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Click here to subscribeHiroshige (1797-1858) oban tate-e, a print with boats moored before retreats in a snow covered landscape; an oban print with ladies approaching a tea house through fields of irises and pine; and a further print with attendants on a lakeside pathway carrying boxes on poles, all signed, sealed and mounted. (3)
Hiroshige (1796-1858) oban tate-e, a print with fishing boats and thatched huts in a rocky landscape; Shunsen, a print with figures at leisure before a tea house; Kunichika, an oban triptych, depicting the head and shoulders of twelve actors in their theatrical costumes; and two reproduction prints. (7)
Kuniyoshi (1798-1861) an oban triptych of actors and boys on a shore; Shuntei, an oban triptych of actors on a terrace overlooking a shore; Hiroshige, oban tate-e, two prints from the vertical Tokaido series depicting a view of Fuji and travellers on a mountain path; two further prints, oban yoko-e, depicting views of temples and a village with Fuji in the distance; and Kunisada, an oban print of actors in an interior, all framed and glazed. (7)
Yoshitoshi (1839-92) a print with a fox dressed as an old woman, standing in a field of corn in the moonlight; Hiroshige, an oban triptych, with an official procession crossing a bridge; an oban diptych with actors surrounding a large calligraphic panel; and two further oban prints depicting comical and legendary scenes, one mounted.
Ogata Gekko (1859-1920) two chuban prints depicting scenes of ladies gathered in interiors, each 6 3/8in. x 8 7/8in. (16.2cms x 22.5cms); twelve mounted album leaves by Hokusai and others, in ink and some with slight colour on paper, depicting views of Mount Fuji, warriors, actors, mountain scenes and mythical characters - 7?in. x 10?in. (19cms x 26.6cms) max, one framed; Hiroshige, chuban yoko-e, a woodblock print from the series 'Tokaido Gojusan Tsugi'; a further chuban print depicting a group of people bathing at the foot of a waterfall; and Nakayama Sugakudo, two oban prints depicting studies of birds, framed and glazed. (18)
WILLIAM DANIELL, RA (1769-1837) ILLUSTRATIONS OF THE ISLAND OF STAFFA IN A SERIES OF VIEWS.. The book, containing nine coloured aquatints and text, published by Longman and Co., 1817-1818 Each print (image) 16.5 x 24cm.; album 26.5 x 37cm. overall ++ Some foxing; grubby handling marks; images good
A G Finney (early 20th century British School) A young girl with light blue hair band in golden brown hair wearing a dark blue dress, plain wooden frame, circular 7cm high, together with an over painted oval miniature print portraying eight faces on a cloud, after Augustine, by the same hand (2)
Gerald Coulson (20th century British School) Night of the hunter Limited edition print Signed in pencil lower right 50cm x 67cm (I) This print is one of a single edition limited to 850 copies signed by the artist and by the Rt Hon Viscount Rothermere and Lady Aitken. Wing Commander Max Aitken DFC was the commanding officer of 68 squadron in 1941
Gerald Coulson (20th century British School) Evening Patrol, Spitfires over the North Sea Colour print Signed and inscribed artists proof and presentation copy by the artist Signed by pilots of 610 Squadron 50cm x 74cm (I) Together with a framed list of the names of all twelve pilots who signed the print.
Henry Moore Eight reclining figures on rock background (C. 43) lithograph in colours, 1963, on Arches, signed and dated in pencil, numbered 109/300 (there were also a few artist's proofs), published by the Hamburg Print Club, the full sheet, time-staining, two pinholes at the upper and lower sheet edges, a small handling mark at the extreme upper sheet edge, otherwise in good condition L., S. 656 x 500mm.
David Hockney Red Flowers and Green Leaves, Separate, May 1988 handmade print in colours, executed on an office colour copier, 1988, on two sheets of laid paper, signed and dated in pencil, numbered 68/70 (there were also sixteen artist's proofs), published by the Metropolitan Museum of Art, New York, the full sheets, in very good condition, framed S. 355 x 430mm.
Alex Katz Face of the Poet, Brooke Alexander and Marlborough Graphics, New York, 1978 (M. 96 - 109) the complete set of fourteen aquatints, 1978, with title, poems and justification, each plate signed in pencil, numbered 24/25 (there were also ten artist's copies), printed by Prawat Laucheron, with his blindstamp, each print with margins and in very good condition, loose (as issued) within a wooden box with plexiglass, the box slightly damaged(portfolio)overall S. 410 x 485 mm.
Candida Hšfer, b.1944, museum of modern art new york XII, signed on a label attached to the backing board, cibachrome print , image: 119.5x161.5cm.; 47x63Iin. sheet: 152x194cm.; 59Nx76Iin. Executed in 2001, this work is number 3 from an edition of 6. "The public place, without the public - in Candida Hšfer's photographs this utopia has become a reality" (Michael Kruger, Candida Hšfer A Monograph, London, 2003, p. 5). Hšfer's 'empty' rooms and spaces exude an almost unexpected silence. Unexpected all the more because of the places they portray - theatres, lecture halls, foyers, libraries, museums. These spaces, synonymous with human activity and achievement are left bereft of their creators. And yet, the evidence of such activity is critical to every image. In Museum of Modern Art New York IV we are left alone, like an intruder, to comtemplate Jackson Pollock's One: Number 31. Unlike Andreas Gursky's photograph of the same subject, O.T. VI of 1997, which focuses solely on the artwork, Hšfer's image acredits the empty space between the viewer and the monumental painting with the same importance as the masterpiece itself. Provenance Waddington Galleries, London Exhibited London, Waddington Galleries, Objective Spaces: Photographers from Germany, 2003, no. 10, illustrated in colour in the exhibition catalogue Literature Michael Kruger, Candida Hšfer A Monograph, London, 2003, p.121, illustration in colour of another example W
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