Eduardo Chillida Gezna I. Orig.-Aquatintaradierung. Signiert und numeriert. 1969. Auf 'Chiffon de Mandeure'-Vélin. 28,8 : 28,5 cm. Blattgröße 73 : 104 cm. 1 von 50 numerierten Exemplaren. Herausgegeben von Maeght Éditeur, Paris. In Gezna I schlängeln sich auf einem grauen Viereck fast labyrinthartig verwobene tiefschwarze Streifen derartig, daß eine flüchtigere räumliche Qualität entsteht. Dieser einfarbige und dennoch bildkräftige Kontrast wurde zum Markenzeichen Chillidas. - PROVENIENZ: Seit den 1970er Jahren in hessischem Privatbesitz. LITERATUR: Van der Koelen 69021. - Michelin 77. - 1 of 50 numb. copies. Edited by Maeght Éditeur, Paris. Orig. aquatint etching. Signed and numbered. 1969. On 'Chiffon de Mandeure' wove paper. 28.8 : 28.5 cm. Sheet size 73 : 104 cm. - On the right margin minimal sunned, with 2 faint handling creases in the white margin. Privately owned in Hesse since the 1970s. - Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
We found 78408 price guide item(s) matching your search
There are 78408 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
78408 item(s)/page
Hamburgischer Künstlerclub 1898 Mappe mit 6 Graphiken (5 Orig.-Lithographien und 1 Zinkätzung). Hamburg, Selbstverlag 1898. - Erschienen in nur 25 Exemplaren - Vollständiges Portfolio mit 6 Graphiken Hamburger Künstler - Wichtiges Dokument zur Hamburger Kunstgeschichte um 1900. - Die zweite und zugleich letzte Graphikmappe des 1897 gegründeten Hamburger Künstlerclubs, beide Mappen verkauften sich allerdings extrem schlecht. 'In den Jahren 1897 und 1898 gab der Künstlerclub jeweils eine Mappe mit Originalgraphik aller Mitglieder heraus - damals etwas unerhört neues .. die Tendenz des Publikums, Originalwerke zu besitzen, war für Lichtwark eine logische Folge der Übersättigung durch billige Reproduktionsstiche' (Meyer-Tönnesmann). Trotzdem fanden die Mappen keine Akzeptanz, Lichtwark sah zum Beispiel in den Mappen mit verschiedenen Künstlern ein Koppelgeschäft, das er als 'unzulässige Bevormundung des Publikums mißbilligte' (Ebd.). - Enthält folgende Graphiken: Ernst Eitner Belgisches Dorf (Schiefler 38). - Arthur Illies Die Nixe (Schiefler 67). - Paul Kayser Knabe auf Steg (Schiefler 5). - Friedrich Schaper Straße in Arnis (Schiefler 12). - Thomas Herbst Dorfbrunnen (nicht bei Schiefler). - Arthur Siebelist Vesper (Schiefler 4). Die im Inhaltsverzeichnis aufgeführte Graphik von Julius von Ehren ist nicht erschienen. Die dekorative Titelillustration von A. Illies zeigt das Zeichen des Künstlerclubs, die heilige Katharina vom Dach der Katharinenkirche, mit Palmenzweig und Rad auf einem Sockel, eingefaßt in einer kräftigen Jugendstilbordüre. EINBAND: Lose Graphiken in Orig.-Papp-Mappe mit 2 Schließlaschen. 32,5 : 33,5 cm. - ILLUSTRATION: Mit 1 farb. Zinkätzung (A. Illies) und 5 Orig.-Lithographien. - PROVENIENZ: Norddeutsche Privatsammlung. LITERATUR: C. Meyer-Tönnesmann, Der Hamburgische Künstlerclub von 1897. S. 218ff. - Second and last portfolio of the 'Hamburger Künstlerclub', est. in 1897. Complete portfolio with 6 prints by local artists, from an edition of only 25 copies. Loose prints in orig. boards portfolio with 2 flaps. 1 color zinco etching (A. Illies) and 5 orig. lithographs. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Pablo Picasso La sauvetage de la noyée II. Orig.-Radierung. Signiert und numeriert. 1932/1961. Auf Arches Bütten. 15,8 : 20 cm. Papierformat 32,5 : 37,5 cm. - 1 von 50 numerierten Exemplaren - Das ebenfalls im gleichen Jahr unter dem Titel geschaffene Ölgemälde wurde vor knapp 10 Jahren zu 31 Millionen Dollar versteigert. - Die Rettung einer Ertrinkenden beschäftigte Picasso so sehr, daß er gleich drei Radierungen zu dem Thema schuf. - Druck der Edition Galerie Louise Leiris, Paris 1961. - PROVENIENZ: Seit 2011 in hessischem Privatbesitz. LITERATUR: Bloch 245. 1 of 50 numbered copies. Saving a drowning woman occupied Picasso so much that he created 3 different etchings on the subject. The oil painting, also created in the same year under the title, was auctioned off almost 10 years ago for 31 million dollars. Orig. etching. Signed and numbered. 1932/1961. On Arches laid paper. 15.8 : 20 cm. Paper size 32.5 : 37.5 cm. - Slightly browned, upper edge verso in 2 places with small mounting remains. Privately owned in Hesse since 1981. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
Gilbert Lely La Folie Tristan. Poème anglo-normand du XIIe siècle traduit librement dans son mètre original. Paris, J. Hugues 1959. - Mit einer signierten doppelblattgroßen Orig.-Radierung von Alberto Giacometti - 1 von nur 12 Exemplaren hors commers. - Frühe Buchillustration von Alberto Giacometti zu einem späteren Werk des französischen surrealistischen Schriftstellers Gilbert Lely, der vor allem durch seine Arbeiten über Marquis de Sade bekannt wurde. - Druckvermerk von Giacometti signiert. - Versehen mit einer Orig.-Radierung erschienen insges. nur 50 Exemplare sowie 12 Exemplare hors commers. - Erschienen in der Reihe Le cri de la fée , volume I. EINBAND: Leinenband der Zeit mit rotem Rückenschild, Orig.-Umschlag eingebunden. 15 : 10,5 cm. - ILLUSTRATION: Mit 1 signierten Orig.-Radierung von A. Giacometti. - PROVENIENZ: Norddeutsche Privatsammlung. LITERATUR: Lust 103. - Monod 7078. - With a double-page etching signed by Alberto Giacometti. 1 of only 12 copies h.c. Contemp cloth with red label, orig. wrapper bound in. Dieses Objekt wird regel- oder differenzbesteuert angeboten.
Eduardo Chillida Nitaz. Orig.-Radierung. Signiert und numeriert. 1975. Auf gelblichem Vélin d'Arches. 160 : 120,5 cm. - 1 von nur 50 numerierten Exemplaren - Eine der größten graphischen Arbeiten Chillidas - Schönes Exemplar auf festem Vélin. - Herausgegeben von Maeght Éditeur, Paris. - Ende der 1950er Jahre begann Chillida mit Druckgraphik zu experimentieren, in den späten 1960er Jahren fügte er Aquatinta hinzu, um noch dichtere Bereiche zu schaffen. Sowohl in seinen Skulpturen, als auch seiner Graphik studierte er das Licht, die Kontraste zwischen Hell und Dunkel, das Volle und das Leere. Diese Gegensätze begleiten seine gesamte künstlerische Tätigkeit. Chillidas graphisches Werk aus den späten 60er und frühen 70er Jahren sind durch nüchterne Kompositionen mit einer Dominanz von Schwarz und Weiß gekennzeichnet. Die vorliegende Arbeit, vielleicht auch durch ihre Größe bedingt, zeigt hingegen ein durchscheinendes Schwarz. Hier wird die sonst gerne in sich gestaltete Dichte quasi aufgehoben und transluzent, so daß sich die Form aufzulösen scheint. - PROVENIENZ: Seit 1980 in hessischem Privatbesitz. LITERATUR: Van der Koelen, II, 75003. - Michelin 185. - 1 of only 50 numbered copies. One of the largest graphic sheets of the artist. Nice copy on firm wove paper. Orig. etching. Signed and numbered. 1975. On yellowish wove paper d'Arches. 160 : 120.5 cm. - Framed, unopened. Privately owned in Hesse since 1980. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.
ONE BOX OF BOOKS AND CIGARETTE CARD ALBUMS, to include nine 1930's Senior Service card albums comprising series of Railways, Flying, Coastwise, The Navy, Our Countryside, Britain From the Air, Winter Scenes, The Bridges Of Britain, Haunts By The Sea, an Australian stamp album 1913-1950, a John Player & Sons The Kings And Queens Of England album, a W.D & H.O. Wills cigarettes 'Air Raid Precautions' and 'Wild Flowers' albums together with a pack of 'Old Inns' cards, twenty seven assorted Brooke Bond Tea albums, books include a first edition section VI Birmingham - The National Roll Of The Great War 1914-1918 (end papers foxed, dealers label inside, the bottom of the spine is beginning to part), The History of the 1st and 2nd Battalions The North Staffordshire Regiment (the Prince of Wales) 1914-1923 published by Longton Staffordshire:Hughes & Harber Ltd, 1932, German Students' War Letters by Philipp Witkop: A.F Wedd (foxing to all pages and water damage to dust cover), With The Mad 17th To Italy by Major E.H Hody, The Rossall School Register 1844-1923, together with an original etching by William Strang 'The Errand' signed by William Strang (1 box + loose)
SEVEN SPORTING RELATED PRINTS: W.A. Cox after Francis Philip Barraud & A.H.Wardlow - 'Beaumont 'Cricketfield' Looking towards the Beeches', hand-coloured etching, Published March 18th 1892 by Messrs Dickinson & Foster, Publishers to the Queen, 114 Bond Street, 35 x 61 cm; After Henry Thomas Alken - 'The First Steeple-Chase on Record' set of four colour lithograph prints, approx. 18 x 31 cm each, framed as a set; together with two colour reproduction prints - 'To the Society of Goffers at Blackheath' 28 x 40 cm each, framed as a pair (7)
Eight Framed Prints to Include: Charles Bird - 'St Mary Redcliffe, Bristol, 19th century etching, 70 x 46 cm; After Guilielmo Blaeuw - Five prints of maps of: France, Italy, Africa, Asia and America; After Andre Hennebicq - 'Le Cornemuseur', 19th century chromolithograph; After N. Jacobus - 'A Summers Day', all framed (8)
Ten Etchings and three watercolours of Ducks, Chickens and Teddybears by Different Artists to Include: Marjorie Little - 'Runners Return' limited edition aquatint in colours. 19.5 x 12.5 cm; Frans Wesselman (b.1953) - Two limited edition etchings; Sue Lewington - 'Teatime' limited edition etching; Limited edition etching of ducks, indistinctly signed; Frances A. Shearing - Three limited edition etchings; 'Cockerel' (1985), watercolour on paper, indistinctly signed; Laura Boys - Two limited edition etchings; F. Perrin - 'Mallard Rising', watercolour; John Lawson - 'Five Funky Chickens, watercolour, all framed and glazed (13)
Four prints. Cedric W Hodgson. (British, 20th century). Shelleys Cottage, Lynmouth. Etching. Titled and signed in the plate, signed in pencil below. Plate 15 x 12.5cm. Together with James Duffield Harding (1797-1863). Richmond, Yorkshire, Stone lithograph after T. Heslop. 24 x 17cm. Elizabeth Piper (active 1892-1932) Harrow on the Hill from Sudbury Court Farm. Titled in the plate, signed in pencil lower left. Published by W H Beynon. Image size 19 x 24cm. F. Robson Castle Girth and Cathedral, Newcastle on Tyne. 21 x 14cm. (4).
THE ARCHBISHOP SPOTTISWOODE (1565-1639) SEAL A 17TH-CENTURY BASE METAL SEAL the seal of navette outline, with a depiction of St. Andrew with the Saltire in a border SIGILLVM * R * D * IOHANNIS * ARCHIEPISCOPI * SANCTI * ANDREA, with an integral crescent handle to the reverseDimensions:Length: 95mmNote: Note:Archbishop John Spottiswood was a highly important figure within the Scottish Church and worked at the highest levels of society.Born in 1565 the eldest son of a Minister, he was educated at Glasgow University. He would take over from his father in the Parish of Calder in 1583 only two years after leaving Glasgow. His rise within society is noted by 1601 when he was a Chaplain to the Duke of Lennox in the embassy to the French Court. He was with King James VI and I in England on his accession, once again showing his close relationship with Court. He was nominated to the seat of Glasgow the same year but not consecrated until 1610.His religious views appear to have changed over time, softening from his initial ardent strict Presbyterian attitudes. Some may consider this softening of views with his closer alignment to the Royal Court and the views he chose to share often supported the views of the King. He was a supporter in the suppression of kirk powers that encroached on Royal authority and indeed aimed to align the Scottish practices with the English Church.In 1610 he presided as moderator and during this time the supremacy of Presbytery was abolished, it was not long after this his consecration was made official by the Bishops of London, Ely, Rochester and Worcester. He was made Archbishop of St Andrews and primate of Scotland in 1618.He would continue a close and highly important relationship with the Royal Court and in 1633 would crown Charles I at the Palace of Holyrood in Edinburgh.He published within his lifetime and, while not all would agree with his greatness must be considered an instrumental figure in 17th-century Scottish life and religion. See National Portrait Gallery Collection for a contemporary portraitJohn Spottiswoode by Wenceslaus Hollar - etching, circa 1655; published 1668NPG D9946
Sarah van Niekerk (British, 1934-2018), Pxxxxx Farm, signed and dated 1990 l.r., titled below, woodcut No.55/100, 16 by 20cm, letter from the artist verso, with Catherine Grubb (British, 1945), The Secret Lane, signed l.r., titled below, colour etching No.7/60, 25 by 20cm and Sarah Dunton (British, 20th Century), Illustrator with Cat, signed l.r., titled below, etching No.7/50, 20 by 15cm, all framed (3). Note: Artist Resale Rights apply
Broadside.- Dibdin (Charles) Bachelors' Hall: written and composed by Mr. Dibdin, for his entertainment called The oddities, scarce broadside, etching with hand-colouring, letterpress underneath, sheet 365 x 225 mm (14 1/2 x 8 3/4 in), under glass, some minor surface dirt, framed, S.W. Fores, 1791; together with a group of 14 mounted vues d'optique, and over several hundred engraved portraits, all unframed, mainly 17th to 19th century (Sm. qty.)
NO RESERVE Trade cards.- Parisian dealers.- Laboureur (Jean-Émile) and others. [Invitation from art dealer Henri M. Petiet in Paris], etching, drypoint, letterpress printing, etching platemark 83 x 115 mm (3 1/4 x 4 1/2 in), sheet 115 x 290 mm (4 1/2 x 11 1/2 in), central fold as issued, unframed, [circa 1925]; together with two variant states of Laboureur's trade card for Camille Bloch, both inscribed in ink, and 7 proof book illustrations, etchings, unframed, [c.1920s] (
JACOBEAN'S WALK, CLIFFORD'S INN, AN ETCHING BY R M C LEEPER ALONG WITH TWO OTHERS etching on paper, signedMounted, framed and under glass.Label verso: James Connell & Sons, Fine Art Dealers, Glasgow, the two others depicting The New Chirch.... Amsterdam, and an architectural piece after Fourdrinier (3) etching size 28cm x 19cm
Stuart Teal Loughridge (American, b. 1978). Etching titled "Stone Arch Bridge" depicting the Stone Arch Bridge over the Mississippi River in Minneapolis, Minnesota, 2011. Signed along the lower right; titled along the lower center; inscribed AP for Artist Proof along the lower left.Image; height: 3 3/4 in x width: 9 1/2 in. Sight; height: 4 3/4 in x width: 10 1/2 in. Framed; height: 11 in x width: 16 in.Condition: There do not appear to be any rips, losses, or restorations. Light wear to the frame; framed under plexiglass; not inspected out of frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Montana's Killing Me." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Signed along the top edge of the print.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The sheet has light undulation throughout. The sheet is floating on the frame; all four margins are visible. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "That’s as Fair as I Know How to Make It." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Titled along the top edge of the print.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The sheet is floating on the frame and has light undulation throughout; all four margins are visible. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "It's Just my Rough Habits, I Guess." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Titled along the top edge of the print.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The sheet has light undulation and floating on the frame; all four margins are visible. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Butterfly Mornings, Wildflower Afternoons." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Titled along the top edge of the print.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. Slight undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under plexiglass; not inspected out of frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "I Forgot It Was Sunday." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Titled along the top edge of the print. From a suite of five prints.Provenance: Distinguished corporate collection, Minnesota.Unframed; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: No visible creases, tears, or losses. No visible sign of restoration under UV light. The sheet has light undulation and is floating on the frame. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Julian Trevelyan (1910-1998)Windsor, 196928/75, signed, titled, and numbered in pencil (in the margin)etching and aquatint59 x 77cm, unframed.Condition good overall. One scuff mark approx. two inches top left extending from edge of sheet into margin but well clear of image.Small tear approx. 1/3 inch lower left at edge of sheet into margin.Provenance: Private collection. It does not look like it has been framed before.
Leonard Russell Squirrell (1893-1979)Wymondham Abbey, Norfolk, 1934signed in pencil (in the margin)mezzotint26 x 38cm; and an etching by the same artist, Brig O'Gowrie, Deeside, 26 x 36cm (2).Squirrell Abbey - area horizontal tear at upper border following plate mark approx two thirds of way across image. Otherwise ok.Squirrell Brigg - condition apppears fine.
Loading...-
78408 item(s)/page