nature of which has never been disclosed. He did not return to jewellery-making - apparently due to failing eyesight - and devoted most of his energies into working with the English architect and goldsmith Henry Wilson, a friend since at least 1905, together completing the bronze tomb of Bishop Elphinstone, co-founder of the University of Aberdeen. He was granted an honorary degree in 1931 by the University of Aberdeen.. Watt assembled an important collection of ancient ceramics and artefacts, particularly from China and the Far East, including porcelain, jade, silk paintings, ivories, lacquer work, enamels and bronzes. After his death in 1940, his collection was divided between the Aberdeen Art Gallery and the Royal Scottish Museum. Literature: Charlotte Gere/Geoffrey C. Munn: Pre-Raphaelite to Arts and Crafts Jewellery, pub. ACC, 1996. Beatriz Chadour-Sampson/Sonya Newell-Smith: Tadema Gallery London Jewellery from the 1860s to 1960s, pub. Arnoldsche Art Publishers, Stuttgart 2021. Condition Report General light surface wear commensurate with age and use. The opal matrix with good play of colour with flashes of red, blue and green. Gross weight 9.2gm.
Lot 150
Alan Reynolds, British 1926–2014 - January 1952, 1951-52; oil on board, signed and dated lower right 'Reynolds 51-52' and titled, dated and inscribed on the reverse, 29.5 x 39.6 cm (ARR) Provenance: with Redfern Gallery, London (according to the label attached to the reverse of the frame); Miss Elizabeth Bryant, purchased from the above on the 20th February 1953; Robert Devereux; Sotheby's, London, The Robert Devereux Collection of Post-War British War, 4th November 2010, lot 241; private collection Note: This early work by the artist is highly characteristic of British Modernist painting in the 1950s. The stylized and semi-abstracted landscape bears similarities to other important artists of the time including Keith Vaughan and Graham Sutherland. Additionally, the simplification of the landscape into horizontal bands with features projecting out vertically foreshadows his later constructivist and non-objective style. Between 1948 and 1952 Reynolds Studied at Woolwich Polytechnic School of Art, then at the Royal College of Art from 1952–3. Reynolds neo-romantic landscapes of Kent and Suffolk rapidly gained attention and while still at the RCA he had his first one-man show at Redfern Gallery in 1952 and several more in the following years. He also gained international profile with two solo shows at Durlachers Gallery in New York in 1954 and 1958. Reynolds both exhibited widely and maintained multiple teaching positions throughout his career, including as senior lecturer at Saint Martin’s school of art. His work is currently held within the collections of the Tate, MoMa and the V&A. This work was previously owned by Robert Devereux, an important collector of Contemporary and African Art. This work was previously sold as part of a major sale of his Post-War British art collection in aid of the African Arts Trust, which included pieces by Victor Pasmore, Lucien Freud and Patrick Heron.
Lot 194
Muraina Oyelami, Nigerian b.1940 - Typical Village, 1977; gouache and pastel on paper, signed, titled and dated along the lower edge 'Muraina Typical Village 77', 55 x 74.5 cm Provenance:Gerald Moore and thence by descentNote: Gerald Moore was an important, writer, teacher and scholar of contemporary African anglophone and francophone poetry. He lived and taught in Nigeria in the 1950s and again during the 1970s, becoming friendly with writer Ulli Beier and artist Susanne Wenger. With Beier he edited the influential anthology ‘Modern Poetry from Africa’ published in 1963 and he also wrote a biography of poet Wole Soyinka in 1971. His collection also included works by Gerard Sekoto and Twins Seven Seven.Oyelami is part of the first generation of artists to come out of the Oshogbo School of Art in the 1960s. The artist's works are in the collections of the Smithsonian Institution's National Museum of African Art in Washington, D.C, the Institute of Contemporary Arts, London, and the Staatlichen Kunsthalle, Berlin.
Lot 276
Anthony Fry, British 1927-2016 - Morocco Landscape, 1988; oil on paper, inscribed with artist's name, title and date on the label attached to the reverse of the frame, 31 x 44 cm (ARR)Provenance: Contemporary Art Society Market, London (according to the label attached to the reverse of the frame); private collection, purchased from the above
Lot 283
Robin Mason, British b.1958 - Fish Plate on Plinth at the Coast, 1988; gouache on paper, inscribed with artist's name, title and date on the label attached to the reverse, 17.5 x 12.5 cm (ARR)Provenance:Contemporary Art Society Market, London (according to the label attached to the reverse of the frame); private collection, purchased from the above
Lot 36
Bernard Meninsky, Ukrainian/British 1891-1950 - Marchioness of Bath; oil on canvas, stamped with signature on the reverse 'Meninsky', 61.4 x 51.5 cm Note: the work is inscribed on the reverse 'CAS 97'. A large number of works were donated by the artist's widow, Nora Meninsky, through the Contemporary Art Society to British museums, including Nottingham Castle Museum and Art Gallery, Victoria Art Gallery and the British Museum. Bernard Meninsky moved to Britain as a child from Ukraine, living in Liverpool where he first studied art. Meninsky was eventually awarded a scholarship to study at the Slade between 1912-13, following his fellow-Jewish émigré artists Mark Gertler and David Bomberg. His war-time mural ‘The Arrival, 1918’ is now in the Imperial War Museum collection and during the 1920s, he exhibited at the Groupil Gallery and was a celebrated tutor at Westminster School of Art, also becoming associated with the Bloomsbury group during this period. He exhibited his work in the 1914 London Group exhibition at the Goupil Gallery and at the New English Art Club. This painting is either Violet Mordaunt, who married the 5th Marquess of Bath, or Daphne Fielding, the first wife of the 6th Marquess of Bath. The latter was a writer and became involved with the Bloomsbury set and 'Bright Young Things' of the 1920s.
Lot 37
Bernard Meninsky, Ukrainian/British 1891-1950 - The Lovers, c.1943-50; gouache and ink on paper, signed lower right 'Meninsky', 47.4 x 29 cmProvenance: with Blond Fine Art Ltd., London (according to the label attached to the reverse of the frame); Mr Robin Guild, purchased from the above in October 1981; Bonhams, London, 18th May 2010, lot 25; private collection Exhibited: Blond Fine Art Ltd., London, cat. no.81 and cat. no.33 (according to the two labels attached to the reverse of the frame); Note: A large number of works were donated by the artist's widow, Nora Meninsky, through the Contemporary Art Society to British museums, including Nottingham Castle Museum and Art Gallery, Victoria Art Gallery and the British Museum. Bernard Meninsky moved to Britain as a child from Ukraine, living in Liverpool where he first studied art. Meninsky was eventually awarded a scholarship to study at the Slade between 1912-13, following his fellow-Jewish émigré artists Mark Gertler and David Bomberg. His war-time mural ‘The Arrival, 1918’ is now in the Imperial War Museum collection and during the 1920s, he exhibited at the Groupil Gallery and was a celebrated tutor at Westminster School of Art, also becoming associated with the Bloomsbury group during this period. He exhibited his work in the 1914 London Group exhibition at the Goupil Gallery and at the New English Art Club.
Lot 1063
Richard Earlom (1743-1822) after Charles Towne - Bulldogs and Badger, contemporary oil over Earlom's engraving laid on canvas and board, 46 x 58.5cm An old printed catalogue label on the reverse reads "Lot 348. Abs bulldogs and badger c1815 by R Earlom after Charles Towne an acutely rare "oil painted engraving" such process tailing more subtly of touch, concentration and purpose, than the original picture. This defined colouring with oil colour was a secret work only practiced by Dean Wolstenholm Senior and his companion in art, Charles Towne... In all probability this excellent picture was the artist's colour guide for the rare and expensive colour print bearing above title. The identical picture No 348 (showing a rural scene near Burford Oxfordshire was two bulldogs rushing at a badger, - farmer and labourer running towards the animals) was at one remote time in the collection of the Lenthall Family of Burford" Some restoration, scratches and tiny losses mainly lower centre
Lot 301
A rare silver pug dog collar composed of the Pug Dog Club and other prize medals won by Ch. "Little Geisha", 1900-1902, with Edward VII Coronation commemorative medal by George Frampton, suspended from a curb chain collar secured by contemporary silver padlock, 20cm l, 8ozs and three contemporary Victorian photographs (cabinet portraits) of "Little Geisha" in the collar, one seated beside her mistress, by photographers A Rudolph Douglas of Wigan or E Landor of Ealing, one with contemporary inscription verso Little Manon's "Little Geisha" (4) Pug dog collars composed of medals won at shows, or plainer collars with such medals attached are rare. The example of medals won by Ch. "Wymps" bred by Mrs T Dunn and owned by Mrs Tested Clark, is illustrated Waters (N) - The Pug Heritage and Art 2005, p.192 Chain linking two of the smaller medals on the lower row detached from one. Note: the central suspended lowest shield uninscribed
Lot 995
Miscellaneous, approx. 30, including the occult: The Letters of Hargrave Jennings, sole collected edition, one of 100 copies, Bath: Robert H. Fryar, 1895, original publisher's cloth over printed papered boards, ex Theosophical Society Library copy, their marks and stamps, with expected wear and faults, 4to, Sarmiento (Domingo F.), Life in the Argentine [...], first American edition, New York: Hurd and Houghton, 1868, original publisher's cloth, some wear, 8vo, Bailey's English Dictionary, fourth edition, London: J. Darby, et al., 1728, contemporary panelled calf, worn with some losses, 8vo, Edgeworth (Maria), Helen, three-volume set, first edition, London: Richard Bentley, 1834, some quires with movement, contemporary three-quarter green-stained calf over marbled boards by Porter & Custard of Yeovil, [Somerset], their ticket, Coker Court copy with their book label, 12mo, medicine: Armstrong's Art of Preserving Health, London: T. Cadell, et al., 1796, original marbled boards, spine exposed, 8vo, The English Annual, London: Edward Churton, [1836], undated engraved title-page only, steel engraved plates, original publisher's morocco gilt, chipped spine, all edges gilt, 8vo, other leather and part-leather bindings, Cruikshank's Fairy Library, Hop-o'-my-Thumb and The Seven League Boots, London: David Bogue, n.d. [1853], original pictorial wrappers, disbound and tatty, 12mo, Cruikshank (George, illustrator), Mornings at Bow Street [...], fourth edition, London: Thomas Tegg & Son, 1838, original publisher's cloth, 8vo, [Percy (Thomas)], Reliques of Ancient English Poetry, three-volume set, fifth edition, London: F.C. and J. Rivington, et al., 1812, slightly later quarter-calf, chipped and worn William Horatio Crawford copies, of Lakelands, Cork, Ireland, his bookplates, 8vo, Arbuthnott's Henwife, twelfth edition, 1886, original pictorial boards, perished spine, wear, 8vo, Hawkesworth's Voyages, volume III only, Dublin, 1773, contemporary calf, worn, 8vo, a defective 18th c copy of Raffald's English Housekeeper, 8vo, a defective 18th c road book, an armorial binding, poetry, decorative diminutive 'miniature' books, etc
Lot 260
Stunning hand-colored Pop Art style portrait of French Postwar & Contemporary artist Marie-Claude Lalique (1935-2003). She designed luxury objects, jewelries and perfumes for the Lalique family house that she led starting in 1977. The artist applied black, blue, white and yellow paint with a grey background and left untouched areas on the portrait that is based on a black & white photograph visible on the Musee Lalique website. Housed in a solid black wood frame with a white mat. Frame size: 20.50"L x 26.60"H x 1.50"W. Artwork dimensions: 19.10"W x 25.10"H. Issued: c. 1987Provenance: Collection of Marie-Claude Lalique Condition: Good.
Lot 1300
Bob Dylan (American 1941-) Train Tracks (red), from The Drawn Blank Series 2014. A giclée print on 350gsm Hahnemühle Museum Etching paper ,signed and numbered 256/295 in pencil. Printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks. Image size 76.5 x 58cm, paper size 91.5 x 71cm. With certificate of authenticity from Washington Green Fine Art. In contemporary silver toned frame.
Lot 236
Contemporary Art.- Clemente (Francesco) and Robert Creeley, IT. Francesco Clemente 64 Pastels Robert Creeley 12 Poems, first edition, whole page colour illustrations, original cloth, dust-jacket, very faint sunning to spine, Zurich, Edition Bischofberger, 1989 § Goldsworthy (Andy) Wall At Storm King, signed by the artist/author with small doodle, to title, colour photographic illustrations, original boards, two very small marks to upper cover, dust-jacket, faint sunning to spine and extremities, 2000 § Turrell (James) Air Mass, colour photographic illustrations, original cloth, dust-jacket, 1993; and a quantity of others contemporary art, v.s. (qty)
Lot 237
Contemporary Art.- Damase (Jacques) Sonia Delaunay. Rhythms and Colours, profusely illustrated in colour and black and white, original cloth, dust-jacket, short tear to spine head without loss, a little creased at extremities, rubbed, particularly at spine ends and corners, Thames & Hudson, 1972 § Polke (Sigmar) Achsenzeit Axial Age, full-page colour illustrations, original cloth, dust-jacket, slipcase, Cologne, 2009 § Jodidio (Philip) Piano. Renzo Piano Building Workshop 1966-2005, colour illustrations, many full-page, original boards, dust-jacket, preserved in original carboard packaging, Taschen, 2005; Galerie Daniel Blau. Andy Warhol. Oxidation Paintings Piss Paintings, colour illustrations, 3 folding, title with ink inscription "gift from Jörg Schmidt mai" to foot, list of thanks to final leaf with name Jörg Schmidt faintly underlined in red pen, original pictorial wrappers, very light rubbing to corners and joints, Munich, 1998; and a quantity of others contemporary art, v.s. (qty)
Lot 238
Contemporary Art.- Evans (Cerith Wyn) The Curves of the Needle, colour illustrations, original printed wrappers, with original LP record within paper envelope, together housed within original presentation paper-covered box, some minor soiling, Bawag Foundation, 2005 § Opie (Julian) and Takashi Mizuki et al., Julian Opie, whole-page colour illustrations, original drab wrappers, a few very small stains, light creasing to spine, Himeno Kimi Japan, 2008 § Gunnarsson (Annika, editor) Jockum Nordstrom, A Stick in the Wood, colour illustrations throughout, original cloth, original pictorial slip-case, still encased within original cellophane wrapping, Gottingen, Steidl, 2005; and a c.65 others contemporary art, v.s. (c.70)
Lot 239
Contemporary Art.- Hirst (Damien) Beautiful Inside My Head Forever, 5 vol., with original 6 sets of unused stickers [as issued], loose at rear of vol. 1-3, profuse illustrations and plates, in colour, whole-page, many folding, original pictorial wrappers, spines lightly sunned, together 5 vol. housed within original presentation slip case, a few minor instances of surface soiling, overall a near fine set, Sotheby's, 2006 § Dostoglu (Haldun, editor) Canan Tolon, profuse illustrations in colour, original cloth, dust-jacket, spine ends lightly bumped, Istanbul, 2011 § McKinnon (Fiona, editor) and Paul Jones. Adam Neate - A New Understanding, from an edition limited to 1000, whole-page illustrations in colour, original cloth, one small bump to top edge, 2009; and a quantity of others contemporary art, v.s. (qty)
Lot 240
Contemporary Art.- Hobbs (Robert C.) and others. Frank Stella in 2002, original boards, corners very lightly rubbed, Singapore, Singapore Tyler Print Institute, 2002 § Pirovano (Carlo) Fausto Melotti Teatrini 1931-1985, illustrations throughout, many colour whole page, original cloth, with mounted pictorial on-lay, Verona, Galleria dello Scudo, 1997 § Lange (Christy) La Carte d'après Nature, colour photographic illustrations throughout, original pictorial cloth, Monaco, 2010; and a quantity of others contemporary art, v.s. (qty)
Lot 241
Contemporary Art.- Logan (Kent) and others. Post Modern Portraiture from the Logan Collection, original boards, very light mottling to covers, The Logan Collection Vail, 2005 § РУССКИЙ АВАНГАРД ИЗ КОЛЛЕКЦИИ МУЗЕЯ ХУДОЖЕСТВЕННОЙ КУЛЬТУРЫ [Russian Avant-Garde from the Collection Museum of Artistic Culture], profuse illustrations in colour throughout, text in Russian, original pictorial boards, 1998 § Bourgeois (Louise) and John Hutton Balfour. Nature Study, 2 vol., one of 1500 copies, housed together in printed slipcase (some light soiling), Royal Botanic Garden Edinburgh, 2008, profusely illustrated in colour, all but last with light toning to margins; and a quantity of others contemporary art, v.s. (qty)
Lot 244
NO RESERVE Wijdeveld (Hendrik) Wendingen: Frank Lloyd Wright, first edition in book form, photographic and other illustrations throughout, the odd short tear to edges, including to title, some soiling, contemporary pencil sketch to penultimate leaf, modern cloth with gilt border, green morocco label to spine, Santpoort, C.A. Mees, 1925 § Muthesius (Hermann) et al. Meister der innen Kunst. Charles Rennie Mackintosh Glasgow Haus eines Kunstfreundes, from an edition limited to 1000 copies, second edition, in facsimile, plates and plans, with decorative title, in colour, loose as issued, original cloth backed portfolio, with printed on-lay to upper cover, ribbons, Glasgow, The Fraser Press, 1991 § Grierson (Flora) Haunting Edinburgh, illustrated by Katherine Cameron, multiple colour plates, also plain plates, original pictorial cloth, spine ends lightly bumped, dust-jacker, some light toning and rubbing, Edinburgh, 1929; and 27 others early-mid 20th century, several art periodicals, including a worn copy of the Minotaure (no.1), v.s. (30)
Lot 247
NO RESERVE Photography.- Japan.- Araki (Nobuyoshi) 69 YK, one of 500 copies, whole page photographic illustrations in black and white, without text, original printed paper-covered boards, Tokyo, Taka Ishii Gallery, 2009; Kinbuku Raisan, from an edition limited to 1000, whole page photographic illustrations in colour, without text, original boards, dust-jacket, a couple of very minor instances of surface soiling, Tokyo, Eyesencia, 2008 § Yoneda (Tomoko) An End Is A Beginning, photographic illustrations in colour and black and white throughout, text in Japanese and English, original cloth, with mounted photographic on-lay, fore-edge upper cover sunned, Toyko, Hara Museum of Contemporary Art, 2008; and 3 others similar, v.s. (6)
Lot 28
Marriage & Scandals.- Hill (Richard) The Blessings of Polygamy Displayed, first edition, with errata slip pasted to final leaf (the first errata corrected in manuscript on relevant leaf), foxed, original boards, uncut, rubbed, upper cover damaged at upper corner with slight loss, rebacked, [Goldsmiths' 15881], J.Mathews, 1781 § [Fry (John)] The Case of Marriages between near Kindred particularly considered..., second edition, half-title, occasional spotting or marginal soiling, old ink inscriptions, ex-library copy with stamp and label to front endpapers, contemporary sheep, rubbed, rebacked, corners repaired, B.White, 1773 § Colvill (Robert) Epithalamium on the Marriage of the Right Honourable David, Viscount Stormont, with the Honourable Miss Louisa Cathcart, second edition, modern marbled boards, London & Edinburgh, 1776 § Gunning (Susannah) A Letter from Mrs. Gunning, addressed to his Grave the Duke of Argyll, first edition, ?lacking half-title, bound with 2 other related pamphlets, manuscript index at beginning, modern half morocco, spine giltfor the Author, 1791 [Cumberland (Henry, Duke of York)] Genuine Copies of all the Love Letters and Cards which passed between an Illustrious Personage and a Noble Lady, during the course of a Late Amour, first edition, modern cloth, L.Browning, [?1770], 8vo & 4to (5)⁂ Despite the title, the first work is actually an attack on Martin Madan's Thelypthora which advocated polygamy as a cure for the evil of prostitution. The second relates to Lord Hardwicke's Marriage Act of 1753, or An Act for the Better Preventing of Clandestine Marriage, which was the first statutory legislation in England and Wales to require a formal ceremony of marriage. Until that time neither prior notice nor parental consent for minors was required for marriage but the Act ordered the reading of banns in church, parents' or guardians' consent for minors, and the service to be conducted by an Anglican clergyman. Henceforth couples had to travel to Scotland in order to marry, the nearest place being Gretna Green just north of Carlisle.The third celebrates the marriage of David Murray, 2nd Earl of Mansfield (1727-1796), to Louisa Cathcart, some thirty years his junior. Murray, known as Viscount of Stormont, was ambassador to Vienna and then to France in the early years of the American Revolutionary War, and played a role in sending news of American actions back to England. This was Murray's second marriage, ten years after the death of his first wife. We have been unable to trace the first edition and ESTC locates only 4 UK copies of this second edition (E. A. Hornel Art Gallery & Library, Edinburgh University, National Library of Scotland, and St. Andrew's University) plus one in America.The fourth concerns a society scandal revolving around a suitor for the daughter of the novelist Mrs. Gunning, including rival suitors, forged letters and various intrigues. The final item relates to the affair between the Duke of Cumberland, younger brother of George III, and Henrietta, Lady Grosvenor.
Lot 300
Gardens.- Laurence (John) The Clergy-Man's Recreation: shewing the Pleasure and Profit of the Art of Gardening, fifth edition, engraved frontispiece, for Bernard Lintott, 1717, bound before, The Gentleman's Recreation: or the second part of the Art of Gardening Improved, second edition, engraved frontispiece and 3 folding plates, for Bernard Lintott, 1717, and, The Fruit-Garden Kalendar: or a Summary of the Art of Managing the Fruit Garden, first edition, half-title, folding engraved frontispiece, for Bernard Lintott, 1718; illustrations, scattered faint spotting, previous owner's ink signature to front pastedown, contemporary calf, rubbed, bumping to corners and spine extremities, together 3 works bound as 1 vol., [Henrey 937; 943; 939], 8vo.
Lot 348
UTAGAWA HIROSHIGE (1797 - 1858): AKASAKABy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1855Color woodblock print on paper. Vertical Oban. Akasaka Nawate-michi nite Yajiro Kitahachi o kitsune to omoite chochaku suru (Akasaka - On the Nawate Road, Yajirôbei Takes Kitahachi for a Fox and Beats Him). No. 37 from the series The Fifty-three Stations of the Tokaido Road (Gojūsan tsugi meisho zue). Published by Tsutaya Kichizô (Kôeidô). Censor's seals: aratame, Hare 7. Mounted at the upper margin to a passepartout.Condition: Very good condition, slightly faded colors, and good impression. Minor browning, small tears to corners, and staining. Provenance: German private collection. The passepartout with an old stamp 'ORIGINAL PRINT Guarantee by Sakai & Co., Established 1874'.Dimensions: Image size 36.5 x 25 cm, Size incl. passepartout 47.5 x 36 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The British Museum, Museum number 1915,0823,0.758. Another is in the Museum of Fine Arts in Boston, accession number 21.5278.
Lot 349
UTAGAWA HIROSHIGE (1797 - 1858): HONMOKU CLIFF IN MUSASHI PROVINCEBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 1858Color woodblock print on paper. Vertical Oban. A beautiful landscape portrait with a clear view of Mount Fuji. Entitled Honmoku Cliff in Musashi Province, from the series Thirty-Six Views of Mount Fuji. Publisher seal Tsutaya Kichizo. Mounted at the upper margin to a passepartout. Condition: With browning, staining and slightly faded colors. The upper area with some creases and losses, backed by Japan paper. Provenance: German private collection. Dimensions: Image size 36. 5 x 23.5 cm, Size incl. passepartout 52.5 x 38 cmUtagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of the Van Gogh Museum, Amsterdam, object number n0089V1962.
Lot 350
UTAGAWA HIROSHIGE (1797 - 1858): ISE-EBI AND SHIBA-EBIBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 19th century Color woodblock print on paper. Horizontal Oban. Lobster (Ise ebi) and prawn (shiba ebi), from the series Uozukushi (Every Variety of Fish). Published by Nishimuraya Yohachi (Eijudô). Censor's seal: kiwame. Inscriptions: poems by Shimotsuke Edozaki Ryokujuen Motoari (Ryokujuen Motoari from Edozaki in Shimotsuke Province) and Nen'an Machikado. Inscribed to the backside. Mounted at the upper margin to a passepartout. Condition: Slightly faded colors, and good impression. With browning and staining as well as few wormholes. The upper margin with tears. Provenance: German private collection. Dimensions: Image size 24.5 x 37.5 cm, Size incl. passepartout 38.5 x 52.5 cmThe series initially appeared as a privately printed kyōka poetry album in the orihon format, containing ten illustrated sheets and four text-only sheets. The blocks were later reused for commercial prints, with added publisher's marks, censor's kiwame seals, and occasionally different poems. Additional designs, including one with a trout, were included in the commercial series. Another publisher later added nine more designs. For a complete reproduction and detailed discussion of the first edition, consult Mann 2021, pages 290-311. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The Metropolitan Museum of Art, accession number JP3597. Another is in the Museum of Fine Arts in Boston, accession number 21.9605.
Lot 351
UTAGAWA HIROSHIGE (1797 - 1858): SHIMA PROVINCE, MOUNT HIYORI AND TOBA HARBORBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1853 Color woodblock print on paper. Vertical Oban. From the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Published by Koshimuraya Heisuke (Koshihei). Blockcutter: Hori Ta. Censor seal: Watanabe Mera (1851-1853). Mounted at the upper margin to a passepartout.Condition: Very good condition, fresh colors, and good impression. Minor browning. Provenance: German private collection. Dimensions: Image size 37.5 x 25.5 cm, Size incl. passepartout 42 x 29 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of Museum of Fine Arts in Boston, accession number 11.26227. Another is in the British Museum, Registration number 1902,0212,0.397.61
Lot 352
UTAGAWA HIROSHIGE (1797 - 1858): SHONO DRIVING RAINBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige ga Japan, originally issued 1834 - 19th century edition Color woodblock print on paper. No. 46 from the series Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi no uchi), also known as the First Tôkaidô or Great Tôkaidô. Published by Takenouchi Magohachi (Hoeidô). Censor's seal: kiwame. Condition: Good condition, good impression, colors somewhat faded, and browning. Provenance: German private collection. Dimensions: Image size 35.5 x 38.5 cm, Size incl. passepartout 36 x 48.5 cmLiterature comparison: A near identical but earlier print, is in the collection of The Metropolitan Museum of Art, accession number 11.26227. Another is in the Museum of Fine Arts in Boston, accession number 11.25063. Auction result comparison: Compare to a near identical bur earlier print at Christie´s New York, in Japanese and Korean Art on 22 September 2020, lot 128, sold for USD 30,000.Sudden Shower at Shōno is one of the best-known scenes from Hiroshige's series. It showcases his skill in capturing the intensity of a rainstorm, with palanquin bearers and villagers rushing through the rain. The design is purely imaginative, as Shōno doesn't match the depicted scenery. The umbrella bears inscriptions related to the publisher and series titles. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.
Lot 354
UTAGAWA HIROSHIGE (1797-1858): AUTUMN MOON OVER THE TAMA RIVERBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Tamagawa no shugetsu (Autumn Moon over the Tama River), from the series Edo kinko hakkei no uchi (Eight Views of the Suburbs of Edo). Boating and angling on the Tama River on the night of a full moon. The Tama River ran along the western border of Edo, while the Sumida River flowed through the east side of the city. The Tama tended to evoke poetic associations, such as with the desolate Musashino moor and the autumnal moon. Mounted at the upper margin to a passepartout.Inscription: Poem (signed Asanoyadō Massugu)The image of the moon in the autumn night which is luminous as day,lingers on the Tama stream as the river lingers by the Twin Pines.Condition: Very good condition with good colors, fine impression, and browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24 x 37.3 cm
Lot 355
UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOWBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Kameyama, yukibare (Kameyama: Clear Weather after Snow), from the series Tokaido gojusan tsugi no uchi (Fifty-three Stations of the Tokaido Road). No. 47 in 'Hoeido Tokaido' series. A daimyo procession makes its way up a steep snow-covered path to the 16th century Kameyama Castle at the upper right. The soldiers' blue coats and yellow hats are visible through the snowy trees. Next to the gate, a stone rampart topped by a watchtower serves to fortify the town's entrance and guard the clan's stronghold. Inside a passepartout.Condition: Good impression and colors. Minor material loss along the centerfold as well as a very small ink stain on the bottom left corner, some minor wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.While on road, he stayed at 53 overnight stations and made numerous sketches of everything he saw. Eventually publishing 55 landscape prints: one for each station as well as one at the beginning of the highway and one for his arrival in Kyoto. Later, he repeatedly executed new designs of the 53 Tokaido views employing his unused sketches of the previous years.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm
Lot 356
UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOW AT MASSAKIBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Massaki yukibare no zu (Clear Weather after Snow at Massaki)], from the series Tôto meisho (Famous Places in the Eastern Capital). Massaki after heavy snowfall, view of boatmen rowing through the scenic river with the Massaki Inari shrine in the background. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression and colors. Trimmed along the margins with material loss, cuts, and ink stains along the edges. Creasing along centerfold and slight browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm
Lot 357
UTAGAWA HIROSHIGE (1797-1858): DESCENDING GEESE AT KATADABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Katada rakugan (Descending Geese at Katada), from the series Omi hakkei (Eight Views of Omi) of 1857. Geese descending to Katata, in the foreground there is a partial view of a pavilion at the end of the pier. Mounted at the upper margin to a passepartout.Inscription (poem):Mine amatakoete koshiji nimazu chikakiKatada ni nabikiotsuru kariganeCondition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, and minor foxing. Paper slightly browned.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label on the verso.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 37.5 x 24 cm
Lot 360
UTAGAWA HIROSHIGE (1797-1858): IKI PROVINCE, SHISABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Iki, Shisa (Iki Province: Shisa), from the series Rokujuyoshu meisho zue (Famous Places in the Sixty-odd Provinces) of 1853-6. Hiroshige captures the landscape of Iki province as snow falls gently on the high peaks. The contrast between the grey and white provides depth to the scene. Mounted at the upper margin to a passepartout.Condition: Good condition with vibrant impression and fresh colors. Paper slightly browned and minor rubbing to lower right corner.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 38.5 x 26 cm
Lot 364
UTAGAWA HIROSHIGE (1797-1858): URAGA IN SAGAMI PROVINCE (SOSHU URAGA)By Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Soshu Uraga (Uraga in Sagami Province), from the series Nihon minato zukushi (Harbors of Japan). Uraga harbor in snow, with houses on a reinforced embankment by the sea. Snowflakes fall gently over the sleepy houses lining the shore, boats anchored at the water's edge. The blue waters form a striking contrast against the white snow and the wintry grey sky. An attractive design from a rarely seen series. Mounted at the upper margin to a passepartout.Condition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, wear, and minor foxing.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24.5 x 36.5 cm
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