We found 77111 price guide item(s) matching your search

G Norris, still life of a bust, books and a wine bottle, signed and dated '58, oil on canvas, 40 x 50cm. 

K Bousfield, still life of bottles, signed and dated 1980, oil on canvas, 39 x 44cm.

Jay Ward, still life of quill, inkwell and letter, signed, oil on board, 11.5 x 14cm.

European School, still life of flowers in a vase, indistinctly signed, oil on canvas, 58.5 x 74.5cm. 

A collection of framed prints , etchings & similar with landscape & still life themes, largest 50 x 38.5cm(6)

Arthur Eaton, a still life watercolour painting of a Doulton style vase, decorated with cranes, 40cm x 28cm in gilt frame. Arthur Eaton was a Doulton artist and worked at Burslem from 1889–1932, he was involved with Charles Noke and painted birds and various animals working with the Flambe and Sung glazes.

Österreichischer Stilllebenmaler (Tätig im 19. Jh.)Paar WildvogelstilllebenRealistische, naturgetreue Darstellungen unterschiedlicher Vögel. Gouache/Karton. 59 cm x 51,5 cm, im Oval. Original-Rahmen.Provenienz: Laut Information des Einlieferers aus dem Nachlass des legendären österreichisch-amerikanischen Arztes und Spions Hermann Friedrich Erben (1897 Wien - 1985 ebenda).Austrian still life painter active 19th C.; A pair of oval still lifes with game birds. Gouache on cardboard. Original frame.

Marie Graves, Still life study - Apples and Blackberries, signed, watercolour, 13cm x 18cm oval.

Joyce Parfitt (Bn.1939)Still Life, Decanters, Glass and Fruitsigned, oil on board, 45cm x 60cm

Sza** (mid-20th century)Still Life, Flowers in a Vasesigned, oil on canvas, 39.5cm x 49cm

Victorian school, miniature still life study - Fruit, Flowers, and a Silver Ewer, watercolour / Tempera, 12.5cm x 9.5cm.

A LARGE EMBROIDERED SILK PANEL WITH BINZURU RAKAN AND HIS TIGER Japan, 19th centuryThe large silk brocade panel is finely embroidered in various shades of brown, black, gold and bronze, depicting Binzuru rakan with his tiger. The central embroidery is framed by a fabric border and mounted to a wooden stretcher frame.SIZE 156 x 89 cmCondition: Overall still good condition with intricate detail with soiling, loose threads, small tears, and material loss to the fabric borders. Provenance: The Langlois Collection. Jean-Marie-Charles Langlois, a Senior Railway Engineer in Indochina from 1920 to 1949, was passionate about Asian art and managed to build a collection that was later repatriated to France by his wife and children after his death. He tragically lost his life in 1949 during a Viet-Minh train attack. His son, Jean Marie Langlois, inherited the collection and continued to expand it with the support of his wife, aiming for coherence and quality in tribute to his father. The collection, which spans over a hundred years of collecting, was recently rediscovered in the family home.

UTAGAWA HIROSHIGE (1797 - 1858): AKASAKABy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1855Color woodblock print on paper. Vertical Oban. Akasaka Nawate-michi nite Yajiro Kitahachi o kitsune to omoite chochaku suru (Akasaka - On the Nawate Road, Yajirôbei Takes Kitahachi for a Fox and Beats Him). No. 37 from the series The Fifty-three Stations of the Tokaido Road (Gojūsan tsugi meisho zue). Published by Tsutaya Kichizô (Kôeidô). Censor's seals: aratame, Hare 7. Mounted at the upper margin to a passepartout.Condition: Very good condition, slightly faded colors, and good impression. Minor browning, small tears to corners, and staining. Provenance: German private collection. The passepartout with an old stamp 'ORIGINAL PRINT Guarantee by Sakai & Co., Established 1874'.Dimensions: Image size 36.5 x 25 cm, Size incl. passepartout 47.5 x 36 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The British Museum, Museum number 1915,0823,0.758. Another is in the Museum of Fine Arts in Boston, accession number 21.5278.

UTAGAWA HIROSHIGE (1797 - 1858): HONMOKU CLIFF IN MUSASHI PROVINCEBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 1858Color woodblock print on paper. Vertical Oban. A beautiful landscape portrait with a clear view of Mount Fuji. Entitled Honmoku Cliff in Musashi Province, from the series Thirty-Six Views of Mount Fuji. Publisher seal Tsutaya Kichizo. Mounted at the upper margin to a passepartout. Condition: With browning, staining and slightly faded colors. The upper area with some creases and losses, backed by Japan paper. Provenance: German private collection. Dimensions: Image size 36. 5 x 23.5 cm, Size incl. passepartout 52.5 x 38 cmUtagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of the Van Gogh Museum, Amsterdam, object number n0089V1962.

UTAGAWA HIROSHIGE (1797 - 1858): ISE-EBI AND SHIBA-EBIBy Utagawa Hiroshige (1797 - 1858), signed Hiroshige ga Japan, 19th century Color woodblock print on paper. Horizontal Oban. Lobster (Ise ebi) and prawn (shiba ebi), from the series Uozukushi (Every Variety of Fish). Published by Nishimuraya Yohachi (Eijudô). Censor's seal: kiwame. Inscriptions: poems by Shimotsuke Edozaki Ryokujuen Motoari (Ryokujuen Motoari from Edozaki in Shimotsuke Province) and Nen'an Machikado. Inscribed to the backside. Mounted at the upper margin to a passepartout. Condition: Slightly faded colors, and good impression. With browning and staining as well as few wormholes. The upper margin with tears. Provenance: German private collection. Dimensions: Image size 24.5 x 37.5 cm, Size incl. passepartout 38.5 x 52.5 cmThe series initially appeared as a privately printed kyōka poetry album in the orihon format, containing ten illustrated sheets and four text-only sheets. The blocks were later reused for commercial prints, with added publisher's marks, censor's kiwame seals, and occasionally different poems. Additional designs, including one with a trout, were included in the commercial series. Another publisher later added nine more designs. For a complete reproduction and detailed discussion of the first edition, consult Mann 2021, pages 290-311. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of The Metropolitan Museum of Art, accession number JP3597. Another is in the Museum of Fine Arts in Boston, accession number 21.9605.

UTAGAWA HIROSHIGE (1797 - 1858): SHIMA PROVINCE, MOUNT HIYORI AND TOBA HARBORBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige hitsu Japan, 1853 Color woodblock print on paper. Vertical Oban. From the series Rokujuyoshu meisho zue (Pictures of famous places in the sixty-odd provinces). Published by Koshimuraya Heisuke (Koshihei). Blockcutter: Hori Ta. Censor seal: Watanabe Mera (1851-1853). Mounted at the upper margin to a passepartout.Condition: Very good condition, fresh colors, and good impression. Minor browning. Provenance: German private collection. Dimensions: Image size 37.5 x 25.5 cm, Size incl. passepartout 42 x 29 cm Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Literature comparison: A near identical print is in the collection of Museum of Fine Arts in Boston, accession number 11.26227. Another is in the British Museum, Registration number 1902,0212,0.397.61

UTAGAWA HIROSHIGE (1797 - 1858): SHONO DRIVING RAINBy Utagawa Hiroshige (1797 - 1858), Signed Hiroshige ga Japan, originally issued 1834 - 19th century edition Color woodblock print on paper. No. 46 from the series Fifty-three Stations of the Tôkaidô Road (Tôkaidô gojûsan tsugi no uchi), also known as the First Tôkaidô or Great Tôkaidô. Published by Takenouchi Magohachi (Hoeidô). Censor's seal: kiwame. Condition: Good condition, good impression, colors somewhat faded, and browning. Provenance: German private collection. Dimensions: Image size 35.5 x 38.5 cm, Size incl. passepartout 36 x 48.5 cmLiterature comparison: A near identical but earlier print, is in the collection of The Metropolitan Museum of Art, accession number 11.26227. Another is in the Museum of Fine Arts in Boston, accession number 11.25063. Auction result comparison: Compare to a near identical bur earlier print at Christie´s New York, in Japanese and Korean Art on 22 September 2020, lot 128, sold for USD 30,000.Sudden Shower at Shōno is one of the best-known scenes from Hiroshige's series. It showcases his skill in capturing the intensity of a rainstorm, with palanquin bearers and villagers rushing through the rain. The design is purely imaginative, as Shōno doesn't match the depicted scenery. The umbrella bears inscriptions related to the publisher and series titles. Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e ('pictures of the floating world') woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.

UTAGAWA HIROSHIGE (1797-1858): AUTUMN MOON OVER THE TAMA RIVERBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Tamagawa no shugetsu (Autumn Moon over the Tama River), from the series Edo kinko hakkei no uchi (Eight Views of the Suburbs of Edo). Boating and angling on the Tama River on the night of a full moon. The Tama River ran along the western border of Edo, while the Sumida River flowed through the east side of the city. The Tama tended to evoke poetic associations, such as with the desolate Musashino moor and the autumnal moon. Mounted at the upper margin to a passepartout.Inscription: Poem (signed Asanoyadō Massugu)The image of the moon in the autumn night which is luminous as day,lingers on the Tama stream as the river lingers by the Twin Pines.Condition: Very good condition with good colors, fine impression, and browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24 x 37.3 cm

UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOWBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. Titled Kameyama, yukibare (Kameyama: Clear Weather after Snow), from the series Tokaido gojusan tsugi no uchi (Fifty-three Stations of the Tokaido Road). No. 47 in 'Hoeido Tokaido' series. A daimyo procession makes its way up a steep snow-covered path to the 16th century Kameyama Castle at the upper right. The soldiers' blue coats and yellow hats are visible through the snowy trees. Next to the gate, a stone rampart topped by a watchtower serves to fortify the town's entrance and guard the clan's stronghold. Inside a passepartout.Condition: Good impression and colors. Minor material loss along the centerfold as well as a very small ink stain on the bottom left corner, some minor wear.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.While on road, he stayed at 53 overnight stations and made numerous sketches of everything he saw. Eventually publishing 55 landscape prints: one for each station as well as one at the beginning of the highway and one for his arrival in Kyoto. Later, he repeatedly executed new designs of the 53 Tokaido views employing his unused sketches of the previous years.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm

UTAGAWA HIROSHIGE (1797-1858): CLEAR WEATHER AFTER SNOW AT MASSAKIBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Massaki yukibare no zu (Clear Weather after Snow at Massaki)], from the series Tôto meisho (Famous Places in the Eastern Capital). Massaki after heavy snowfall, view of boatmen rowing through the scenic river with the Massaki Inari shrine in the background. Mounted at the upper margin to a passepartout.Condition: Good, detailed impression and colors. Trimmed along the margins with material loss, cuts, and ink stains along the edges. Creasing along centerfold and slight browning.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 25.5 x 37.5 cm

UTAGAWA HIROSHIGE (1797-1858): DESCENDING GEESE AT KATADABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Katada rakugan (Descending Geese at Katada), from the series Omi hakkei (Eight Views of Omi) of 1857. Geese descending to Katata, in the foreground there is a partial view of a pavilion at the end of the pier. Mounted at the upper margin to a passepartout.Inscription (poem):Mine amatakoete koshiji nimazu chikakiKatada ni nabikiotsuru kariganeCondition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, and minor foxing. Paper slightly browned.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label on the verso.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 37.5 x 24 cm

UTAGAWA HIROSHIGE (1797-1858): IKI PROVINCE, SHISABy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Iki, Shisa (Iki Province: Shisa), from the series Rokujuyoshu meisho zue (Famous Places in the Sixty-odd Provinces) of 1853-6. Hiroshige captures the landscape of Iki province as snow falls gently on the high peaks. The contrast between the grey and white provides depth to the scene. Mounted at the upper margin to a passepartout.Condition: Good condition with vibrant impression and fresh colors. Paper slightly browned and minor rubbing to lower right corner.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858) Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement.He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people. Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 38.5 x 26 cm

UTAGAWA HIROSHIGE (1797-1858): URAGA IN SAGAMI PROVINCE (SOSHU URAGA)By Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Horizontal Oban. With a censor's seal: kiwame. Titled Soshu Uraga (Uraga in Sagami Province), from the series Nihon minato zukushi (Harbors of Japan). Uraga harbor in snow, with houses on a reinforced embankment by the sea. Snowflakes fall gently over the sleepy houses lining the shore, boats anchored at the water's edge. The blue waters form a striking contrast against the white snow and the wintry grey sky. An attractive design from a rarely seen series. Mounted at the upper margin to a passepartout.Condition: Slightly trimmed with good impression and colors. Material loss along the edges, creasing, folds, wear, and minor foxing.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna. Old Galerie Zacke label inside the passepartout.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 24.5 x 36.5 cm

UTAGAWA HIROSHIGE (1797-1858): VIEW OF KONODAI AND THE TONE RIVERBy Utagawa Hiroshige (1797-1858), signed Hiroshige ga Japan, late 19th century editionColor woodblock print on paper. Vertical Oban. Titled Konodai Tonegawa fukei (View of Konodai and the Tone River), from the series Meisho Edo hyakkei (One Hundred Famous Views of Edo) of 1856-8. No 95 in series. View of the cliff Konodai overlooking the Tone River with sailing boats plying the river at sunset. A few visitors admire the view from the heights beneath pine and maple trees with autumn foliage, Mt. Fuji in the distance at center right. Boats sail along the river below, with a few houses along the water's edge. The Konodai or "Provincial Capital Bluff" served as a regional military center in early times as it was easily defended. Mounted at the upper margin to a passepartout.Condition: Trimmed, detailed impression and vivid colors with very minor smudging.Provenance: Austrian private collection, acquired in the 1990s at Galerie Zacke, Vienna.Utagawa Hiroshige (1797 - 1858)Utagawa Hiroshige (also referred to as Ando Hiroshige) is recognized as one of the last great masters of the ukiyo-e (“pictures of the floating world”) woodblock printing tradition. His style can be characterized in the genre of landscape print, innovated by his early contemporary Hokusai (1760-1849). Hiroshige can be attributed to having created over 5,000 prints of everyday life and landscape in Edo-period Japan. Inspired by Katsushika Hokusai's popular Thirty-Six Views of Mount Fuji, Hiroshige took a softer, less formal approach with his Fifty-Three Stations of the Tokaido (1833-34), completed after a trip he made between Edo and Kyoto, which is acclaimed to be perhaps his finest achievement. He made numerous other journeys within Japan and issued a series of such prints, expressing in great detail the poetic sensibility inherent in the climate and topography of Japan and its people.Hiroshige's prolific output was somewhat due to his being paid very little per series. Still, this did not deter him, as he receded to Buddhist monkhood in 1856 to complete his brilliant and lasting One Hundred Famous Views of Edo (1856-58). He died in 1858, 10 years before Monet, Van Gogh, and a lot of Impressionist painters became eager collectors of Japanese art.Dimensions: Image size 35 x 22 cm

Paul van Zander (b. 1945), oil on canvas, still life of fruit, signed, 49x40cm

Nine various works on artists board including still life studies, portrait of a seated lady, study of an apple tree, etc, all approx. 30x25cm

20th century still life of daisies, oil on board, monogramed HW, 28x32cm

A small still life of fruit, oil on artist board, 17x21.5cm, together with a domestic scene

A watercolour of a continental drawing room interior with tiny dog, 42x34cm; still life of earthenware crock, and portrait of a lady in Regency dress

Thomas William Pattison (1894-1983)Still Life with Summer Blooms,signed,oil,40 x 60cms.

A late 19th or early 20th century 'Japonism' still life paintingindistinctly signed with a seal deviceoil on canvas33 x 40cm

A mixed group of six watercolours to include: Philip Collingwood Priestley, Taplow, signed and dated 57 (lower right), 21.5 x 28cm; Isabella M Chartres, Floral still life, signed (lower left), 25.5 x 36cm; Edith Adie, fountain in a garden, signed (lower right), 36 x 26cm; together with three others

A pair of 19th century relief embroidered still life pictures, together with a collection of late 19th and 20th century Royal commemorative mugs and beakers

Two floral still life Red and yellow roses in a jug, indistinctly signed (lower right), oil on canvas, 39 x 49cm; and avalanche roses, oil on board, 44 x 54cm (2)

CONTINENTAL SCHOOL, STILL LIFE WITH BIRD AND GRAPES oil on board framed and under glassoverall size 48cm x 61cm

ANNE WRIGHT, BLUE BOTTLE AND PEARS, oil on board, signed, framed, along with a watercolour 'Wintry Landscape, Taynuilt' by Christine Mackenzie, and a print on fabricstill life 18cm x 16cm overallQty: 3

STILL LIFE, GICLEE PRINT TWO OTHER GICLEE PRINTS three hand finished giclee prints, still life, rural scene and a cottage100cm x 100cm

ANNA SAXTON, STILL LIFE, oil on board, framed69cm x 55cm

ANNA SAXTON, STILL LIFE oil on board, framed70cm x 57cm

LEON DANCHIN (AFTER) TROUBLED DOG lithograph, signed in pencil and No. 225 of 500 along with a still life watercolour, oil of man in armour after the Old Master and small circular wall mirrorQty: 4

A photographic still from the long-lost film Foot that was directed by Dennis Hopper. The still shows up in the documentary The American Dreamer (Corda Productions, 1971).20 x 15 inchesPROVENANCE Property from the Life and Career of Dennis Hopper

An October 25, 1971 issue of Screw, personally-owned by Dennis Hopper. A note written on the front cover in blue ink directs his attention to page 21 where there is a short review for The Last Movie (Universal Pictures, 1971), which reads in full:"This film by Dennis Hopper, viciously attacked by the critics, is playing at the 59th Street Twins on 3rd Ave., and I hated it till I met and interviewed Dennis Hopper recently and found him to be a lovable egomaniac. I still hate his film, but think I love Dennis, which either makes me a faggot or a confused critic. Only time will tell."PROVENANCE Property from the Life and Career of Dennis Hopper

A group of documents pertaining to Kris Kristofferson and his appearance in Dennis Hopper's film The Last Movie (Universal Pictures, 1971), including: a sheet of annotated typewritten lyrics for the Fred Foster / Kris Kristofferson song "Me and Bobby McGee"; legal correspondence concering the soundtrack and the use of the song in The Last Movie; a copy of the contract (unsigned) between MCA Records and Mother Mountain Music; and a copy of a telegram from Hopper to Kristofferson that reads "To the Pilgrim stop Chapter 33 stop from Hopper -- he's still hanging in -- give 'em hell. / Love Dennis."The lyrics sheet contains the complete lyrics to "Me and Bobby McGee," as heard in The Last Movie and Kristofferson's debut album, Kristofferson (Monument, 1970): verse / verse / chorus ; verse / verse / chorus; outro. Blue ink annotations correcting typos appear in the third and fourth verses. In two instances (in the second and fourth verses), annotations bring the lyrics in line with those heard on Kristofferson's album.Kristofferson made his screen debut performing the song in The Last Movie (as "Minstrel Wrangler") and the song can be heard over the title credit ("a film by Dennis Hopper") in a different key than used on his album. 11 x 8.5 inchesPROVENANCE Property from the Life and Career of Dennis Hopper

A group of materials from the lengthy and tortured editing of Dennis Hopper's The Last Movie (Universal Pictures, 1971), including equipment and paper items. Includes a film reel labeled "The Last Movie," two film splicers (Neumade Film Splicer No. 50X437 and a Hollywood Film Company splicer TS-1, Serial Number 8587) and one small counter, as well as a large collection of notes, receipts, and other paper ephemera, including Hopper's handwritten editing notes, scene lists with various run-times listed (referring to cuts that were 3 and 4 hours in length), logistic diagrams, notes on the soundtrack, notes relating to Hopper's mental state while editing (a legal sheet that reads "Who are you / I am going to die / I need friends"), several legal pads to filled to varying degrees with similar lists and notes, Producer's Sound Service work orders, and various other doodles and notes.Hopper's editing process is captured in part in the L.M. Kit Carson / Lawrence Schiller project, The American Dreamer (Corda Productions, 1971), filmed at Hopper's home in Taos, New Mexico. Shot in his editing studio among reels of film with notes chaotically plastered around the space, machinery whirring constantly in the background, Hopper says of editing, before leafing dejectedly through a binder: "It's just the time, you know? Getting the original idea, writing the screenplay, doing all that, you know, is, like, fun. Casting, getting the production together, even though it may be hard work is still fun. Finding locations, scouting them, building the sets, finally getting it together, shooting the picture: it's hard work but it's still creative and fun. And I suppose, like everybody says this is where the movie is really made and it may be, but it's still boring. It's also like having a child and cutting its arms off, putting its eyes out, because you have a lot of... you know we have 40 hours of film. We have some really beautiful.. everything is beautiful. So you start throwing things out that you really like."Ultimately, Hopper would anger executives by failing to meet his deadlines and, purportedly telling Lew Wasserman to "fuck off" after he told Hopper he would need to recut the film. This led to Hopper's exile from directing in Hollywood. While he would be tapped to direct Out of the Blue (Discovery Films, 1980), Hopper wouldn't direct a film with wide audience reach until Colors (Orion Pictures, 1988), leading to his return to behind the camera.Includes a DVD of the film.20.25 x 16.25 x 10.5 inches (box of paper); 7 x 12 x 13 inches (equipment, overall)PROVENANCE Property from the Life and Career of Dennis Hopper

A collection of Dennis Hopper's receipts and financial documents including those from/for: City National Bank, American Express, The Liquor Locker, Pando Company, various gas companies, numerous documents from Hopper's legal representatives still in their original envelopes, as well as several political flyers and invitations to political events.Together with Hopper's personal Shell credit card.11 x 4 x 16 inches (overall)PROVENANCE Property from the Life and Career of Dennis Hopper

A brochure and ephemera relating to producer Bert Schneider who, along with Bob Rafelson founded Raybert and BBS Productions, which worked on a number of Dennis Hopper and Jack Nicholson projects c. 1969-1972. The vertically-bound brochure advertises five Bert Schneider-produced films: Easy Rider (1969), A Safe Place (1971), Five Easy Pieces (1970), Drive, He Said (1971), Head (1968), The King of Marvin Gardens (1972), and The Last Picture Show (1971). Text on the introductory page reads in part: "Try to put your standard Hollywood cookie cutter around any of the films in this series. Is any one a comedy, western or love story? Mystery, musical or action-adventure? / The fact is that they defy labels, because each is the personal film by one filmmaker." Each entry features a large, stylized reproduction of a still from the film, as well as taglines, proiduction information, synopsis, runtime, and other information.The ephemera includes six unpulled stickers and a sheet of letterhead related to the Schneider-produced film Tracks (Rainbow Pictures, 1976), which featured Hopper in the starring role. 12 x 9 inches (brochure)PROVENANCE Property from the Life and Career of Dennis Hopper

A group of pencils and markers that were personally owned by Dennis Hopper and are still in the First State Bank of Taos zipper-enclosed bag in which they were kept.Bag, 10.5 x 6.25 inchesPROVENANCE Property from the Life and Career of Dennis Hopper

A group of art show invitations and flyers from the personal collection of Dennis Hopper, including: a couples only black light art show hosted by the San Francisco League for Sexual Freedom, Ed Ruscha at The Texas Gallery, Dennis Hopper in Taos, Roy Lichtenstein at Ferus Gallery, and four copies of a mailer for a Paul Kelsey show at The Dennis Hopper Gallery of Art.Together with color photographs taken around the “Russian Dynamite Death Chair Act” event performed by Hopper at the Big H Speedway in Houston, Texas to promote his film Out of the Blue (Discovery Films, 1982).Hopper was scheduled to deliver a lecture on Out of the Blue for students at Rice University. Following the screening, however, Hopper bused the students out to the race track where he reproduced an act he had seen in a traveling road show as a child: he lit six sticks of dynamite beneath a chair he was seated on. The trick works because if the dynamite is pointed outwards, the explosion creates a vacuum in the center, leaving the person on the chair unharmed. The scene was described thus by a Rice News student correspondent: "Dennis Hopper, at one with the shock wave, was thrown headlong in a halo of fire. For a single, timeless instant he looked like Wile E. Coyote, frazzled and splayed by his own petard. Then billowing smoke hid the scene. We all rushed forward, past the police, into the expanding cloud of smoke, excited, apprehensive, and no less expectant than we had been before the explosion. Were we looking for Hopper or pieces we could take home as souvenirs? Later Hopper would say blowing himself up was one of the craziest things he has ever done, and that it was weeks before he could hear again. At the moment, though, none of that mattered. He had been through the thunder, the light, and the heat, and he was still in one piece. And when Dennis Hopper staggered out of that cloud of smoke his eyes were glazed with the thrill of victory and spinout."11 x 8.5 inches (largest)PROVENANCE Property from the Life and Career of Dennis Hopper

EDWARD CARTER PRESTON, OIL ON CANVAS, STILL LIFE, SIGNED WITHIN GILDED FRAME, APPROX 44 x 61cm

L M WRIGHT, OIL ON CANVAS, STILL LIFE, APPROX 28 x 39cm

Jonas Wood (b.1977)Large Shelf Still LifeOffset lithograph printed in colours, 2017, on wove paper, the full sheet printed to the edges, sheet 595 x 595mm (28 3/8 x 28 3/8in)

δ The Miaz Brothers (contemporary)Still Life 2Inkjet print in colours with varnish overlay, 2019, signed and numbered from the edition of 125 in pencil, published by Jealous Gallery, London, with their blindstamp, on 305gsm Hahnemuhle Photo Rag Paper, the full sheet, sheet 380 x 380mm (14 7/8 x 14 7/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Oliver Clare (1853-1927) British still life with prunes, gooseberries, grapes, and raspberry, signed lower right, oil on board, 27 cm x 22 cm, within a glazed giltwood pierced frame

Oliver Clare (1853-1927) British still life with prunes and peach, signed lower right, oil on board, 24 cm x 19 cm, within a pierced giltwood frame

LAWRENCE BIDDLE (British, 1888-1968); oil on board, still life depicting a bowl of freshly picked garden flowers, signed lower right, 17 x 29.5cm, framed, originally purchased from Hartley Fine Arts, Surrey in 2002 for £1,200, a copy of the receipt is attached.Condition Report: - Frame 29 x 42cm.

WILLIAM C. PENN (1877-1968); oil on board, still life with flowers and book on table, signed top right, 49 x 38.5cm, framed.

SCHOUTEN; a large oil on canvas, still life vase of garden flowers, in the Flemish style, signed lower left, c.1980, 90 x 60cm, framed.Condition Report: Frame 103 x 72cm.

Four original oil paintings; a still life of flowers signed 'S Leigh', landscape scene signed 'R Ward', landscape scene signed 'Alan Walters' and a landscape scene, indistinctly signed, all framed.

A collection of various pictures and prints including a watercolour signed H F Burnett, monochrome print after H Van Meegeren, watercolour still life of flowers signed M E Hayes, 'Sunflowers' print after Van Gogh, 1930s walnut framed wall mirror, etc.

Thomas G Hill (British 20th century), watercolour, still life of flowers, 59cm x 49cm, framed and glazed, gilt frame, 74.5cm x 63.5cm.