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White Night. Numbered 13/20; Dune. Numbered 8/16; Mirador East I. Numbered 3/12; Kochie Kite. Numbered 12/12; Market: Electric Blue. Numbered 8/10; Market: Celosia. Numbered 7/10; Market: Sunflowers. Numbered 9/10. All screenprints bear artist’s signature to the lower right corner. Condition Report Very good. White Night: Slight age to toning to mat and mild staining and scattered foxing to the center. Dune: Slight stain to upper right corner. Market Electric Blue: Slightly wavy to the left edge of image. Market Celosia: Slight wear to mat. Dimensions White Night: image: w 23 x h 19 in; mat: w 29 x h 25 in. Dune: image: w 23 x h 19 in; mat: w 28 ½ x h 24 in. Mirador East I: image: w 24 x h 20 in; mat: w 31 x h 26 in. Kochie Kite: image: w 15 x h 21 ½ in; mat: w 19 ½ x h 25 ½ in. Market Electric Blue: image: w 10 x h 12 ½ in; mat: w 18 x h 21 in. Market Celosia: image: w 10 x h 14 in; mat: w 21 ½ x h 18 in. Market Sunflowers: image: w 10 x h 14 in; mat: w 21 ½ x h 18 in This item is located at our Rockville store.
A watercolor painting depicting a woman gazing into a mirror on a full moon night by an unknown artist. Watercolor on watercolor board. Title marked in pencil to lower left corner with artist’s proof mark to the center bottom. Artist’s signature to the right corner. Matted and unframed. Slight scratch to lower left edge. This item is located at our Rockville store.
1983. Screenprint in color. Limited edition, #17/25. Housed in silver frame and silver matte. Signed by artist in pencil on lower right corner. Very good condition with slight crease to bottom edge. Sight measurements 30" w x 23" h, Frame measurements 35 1/2" w x 28 1/2" h. This item is located at our Rockville store.
Japan. A pair of two Japanese fan paintings dating to the Edo period (1603-1868). The first painting depicts a woman gesturing to a man seated on green tatami with three women watching from outside. The second painting depicts a man speaking to three other men seated around him by a river. A fabric screen gives them some privacy while a man and woman wait by the speaker’s jinrikisha. Much of the surfaces on both paintings are covered in gold leaf. These paintings were not made into fans so there are no creases. Each painting is taped to brown mat board. These paintings are not framed and are not signed. Both good to very good. First painting has a 1” closed tear to gold leaf at top left edge. Second painting has moderate pigment loss throughout the painting. Both paintings are on stiff paper with another layer of paper glued to the verso. Dimensions : Each painting: w 20.5 in x h 10 in.
Six chargers, each of which display similar scenes with common elements of house, water, mountains, figure. All are painted in deep blue tones. All very good with no significant issues. Dimensions: Various. Diameters are 14.5in, 14 7/8 in, 15.5 in, 16 in, 18 in, and 18 in. Heights range from 2 in to 2.5 in.
A signed abstract watercolor by Italian painter Afro Libio Basaldella (1912-1976), known as Afro. Signed “Afro” in lower right corner. Condition: very good. Minor denting and creasing to edges of painting, not impacting images. The edges of the sheet are unevenly trimmed. Slight marking to mat. Matted but not framed. Dimensions mat w 16 in x h 12 in sheet w 11 7/8 in x h 9 1/8 in.
A signed abstract painting by Sonia Delaunay-Terk (1885-1979), a Ukrainian-born Russian artist, who played an influential role in the avant-garde movement in Paris. Condition: very good. Some age-toning visible on reverse of painting. Signature and gallery stamp on reverse. Matted but not framed. Dimensions mat w 15.75 in x h 12 3/8 in sheet w 12 3/8 in x h 8.75 in.
A watercolor on paper by Béla Kádár (1887-1956). An influential Hungarian avant-garde artist, Kádár was influenced by both contemporary artistic movements, including Cubism and Futurism, and Hungarian legends. Condition: very good; some age-toning to paper and mat. Matted but not framed. Dimensions mat w 10.75 in x h 12 in sheet w 4 7/8 in x h 5.5 in.
A signed original drawing by French artist Aristide Maillol. Maillol (1861-1944) was accepted into the Ecole des beaux-arts in 1885, where he studied under several notable painters. He subsequently joined Les Nabis, a group of young French artists, at the recommendation of Gauguin, and began working in tapestry. Failing eyesight prompted him to focus increasingly on sculpture, particularly representations of female nude figures, though he periodically explored two-dimensional media as well. Condition: good to very good. Minor chipping and closed tears to edges of sheet, none of which impact the image. Signed in lower right corner. Dimensions mat w 13.75 in x h 16 7/8 in sheet w 9 3/8 in x h 13 3/8 in.
A signed pencil sketch by Serge Ferat. Ferat (1881-1958) was born in Moscow, the son of a member of the Russian aristocracy. As a young man he moved to Paris, where he began painting in the cubist style. He was friends with many of the most prominent artists of his day, including Picasso and Apollinaire. Condition: very good. Light, even age toning. Matted but not framed. Dimensions mat w 14 in x h 11 in sheet w 8 in x h 5.75 in.
An abstract watercolor by Mikhail Tarkhanov (1888-1962). Takharov was a Russian/Soviet painter who worked for various Soviet institutions, pursuing his interest in the avant-garde in secret following the 1930s ban of abstract art in the Soviet Union. Condition: very good. Edges are torn somewhat unevenly, but this appears to be original to the piece. Dimensions mat w 15.75 in x h 12.75 in sheet w 14 in x h 10.25 in.
A self portrait of Austrian artist Oskar Kokoschka in ink on paper, initialed in the lower right corner. Matted and framed; not examined out of frame. Condition: very good. Some separation at the corners of the frame, and some loss of material to corners, edges, and raised portions of frame. Dimensions frame w 10 1/8 in x h 12 in sheet w 3 5/8 in x h 5.5 in.
A pencil portrait of a woman by Hungarian artist Béla Czóbel (1883-1976), signed in the lower right corner. Born in Budapest and trained in Munich and Paris, Czóbel joined an artistic group known as The Eight, who played a key role in introducing new artistic styles into Hungarian art circles. Condition: very good, with some even age toning. Dimensions sheet w 9.75 in x h 13.25in.
A signed print of the etching Enterrement d’un marin à Villerville (Burial of a Marine, Villerville) by Ulysse Butin, 1878. Butin (1838-1880) was a French artist based in Paris who was known for paintings and etchings. Condition: good to very good. Some age toning and light marking to the image itself; the mat has further marking and some creases. Matted but not framed. Dimensions mat w 14.25 in x h 16 3/8 in sheet w 7 in x h 9 7/8 in.
An etching by Alfred Robaut based on the work of Eugene Delacroix, depicting a lion with a skull. Condition: good. Age toning and age spots; a raised stamp in the lower right corner identifies this print as the work of Robaut based on Delacroix. Matted and framed; not examined out of frame. Dimensions frame: w 11.5 in x h 9 5/8 in.
1910. SEPTEMBER 24 1910. The artist’s name appears inside the lower border of the image. Printed below the image lower left is “VOL XLVI NO 1” and lower right “SEPTEMBER 24 1910” with a “27” in the extreme right corner. The magazine’s title “Collier’s The National Weekly” largely obscured by Parrish’s bookish clown speaks to the magazine’s foothold in early 20th-century popular culture. From 1904 to 1910, Parrish was under exclusive contract to Collier's, which published his famed Arabian Nights paintings in 1906-07. Condition: fine. Matted and framed; the frame is moderately scuffed. Dimensions image dimensions: w 10.75 in x h 15 in.
1797. An engraving by French artist Jacques Philippe Levilly (active 1780-1800). Condition: good. Light age toning and some age spots; several small closed tears and holes in margins. Several small creases around the edges and one faint central crease. Some faint water staining to right edge, particularly in margin. Matted but not framed. Dimensions mat w 19 5/8 in x h 17 5/8 in print w 15.25 in x h 13.25 in.
c 1700s. A pair of hand-colored engravings shows the original quadrangle of Jesus College above the second quadrangle ornamented with Dutch gables. Robed faculty and students stroll across the quadrangles. A capital letter marks the corners of each courtyard. Condition: very good with no apparent issues. Matted and framed; not examined out of frame. Dimensions : visible paper: w 18 in x h 18 in.
1675. An engraving by David Loggan (1634-1692) showing the not-yet-completed second quadrangle extending behind the college’s original quadrangle. The second quadrangle was built sometime between 1640 and 1713. Text in Latin about the college is printed in the lower margin. Capital letters appear throughout the engraving. Condition: A light brown ½” vertical band follows a light central crease (see two images). The engraving is attached to an age-toned mat, which is glued at the edges to an artist’s board. Dimensions plate w 15.75 in x h 11.5 in.
1929. A signed, numbered (28/30), and dated (1929) print by American artist Richard R. Beatty (1899-1961). Condition: good to very good. Some age toning, particularly noticeable at the border created by the edge of the mat. Matted and framed; not examined out of frame. Dimensions frame w 17.5 in x h 14 5/8 in image w 9 3/8 in x h 7.75 in.
Sebastien Phillipe, 1627. An etching by Jacques Callot entitled “Entrée de Monsieur de Couvonge et de Monsieur de Chalabre.” This etching is from “Le Combat a la Barrière” by Henri Humbert and was printed by Sebastien Phillipe in 1627. It depicts a lively procession of dancing and flying spirits accompanied by a dragon and griffin. The Metropolitan Museum of Art and the Rhode Island School of Design Museum have this etching as part of their permanent collections. Condition: very good though age toned. A small number “4” is written in ink in the lower margin not affecting the image. The etching is affixed on the verso with archival tape to paper with a 9 ½” x 6” opening (see image). It is signed in plate lower right “Jac. Callot In. et F”. Dimensions w 9.5 in x h 6 in.
1970. This scarce lithograph was created by Edna Andrade (1917-2008) for the first celebration of Earth Day in 1970. It is signed and hand-numbered 48/200 by the artist at the lower left below her AE logo. Condition: very good. Some fading from labels and frame in upper right corner. Minimal bumping and a 1 ½” horizontal crease along lower right edge. Minimal rubbing to lower left edge. Dimensions w 24 in x h 36 in.
A small oval original illustration of Venus and Cupid in white and black on a sepia ground. Pierre-Paul Prud’hon (1758-1823) was born in Burgundy and began studying painting at the age of sixteen. After working in Dijon and Paris, he spent the years of 1784-1787 in Italy, where he was influenced by the work of earlier Italian painters. On his return to France he became a supporter of the Revolution, and was later favored with commissions by Napoleon. Condition: very good; no evidence of damage. Matted and framed; not examined out of frame. Dimensions frame w 8 3/8 in x h 6 7/8 in image w 5 1/8 in x h 3 7/8 in.
A signed and numbered print titled “North American B-25B Mitchell.” The printed note below the title reads: “Taking off from the deck of U.S.S. Hornet to attack Tokyo, 18th April 1942.” The scene depicted is the launch of the Doolittle Raid, a United States Air Force attack against four major Japanese cities during World War II. All but one of the planes involved in the attack crashed in China, and several men were killed or captured. However, the mission proved that Japan was vulnerable to air attack from the United States military, and therefore meaningfully boosted American morale. The print is signed by then-Lt. General James H. Doolittle (1896-1993), who planned the attack and flew one of the sixteen B-25B medium bombers involved. Doolittle advanced two grades--from lieutenant colonel to brigadier general--as a result of his leadership in the attack, and also received numerous honors from the United States and several of its allies. Most notably, he received the Medal of Honor from President Roosevelt. In 1985, twenty-six years after he retired from the U.S. Air Force, Doolittle was advanced to the grade of full general. The print is also signed by the artist, John Young, who is known for his depictions of aviation scenes. It is dated 1978. The edition number is 705/850, written in pencil in the lower left corner. The print is matted and framed. Condition: Excellent. Slight scratching to frame and glass. Not examined outside of frame. Dimensions in frame w 22 in x h 20 in.
Signed print by Frank Brangwyn depicting a street scene in the aftermath of the London Blitz. Frank Brangwyn (1867-1956) was born in Belgium to British parents, and received his artistic training in Britain. He worked for William Morris as a young man, and like him explored a wide array of artistic media throughout his career. Though his work includes such diverse categories as glassware, furniture, and pro-British WWI posters, perhaps his best-known works are the murals commissioned by the House of Lords in 1926, later rejected by the peers, and finally acquired for the Guildhall in Swansea, Wales. During his lifetime, he was one of the world's foremost artists. He was the first living artist to receive a retrospective at the Royal Academy in London. While his reputation suffered after his death, his work has been reconsidered in more recent years, and a high-profile exhibition marked the 50th anniversary of his death in 2006. Condition: Good. Some discoloration from handling, aging adhesive, and other factors to margins, but these do not impact the print itself, or the signature. The print is mounted in an unusual way in that the edges of the sheet of paper have been wrapped around the edges of a board and glued to the back, which currently gives the print a slightly wavy appearance. This could likely be corrected if the backing were removed, which could be done with minimal paper loss. Dimensions 26 x 36.5 inches.
London: John Boydell, 1769. Three 1769 Engravings by Jean-Baptiste-Claude Chatelain: Castel Gandolfo; A Land-Storm; and Follow Me and I Will Make You Fishers of Men All three of these prints are the work of British engraver Jean-Baptiste-Claude Chatelain (1710–1771). Chatelain (whose name is often spelled “Chatelin” under engravings) was employed by publisher John Boydell in London, and with François Vivares produced a number of landscape engravings after works by masters such as Rembrandt. To boost sales, Boydell often capitalized on Vivares’ popularity and credited him on plates engraved by Chatelain alone. The French engraver François Vivares (1709–1780) set up shop in London at the age of 18. François Vivares engraved some 160 plates, most of which were published by John Boydell. The intermediary draftsman Joseph Goupy (French, ca. 1700–1782) also collaborated on all three of these prints. All three were published by the British publisher John Boydell (Shropshire 1720–1804 London) in or about 1769. This lot includes the following prints, all of which are framed and matted: “Castel Gandolfo and Part of the adjoining Lake with a Prospect of the Campagna of Rome,” after a painting by Giovanni Francesco Grimaldi (Italian, 1606–1680). Another print from this engraving is in the permanent collections of the Metropolitan Museum of Art, The British Museum and Harvard Art Museum. Condition: Very Good. 3” x 2” stain in lower left margin, not affecting image. Not examined out of frame. “A Land Storm,” after a painting by Nicolas Poussin (French, 1595–1665). Other prints from the same engraving are in the collections of the Royal Academy of Art, the British Museum, and the Detroit Institute of Arts. Condition: Excellent. No visible concerns; not examined out of frame. “Follow Me and I Will Make You Fishers of Men,” after a painting by Nicolas Poussin. Another print from the same engraving is in the permanent collection of the British Museum. Condition: Very Good. Light water staining along the bottom margin not affecting image or text. Frame shows some scratching and missing gilding. Dimensions Each 30 x 24 inches.