Search Results: Arts: Original Works and Prints from The Owl at the Bridge

Includes list of prices realized. [110] pages, 564 lots, illustrated, 23.5 cm. Excellent condition. Stock#48205.

Gorham Bronze Foundry, April 1935. Round bronze Plaque 14-1/2 inches diameter. Gorham Foundry cast QIVL. WRITE FOR FOR FILE. Stock#ART04.

Paris, Bligny [1790?]. Engraving on paper, 31 x 22 cm.; impression: 27 x 19.5 cm. Engraved by Charles-Etienne Gaucher. Stock#NSPrint005.

[Paris? ca. 1790?]. Color aquatint on paper, 42.5 x 31 cm.; impression: 33.5 x 25.7 cm. Impression without text. Cf. Thieme-Becker 12: 486. stock#NSPrint006.

Oxford: Alden & Co. Ltd., Bocardo Press; London: Simpkin, Marshall & Co, Limited [1921?]. Hard Cover. [100] p., 50 leaves of plates, color illus.; 24 cm. Watercolor drawings by William Matthison (1853-1926); brief description of the plates by Alden. The fifty postcard-size tipped-in illustrations are fine. There seem to be numerous issues of these prints. Characteristically they have vulnerable paper and weak spines. I had my binder put this copy in condition that would hold up to shelving and use. The price reflects the restoration cost. Very Good in decorated boards. Stock#OB1015.

London, Ben Brooks, 1839. Framed print, 35 x 42 cm. Plate 3; night scene, riders wearing white nightcaps on horses, jumping a wooden fence, one horse crashing through it; in the background several men have come off their horses and chase them. 1839. Inscription Content: Lettered above image with title and "Plate III", below image with an excerpt from 'The Sporting Review', No 1. January 1839, beginning "Cannon-ball, on his "gunpowder" horse challenging the champion...", and "Drawn by H. Alken / London Published March 1st. 1839, by R. Ackermann, at his Eclipse Sporting Gallery, 191. Regent Street./ Accomplished Smashers & a run upon the Bank." Wooden frame. Stock#PR006.

Genoa? 1947. Original etching, 18.75 x 12.5 cm., matted & in mylar, framed in narrow black wood; 31.5 x 24 cm. Signed on the mat and dated '47. View of the old quarter of Genoa with the distinctive campanile of the Byzantine church of San Donato in the rear center. A striking image of a Genoese historical district. Very Good. Stock#Art01/house.

[Paris, 1777]. 44 x 57 cm. The ruins of Emperor Hadrian's villa at Tibur are one of the most extensive Roman building complexes. Piranesi places the viewer of this print so the structure's enormous size looms (at a time when the only big buildings were cathedrals and some government palazzi). The dramatic effect of light coming through the open roof, the windows, and doors half filled with a millennium of soil creates shadowy, richly textured depth. This appears to be the first issue-- before numbers-- described in Arthur Hind's Giovanni Battista Piranesi: A Critical Study, London, 1922 (reprint Martino) 134.1. Framed in gold with maroon matting; VG. stock#Fr001a.

Krefeld, Verlag der Galerie Peerlings, 1989. Hard Cover. 5 p.l., 32 full-page lithographs, 1 leaf; 33.5 cm. Images of various sizes with numbering, continued from earlier volumes, 85-117. Last image blank, but labeled. Whimsical assemblage of found objects. ISBN (10): 3922195148. Vg /decorated boards with spine to appear leather. Stock#L446.

[London Illustrated, 1825]. Matted hand-colored antique print, 10 x 7 cm. in mat 24.5 x 21.5 cm. The Mercers were the oldest and wealthiest of London's twelve livery companies. After the fire of 1666 the hall was rebuilt, 1672-1682, by John Oliver using plans drawn up by Edward Jarman. The facade was replaced in 1879 (the one in this print is now the Town Hall, Swanage, Dorset). The engraver is not recorded in the new Sauer, Biographies of Artists, but a website attributes the original painting to William Daniell, 1769-1837, and its publication in London Illustrated, 1824-1825. Matting slightly soiled; very good. Stock#OB515.

[Amherst, Mass., Coughlin, ca 1962]. Framed original etching, 16 x 17.5 cm. Number 38 in an edition of 50. A print by the young Coughlin, an instructor in the newly organized University of Massachusetts. I bought this from the Ferdinand Roten Gallery, which supports new artists and made them available to young students as I then was. Wood frame brushed with gold. Stock#PR001.

[Paris] Imprimerie des Saradin [1845]. Print, 42.5 x 56, on sheet 48 x 65 cm. Diagram of the seating arrangement of the French House of Peers. Signed by Jouanne Beaulieu. "Tout exemplaire non revetu da la signature de l'auteur sera repute contrefait." Good, formerly folded, some foxing, closed tears on borders. Stock#NSpr006.

Print, 23 x 16.5 cm. impression on 32 x 25 sheet, matted. Profile, facing left, of the Polish pianist, with his pencil autograph inscription. "Drawing by Emil Fuchs." "Copyright for all Countries U. S. A. 1800". "Swan Electric Ingraving". Print005/h/ofc.

Color lithograph, 19.5 x 28 cm.; image 11.5 x 19 cm. "The Church of Ste Clotilde was begun in 1846 in imitation of the gothic style that characterizes most other churches in Paris. It was designed by Viollet le Duc" and completed in 1859. César Franc (1822-1896) was its organist from 1859 until his death. This is probably from a book of Paris illustrations. Good condition, although it appears that one of our Snowy Owls has alighted before the small shop in the lower left corner. Stock#Flat070/h.

Portland, ME, Carlson & Turner Antiquarian and Scholarly Books, 1991. Broadside calendar, 41 x 28 cm. "A wood engraving by Barry Moser is the sixth in a series... Design and calligraphy by Barry Moser. Printed at the Asensius Press... limited to 1000 copies." Stock#Flat178.

[William Smith, 1855]. Engraving. 75 x 92 cm. "This engraving depicts the Golden Age of the Senate in the Old Senate Chamber, site of many of the institution's most memorable events. Here, Henry Clay, "the Great Compromiser," introduces the Compromise of 1850 in his last significant act as a senator. In a desperate attempt to prevent war from erupting, the "Great Triumvirate," of Daniel Webster of Massachusetts, John C. Calhoun of South Carolina, and Clay of Kentucky struggled to balance the interests of the North, South, and West. This image shows all three men, with Clay at center stage presenting his compromise to the Senate. Today, The United States Senate, A.D. 1850, is recognized as one of the finest examples of 19th century American engraving. Originally published in limited numbers, the engraving remains a popular and very collectable work. " "Peter F. Rothermel, who painted the work that served as the basis for Robert Whitechurch's engraving, used daguerreotypes to produce highly accurate… Read More

F. Horne. museum reproduction. Museum print, 34 x 24.7 cm., of pencil or charcoal drawing of girl wearing white petalled collar; no margins, greenish tint, minor wear, small closed tear at bottom. "Gallerie Uffizi / Piazzetta / G. 830" written on verso in pencil. Suitable for framing. stock#32396 (mvo).