Friedensreich Hundertwasser Mädchenfund im Gras - Erinnerung an Hannover - Das träumende Mädchen vor dem Haus der verhängten Fenster - Sonnenuntergangsdame. Orig.-Farbradierung. Signiert, numeriert, datiert und mit drei japanischen Stempeln in Rot. 1964. Auf Velin. 19,5 : 27,5 cm. Blattgröße: 40 : 52 cm. 1 von 300 Exemplaren. Frühe und markante Arbeit, entstanden im Rahmen der ersten großen Hundertwasser-Ausstellung in der Kestner-Gesellschaft, Hannover. Jahresgabe der Kestner-Gesellschaft, Hannover (mit dem Stempel der Gesellschaft auf der Rückseite). Hundertwasser unternahm 1963 mehrere große Reisen und veröffentlichte in diesem Jahr überhaupt keine graphischen Arbeiten. Das Blatt entstand auf Anregung von Wieland Schmied, der die erste große Hundertwasser-Ausstellung organisierte und zu der auch der erste Oeuvre-Katalog in der Kestner-Gesellschaft 1964 erschien; von W. Schmidt stammt auch der Titel Girl-finding in the grass . 'The printing took place in May, 1964, in the Brunswick School of Art workshop. The artist engraved the zinc plate, leaving preparation of the color plates and the color application to the students. Originally the color plates were to have been aquatinted, a process that proved too costly and time-consuming. The colors were therefore drawn on a granulated plastic foil and from there printed into etching. Hundertwasser was satisfied with the result. In the instance of architecture has pushed the spiral toward the edge of the picture, while the building itself seems about a slide away. A transitional work, it shows the artist adopting a linear technique that hardly occurs elswhere. Evidently a departure, a change lay ahead.' (Koschatzky) 1 of 300 copies. Early important work, made in context of the first big Hundertwasser exhibition at Kestner-Gesellschaft, Hanover. Framed under glass and mounted in places. - Lower left corner with a kink. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
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Pierre Soulages Eau-forte VII. Orig.-Farbradierung. Signiert und numeriert. Paris, Edition Berggruen 1957. Auf BFK Rives mit Wasserzeichen. Blattgröße: 66 : 50 cm. - Plattenformat: 54 : 39 cm. 1 von 100 numerierten und signierten Exemplaren der in sich geschlossenen und dichten Komposition aus schwarzen schmaleren und breiteren Linien vor hellem Grund, durch die teils warmes Rotbraun scheint. Der französischer Maler und Grafiker Pierre Soulages (geb. 1919) ist neben Hans Hartung der Hauptvertreter der abstrakten Richtung der französischen Gegenwartsmalerei. - 'Im Schwarz verbinden sich ungeahnte Möglichkeiten. Und mit gespannter Aufmerksamkeit für alles, was ich nicht weiß, gehe ich auf sie zu' (Pierre Soulages in Kat. Boisseree 2009). LITERATUR: Encrevé/Miessner 7. - Rivière/Hertert S. 41f. Orirg. etching in colors, signed and numbered 70/100. 1957. On BFK Rives with watermark. Sheet size 66 : 50 cm. - Plate 54 : 39 cm. - White margins slightly wavy, with 2 tiny stains at the white margins, 1 corner minim. bumped. Altogether fine copy. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
A. E Spong, mountainside, pastel, signed to the lower right, framed and glazed, 25cm x 35cm, together with an Indian miniature painting, framed and glazed, 10cm x 18.5cm, together with a Japanese floral print, framed and glazed, 23cm x 31.5cm and a Chinese mountainous landscape, print on cloth, framed and glazed, 21cm x 24cm, a limited edition etching of a rural landscape and three further decorative pictures (8)Spong with chip to frame, floral print with creases and tear to the left edge
* JOHN BELLANY CBE RA HRSA (SCOTTISH 1942 - 2013),BASS ROCK FABLE (Homage to David Brown)oil on canvas, titled (bottom edge) and signedoverall size 76cm x 61cm Unframed.Provenance: Acquired by the current vendor at Christie's (London) 3rd July 2003 lot 569. Private London collection.Note: "Bass Rock Fable" combines several Bellany "favourites". The Bass Rock, a puffin and a gannet (clearly female). David Brown was Curator of Tate Gallery (London) and one assumes that he arranged acquistions of works by Bellany which prompted this "homage". "Bass Rock Fable" is also the title of one of Bellany's best known etchings and the compositions (painting and etching) are very similar.Condition is good overall, with no visible signs of restoration, damage, or known issues.
Tuer, Andrew W.: The History of the Horn-Book. 1897, light spotting of frontis; La Guirlande des Annees. Images d'hier et pages d'aujourdhi. Paris, 1941, limited edition 500; The Dance of Death Printed at Paris in 1490. Washington, Library of Congress Rare Books Division, (?) 1945, limited edition 200, in slip case; Gray, John. Elegy in a Country Churchyard. Illustrated by the Etching Club. London, (?) 1848, occasional light foxing, heavier to prelims, green morocco gilt; with 4 others.
Große Karaffe, deutsch, um 1880/90, Renaissancestil, Silbermontur, teilvergoldet, aufwendig geschliffener und facettierter Glaskorpus, z.T. Kreuzschliff, angelaufen, schöne Verarbeitung, H. ca. 40 cmLarge carafe, German, around 1880/90, Renaissance style, silver casing, partly gilt,elaborately etched and beveling glass corpus, partly cross etching, tarnished, beautiful work, H. approx. 40 cm
Nach Anthonis van Dyck, 1599 Antwerpen - 1641 London, Bildnis des Schlachtenmalers Joannes Snellinx, nach der orig. Radierung van Dycks, um 1900, unten bezeichnet, unter PP u. Glas gerahmt, ca. 39 x 31 cmCopy after Anthonis van Dyck, 1599 Antwerp - 1641 London, portrait of the battle painter Joannes Snellinx, after the orig. Etching by van Dyck, around 1900, inscribed below, framedunder PP and glass, approx. 39 x 31 cm
A Victorian oak and mahogany parquetry sewing stand of octagonal form; together with a cut glass scent bottle with silver top, a Victorian mahogany cylindrical box and cover, a Regency box, an inlaid rosewood example, three wlaking canes, an Edwardian watercolour military caricature portrait of General Sir John Slade, Royal Dragoons, dated 1902 to inscription verso, a coloured etching, and a box of joiners moulding planes
Brosche, wohl Norwegen um 1935/40, 925er Silber, teilvergoldet, Goldpiquee, Grund guill. und transluzid mehrfach emaill., weiß bis rosa changierend, Schneeballblumen, reine Glücksbringer, bez. GG 925er NM, unged., Rand schwarz emailliert, ca. 7.5 x 6 cmBrooch, probably Norway approx. 1935/40 , silver 925, partly gilt, goldpiquee, ground needle etching and translucent multiple enameled, white up to rose coloured iridescent, snow ball flowers, pure lucky charm, ref. YG 925er NM, unidentified, edge black enameled, approx. 7.5 x 6 cm
Hold to light moving panorama.- German School (circa 1830s) Moveable panorama set within a lady's hand-held fire screen, engraved panorama on wove paper with full original hand-colouring, approx. 74 x 98 mm of viewable image, set within shaped card frame with etching and aquatint vignette pasted on showing a pastoral scene with Shepherd and two reclining ladies underneath a tree, hand-coloured, the panorama with two functioning rollers to operate movement, gilt edges, with turned wooden handle, total size 370 x 200 mm (14 5/8 x 7 7/8 in), some rubbing and signs of use, light toning and some browning, cockling to aquatint, [probably circa 1830s]⁂ Rare survival of a lady's fire-screen with moveable panorama from the first half of the 19th century.
Canadiana.- Cockburn (Maj. Gen. James Pattison, military artist and topographical draughtsman, 1779-1847), After. [Six Landscape of Quebec City and Six Views of Niagara Falls], 2 suites in 1 vol., both complete comprising a total of 12 aquatints with etching, all with full vibrant original hand-colouring heightened with gum arabic, on Whatman wove paper, each with crisp watermark and date, the majority '1830', 2 sheets '1831', and 1 sheet '1832', each platemark approx. 520 x 700 mm (20 1/2 x 27 1/2 in), full margins with each sheet approx. 560 x 800 mm (22 x 31 1/2 in), the front free endpapers with some toning to extremities from binding but not affecting the plates, plates 1 and 2 of the Quebec Views with light creasing and small printer's crease, plate 6 with small 1-2 cm vertical tear in the centre margin, otherwise marginal surface dirt and finger-soiling throughout, some very minor spotting, minor cockling and handling creases, contemporary half morocco, spine gilt 'Canadian Scenery. Cockburn.', blue marbled boards with green morocco label to upper cover, gilt with title 'Views in the Canadas', corners bumped and scuffed, some signs of light wear, collector's bookplate of J.J. Colman to front pastedown with manuscript ink label no. '291', oblong elephant folio, published by Ackermann & Co., London, 1833 "Views of Quebec" include:Plate 1 - This View of Cape Diamond and Wolf's Cove from Point a Pizeau, by Charles HuntPlate 2 - The Ice Pont Formed between Quebec & Point Levi, by I. StewartPlate 3 - This View of Quebec from below Aubigny Church, Point Levi, by H. PyallPlate 4 - This View of the Falls of Montmorency (Quebec in the distance), by Charles HuntPlate 5 - This View of The Cone of Montmorency, as it appeared in 1829, by C. BentlyPlate 6 - This View of The Lower City of Quebec, from the Parapet of the Upper City, by Charles Hunt"Views of Niagara Falls" include:Plate 1 - The Falls of Niagara. This View of Table Rock & Horse-Shoe-Fall, by Charles HuntPlate 2 - The Falls of Niagara. This General View above the English Ferry, by Jno. EdgePlate 3 - The Falls of Niagara. This View of the Horse-Shoe-Fall, from below Goat-Island, by Charles HuntPlate 4 - The Falls of Niagara. This View from the Upper Bank, English Side, by Charles HuntPlate 5 - The Falls of Niagara. This View of the American Fall, from Goat Island, by C. BentlyPlate 6 - The Falls of Niagara. This View of the Horse-Shoe-Fall, from Goat Island, by Charles Hunt⁂ 'These prints are the most famous of all those created by artists active in Canada in the nineteenth century, [...] they are unrivalled in terms of complexity and difficulty...' [R. Villeneuve, Lord Dalhousie: Patron and Collector, Ottawa, 2008, p. 74]A rare opportunity to acquire the complete "double series" of all 12 aquatint views after Cockburn. One set was offered in two separate suites of six as part of The Winkworth Collection (see Christie's The Winkworth Collection: A Treasure House of Canadiana in London, lots 133 and 202), but we have been unable to trace another example of both suites together in a contemporary binding.
SAMUEL PALMER (BRITISH 1805-1881)THE SLEEPING SHEPHERD, EARLY MORNING (1857)EtchingSigned in the plate (lower left) and plate number 5 (in the plate)9.5 x 7.8cm (3½ x 3 in.)Lister 6, state IV/IV, published in Etchings for the Art Union of London by the Etching Club in 1857. The plate for this etching is known to have been destroyed by 1882. Condition Report: Mounted to a backboard with tape attached to the upper edge, on the reverse. Attached at two points, upper left and upper right. Surface dirt visible along the upper and lower edge and to the lower right corner with possible evidence of glue residue. Overall image is good. This work is unframed. Condition Report Disclaimer
§ Graham Sutherland OM (British 1903-1980) The Meadow Chapelsigned and inscribed 'GrahamSutherland imp.' (lower right); further signed with initials and dated 1928 to the plate (upper left)etching12 x 16.5cmProvenance:The collection of Joseph Fitton (1925-2009)Frame has some minor knocks to extremities but is presentable and structurally sound. The print has not been examined out of the frame, edges of the sheet are obscured by the mount so not available for inspection. There is some overall age toning, but this is uniform and even. There appears to be a small scratch to the top margin and two very small foxing spots visible to the church. There is some slight undulation to the sheet. Overall a nice, strong impression.
§ A folio of modern works on paper, to include: Pierre Célice, Orange Oval, signed 'Célice' (lower right), numbered 3/75, lithograph, 54 x 69.5cm; Jacques Monory (French 1924-2018), Le Lac Powell, signed 'MONORY' (lower right), artist's proof, screenprint, 76 x 56cm; Johnny Friedläender (German 1912-1992), Galerie Commeter, signed 'Friedlaender' (centre right), etching and aquatint, 66 x 50cm; Margo Margolis (American 1947-), Untitled, signed 'M. Margolis' (lower right), numbered 17/60, screenprint, 64.5 x 50cm; Judy Rifka (American 1945-), The Greatest Show on Earth, signed and dated 'Rifka 82' (lower left), numbered 67/90, screenprint, 46 x 26cm; T.L. Solien (American 1949-), Untitled, signed and dated 'T.L. Solien 1986' (lower right), gouache, 33 x 25.5cm; together with four further prints (10)
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71174 item(s)/page