HENDRIK GOLTZIUS (DUTCH 1558-1617) HERCULES VICTOR (FARNESE HERCULES)copper engraving on laid paper 42 x 30cm; 16 1/2 X 12 1/2in63.5 x 49.5cm; 25 x 19.5in (framed)Property of a European CollectorEngraving, a good though somewhat later impression, with a proprietary watermark dated 1747 and collector signatures on the reverse, with margins, creasing and small defects. The great marble of Hercules which inspired the present etching by Goltzius was carved by Glykon for the massive Baths of Caracalla in Rome in the 3rd century AD based on the now lost Greek original from the fourth century BC by Lyssipos. Glykon's copy was recovered from the site of the Baths together with a quantity of other Roman remains during excavations ordered by Pope Paul III in the mid-16th century. Moved to the Pope's family home, the majestic Palazzo Farnese, it was there, in 1590-91, that Goltzius, then at the height of his fame, captured Hercules' imposing form. The sketches in both red and black and white chalk of the sculpture are in the collection of the Teylers Museum, Haarlem, including a frontal view of Glykon's carving. Goltzius's subsequent engraving of Hercules seen from behind into which he has added two inquisitive Dutch onlookers is one of his most striking images, and remains enduringly popular.
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Gooden (Stephen). An Iconography of the Engravings of Stephen Gooden, with preface and introduction by Campbell Dodgson, 1st edition, London: Elkin Mathews, 1944, original signed etched frontispiece by Gooden, numerous monochrome illustrations, top edge gilt, original vellum backed blue cloth boards gilt, with glassine dustwrapper, publisher's slipcase (some light marks and discolouration), 4to, limited edition 115/160, specially bound, with original etching, from a total edition of 500 copies, together with Moore (George). The Brook Kerith, A Syrian Story with twelve engravings by Stephen Gooden, 1st edition, London: William Heinemann Ltd., 1929, 12 engraved plates, untrimmed, original full vellum, spine lettered in gilt, some natural tonal variation to covers, 8vo, limited edition 302/375, signed by the author and artistQTY: (2)
* Niekerk (Sarah van, 1934-2018). Wick Court, Arlingham, Gloucestershire, 1990, wood engraving of a farmhouse and animals, signed and dated in pencil to lower margin, and numbered 54/120, mount aperture 21.5 x 26.7 cm (8 1/2 x 10 1/2 ins), framed and glazed (41 x 44 cm), together with Mortimer (Roger, 20th/21st century). Coast Path Study, 1995, etching, signed, titled and dated by the artist to lower margin, numbered 1/10, plate size 24.5 x 17.2 cm (9 5/8 x 6 3/4 ins), framed and glazed (40 x 32 cm), plus Sidoli (Dawn, 1933-). Redland, 1979, screenprint, an artist's proof, signed, titled and dated lower margin, mount aperture 30.5 x 21.7 cm (12 x 8 1/2 ins), framed and glazed (50.3 x 40.4 cm)QTY: (3)
* Clarke (Graham, 1941-). Chalk Hills, circa 1966, colour blockprint on paper, signed and titled, image size 43 x 60.5 cm (17 x 23 3/4 ins), sheet size 55.5 x 76 cm (21 3/4 x 30 ins), together withSt. Anthonys, circa 1966, colour blockprint on paper, signed and titled, image size 43 x 60.5 cm (17 x 23 3/4 ins), sheet size 55.5 x 76 cm (21 3/4 x 30 ins), plusYear of the Horse, coloured etching, artist's proof, titled, signed and 'A/P' to lower margin, image size 12.5 x 10.5 cm (5 x 4 1/8 ins), framed and glazed (29 x 25 cm), and two other etchings by the same artist comprising: Nice Frame? signed and '1/75' to lower margin and Un Bon Cadre?, signed and '1/20' to lower margin, both framed and glazed (32 x 26.5 cm)QTY: (5)
'View of London from Greenwich Park', hand-coloured aquatint and etching, c. 1815, engraved for The Complete English Travellers, 18cm x 30cm, later framed and glazed, together with Harrison's History of London, 'An Engraving Plan of the City and Environs of London as Fortified by Order of Parliament in the Years 1642 and 1643', later hand-coloured, 19cm x 31cm, later framed and glazed. (2)
STAFFORDSHIRE POSTCARDS, Three Albums containing 761 early 20th century Postcards of cities, towns, villages, railway stations and coal mines in Staffordshire featuring, STAFFORD, including The Old Curiosity Shop, St. Joseph's Convent, The Workhouse, The Ancient High House, The Mill, The Picture House, Siemens' Works, Factories, The Prison, Gaol Square, The Library, Schools, Infirmaries, Municipal Buildings, Roads and Streets, River Sow and Baths, Bishton Hall and a souvenir of the Royal Visit 1907, LICHFIELD, including The Market Square, St. John's Hospital, The Friary, Recreation Grounds, Schools, Churches, The Cathedral, Members of the Clergy, The Sword and Mace Bearers, Streets, The Close, The Soldiers Home - Whittington Heath, Whittington Barracks, Locks and Canals and a rare photograph of Mr Claude Grahame-White solo pilot on the London to Manchester flight, April 23rd 1910, signing autographs in Lichfield, this card is signed but is probably a preprinted signature, RUGELEY, including Sheep Fair, Arbour Tree Cottages, built 1578, demolished 1897, The Post Office, Railway Line, The Albion Inn (Landlord and Customers standing outside), The Cenotaph and War Memorial, Streets and Roads, The Market Place, Shops (Manton's, Mercer's, Whitworth's, The Co-op) The Town Hall, Hotels, Churches, The Vicarage, Schools, Hawkeshead Priory and College, The Chase, Etching Hill, The Weir, Brereton Wall Memorial and Lodge and several of RUGELEY CAMP including a German POW hoisting the British flag on Armistice Day 11/11/1918 and Staff and Officers at the Camp, ARMITAGE, including Tunnel Hill, The Boat House, Cottage Homes, The Towers, Potteries, The Bridge, Streets, Cottages and Churches, HEDNESFORD, including The Electric Palace, The Accident Home, Lourdes Convent, Churches, Streets, Canals, a Sunday School Demonstration and the Proclamation of King George V 1910, CANNOCK, including The Bandstand, The Fire Station, Beaudesert Hall, Streets, Shops and Schools, The Courier Office and The Chase, CHASETOWN & CHASE TERRACE, including The Chasetown Churchyard Brigade Company 'Having Snap', The Vicarage, The Pool, The Cinema, Sankey's Corner and Streets, BURNTWOOD, The Asylum HAMMERWICH, Cottage Hospital, NORTON CANES, Pinfold Farm, The Infant School and Streets, CHESLYN HAY, Waterworks, Post Office, Isolation Hospital and Salem Church, STRETTON, The Garage Cafe and The Bluebell Hotel, THE MEYNELL HUNT outside Byrkley Lodge, Great Haywood & Little Haywood, including the famous Motor Car Accident of 1905 and The Square, Shugborough Lodge and The Flag Hotel, KINGS BROMLEY & ABBOTS BROMLEY, Village, Church, Market Place and Horn Dance, UTTOXETER, King George V visit, a Fire, The Memorial, The Market Place, Railway Crossings and Sidings, BURTON ON TRENT, Breweries, The Town Hall, The Market Place and Trent Bridge. There are several other small Villages in the collection but these only warrant single Postcards in most cases. Other significant places of interest include CAMPS at Penkridge Bank, Brockton Camp B and Milford, RAILWAY STATIONS at Stafford, Stone, Newcastle, Penkridge, Sandon, Uttoxeter, Colwich, Great Haywood, Barton, Walton, Burton on Trent, Tutbury, Sudbury, Milford and Rugeley and COAL MINES at Brereton, Hednesford Valley Pits, West Cannock, Brindley Heath and THE TAKEROO EXPRESS, most cards are in good condition (with exceptions), viewing recommended
A QUANTITY OF ETCHING, ENGRAVINGS AND LITHOGRAPHIC PRINTS ETC, to include a Martin Schongauer etching 'St Agnes' approximate size 17cm x 11cm excluding margins, etching 'Sacrifice to Priapus' after Jacapo De Barbari, print after Rembrandt 'The Raising of Lazarus', on laid paper with Van Geldern watermark, paper size 38cm x 26.5cm, an engraving print after Michele Louis Van Loo ' Sebastiano Josepho Carvalio Melio Marchioni Lombalio' engraved by Jaques Firmin Beauvarlet and dated 1767 - title detached, some staining, tears and creases, approximate size 66cm x 93cm, two Charles Coypel engravings, print after J Harraden 'Oxford from Hinksey Hills, Sidney Tushingham dry point etching 'Shrimpers' together with other 19th and 20th century engravings, etchings and prints etc including Muirhead Bone 'War Drawings' (FOLIO AND LOOSE)
TWO BOXES AND LOOSE PAINTINGS AND PRINTS ETC, to include a Vic Bowcott landscape watercolour depicting Lichfield Cathedral across Stow Pool, approximate size 34cm x 53cm, an indistinctly signed Czech town view in winter, approximate size 21cm x 27cm, a Swedish print of a deer on hessian by Susan Jakobsson, a Reginald Smallindge etching depicting a fishing village, a Thomas Kitchin map of Devonshire together with assorted prints and reproduction maps
Daniel Nikolaus Chodowiecki. (1726 Danzig - 1801 Berlin). Ziethen sitzend vor seinem König den 25ten Januar 1785. Um 1786. Radierung auf Velin. 46,7 x 58 cm (50,3 x 62,3 cm). In der Platte bezeichnet "gezeichnet und gestochen von D. Chodowiecki" und betitelt "Ziethen sitzend vor seinem König / den 25ten Januar 1785/ der hinterlassenen Gattin des Helden ehrerbietigst gewidmet von D. Chodowiecki". Unter Passepartout punktuell montiert und unter Plexiglas gerahmt. - Mit Fehlstellen und Einrissen im Randbereich, teils hinterlegt. Papier gegilbt. Insgesamt altersspurig und mit Braunfleckchen. Ausgzeichneter, kräftiger und nuancierter Druck. Etching on wove paper. Inscribed in the plate and titled. Mounted under passepartout and framed under plexiglas. - With losses and tears in the margins, partly backed. Paper yellowes. Overall age-marked and with small brown spots. Excellent, strong and nuanced impression.
Deutschland - Bonn - - J. Ziegler. (1749 - 1802). Ansicht der Churkölnischen Residenz Stadt Bonn = Vue de la Ville et Residence Electorale de Bonne. Späterer Abzug nach dem Druck von 1789. Kolorierte Radierung auf Van Gelder Zonen Vergé (mit WZ). 35 x 45,9 cm (41 x 53 cm). Mit gestochenem Namen, Titel, Bezeichnung sowie Publikationsvermerk. Punktuell unter Passepartout montiert. - Papier überwiegend gleichmäßig gebräunt. Insgesamt gut. Ausgezeichneter Druck in zarten Farben koloriert. Die großformatige und formatfüllende Darstellung mit breitem Rand. Aus dem Album "Collection de cinquante vues du Rhin: les plus intéressantes et les plus pittoresques, depuis Spire jusqu'à Dusseldorf, dessinées sure les lieux d'après nature = Fünfzig malerische Ansichten des Rhein-Stromes, von Speyer bis Düsseldorf". - Hg. von Artaria und Compagnie am Kohlmarkt, Wien 1798. - Nach der Arbeit von Laurens Janscha (1749-1812). - Die Ansicht zeigt im Vordergrund fünf Figuren auf einer Straße am Rheinufer, die auf den Fluss blicken. Eingebettet ist die Ansicht mit dem Blick auf Bonn mit seinem Münster und dem Kurfürstlichen Schloss. Coloured etching on Van Gelder Zonen Vergé. With engraved name, title and inscription as well as publication note. Mounted in spots under passepartout. - Paper mainly evenly browned. At all good. Perfect impression, coloured in tender colours. The large-sized and format-filling depiction with wide margins. - Later impression after the print of 1789. - From the album "Collection de cinquante vues du Rhin: les plus intéressantes et les plus pittoresques, depuis Spire jusqu'à Dusseldorf, dessinées sure les lieux d'après nature = Fünfzig malerische Ansichten des Rhein-Stromes, von Speyer bis Düsseldorf". - Published by Artaria and Compagnie am Kohlmarkt, Vienna 1798. - Engraved after the work of Laurens Janscha (1749-1812).
Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Elisabeth-Ufer (Berlin). 1913/14. Holzschnitt. Gercken 642. Dube H 197. Schiefler 224. Im Unterrand von fremder Hand bezeichnet. Eines von nur fünf bekannten Exemplaren. Auf Kupferdruckpapier. 20,5 x 23,1 cm (8 x 9 in). Papier: 52,2 x 39 cm (20,6 x 15,4 in). [CH]. • Handdruck des Künstlers. • Zwei der nur fünf bekannten Exemplare befinden sich in Museumsbesitz: in der National Gallery of Art, Washington, D.C., und im Portland Museum of Art, Portland/Oregon. • Im selben Jahr entsteht nicht nur eine gleichnamige, kompositorisch ähnliche Kaltnadelradierung (Gercken 641), sondern auch das motivisch eng verwandte Gemälde 'Rotes Elisabethufer, Berlin' (Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, München, Gordon 275). • Charakteristische Vorgehensweise: Häufig entwickelt Kirchner eine bestimmte Darstellung in seinem favorisierten druckgrafischen Verfahren, dem Holzschnitt, und widmet sich dem Motiv dann noch einmal malerisch in Form eines Gemäldes. PROVENIENZ: Barbara Wentzel, Suttgart (wohl 1975 durch Erbschaft von Prof. Dr. Hans Wentzel erhalten). Sammlung Hermann Gerlinger, Würzburg (1988 von der Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 156, SHG-Nr. 154 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 323, SHG-Nr. 727 (m. Abb.). Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, Bd. 3 (543-847, 1912-1916), Bern 2015, S. 114, Kat.-Nr. 642 (m. Abb., S. 115). 'Viel Arbeiten aus dem Kopf, über Holzschnitt oder Radierung zum Bilde sich entwickelnd wie früher ja auch oft.' Kirchner an Luise Schiefler, 29. Juli 1937, in: Wolfgang Henze (Hrsg.), Ernst Ludwig Kirchner – Gustav Schiefler, Briefwechsel 1910–1935/1938, Stuttgart 1993, Nr. 626. Aufrufzeit: 10.06.2023 - ca. 17.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Elisabeth-Ufer (Berlin). 1913/14. Woodcut. Gercken 642. Dube H 197. Schiefler 224. Inscribed in lower margin by a hand other than that of the artist. One of five known copies. On copper plate printing paper. 20.5 x 23.1 cm (8 x 9 in). Sheet: 52,2 x 39 cm (20,6 x 15,4 in). [CH]. • Hand-printed by the artist • Two of the five known copies are museum-owned: one is at the National Gallery of Art, Washington, DC and one at the Portland Museum of Art, Portland/Oregon. • The same year the artist made the drypoint etching of the same name (Gercken 641) with a similar composition, as well as the very similar painting 'Rotes Elisabethufer, Berlin' (Pinakothek der Moderne, Munich, Gordon 275). • Typical method: Kirchner often conceived a certain motif in the woodcut, his preferred technique, and then revisited the motif in a painting. PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 156, SHG no. 154 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 336, SHG no. 531 (with illu.). Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, vol. 3 (543-847, 1912-1916), Bern 2015, p. 114, cat. no. 642 (with illu., p. 115). 'We used to conceive many works from memory, from woodcut over etching to painting.' Kirchner to Luise Schiefler, July 29, 1937, in: Wolfgang Henze (ed.), Ernst Ludwig Kirchner - Gustav Schiefler, Briefwechsel 1910-1935/1938, Stuttgart 1993, no. 626. Called up: June 10, 2023 - ca. 17.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.
Dolch für Kadetten, Kaiserliche Marine, um 1900, Klinge korrodiert, wohl ehemals Zierätzung, Hersteller wohl Eickhorn, Solingen, Messingbeschläge, Bein vergilbt, frühere Drahtumwicklung verloren, L 46,5 cm. Dagger for cadets, Germany, Imperial Navy, around 1900, blade corroded, probably former ornamental etching, manufacturer probably Eickhorn, Solingen, brass fittings, leg yellowed, former wire wrap lost, l 46.5 cm
Glas-Konvolut aus Vasen und Murano-Objekten: blassrote, dickwandige Vase mit floralen und ornamentalen Ätzungen, Moser, Karlsbad, unterseitig Ätzsignatur. H. 20 cm; kleine farblose Vase, Jugendstil, quadratischer Stand, nach oben leicht verjüngend, Blumendekor, H. 10 cm, min. best.; Vase mit quadratischem Stand, leicht bauchig, rot-grüner marmorierter Glasfluss, darüber feine florale Goldverzierungen, H. 25 cm; Zierpokal aus farblosem Glas auf hellblau-gelbem Fuß mit aufgeschmolzenen Verzierungen, Murano, H. 20 cm; gelbe Glasfigur, Fisch, Delfin, Murano, um 1890, Haarr. oder Kratzer am Stand, H. 28 cm; alle leichte Altersspuren. / Glass assortment of vases and Murano objects: red, thick-walled vase with floral and ornamental etchings, Moser, Karlsbad, etching signature on the underside. H. 20 cm; small colourless vase, Art Nouveau, square stand, slightly tapering towards the top, floral decoration, h. 10 cm, slightly dam.; vase with square stand, slightly bulbous, red-green marbled glass flow, above fine floral gold decorations, h. 25 cm; ornamental goblet of colourless glass on a light blue-yellow base with fused decorations, Murano, h. 20 cm; yellow glass figure, fish, dolphin, Murano, c. 1890, hairline or scratch on the stand, h. 28 cm; all slight signs of age.
Erich BRAUER (1929-2021)Auf dem WegRadierung, mit Bleistift signiert, Beilage aus dem Ausstellungskatalog "Die Wiener Schule" der Galerie Sydow, Frankfurt 196612,5 x 15 cmErich BRAUER (1929-2021)On the wayEtching, signed in pencil, supplement from the exhibition catalog "The Viennese School" of the Sydow Gallery, Frankfurt 196612.5x15cm
Jean-Baptiste GREUZE (1725-1805)Le paralytiqueKupferstich von Jean-Jacques FLIPART (1719-1782) 1767, gewidmet an Zarin Katharina die Grosse von Russland54 x 64 cmZustand: sehr schlecht, mehrere Risse, teilweise auf Unterlage montiert.Jean-Baptiste GREUZE (1725-1805)Le paralytiqueEtching by Jean-Jacques FLIPART (1719-1782) 1767, dedicated to Tsarina Catherine the Great of Russia54 x 64 cmCondition: very bad, several cracks, partly mounted on cardboard.
After John Sell Cotman (1782-1842)"The East end of Howden Church, Yorkshire"Etching, together with three further etchings after the same hand, "Easby Abbey, Yorkshire", "Kirkham Priory, Yorkshire" and "Walsingham Abbey Gate", 39cm by 28.5cm, 37.5cm by 26.5cm, 31cm by 23cm and 31cm by 23cm (4)
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78388 item(s)/page