Objects "Forum Auctions"

Brizio (Francesco, ca. 1574-1623) The adoration of the Magi, after

Brizio (Francesco, ca. 1574-1623), attributed to. The adoration of the Magi, after Ludovico Carracci, etching, a good impression of the lettered state on laid paper with watermark of a quadruped, possibly a dog, sheet 228 x 180 mm. (8 7/8 x 7 1/8 in), trimmed just within platemark with thread margin around image, inset at edges onto paper support, small repaired tear in the lower right quadrant, small pin hole in the lower left, minor surface dirt, unframed, [circa 1590-1620]; together with three etchings by Giulio Bonasone (ca. 1531-1576), including The Adoration of the Shepherds, [B. 39; Massari 167], St Paul Preaching, after Perino del Vaga, [B. 72; Massari 103], and Father Time, after Giulio Romano, [B. 172; Massari 224], etchings, various sizes, all unframed, [circa 1545-1565] (4). Literature: (Brizio) Bartsch (under Annibale Carracci) 1; TIB (Brizio) 1 ⁂ Scarce. The etching attributed to Brizio is after the fresco by Ludovico Carracci in the Gessi chapel of S.M. della Pioggia in Bologna, which was destroyed in World War II. The present impression bears the added lettering falsely attributing the etching to Annibale Carracci, and the work has also previously been attributed to Carlo Marrati, yet The Illustrated Bartsch retains the attribution to Brizio. Brizio (Francesco, ca. 1574-1623), attributed to. The adoration of the Magi, after Ludovico Carracci, , etching, a good impression of the lettered state on laid paper with watermark of a quadruped, possibly a dog, sheet 228 x 180 mm. (8 7/8 x 7 1/8 in), trimmed just within platemark with thread margin around image, inset at edges onto paper support, small repaired tear in the lower right quadrant, small pin hole in the lower left, minor surface dirt, unframed, , [, circa, 1590-1620]; together with three etchings by, Giulio Bonasone (ca. 1531-1576), , including, The Adoration of the Shepherds, , [B. 39; Massari 167], St Paul Preaching, after Perino del Vaga, , [B. 72; Massari 103], and, Father Time, after Giulio Romano, , [B. 172; Massari 224], etchings, various sizes, all unframed, [, 1545-1565] (4). Literature:, (Brizio) Bartsch (under Annibale Carracci) 1; TIB (Brizio) 1, ⁂, Scarce, . The etching attributed to Brizio is after the fresco by Ludovico Carracci in the Gessi chapel of S.M. della Pioggia in Bologna, which was destroyed in World War II. The present impression bears the added lettering falsely attributing the etching to Annibale Carracci, and the work has also previously been attributed to Carlo Marrati, yet The Illustrated Bartsch retains the attribution to BrizioRead more

  • GBRUnited Kingdom
  • 3d 10h

India.- David (Havell) A View at Lucknow, after Henry Salt, etching

India.- Havell (David) A View at Lucknow, after Henry Salt, plate no. VI from 'Twenty-four views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia and Egypt', etching and aquatint with hand-colouring on wove paper, 450 x 625 mm. (17 3/4 x 24 1/2 in), under glass, some light cockling to the sheet, minor spotting, browning, and surface dirt, framed and glazed, William Miller, 1809 § Hodges (William) A View of the Mosque, at Mounheer, from the S.E., etching and aquatint with hand-colouring on thick laid paper, platemark 330 x 480 mm. (13 x 18 7/8 in), sheet 445 x 580 mm. (17 1/2 x 22 3/4 in), minor surface dirt, unframed, J. Wells, 1787 (2). India.- Havell (David), A View at Lucknow, after Henry Salt, , plate no. VI from 'Twenty-four views in St. Helena, the Cape, India, Ceylon, the Red Sea, Abyssinia and Egypt', etching and aquatint with hand-colouring on wove paper, 450 x 625 mm. (17 3/4 x 24 1/2 in), under glass, some light cockling to the sheet, minor spotting, browning, and surface dirt, framed and glazed, William Miller, 1809 §, Hodges (William), A View of the Mosque, at Mounheer, from the S.E. , etching and aquatint with hand-colouring on thick laid paper, platemark 330 x 480 mm. (13 x 18 7/8 in), sheet 445 x 580 mm. (17 1/2 x 22 3/4 in), minor surface dirt, unframed, J. Wells, 1787 (2)Read more

  • GBRUnited Kingdom
  • 3d 10h

Fossils.- Paleontographical Society [Annual Volumes], c.118, a broken

Fossils.- Paleontographical Society [Annual Volumes], c.118, a broken run, lacking vol. 2 and 113, many vol. incomplete, plates and illustrations, ex-Geological Society Library with usual stamps and labels, contemporary library cloth or original half cloth, rubbed and worn, some bindings broken, 1848-1966; Palaeontographical Society Catalogue of the Contents of the Annual Volumes, original paper wrappers, 1980; and others, including c.98 vol. of Palaeontographical Society fasicules, an incomplete run dating 1967-2004, and others, v.s. (qty); sold as a periodical, not subject to return ⁂ Includes Searles V. Wood on the Crag Mollusca; William King on the Permian Fossils; Daniel Sharpe on Fossil Remains of Mollusca found in the Chalk of England, and Dr. Henry Woodward on the British Fossil Crustacia. Fossils.- Paleontographical Society, [Annual Volumes], c.118, a broken run, lacking vol. 2 and 113, many vol. incomplete, plates and illustrations, ex-Geological Society Library with usual stamps and labels, contemporary library cloth or original half cloth, rubbed and worn, some bindings broken, 1848-1966; Palaeontographical Society Catalogue of the Contents of the Annual Volumes, original paper wrappers, 1980; and others, including c.98 vol. of Palaeontographical Society fasicules, an incomplete run dating 1967-2004, and others, v.s. (qty); sold as a periodical, not subject to return, ⁂ Includes Searles V. Wood on the Crag Mollusca; William King on the Permian Fossils; Daniel Sharpe on Fossil Remains of Mollusca found in the Chalk of England, and Dr. Henry Woodward on the British Fossil CrustaciaRead more

  • GBRUnited Kingdom
  • 3d 10h

Holy Land.- Egerton (Lady Francis) Journal of a Tour in the Holy Land

Holy Land.- Egerton (Lady Francis) Journal of a Tour in the Holy Land, first edition, 4 tinted lithograph plates, illustrations, occasional faint spotting, original cloth, slight splitting to spine extremities, [Abbey Travel, 384], For Private Circulation only, 1841 § Bartlett (W. H.) Jerusalem Revisited, engraved frontispiece, engraved additional title and 20 plates (1 folding), illustrations, occasional spotting, publisher's advertisements at end, cracked upper hinge, original cloth, gilt, slight bumping to corners and extremities, 1855 § Tristram (H. B.) The Topography of the Holy Land, folding colour map frontispiece, illustrations, occasional faint spotting, contemporary half calf, n.d., 8vo (3), Holy Land.- Egerton (, Lady, Francis), Journal of a Tour in the Holy Land, , first edition, 4 tinted lithograph plates, illustrations, occasional faint spotting, original cloth, slight splitting to spine extremities, [Abbey Travel, 384], For Private Circulation only, 1841 § Bartlett (W. H.) Jerusalem Revisited, engraved frontispiece, engraved additional title and 20 plates (1 folding), illustrations, occasional spotting, publisher's advertisements at end, cracked upper hinge, original cloth, gilt, slight bumping to corners and extremities, 1855 § Tristram (H. B.) The Topography of the Holy Land, folding colour map frontispiece, illustrations, occasional faint spotting, contemporary half calf, n.d., 8vo, (3)Read more

  • GBRUnited Kingdom
  • 3d 10h

World.- Welsh (Col. James) Military Reminiscences ... of Nearly Forty

World.- Welsh (Col. James) Military Reminiscences ... of Nearly Forty Years' Active Service in the East Indies, 2. vol in 1, second edition, half-titles, aquatint frontispieces, vignette titles, 21 aquatint plates (3 folding), 11 maps (1 folding), illustrations, occasional faint spotting, modern half calf, 1830 § Heber (Reginald) Narrative of a Journey through the Upper Provinces of India, 3 vol., second edition, 28 wood-engraved plates, ink signature to titles, occasional spotting, contemporary half calf, a little rubbed, 1828 § Lobo (Jerome) A Voyage to Abyssinia ... Translated ... by Samuel Johnson, spotting, ink signature, bookplates, contemporary diced calf, rebacked with original spine laid down, gilt, a little rubbed, Elliot and Kay, and C. Elliot, 1789; and 9 others, similar, 8vo (14), World.- Welsh (, Col. James), Military Reminiscences ... of Nearly Forty Years' Active Service in the East Indies, , 2. vol in 1, second edition, half-titles, aquatint frontispieces, vignette titles, 21 aquatint plates (3 folding), 11 maps (1 folding), illustrations, occasional faint spotting, modern half calf, 1830 § Heber (Reginald) Narrative of a Journey through the Upper Provinces of India, 3 vol., second edition, 28 wood-engraved plates, ink signature to titles, occasional spotting, contemporary half calf, a little rubbed, 1828 § Lobo (Jerome) A Voyage to Abyssinia ... Translated ... by Samuel Johnson, spotting, ink signature, bookplates, contemporary diced calf, rebacked with original spine laid down, gilt, a little rubbed, Elliot and Kay, and C. Elliot, 1789; and 9 others, similar, 8vo, (14)Read more

  • GBRUnited Kingdom
  • 3d 10h

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How The Great Gatsby got its cover (or how Hemingway judged a book by its cover)
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''Banksy: Wanted'' First ever Banksy only sale
The first ever auction featuring the works of Banksy only will take place this month.

Realised prices "Forum Auctions "

Tiepolo (Giovanni Domenico) The Flight into Egypt, 1727-1804.
Giovanni Domenico Tiepolo (1727-1804) The Flight into Egypt the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see Italian Prints of the 18th Century, cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller) Literature: Aldo Rizzi,The Etchings of the Tiepolos, Phaidon Press, London, 1971, no. 67-93 Felix Reue,Giandomenico Tiepolo -- Die Flucht nach Ägypten, Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007. Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee. [Matthew II: 15, Douay-Rheims Bible] The Flight into Egypt is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg. The first etchings that Giandomenico executed were the Stations of the Cross after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for The Flight into Egypt was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3] To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry … [4] [1] cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22 [2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?] [3] see: Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77 [4] op. cit., Rizzi, 1972, p. 18, Giovanni Domenico Tiepolo (1727-1804), The Flight into Egypt, the complete set, comprising the dedication, frontispiece, title-page and set of twenty-four etchings, presented over 14 very large leaves, with two etchings from the set per leaf, on thick cream laid paper, with watermark A, or V and reversed F surmounted by three stars, 1753, final states (according to Tunick's revisions to the Rizzi catalogue; see, Italian Prints of the 18th Century, , cat. n.11, 1981), an exceptional copy, with well inked and very fine impressions, with delicate plate tone in places, bound in contemporary half mottled calf stained red, and decorative papers over pasteboards, calf corners worn, sheets each 537 x 385 mm.; platemarks 190 x 252 mm. (and smaller), Literature:, Aldo Rizzi, The Etchings of the Tiepolos, , Phaidon Press, London, 1971, no. 67-93, Felix Reue, Giandomenico Tiepolo -- Die Flucht nach Ägypten, , Augustinermuseum Freiburg (exh. cat.), Freiburg im Breisgau, 2007. Behold, an angel of the Lord appeared in sleep to Joseph, saying: Arise, and take the child and his mother, and fly into Egypt: and be there until I shall tell thee. [Matthew II: 15, Douay-Rheims Bible], The Flight into Egypt, is without precedent in originality and inventiveness, and stands as one of the great achievements in European printmaking history. Giandomenico was aged only 23 when he began on the series, and the majority of the plates were presumably executed while he was working, together with his father Giambattista and his brother Lorenzo, on the frescos in the Imperial Hall of Würzburg; he subsequently dedicated the series to their patron, Carl Philipp von Greiffenclau, Prince-Bishop of Würzburg. The first etchings that Giandomenico executed were the, Stations of the Cross, after the paintings he had produced for the Venetian church of S. Polo (1748-49); the composition and style of execution of which was greatly influenced by his father.[1] The idea for, was said to have come from Giambattista, but Giandomenico took it and ran with it intending to prove his artistic inventiveness and defend his artistic reputation.[2] The collection of etchings, 24 variations in design of what had previously been a two-stage story (the flight, and the rest), was to later become a source of material for the monumental collection of drawings Giandomenico undertook illustrating the New Testament; at least 28 of the drawings focused on the Flight into Egypt.[3], To give the subject a new aesthetic dignity, Giandomenico concentrated on details of landscape, such as trees, shrubs and views, and on domestic objects, which gave the episodes a feeling f truth, an ethical quality impregnated with poetry …, [4], [1], cf. Aldo Rizzi, The Etchings of the Tiepolos, 1972, p. 17; and, Adelheid M. Gealt, Domenico Tiepolo: Master Draftsman, 1997, p. 22, [2] Colta Feller Ives, Picturesque Ideas on the Flight into Egypt Etched by Giovanni Domenico Tiepolo, 1972, p. 1-2[?], [3] see:, Adelheid M. Gealt & George Knox, Domenico Tiepolo: A New Testament, 2006, p. 77, [4], op. cit. , Rizzi, 1972, p. 18 Forum Auctions
Yorkshire imprints.- Holland (John) The Pleasures of Sight, Sheffield
Yorkshire imprints.- Holland (John) The Pleasures of Sight, original boards, paper label to spine, spine chipped at head, Sheffield, J.Blackwell, 1829; Sheffield Park, a Descriptive Poem, engraved frontispiece (offset onto title), ink monogram to head of title, modern marbled boards, Sheffield, by James Montgomery, Iris Office, 1820 § Hugman (John) The Rustic Wreath. Poems, Moral, Descriptive & Miscellaneous, subscribers' list, bookplate of Foster Mill library, 19th century tan cloth, browned, Leeds, for the author, by Anthony Pickard, 1834 § Nicholson (John) Airedale in Ancient Times, engraved additional title and frontispiece (both foxed), original boards, paper label to spine, spine a little chipped, London [printed in Bradford], 1825 § Furness (Richard) Medicus-Magus, a Poem, later morocco, Sheffield, 1836; and 2 others, Yorkshire imprints, 8vo (7), Yorkshire imprints.- Holland (John), The Pleasures of Sight, , original boards, paper label to spine, spine chipped at head, Sheffield, J.Blackwell, , 1829; Sheffield Park, a Descriptive Poem, engraved frontispiece (offset onto title), ink monogram to head of title, modern marbled boards, Sheffield, by James Montgomery, Iris Office, 1820 § Hugman (John) The Rustic Wreath. Poems, Moral, Descriptive & Miscellaneous, subscribers' list, bookplate of Foster Mill library, 19th century tan cloth, browned, Leeds, for the author, by Anthony Pickard, 1834 § Nicholson (John) Airedale in Ancient Times, engraved additional title and frontispiece (both foxed), original boards, paper label to spine, spine a little chipped, London [printed in Bradford], 1825 § Furness (Richard) Medicus-Magus, a Poem, later morocco, Sheffield, 1836; and 2 others, Yorkshire imprints, 8vo, (7) Forum Auctions
Hebrew Manuscript facsimile.- The Kennicott Bible, 2 vol. (including
Hebrew Manuscript facsimile.- The Kennicott Bible, 2 vol. (including commentary), number 32 of 500 copies, fine facsimile of illuminated Hebrew manuscript, 453ff., lower hinge broken and cover coming loose, original blind-stamped morocco, extremities rubbed, g.e., commentary vol. with introduction by Bezalel Narkiss and Aliza Cohen-Mushlin, illustrations, some colour, original blind-syamped morocco, extremities slightly rubbed, 4to, Facsimile Editions, 1985. ⁂ Fine facsimile of "one of the most sumptuous Hebrew illuminated manuscripts in existence and a masterpiece of mediaeval Sephardi art." (Introduction). Hebrew Manuscript facsimile.-, The Kennicott Bible, 2 vol. (including commentary), number 32 of 500 copies, fine facsimile of illuminated Hebrew manuscript, 453ff., lower hinge broken and cover coming loose, original blind-stamped morocco, extremities rubbed, g.e., commentary vol. with introduction by Bezalel Narkiss and Aliza Cohen-Mushlin, illustrations, some colour, original blind-syamped morocco, extremities slightly rubbed, 4to, Facsimile Editions, 1985. ⁂ Fine facsimile of "one of the most sumptuous Hebrew illuminated manuscripts in existence and a masterpiece of mediaeval Sephardi art." (Introduction) Forum Auctions
Banksy (b.1974) Barely Legal (LA set)
Banksy (b.1974) Barely Legal (LA set) The complete set, 2006-7, comprising six screenprints, on wove paper, each numbered from the edition of 500 in pencil, published by Modern Multiples Fine Art Editions, Los Angeles, with Pictures on Walls and the publisher's blindstamps, the full sheets, each 830 x 1230mm (32 3/4 x 48 1/2in)(and smaller) (SH)(6) (2 framed) This work is accompanied by a certificate of authenticity issued by Pest Control Office. Banksy (b.1974), Barely Legal (LA set), The complete set, 2006-7, comprising six screenprints, on wove paper, each numbered from the edition of 500 in pencil, published by Modern Multiples Fine Art Editions, Los Angeles, with Pictures on Walls and the publisher's blindstamps, the full sheets, each 830 x 1230mm (32 3/4 x 48 1/2in)(and smaller) (SH)(6) (2 framed), This work is accompanied by a certificate of authenticity issued by Pest Control Office Forum Auctions
Canaletto (Giovanni Antonio Canal, called) 'The house with the inscription'
Giovanni Antonio Canal, called Canaletto (1697-1768) 'The house with the inscription' and 'The house with the peristyle' etchings, circa 1740-1741, the pair printed on one sheet, laid paper, with watermark of the letter R (Brombergs no. 54), a good impression of each after the splitting of the plate, 'The house with the peristyle' with artists initials lower right, full margins sheet: 438 x 589 mm.; platemarks c.300 x 217 mm., and 300 x 215 mm., respectively, (with 1-2mm central divide) Literature: De Vesme, Bromberg 13 and 14.II Fewer than ten impressions exist of the Imaginary View of Venice, Undivided Plate, prior to it being split in half (Bromberg specified only six known impressions), and the reason why the plate was split is still unknown; the most likely reason being economic requirements. It is also the only etching made by Canaletto where he inscribed the date of creation in the plate, 1741, which is visible in Roman numerals on the left wall. Giovanni Antonio Canal, called Canaletto (1697-1768), 'The house with the inscription' and 'The house with the peristyle', etchings, circa, 1740-1741, the pair printed on one sheet, laid paper, with watermark of the letter R (Bromberg, s no. 54), a good impression of each after the splitting of the plate, 'The house with the peristyle' with artist, s initials lower right, full margins, sheet: 438 x 589 mm.; platemarks c.300 x 217 mm., and 300 x 215 mm., respectively, (with 1-2mm central divide), Literature:, De Vesme, Bromberg 13 and 14.II, Fewer than ten impressions exist of the, Imaginary View of Venice, Undivided Plate, prior to it being split in half (Bromberg specified only six known impressions), and the reason why the plate was split is still unknown; the most likely reason being economic requirements. It is also the only etching made by Canaletto where he inscribed the date of creation in the plate, 1741, which is visible in Roman numerals on the left wall Forum Auctions

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