A silver tea caddy spoon by Gwen Whicker. The finial applied with a flower, London 1961, length 7.5cm, 17.2g. The estimated in-house shipping to a UK mainland address is available from £20From the estate of Esme Beecroft. Esme was a lifelong friend of the Whickers and was painted as a child by Gwen. She was featured in several of her paintings as a young woman. She also supported the Whickers by buying their paintings and was the executor of their estates. Gwen Whicker (1900-1966) was born in Bristol. She studied at the Bristol Municipal School of Art, against her parents wishes. There she met the Australian born artist Frederick Whicker, whom she later married. They jointly exhibited at the Royal West of England Academy from 1923 to circa 1935, but Gwen was never elected an associate member, though she was a founding member of the New Bristol Art Club and was the first President. The Whickers moved from their home in All Saints Road, Clifton, Bristol just after the war to Woodlane in Falmouth, Cornwall. There Gwen and Fred became members of the St Ives Society of Artists, where they became secretary and treasurer respectively. They exhibited until their deaths. Gwen produced etchings, paintings, drawings, sculpture, jewellery and silver wares. Much of her silver has not been traced as it was sent to Fred`s sister in Canada on her death. A retrospective exhibition of their work was held at the Falmouth Art Gallery in 1994, where fourteen pieces of Gwen`s silver were loaned from private collections.
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A silver condiment spoon by Gwen Whicker. With tapering handle and hammered oval bowl, hallmarked London 1962, length 19cm, 34.5g. The estimated in-house shipping to a UK mainland address is available from £20From the estate of Esme Beecroft. Esme was a lifelong friend of the Whickers and was painted as a child by Gwen. She was featured in several of her paintings as a young woman. She also supported the Whickers by buying their paintings and was the executor of their estates. Gwen Whicker (1900-1966) was born in Bristol. She studied at the Bristol Municipal School of Art, against her parents wishes. There she met the Australian born artist Frederick Whicker, whom she later married. They jointly exhibited at the Royal West of England Academy from 1923 to circa 1935, but Gwen was never elected an associate member, though she was a founding member of the New Bristol Art Club and was the first President. The Whickers moved from their home in All Saints Road, Clifton, Bristol just after the war to Woodlane in Falmouth, Cornwall. There Gwen and Fred became members of the St Ives Society of Artists, where they became secretary and treasurer respectively. They exhibited until their deaths. Gwen produced etchings, paintings, drawings, sculpture, jewellery and silver wares. Much of her silver has not been traced as it was sent to Fred`s sister in Canada on her death. A retrospective exhibition of their work was held at the Falmouth Art Gallery in 1994, where fourteen pieces of Gwen`s silver were loaned from private collections.
Two silver coffee spoons by Gwen Whicker. The handles cast with flowers, one hallmarked London 1960, the other London 1962, length 10.5cm, 24.2g. The estimated in-house shipping to a UK mainland address is available from £20From the estate of Esme Beecroft. Esme was a lifelong friend of the Whickers and was painted as a child by Gwen. She was featured in several of her paintings as a young woman. She also supported the Whickers by buying their paintings and was the executor of their estates. Gwen Whicker (1900-1966) was born in Bristol. She studied at the Bristol Municipal School of Art, against her parents wishes. There she met the Australian born artist Frederick Whicker, whom she later married. They jointly exhibited at the Royal West of England Academy from 1923 to circa 1935, but Gwen was never elected an associate member, though she was a founding member of the New Bristol Art Club and was the first President. The Whickers moved from their home in All Saints Road, Clifton, Bristol just after the war to Woodlane in Falmouth, Cornwall. There Gwen and Fred became members of the St Ives Society of Artists, where they became secretary and treasurer respectively. They exhibited until their deaths. Gwen produced etchings, paintings, drawings, sculpture, jewellery and silver wares. Much of her silver has not been traced as it was sent to Fred`s sister in Canada on her death. A retrospective exhibition of their work was held at the Falmouth Art Gallery in 1994, where fourteen pieces of Gwen`s silver were loaned from private collections.
A silver bookmark applied with a lizard by Gwen Whicker. Hallmarked London 1958, length 15.5cm, 40.5g. The estimated in-house shipping to a UK mainland address is available from £20From the estate of Esme Beecroft. Esme was a lifelong friend of the Whickers and was painted as a child by Gwen. She was featured in several of her paintings as a young woman. She also supported the Whickers by buying their paintings and was the executor of their estates. Gwen Whicker (1900-1966) was born in Bristol. She studied at the Bristol Municipal School of Art, against her parents wishes. There she met the Australian born artist Frederick Whicker, whom she later married. They jointly exhibited at the Royal West of England Academy from 1923 to circa 1935, but Gwen was never elected an associate member, though she was a founding member of the New Bristol Art Club and was the first President. The Whickers moved from their home in All Saints Road, Clifton, Bristol just after the war to Woodlane in Falmouth, Cornwall. There Gwen and Fred became members of the St Ives Society of Artists, where they became secretary and treasurer respectively. They exhibited until their deaths. Gwen produced etchings, paintings, drawings, sculpture, jewellery and silver wares. Much of her silver has not been traced as it was sent to Fred`s sister in Canada on her death. A retrospective exhibition of their work was held at the Falmouth Art Gallery in 1994, where fourteen pieces of Gwen`s silver were loaned from private collections.
A set of five silver teaspoons by Gwen Whicker. With flattened tapering handles and hammered oval bowls, hallmarked London 1965, length 11.5cm, 64g. The estimated in-house shipping to a UK mainland address is available from £20From the estate of Esme Beecroft. Esme was a lifelong friend of the Whickers and was painted as a child by Gwen. She was featured in several of her paintings as a young woman. She also supported the Whickers by buying their paintings and was the executor of their estates. Gwen Whicker (1900-1966) was born in Bristol. She studied at the Bristol Municipal School of Art, against her parents wishes. There she met the Australian born artist Frederick Whicker, whom she later married. They jointly exhibited at the Royal West of England Academy from 1923 to circa 1935, but Gwen was never elected an associate member, though she was a founding member of the New Bristol Art Club and was the first President. The Whickers moved from their home in All Saints Road, Clifton, Bristol just after the war to Woodlane in Falmouth, Cornwall. There Gwen and Fred became members of the St Ives Society of Artists, where they became secretary and treasurer respectively. They exhibited until their deaths. Gwen produced etchings, paintings, drawings, sculpture, jewellery and silver wares. Much of her silver has not been traced as it was sent to Fred`s sister in Canada on her death. A retrospective exhibition of their work was held at the Falmouth Art Gallery in 1994, where fourteen pieces of Gwen`s silver were loaned from private collections.
Vintage Star Wars First Twelve loose action figures Kenner, Nine complete with original weapons, Good to very good condition, including Stormtrooper, Luke Farmboy, Darth Vader, Chewbacca, Jawa, Princess Leia damage to cape, Obi-Wan Kenobi, Death Squad Commander, C-3PO, Han Solo, R2-D2, Tusken Raider. (12 items)
Superman Masterpiece Edition and 2000AD Annuals, Superman Masterpiece Edition Exclusive 8-inch Statue of 1938 Superman with reprint of the very First Superman Comic Book, Illustrated Hardcover Book Chronicling The Man of Steel’s Golden Age boxed New in good condition, Some damage left front corner, and Eleven 2000AD Annuals 1979-1985 good overall condition. (12 items)
Alistair J Johnston - signed "The Clapcott Papers" ltd ed 385/400, privately printed 1985 - signed by the author to the main title page with dedication "To David". The first collected edition of the eminent golf historian's important research archive - in original blue and gilt decorative cloth boards in unprinted acetate dust wrapper, comes with matching dark blue cloth slip case, together with authors pre-publication notification and rare additional information on Clapcott - hence (VG).
Collection of early English Golf Links postcards from the first half of the 20thc (12) to include 12x Barton-on-Sea with various views on the golf course including the 8th hole, the early clubhouse - 5x used dates include 1912, 1915, 1945 and 2x 1947 - including Valentines; Sunny South; J Salmon Ltd; Novelle & Co New Milton
Interesting collection of various early Welsh Golf Club coloured postcards from the first quarter of the 20th century (9) to incl 5x Porthcawl one of the golf Pavilion circa 1900 (virtually the same and now) plus 4 others including 2x Royal Porthcawl; Pontnewydd golf Pavilion; Prestatyn Golf House and No. 1 Tee; and 2x Pendyffryn, Penmaenmawr - 3x used to include 1905, 1917, 1937 and another with no stamp including Valentines series Raphael Tuck & Sons Oilette, A & H Sandoe Rhyl and Prestatyn; J Salmon Ltd; WH Hiatt Pontewydd
Collection of various English Golf Clubs b&w postcards from the first half of the 20th century (9) to include 3x various Ilfracombe including a very early open top stretch limousine with 30x gentleman and lady golfers on board and the Putting Green at Victoria Pleasure Grounds; John O'Gaunt; Ifield; 2x Hendon; Haste Hill, Northwood; and Hayward's Heath 12th Green - 2x used 1947 and 1953 including Raphael Tuck & Sons; Frith & Co; J Cutcliffe Ilfracombe, R A P Co
Interesting collection of early English golf club black and white postcards from the first half of the 20thc (12) to include Broadstone; 4x Bude including driving from the 3rd hole; 3x Burley; 2x Brockenhurst Manor 7th and 9th Green; and 4x Broadstone including the 4th hole - 6x used 1x 1917 and 5x from the 1930s including Frith & Co, R L Knight Barnstaple and Bude; Kingsway Real Photo series (creased); M A Higgs Broadstone
Interesting collection of various Irish Golf Clubs golfing postcards from the first half of the 20th century (9) to include 2x Ballybunion one requesting subscription; Ballygalley Head and Golf Links; 2x Bundoran and 4x Ballycastle - 5x used dates include 1910, 1912, 1936, 1953 and 1957 including H Rose Hill Cork, M & L National series, Milton Series, Valentines, Reliable Series
Fundus Briefmarken **/*+O 1 großer Karton mit Sammlungen, Teilsammlungen und Dubletten, überwiegend Bund/Berlin, dabei 1 Lindner Album mit über 200 Markenheftchen, Ersttagsblätter, Maximumkarten und Briefe. Bitte besichtigen.| Stamps 1 large box with collections, partial collections and duplicates, mainly from the federal government / Berlin, as well as 1 Lindner album with over 200 stamp booklets, first day sheets, maximum cards and covers. Please visit.
Sammlung - 30 x Minigoldmedaillen 'Die ersten EURO-Prägungen', PP davon 29 x à 1,8 g Feingold und 1 x 0,89 g Feingold, insgesamt ca. 52,89 g fein. Jeweils gekapselt, in Holz-Etui mit Echtheitszertifikaten (GÖDE). | Collection - 30 x mini gold medals 'The first EURO mintages' PF of which 29 x 1.8 g fine gold and 1 x 0.89 g fine gold, total approx. 52.89 g fine. Each encapsulated, in wooden case with certificates of authenticity (GÖDE).
Paar Grafiken 1. Radierung - Wenceslaus HOLLAR VON PRACHNA (1607 Prag - 1677 London) "Dame mit Muff", r.u. Hollar fecit 1639, beschriftet: References Parthey / Pennington 1783 first state of two, Maße Darstellung ca. 13,5x7,4 cm, Passepartout 2.Kupferstich - Pierre Etienne MOITTE (1722 Paris1780) "Mariage de Ste. Catherine", Plattenmaße ca. 33,2x25,3, Provenienz: Privatsammlung aus Rheinland-Pfalz
Ford Transit Van, model Euro4, 2198 cc diesel, reg no. LC09 ZWD, first reg'd 21/07/2009, MOT'd til 31/05/2025, (V5 present). **As with all motor vehicles sold through our auctions, this vehicle is sold in its current condition and all vehicles should be inspected in person prior to bidding.**
Eileen Prangnell, act 1924-1937, a glazed pottery model of a duck, signed and dated 1924 to the base, 11cm high, together with a Poole pottery vase, decorated with a frieze of coloured flowers, by the same hand, 21cm high, a Poole jug and a photograph of her circa 1920, signed and inscribed by her to the reverse to her mother (3). According to factory records Eileen joined the Poole Pottery in 1924 as a decorator and worked there until 1937. It would appear this duck was made as one off by her, in her first year and has remained in the family for almost exactly one-hundred years.
Street Art - - Thierry Noir. (1958 Lyon). o.T.(Kopf in Blau vor Pink). 1998. Acryl auf Leinwand. 140,5 x 101,5 cm. Auf Keilrahmen aufgespannt. - Stellenweise werkimmanente Leinwandfalten, leichte, punktuelle Farbabplatzungen und wenige -fehlstellen, unten mittig leichte werkimmanente Farbüberlagerungen, etwas locker gespannt, insgesamt gut. Provenienz: Seit 1998 in Berliner Privatbesitz. - Wir danken dem Studio Thierry Noir für die freundliche Bestätigung der Authentizität von 2023. - Unsere Arbeit von Thierry Noir ist ein situationsspezifisches Werk der Street Art, dass untrennbar mit der Berliner Geschichte des Mauerfalls und des Potsdamer Platzes verbunden ist. Bei der Ausstellung der Galerie "City Scope" 1998 wurde die Eröffnung der Neubebauung des Potsdamer Platzes kritisch hinterfragt und thematisiert. Es sollte auf den problematischen Umgang mit den letzten Teilen der Berliner Mauer hingewiesen werden, die im Rahmen der Neubebauung entfernt wurden. Für die Ausstellungsidee wurde ein Teilstück der Berliner Mauer auf dem Nachbargrundstück im Original Verlauf durch eine Holzkonstruktion in die Räume der Galerie erweitert. Die künstlerische Gestaltung übernahmen die 3 Street Art Künstler Thierry Noir, Kitty Sidney und Kani Alavi. Sie bemalten Stoffbahnen mit Acrylfarbe, mit denen die Mauerkonstruktion verkleidet wurde. Bei der Vernissage mussten die Stoffbahnen mit der noch feuchten Farbe schließlich entfernt werden, um sie vor Schäden durch die Besucher zu schützen. Die Stoffbahn von Thierry Noir wurde gerollt gelagert, die Aktionsspuren sind bis heute sichtbar und Bestandteil des Werkes. Sie ist ein bedeutender Beitrag zur Streetart, die der Franzose mitbegründete. Seit dem Abend des 2. Oktober 1998 befindet sich die Arbeit in Berliner Privatbesitz und wird nun der Öffentlichkeit erstmals wiedergezeigt. Acrylic on canvas. On stretcher. - With canvas folds in places, immanent to the work, slight tiny colour abrasions and few -losses, slight colour overlayers at lower middle, immanent to the work, a bit loosely strechted, all in all good. - Provenance: Privat ownership Berlin since 1998. - We would like to thank Studio Thierry Noir for kindly confirming the authenticity of 2023. - Our work by Thierry Noir is a situation-specific piece of street art that is inextricably linked to the Berlin history of the fall of the Berlin Wall and Potsdamer Platz. The exhibition at the "City Scope" gallery in 1998 critically scrutinised and thematised the opening of the new development on Potsdamer Platz. The aim was to draw attention to the problematic handling of the last parts of the Berlin Wall, which were removed as part of the redevelopment. For the exhibition idea, a section of the Berlin Wall on the neighbouring property was extended into the gallery space with a wooden construction. The three street artists Thierry Noir, Kitty Sidney and Kani Alavi were responsible for the artistic design. They painted lengths of fabric with acrylic paint to cover the wall construction. At the vernissage, the fabric panels with the wet paint had to be removed to protect them from damage by visitors. Thierry Noir's fabric was stored rolled up, the traces of the action are still visible today and form part of the work. It is an important contribution to street art, which the Frenchman co-founded. The work has been privately owned in Berlin since the evening of 2 October 1998 and is now being shown to the public for the first time.
Österreichische Nachkriegsmoderne Friedensreich Hundertwasser (1928 Wien - 2000 vor Australien)Olympische Spiele München 1972. 1971. Plakat. Farboffset auf glattem Offsetpapier. 101 x 64 cm. Drucksigniert, datiert und ortsbezeichnet "Lengmoos". Typographisch bezeichnet "Olympische Spiele München 1972", mit dem Copyright- und typographischem Druckvermerk. - Kanten teils etwas angestoßen. Punktuell leichte Griffspuren, verso leichte Anschmutzungen. Insgesamt gut. Hervorragender, farbkräftiger Druck der formatfüllenden Darstellung. Vgl. Koschatzky 54. - Eines von 35.000 Exemplaren der ersten Auflage. - Druck bei Kennedy Graphics. - Anlässlich der Sommer-Olympiade in München 1972 erschienen. Colour offset on smooth offset paper. Signed, dated and indicated. Typographically indicated "Olympische Spiele München 1972", with the copyright and typographical printer's mark. - Edges slightly bumped in places. Slight handling marks in places, slight soiling on the verso. Good overall. Excellent, colourful impression of the full-format depiction. - One of 35000 copies of the first edition. - Printed by Kennedy Graphics. - Published on the occasion of the 1972 Summer Olympics in Munich.
Gerhard Richter. (1932 Dresden - lebt in Köln und Düsseldorf). Victoria I. 1987-2003. Farboffset auf glattem Velin. 60 x 40 cm (80 x 60 cm). In der Druckform signiert und datiert. - Äußerst wohlerhalten. Prachtvoller und farbsatter Druck mit breitem Rand. Butin/Gronert, S. 283f. - Victoria I aus der ersten Auflage 1987. Herausgegeben von der Achenbach Art Edition für die namensgebende Victoria Versicherung (heute ERGO). Nach dem in der Eingangshalle der Hauptverwaltung in Düsseldorf hängenden Original des Künstlers. Colour offset on smooth wove paper. With printed signature and dated. - Exceptionally well preserved. Splendid and colour-rich impression with wide margins. - Victoria I from the first edition in 1987. Published by Achenbach Art Edition for the insurance company Victoria Versicherung (today ERGO), which gave the name to the art works. After the original by the artist hanging in the entrance hall of the head office in Düsseldorf.
Neue Wilde Karl Horst Hödicke (1938 Nürnberg - 2024 Berlin)Ufo 127. 1974. Gouache über S/W-Photographie auf glattem Photopapier. 60,5 x 43,5 cm. Signiert und betitelt. - Im oberen Rand blasse längliche Braunflecken. In den Ecken mit Einstichlöchern eh. Montierung, verso kleine Montierungsspuren. Insgesamt sehr gut. Serielles Unikat. Durch die individuelle Überarbeitung der s/w Photographien durch Gouache ist unsere Arbeit ein serielles Unikat. - Hödickes Arbeit ist im Rahmen der "Ersten Biennale Berlin" 1974 entstanden, die von Markus Lüpertz organisiert wurde. Für die Finanzierung der Biennale wurden insgesamt 30 Sammlermappen mit je 10 Originalwerken teilnehmender Künstler angefertigt und verkauft. Hödickes Beitrag waren überarbeitete Fotos. Thema aller beigesteuerten Arbeiten des Künstlers waren Photographien von Westberliner Häuseransichten und -wänden. Gouache over b/w photpgraphy on smooth photographic paper.Signed and titled. - Faint elongated borwn stains on upper margin. With pinholes in the corners, on the verso with traces of former mounting. Overall very good. Serial unique piece. - By individually reworking the b/w photographs with gouache, our work is a unique serial piece. - Hödicke's work was created as part of the "First Berlin Biennale" in 1974 which was organised by Markus Lüpertz. A total of 30 collector's portfolios, each containing 10 original works by participating artists, were produced and sold to finance the Biennale. Hödicke's contribution were reworked photographs as ours. The subject of all his works were photographs of West Berlin house views and walls.
Klassiche Moderne Joan Miró (1893 Montroig - 1983 Mallorca)o.T., aus: "Anti-Platon". 1962. Farbaquatintaradierung auf Maschinenbütten. 14,7 x 12,3 cm (32,8 x 25,7 cm). - Verso wenige leichte Druckspuren. Insgesamt sehr gut. Ausgezeichneter, stellenweise gratiger und farbexperimenteller Druck mit breitem Rand, Schöpfrand an der rechten und unteren Seite. Cramer 77, Dupin 315. - Eines von 125 Exemplaren, die im Impressum signiert und nummeriert wurden. - Hg. Maeght, Paris. - Druck bei Lacourière und Frélaut, Paris. - Aus der Luxusausgabe "Anti-Platon". - Miró fertigte einige der Platten erstmals 1951 als Luxus-Grußkarte für die Galerie Maeght, Paris an. Später überarbeitete er sie und fügte 1962 figurale Radierungen hinzu, um eine Ausgabe zu Anti-Platon von Yves Bonnefoy zu illustrieren. Colour aquatint etching on machine-made laid paper. - Slight printing traces on the verso. Very good overall. Superb, partly burr-like impression, experimental within the colour aquatint, with wide margin and scoop margin on the right and bottom. - One of 125 copies that were signed and numbered in the collophone. - Publ. by Maeght, Paris. - Printed by Lacourière and Frélaut, Paris. - From the luxury edition "Anti-Platon". - Miró first produced some of the plates in 1951 as a luxury greeting card for the Galerie Maeght, Paris. He later reworked them and added figurative etchings in 1962 to illustrate an edition of "Anti-Platon" by Yves Bonnefoy.
Yves Klein. (1928 Nizza - 1962 Paris). Dimanche. Le Journal d'un Seul Jour. 1960. Hrsg. v. Combat et Presse de France, Paris. Offset auf Zeitungspapier. 4 Seiten. 55,5 x 38 cm (aufgefaltet 111 x 76 cm). - Mehrfach gefaltet. Papierbedingt gebräunt. Leichte Knickspuren. In den Falzen mit leichtem Papierabrieb und vereinzelten, kleinen Löchlein. Gutes Exemplar des seltenen Blattes. Die vierseitige Zeitung gab der Künstler anlässlich des dritten Festivals der Avantgarde heraus. Es handelt sich um eine Nachahmung des echten "Journal du Dimanche". Titel, Schrift und Gestaltung des Originals übernahm Klein in exakter Replik und ließ die Ausgabe am Sonntag den 27. November 1960 in Pariser Kiosken verkaufen. Zum ersten Mal wird hier die Fotomontage seines legendären "Sprung ins Leere" auf der Titelseite abgebildet. Published by Combat et Presse de France, Paris. Offset on newsprint. 4 pages. - Folded several times. Browned due to paper. Slight creases. Slight paper abrasion and occasional small holes in the folds. Good copy of this rare sheet. - The four-page newspaper was published by the artist on the occasion of the third Festival of the Avant-Garde. It is an imitation of the genuine 'Journal du Dimanche'. Klein adopted the title, typeface and design of the original in exact replica and had the issue sold in Parisian kiosks on Sunday 27 November 1960. For the first time, the photomontage of his legendary 'Leap into the Void' is reproduced on the front page.
Morio Nishimura. (1960 Tokio). Süßer Regen - Oblivion B3. 2012. Weißlich patinierte Bronze. 20 x 33 x 33 cm. Auf der Standfläche signiert, datiert, nummeriert sowie betitelt. - Auf der Standfläche mit recht unscheinbaren Rückständen vorheriger Aufstellung. Insgesamt sehr gut. Prachtvoller Abguss mit wirkungsvoll strukturierter Patina. Das erste von nur 3 Exemplaren. - Provenienz: Deutsche Privatsammlung, erworben bei Beck & Eggeling International Fine Art. - Ausstellungen: 'The Unknown', 3. Meditations Biennale Poznan, Polen, 14. September - 14. Oktober 2012. - Morio Nishimura. Oblivion. Zugang zum Paradies, Beck & Eggeling Düsseldorf, 2. März - 6. April 2013. - Nach dem Studium der Bildhauerei an der TAMA ART University Tokio bis 1985 studierte Morio Nishimura von 1992-95 an der Kunstakademie Düsseldorf mit Abschluss als Meisterschüler bei Günther Uecker. - Die Lotusblüte stellt das Hauptmotiv der bildhauerischen Arbeit Nishimuras dar. Hierbei geht es dem Künstler jedoch nicht um eine realistische Darstellung der Blüte, vielmehr sieht er in ihr ein Symbol, welches ihm eine Vorstellung der metaphysischen Existenz des Universums verleiht. Der Titel "Süßer Regen" ist die Übersetzung des japanischen Kanro-Regens, ein sehr feiner Niederschlag, beinahe eine Art Nebel, welcher die Lotusblüten sich in den Himmel strecken lässt, um die feinen Tropfen mit ihrer Oberfläche aufzunehmen. Whitish patinated bronze. Signed, dated, numbered and titled on the base. - With rather inconspicuous residue from previous installation on the base. Very good overall. Splendid cast with effectively textured patina. - The first of only 3 copies. - Provenance: German private collection, acquired from Beck & Eggeling International Fine Art. - After studying sculpture at the TAMA ART University in Tokyo until 1985, Morio Nishimura studied at the Kunstakademie Düsseldorf from 1992-95, graduating as a master student of Günther Uecker. - The lotus blossom is the main motif of Nishimura's sculptural work. However, the artist is not interested in a realistic depiction of the blossom, rather he sees it as a symbol that gives him an idea of the metaphysical existence of the universe. The title "Sweet Rain" is the translation of the Japanese Kanro rain, a very fine rainfall, almost a kind of mist, which makes the lotus blossoms stretch up into the sky to absorb the fine drops with their surface.
Pop Art James Rosenquist (1933 Grand Forks - 2017 New York)Oxy (aus "1 Cent Life"). 1964 Farblithografie auf leichtem Velinkarton. 41 x 58 cm. Im Druck signiert und bezeichnet. Verso mit typographischem Text. - Ecken kaum merklich angestoßen, insgesamt gut. Ausgezeichneter, farbfrischer Druck der formatfüllenden Darstellungen. Eines von 2000 Exemplaren, die im Kollophon nummeriert wurden. - Aus dem ersten "One Cent Life" Künstlerbuch. - Hg. E.W. Kornfeld, Bern 1964. Colour lithograph on light wove cardboard. Signed and inscribed in the print. On the verso with typographic text. - Corners barely noticeably bumped, good overall. Superb, colour-fresh impression of the format-filling depiction. - One of 2000 copies, that were numbered in the collophon. - From the first "One Cent Life" artist's book. - Pub. E.W. Kornfeld, Bern 1964.
RARE BOOKS: ALEXANDER DIROM, ‘A NARRATIVE OF THE CAMPAIGN IN INDIA..WITH TIPPOO SULTAN IN 1792’, published W.Bulmer & Co., London, 1793, full calf, with gilt edging, marbled inner boards, with engravings and fold out battle plans, including Seringapatam. An excellent copy of this work detailing the campaign against the Mahrattas. Lieutenant General Alexander Dirom (1757-1830) was a British Military commander and aide-de-camp to Major General Sir Archibald Campbell and served in India against Tippoo Sultan. This is his first hand account of the campaign. Tipu Sultan (1782-1799) remains a fascinating historical figure and recently Bonhams sold a sword taken from his Bed chamber during the close of the campaign for over 14 million pounds. The battle of Seringapatam took place in 1799 and was the final confrontation between the British Forces and the Kingdom of Mysore. It was popularly re-imagined by Bernard Cornwall in 'Sharpe's Tiger', where the indomitable Richard Sharpe saves the day, and soon goes on to save both Wellington's Life and win the Peninsular Wars! (re-offered due to non payment by foreign bidder)
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596772 item(s)/page