There are 1506 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeAlbrecht Durer, "Lamentation of Christ," copper engraving Albrecht Durer (German, 1471-1528), "Lamentation of Christ," (Descent from the Cross) from "The Engraved Passion," 1907, copper engraving, Meder b impression, image: 4.625"h x 2.75"w, overall (frame): 9.75"h x 7.625"w. Catalogue Reference: 14, Bartsch
"GEORGE KOLBE(German 1877-1947)Female Nude Pen and inkSigned lower rightImage size 14 inches x 17 inches (35.6 x 43.2 cm), unframedProvenance:Acquired by Dr. Frank Seiberling Jr., circa 1937, from Dr. Hans Tietze according to the family, thence by descent through the family to present owner, the daughter of Dr. Frank Seiberling Jr.Dr. Hans Tietze (1880-1954) was a prominent Austrian art historian who studied at the University of Vienna under Franz Wickhoff and Alois Reigl. Dr. Tietz published numerous scholarly texts on Venetian and Viennese art history as well as on the graphic work of Albrecht Durer. Dr. Tietze`s art history career is vast and includes work as a negotiator for war reparations of Austrian art following World War I as well as positions such as Assistant Professor of Art History at the University of Vienna, member of the Association for the Promotion of Modern Art in Vienna, Visiting Professor at the Toledo Museum of Art and Lecturer at Columbia University. Tietz`s engagement with art fostered friendships with significant modern artists such as Oskar Kokoschka and Georg Ehrlich who created portraits of him and his wife, art historian Erica Conrat, now housed in the Museum of Modern Art, New York and the Austrian Gallery Belvedere in Vienna, Austria. Art Historian Dr. Frank Seiberling Jr. (1908-1990) served as Supervisor of Education at the Toledo Museum of Art (presumably where he came in contact with Dr. Tietze). He later worked as Professor of Art History and Head of the School of Art at Ohio State University. In 1959, he became the Head of the Department of Art and Art History at the University of Iowa."
AUGUSTE CARRIER BRONZE BUST OF ALFRED DURERAuguste Joseph Carrier (FRENCH, 1800-1875) bronze bust depicting artist, engraver, mathematician and theorist Alfred Durer (GERMANY, 1471-1528). Mounted to gilded base. Signed `A. CARRIER` to verso. Measures 8 1/2" height (21.6cm). Total weight of 1945 grams.
A GROUP OF ART BOOKS comprising Eaux-Fortes sur Paris by C. Meryon, with many etchings, 1852;The Early Drawing-Book,lithographs by J. D. Harding, 3rd edition, c. 1854-1855; The School of Art of Most Compleat Drawing-Book Extant, numerous stipples after Watteau, Boucher etc, 1765; Prout`s Microcosm, with lithographs, 1841; The Durer Society, reproductions, 1902; and two further volumes (7 vols) *Not guaranteed complete; sold not subject to return ++Some fair to poor condition only
Panofsky (Erwin). Albrecht Durer, 2 vols., 2nd ed., revised, Oxford University Press, 1945, b&w illusts., orig. cloth, damp marked, very sl. affecting first and last few leaves to each vol., 4to, together with Hind (Arthur M.), Wenceslaus Hollar and His Views of London and Windsor in the Seventeenth Century, 1st ed., 1922, b&w plts., some light foxing to first and last few leaves, orig. cloth in d.j., a little rubbed and some marks to extrems., 4to, plus Woodall (Mary, ed.), The Letters of Thomas Gainsborough, Cupid Pres, 1963, orig. qtr. cloth gilt, in torn and frayed glassine d.j., 4to, and other art reference, various, including many Phaidon monographs, Pelican History of Art series, 13 vols., Joan Evans, Art in Medieval France, 1st ed., Oxford University Press, 1948, etc. (6 shelves)
Albrecht Durer (1471-1528), "St. Jerome in his Study", engraving, image size 24 x 18.5cm.; 9.5 x 7.25in, together with another after Rembrandt Harmensz van. Rijn (1606-1669), Rural landscape with windmill, etching, image size 14.5 x 21cm.; 5.75 x 8.25in; and three other etchings and engravings (5).
An unusual pair of carved wooden roundels, depicting scenes from Christ`s passion, the agony in the garden and the crowning with thorns. Probably German c.1550. Both with old inscriptions verso` 16th century`.. The agony based on Durer`s scene from his small passion, the crowning possibly based on the scene from Durer`s green passion, known only from his drawings
Albrecht Durer Philipp Melanchthon engraving on thin laid paper with a papal crown watermark, 173 x 126mm., a slightly faint impression, trimmed on the platemark, a small loss to upper right corner, small 17th century inscription at lower right, hinged onto support, [B.89; P.823], 1526 (but later); with a group of 6 other small plates by or after Durer, including Man of Sorrows by the Column [B.3], and Flagellation [B.8] from the Engraved Passion, also Christ Brought Before Pilate, Musical Satyr and Nymph with Baby, Madonna on a Grassy Bench (reverse copy), and Rustic Couple, engravings, all trimmed on or just within the platemark, occasional browning, various dates (7).
NUREMBERG CHRONICLE, Hartmann Schedel, Liber Chronicarum, Nuremberg, Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 12th July 1493. Imperial 2o, 402 x 335mm; collation [20], cclxvi, [5] cclxvii- ccxcix, [1]; 325 of 326 leaves, lacking blank. Woodcut title (1r) laid down. 1809 woodcut illustrations from 645 blocks. Initials supplied in colour - red, blue, green and gold. Capital letters highlighted in red, and woodcuts in skilful old hand colouring throughout. Worn seventeenth century calf with armorial crest in gilt on the front board and label to spine: `Historia Aetatum Mundi`. Provenance: Crossley family of Todmorden and by descent. An unpublished family history records that the book was loaned to the Brotherton Library, Leeds University, between 1938 and 1956 and stored with incunabula underground by the National Library of Wales during World War Two. First Edition of the most extensively illustrated book of the fifteenth century. The Chonicle contains more illustrations than any previous publication from moveable type. The text covers the history of the world from the beginning to the date of publication. It is thought that around 1400 to 1500 copies of the Latin edition were published with around 400 still extant. The illustrations come from the workshop of Michael Wolgemut with his apprentice Albrecht Durer probably contributing to the publication. The text shows frequent finger marking and occasional page repairs. Many pages, particularly in the middle of the volume, have been reattached to page stubs. There is some waterstaining to the rear of the book. Folio ccxcix has been laid down in order to strengthen the holed map of Europe, with further paper repairs around the colophon. The marbled front free endpaper has adhered to the front board. The first two of the blank leaves called for (folios cclix and cclx) have headlines supplied in manuscript and may be later replacements. The woodcuts are excellent impressions and the colouring skilful and attractive. Comparison with other coloured examples of the book and the presence of coloured initials strongly suggests that the colouring is early or contemporary with publication (Illustrated)
After Marcantonio Raimondi, Italian c.1480-1527/1534- "Neptune Calming the Tempest which Aeoluis Raised aginst Aeneas` Fleet", after Raphael; engraving, 41x32.5cm: After Marcantonio Raimondi, Italian c.1480-1527/1534- Venus sitting on a bank extracting a thorn from her foot; engraving, 26x17cm: After Anea Vico, Italian 1523-1567- "The Entombment", after Raphael; engraving, 27.7x20cm: After Aegidius Sadeler 1570-1629- "Virgin and Child on a Grassy Bank", after Albrecht Durer; engraving, 32x24cm: After Heironymus Hopfer c.1500-1563- "Portrait of Charles V, Emperor"; etching and stipple engraving, 32.5x15.3cm: Follower of Martin Schongauer 1430-1491- The Adoration of the Magi; engraving, 26x19.5cm: Georg Pencz, German c.1500-1550- The money lender; engraving, 11.3x7.5cm: together with a further quantity of old master prints by and after different hands, (a lot) (7) (unframed)
A selection of 20th century works including: Donald Blake (American, fl. late 20th century) Boats, Oil on paper, signed in pen to the bottom right corner, John Mills (English, b.1933) Study for Sculpture, watercolour, signed and dated 90 in pencil to the bottom right corner, Deirdre Hubbard (American, fl. late 20th century) Nude, gouache, ink and pencil, initialled to lower right corner, Carol Haney (fl. late 20th century) "Indian Summer", lithograph, signed, titled, dated 75 and numbered 2/3 in pencil, Aeldmann (fl. late 20th century) Chapel, pen and wash, signed and dated 89 bottom right and a facsimile of a Durer print of an owl all mounted, framed and glazed Boats: 16.5cm x 45cm, Study for Sculpture: 37cm x 28cm, Nude: 20cm x 13.5cm, "Indian Summer": 48cm x 59cm, Chapel: 35cm x 27cm, In good condition View on auctionatrium.com
LUDWIG GOLDSCHEIDER: THE PAINTINGS OF MICHELANGELO, 1948, 2nd edn, sigd pres copy from Sven [Berlin] to Denis [Mitchell], fo, orig cl, d/w (tatty) + CAROLINE FOX AND FRANCIS GREENACRE: ARTISTS OF THE NEWLYN SCHOOL, 1979, Denis Mitchell’s copy with his sig on ffep, orig pict wraps + CAROLINE FOX: PAINTING IN NEWLYN, 1985, 1st edn, sigd pres inscr to Denis [Mitchell] from the Director of the Publisher John [Halkes], orig pict wraps + MIKLOS RAJNAI (ed): JOHN SELL COTMAN, 1982, 1st edn, orig cl, d/w + GERALD WILKINSON: THE SKETCHES OF TURNER, 1974, 1st edn, 4to, orig cl, d/w + ANDREW WILTON: TURNER IN THE BRITISH MUSEUM, 1975, 1st edn, 4to, orig pict wraps + PATRICK PROCKTOR: SELF-PORTRAIT, 1991, 1st edn, orig cl, d/w + ALEKSANDER ZYW: POLES IN UNIFORM, 1943, 1st edn, obl, 4to, orig cl gt + WALTER L STRAUSS (ed): THE COMPLETE ENGRAVINGS ETCHINGS AND DRYPOINTS OF ALBRECHT DURER, NY 1972, 4to, orig pict wraps + P WALDBERG: SURREALISM, 1965, orig pict wraps (10)
Loading...
