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Lot 1418
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 25cm x 39cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1419
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 25cm x 39cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1420
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 25cm x 39cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1421
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 39 x 25cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1422
Giovanni Battista Piranesi (1720-1778) Chimneypiece in the Egyptian style , Etching , lower left "Cavalier Piranei inv. e inc. , 39cm x 25cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1423
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 25cm x 39cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 1424
Giovanni Battista Piranesi (1720-1778) Chimney Piece in the Egyptian style , etching , lower left "Cavalier Piranei inv. e inc. , 25cm x 39cmChimney Piece in the Egyptian style, from Diverse Maniere d'adornare i cammini (...) (Different Ways of ornamenting chimney pieces and all other parts of houses)
Lot 290A
Leon Kossoff (1926-2019), etching 88/100, 'Fidelma II' signed and dated 1984 lower right,aperture 10 x 13 cm has blind stamp 'Studio prints' lower right Condition Report: absolutely no faults to report, i feel a better photo is needed ! lose ,no frame or glass. nicely blind stamped lower right in gallery order
Lot 292A
Leon Kossoff (1926-2019), etching 86/100, 'Fidelma 4' signed and dated 1984 lower right,aperture 19 x 11.5 cm has blind stamp 'Studio prints' lower right Condition Report: really good order, Gallery order. there are no marks to report at all. a better photo is necessary it is notr framed and glazed but is loose.
Lot 511
Graham Clarke, A Rather Cordial Entente, limited edition etching, signed lower right, titled lower left and numbered 190/250, 29.5 x 35.5cm, Helen Wakefield, Stonebridge - Rhubarb Patch I, linocut, signed lower right, titled lower centre and numbered 3/3 lower left, 27 x 31.5cm, framed and glazed and English School, street scene, watercolour, signed indistinctly lower left, possibly Keavale and dated 1916, 35 x 24cm, all framed and glazed
Lot 178A
Two pieces by Florence Weston (British, 1868-1942) 1. 'Ford's Hospital, Coventry, from the garden' pen and ink, signed and inscribed, further inscribed to artist's label verso plain ebonised frame (22.5 x 22.5 cm); 2. 'Anne Hathaway's Cottage, Shottery' etching ebonised frame (29.5 x 39.5 cm)
Lot 418
Erich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Akrobatinnen. 1911. Radierung. Signiert und nachträglich datiert. Am unteren Rand links von Sidi Heckel betitelt und erneut datiert. Eines von 6 bekannten Exemplaren. Auf festem Velin. 16,5 x 14 cm (6,4 x 5,5 in). Papier: 31,5 x 29 cm (12,4 x 11,4 in). [KT]. • Erstmals auf dem Auktionsmarkt angebotener Zustand mit lebhafter Flächenätzung (Quelle: artprice.com). • Von 7 registrierten Abzügen des Motivs befinden sich 4 in Museen und einer im Nachlass. • Entstanden nach dem Umzug in die Metropole Berlin 1911, wo sich Heckel einem neuen Motivrepertoire der Cabarets, Varieté und Tanz zuwendet. • Als Mitglied der 'Brücke' verhilft Heckel der Druckgrafik zu neuer, einzigartiger Bedeutung für den Expressionismus. Das Werk ist im Nachlass Erich Heckel, Hemmenhofen am Bodensee, verzeichnet. Wir danken Frau Renate Ebner und Herrn Hans Geissler für die freundliche Unterstützung. PROVENIENZ: Aus dem Nachlass des Künstlers. Privatsammlung Süddeutschland. LITERATUR: Renate Ebner/Andreas Gabelmann/Hans Geissler, Erich Heckel. Werkverzeichnis der Druckgraphik, hrsg. von der Erich-Heckel-Stiftung, München 2021, Bd. 1: 1903-1913, Nr. 517 R II. Annemarie und Wolf-Dieter Dube, Erich Heckel. Das graphische Werk, Bd. II: Radierungen, Lithographien, New York 1965, Nr. 94 II (von II). Aufrufzeit: 09.12.2023 - ca. 17.55 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten, Folgerechtsvergütung fällt an.ENGLISH VERSIONErich Heckel 1883 Döbeln/Sachsen - 1970 Radolfzell/Bodensee Akrobatinnen. 1911. Etching. Signed and belatedly dated. Signed and once more dated by Sidi Heckel in bottom margin. One of 6 known copies. On firm wove paper. 16.5 x 14 cm (6.4 x 5.5 in). Sheet: 31,5 x 29 cm (12,4 x 11,4 in). [KT]. • A copy from this state with vivid surface etching has never been offered on the auction market before (source: artprice.com). • Of 7 registered prints of the motif, 4 are in museums and one in the estate. • Created after the artist had moved to Berlin in 1911, where Heckel encountered a new repertoire of motifs in cabarets, theaters and ballrooms. • As a member of the Brücke, Heckel helped printmaking to a new, unique importance for Expressionism. The work is registered in the Erich Heckel Estate, Hemmenhofen on Lake Constance. We are grateful to Mrs Renate Ebner and Mr Hans Geissler for the kind support in cataloging this lot. PROVENANCE: From the artist's estate. Private collection Southern Germany. LITERATURE: Renate Ebner, Andreas Gabelmann, Hans Geissler, Werkverzeichnis der Druckgraphik, ed. by Erich-Heckel Foundation, Munich 2021, vol. 1: 1903-1913, no. 517 R II. Annemarie and Wolf-Dieter Dube, Erich Heckel: Das graphische Werk, vol. 2: Radierungen, Lithographien, New York 1965, no. 94 II (of II). Called up: December 9, 2023 - ca. 17.55 h +/- 20 min. This lot can be purchased subject to differential or regular taxation, artist´s resale right compensation is due.
Lot 162
A German Third Reich SS (Shutzstaffel) Officer's dagger, 1936 pattern, the 22cm double edged blade etched "Meine Ehre heisst Treue" (My honour is loyalty) further marked Robert Klaas Solingen RZM M7/37 RZM 1051/39 SS, having a black hardwood grip with eagle and swastika emblem and SS runes above, in a steel sheath, 37cm.PLEASE SEE TERMS AND CONDITIONS REGARDING IMPERIAL GERMAN/THIRD REICH ITEMS. Etching and makers marks both very worn.
Lot 730
William Walcot (1875-1943) - Changing London, Euston Road at St Pancras, etching with aquatint, signed in pencil lower right margin, visible sheet dimensions 17.5 x 25cm; together with another work by the artist showing Marsham Street at Westminster, etching with aquatint, signed in pencil to the lower right margin, visible sheet dimensions 18.5 x 25.5cm (2)
Lot 40
GIOVANNI BATTISTA TIEPOLO (1696-1770) A left hand study red chalk, heightened with white chalk, on paper, 25cm x 12cmProvenance: The Collection of Hugo Perlo Esq.Messrs Thos. Agnew and Sons Ltd., 1935An Artistic Family Collection, Wiltshire.Giovanni Battista TiepoloBorn in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's colour and compositions.Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionised the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply coloured figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints--the Scherzi di fantasia and the Capricci--both heavily laden with antique references.External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Würzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the Czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticised as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favour of a severe neo-classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognised today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and baroque tradition.
Lot 11
Bob Dylan (American 1941-), 'Woman In Red Lion Pub', 2008, giclee print on 350gsm Hahnemuhle Museum Etching Paper, signed and numbered from an edition of 295 in pencil, published by Washington Green Fine Art; sheet: 91.5 x 71cmsheet: 91.5 x 71cmIn very good condition No visible knocks, tears, or creases to the sheet This work has been framed to a high standard in a silver leaf frame with a white mount.This work has not been examined out of the frame.
Lot 172
José Parlá (American 1973-), 'One Eighty Fourth Street', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 87 x 150cm inc frame87 x 150cm inc frame
Lot 173
José Parlá (American 1973-), 'St. Giles', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 79.5 x 120cm inc frame79.5 x 120cm inc frameIn very good conditionNo knocks, tears or creases to the sheetThis work has been framed in a wooden frame (painted silver), and mounted with a white mountWear and tear to the frameThis work has not been examined out of the frame of under the mountIn Very Good Condition
Lot 174
José Parlá (American 1973-), 'The World Touring Letter', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; 109.5 x 108.5cm inc frame109.5 x 108.5cm inc frameIn very good conditionNo knocks, tears or creases to the sheetThis work has been framed in a wooden frame (painted silver), and mounted with a white mountWear and tear to the frameThis work has not been examined out of the frame of under the mountIn Very Good Condition
Lot 15
Janis Goodman (British 20th/21st century) "Hot Spring" Signed, titled and numbered 23/50 in pencil in the margin, titled on gallery label verso, etching.23 x 27.5cm (framed 39 x 43cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition with no obvious faults to report. The print is ornately framed and glazed.
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71174 item(s)/page