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Lot 3153
Man Ray (1890 Philadelphia - 1976 Paris)Selbstporträt mit KameraSolarisierter Gelatinesilberabzug/Kodakpapier, 1931. Späterer Abzug nach 1960. Man Ray gehört zu den herausragenden Meistern der Fotografie des 20. Jahrhunderts, der die Fotografiegeschichte mitgeschrieben hat. Viele seine avantgardistischen Arbeiten gehen auf neu- oder weiterentwickelte experimentelle Verfahren zurück. So entstanden um 1930 die ersten Solarisationen, bei denen während des Entwicklungsvorgangs weißes Licht - normalerweise eine Störung des Entwicklungsvorgangs - bewusst als Gestaltungsmittel eingesetzt wird, mit der Folge einer partiellen Umkehrung der Hell- und Dunkelwerte. Verso bez. und mit dem Copyright-Stempel der Smithsonian Institution Washington. Blattgröße 25 cm x 20 cm. Rahmen.Gelatin silver print in solarization technique on Kodak paper. Copyright stamp of the Smithsonian Institution Washington on the reverse.
Lot 543
An antique 19th Century political satirical hand coloured engraving print entitled ' Bonne Farte raising a Southerly Wind. Depicts the Straits of Dover: Bonaparte (left) stands on the one side, stooping down with bared posteriors, from which fly through the air balloons, parachutes, infantry, cavalry, artillery, tents, and wagons. A tiny guillotine is towed and pushed towards England. The sky is sprinkled with these invaders, the largest object being a balloon whose basket bristles with tiny guns; from this an anchor hangs on a rope. Bonaparte stoops down, his hands on his knees, while an officer stands beside him feeding him with a spoon with 'Parched Peas' from the former's large cocked hat, which is on the ground, the crown filled with peas. Bonaparte says: "Oh Berthier - Berthier - I can't go through with it I fear." Berthier answers: "That's your sort my Boy. The Directory will give us Imortal Honer for this, its a new way of raising the Wind. \ come a few more they are Nice and Hot."In the sea a giant raft with one sail makes for England; guns project from its sides, and troops are indicated by flags and bayonets. On the English coast are cliffs. A huge sea monster has reached the shore and soldiers are landing from its open jaws. An English Jacobin wearing a bonnet-rouge embraces the leader, who steps ashore; he says: "My dear Monge you'r right welcom you have had a dreadful voyage". Men with fixed bayonets follow Monge. On the cliff immediately above the monster stand Sheridan and Fox, welcoming the aerial army; Horne Tooke sits at their feet; they say: "How fragrant is this Southern Breeze". Lauderdale, very small, wearing Highland dress, stands beside Fox, saying: "Hoot Mon this reminds me of sweet Edinburgh." Beneath the title: 'Or a Sketch of the Intended Invincible Invasion found at the door of Brooks's in St James's Street'. 20 February 1798 [or 10 February 1798]Framed and glazed. Measures approx; 46cm x 56cm.
Lot 1579
Gursky, Andreas. Cheops. C-Print auf starkem Offset-Papier. Signiert mit schwarzem Faserstift unten rechts. Eingedruckter Editionsvermerk des Mönchehaus Museums Goslar unten links. 2005/2008. Blattgröße: 84 x 59,3 cm.Das Plakat mit Andreas Gurskys 2005 entstandenem Motiv "Cheops" erschien zur Ausstellung seiner Werke im Mönchehaus Museum Goslar 2008 anlässlich der Verleihung des "Kaiserrings" an Gursky "in Würdigung seines herausragenden künstlerischen Schaffens". - Gerollt, sonst tadellos.
Lot 1836
Sviatchenko, Sergei. Ohne Titel. Collage auf Saunders Waterford. Unten rechts signiert mit Bleistift sowie mit dem Blindstempel des Künstlers. Blattgröße: 76,5 x 56,5 cm.Charakteristische Collage des ukrainischen Künstlers Sergei Sviatchenko (geb. 1952), der seit 1990 in Dänemark lebt und arbeitet. - Dabei: I. Derselbe. Dream Machine - Homage to Interbau 57. C-Print auf Velin. Signiert und datiert unten rechts. 2019. Blattgröße: 65 x 48 cm. - II. Derselbe. From the series "Less" (2009). C-Print auf Velin. Rechts unten signiert, links unten als "AP" bezeichnet sowie verso betitelt und datiert. 2017. Blattgröße: 59 x 42 cm. - Alle Arbeiten in tadellosem Zustand.
Lot 219
Okumura Masanobu (1686-1764)Edo period (1615-1868), mid-18th century A large oban benizuri-e print depicting a pair of lovers in the guise of komuso (mendicant monks), each dressed in elaborately patterned robes with a black monk's stole draped across their shoulders, walking in high geta (clogs) and playing the classic komuso tune renbo nagashi on their shakuhachi (bamboo flutes), the youth wearing the characteristic deep sedge tengai hat, his companion donning a saki kogai hairstyle, a hokku verse to the right of the girl, stamped at the bottom right corner with the collector's seal of Henri Vever; signed Hogetsudo Tanchosai Okumura Bunkaku Masanobu shohitsu with two seals Tanchosai and Okumura Masanobu. 42.3cm x 30.7cm (16¾in x 12 1/16in).Footnotes:Provenance:Henri Vever (1854-1943) Collection.Published:Jack Hillier, Japanese Prints and Drawings from the Vever Collection, vol.1, London, Sotheby Parke Bernet Publications, 1976, p.39, no.40.Yamaguchi Keizaburo, Gime Toyo Bijutsukan, Pari Kokuritsu Toshokan (Musée Guimet, Bibliothèque Nationale, Paris, Henri Vever Collection, Huguette Berès Collection) Ukiyo-e shuka (Splendours of Ukiyo-e), vol.12, Tokyo, Shogakukan, 1980, p.115, no.116.The anonymous hokku (17-syllable poem) plays on the meaning of two words, each with two meanings (see below): Renbo, part of the name (originally Reibo) of a favourite komuso tune, and renbo, 'passion'; and hatsune, depending on the character used for ne either 'first bird song of the New Year' or 'first night together': Tsurete fuku / renbo no iki no / hatsune kana (Blowing together / the passionate lovers' breaths / first time of the year?)This extremely rare print is apparently unrecorded elsewhere.For further information on this lot please visit Bonhams.com
Lot 220
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa 1769-1770An extremely rare aiban print of Natsu (Summer) from the series Fuzoku shiki no hana (Fashionable Flowers of the Four Seasons), depicting a young couple on a boat floating on a pond surrounded by lotus flowers in full bloom, the youth seated and leaning back with a fan, whilst the girl, nonchalantly holding a bamboo pole, stands coyly in front of him biting the end of her sash, all beneath the title of the series and a waka poem by Fujiwara Sanefusa enclosed within a 'cloud' cartouche, stamped at the bottom left with the collector's seal of Henri Vever; signed Suzuki Harunobu ga. 34cm x 25.1cm (13 3/8in x 9 7/8in).Footnotes:Provenance:Henri Vever (1854-1943) Collection.Published:Jack Hillier, Japanese Prints and Drawings from the Vever Collection, vol.1, London, Sotheby Parke Bernet Publications, 1976, p.150, no.152.Yamaguchi Keizaburo, Gime Toyo Bijutsukan, Pari Kokuritsu Toshokan (Musée Guimet, Bibliothèque Nationale, Paris, Henri Vever Collection, Huguette Berès Collection) Ukiyo-e shuka (Splendours of Ukiyo-e), vol.12, Tokyo, Shogakukan, 1980, p.123, no.120.The poem by Sanefusa (1147-1225), number 423 in the anthology Gyokuyo Wakashu (Collection of Jewelled Leaves) reads: Yuusareba / nami kosu ike no / hachisu ha ni / tama yurisuuru / kaze no suzushisa (As evening draws close / on the lotus leaves remain / jewel-like water drops / from ripples raised across the pond / by the cooling summer breeze)For further information on this lot please visit Bonhams.com
Lot 221
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa 1768A chuban print of a courtier with a lady, the couple standing in the interior of a grand, noble residence, behind them a fusuma (sliding paper doors) painted with a pheasant perched on a flowering cherry tree, a branch of maple hanging over the veranda visible from the curved bell-shaped window, stamped at the bottom left corner with the collector's seal of Henri Vever; signed Harunobu ga. 28cm x 21.1cm (11in x 8¼in).Footnotes:Provenance:Henri Vever (1854-1943) Collection.Published:Jack Hillier, Japanese Prints and Drawings from the Vever Collection, vol.1, London, Sotheby Parke Bernet Publications, 1976, p.131, no.122.Yamaguchi Keizaburo, Gime Toyo Bijutsukan, Pari Kokuritsu Toshokan (Musée Guimet, Bibliothèque Nationale, Paris, Henri Vever Collection, Huguette Berès Collection) Ukiyo-e shuka (Splendours of Ukiyo-e), vol.12, Tokyo, Shogakukan, 1980, p.175, no.156.Another impression is in the Art Institute of Chicago (reference no.1925.2085), www.artic.edu/artworks/20917/courtier-and-ladyFor further information on this lot please visit Bonhams.com
Lot 222
Katsushika Hokusai (1760-1849)Edo period (1615-1868), circa 1830–32An oban yoko-e print, titled Tokaido Ejiri Tago no ura ryaku zu (Tago Bay near Ejiri on the Tokaido) from the series Fugaku sanjurokkei (36 Views of Mount Fuji), depicting in the foreground two fishing boats in Suruga Bay; an oarsmen straining at full arm's length, a net cast from the prow; on the shore, tiny figures raking flats and carrying baskets of salt to kilns dotted along the beach, Mount Fuji looming in the background, published by Nishimuraya Yohachi (Eijudo); signed Zen Hokusai Iitsu hitsu. 25.1cm x 37.7cm (9 7/8in x 14 7/8in).For further information on this lot please visit Bonhams.com
Lot 227
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760s A chuban yoko-e shunga print, depicting a brazen woman making love to her lover beside her husband, lying blissfully unaware, asleep inside the mosquito net; signed Harunobu ga on the pine-decorated fusuma (sliding paper doors). 20.1cm x 28cm (7 7/8in x 11in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 228
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print of Ryogoku no hekisho (Glowing Vulva at Ryogoku Bridge) from the series Furyu Edo hakkei (Fashionable Eight Views of Edo), depicting a geisha and a wealthy young man making love whilst watching a sarumawashi (monkey trainer) and his performing pet on a pleasure boat, the original titles and dialogues lacking; unsigned; 21.1cm x 28.7cm (8 5/16in x 11 5/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 231
Attributed to Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print depicting a couple making love beneath a mosquito net whilst the woman's husband, lying under the futon covers his ears from the deafening noise of the thunder outside; unsigned. 20.8cm x 27.3cm (8 5/8in x 10¾in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 233
Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print, depicting a brazen woman making love to her lover beside her husband, lying blissfully unaware, asleep inside the mosquito net; signed Harunobu ga on the pine-decorated fusuma (sliding paper doors). 21.8cm x 28.7cm (8 5/8in x 11 5/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 235
Attributed to Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print depicting a naked and aroused male pilgrim emerging from inside a mosquito net at an inn, grabbing a maidservant by her obi (sash) as she coyly rejects his advances; unsigned. 20.6cm X 28cm (8 1/8in x 11in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 240
Attributed to Suzuki Harunobu (1725-1770)Edo period (1615-1868), circa late 1760sA chuban yoko-e shunga print, depicting a couple enjoying love making, a goldfish bowl lying behind a sudare (bamboo blind) on the veranda whilst a wind-bell chimes against the cool summer breeze; unsigned. 21.5cm x 28.2cm (8½in x 11 1/8in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 248
Kitao Shigemasa (1739-1820)Edo period (1615-1868), circa 1773A chuban yoko-e shunga print from an untitled series, depicting a middle-aged husband and wife making love behind their young daughter practising calligraphy in front of half-opened shoji doors overlooking a garden; unsigned. 19.2cm x 25.3cm (7 9/16in x 10in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 249
Kitagawa Utamaro (1753-1806)Edo period (1615-1868), circa 1799An oban yoko-e shunga print from the album Negai no itoguchi (Unraveling the Thread of Desire), depicting a geisha from Fukagawa and her client making love beside a black-lacquered shamisen box, dishes and a sake cup; unsigned. 25.5cm x 38cm (10 1/16in x 14 15/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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314783 item(s)/page