Anonymous artist (67 Ergebnisse)

Softcover. Zustand: Très bon. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Ammareal gives back up to 15% of this item's net price to charity organizations.

Zustand: New. In English.

Zustand: New. In English.

Zustand: New. In English.

No Binding. Zustand: Very Good. Color Plate suitable for framing h: 9 1/2" x w: 7 1/4" from The Platt & Peck Co. FAVORITE STORIES HANS ANDERSEN circa 1910. "The Tin Soldier".

No Binding. Zustand: Very Good. Color Plate suitable for framing h: 9 1/2" x w: 7 1/4" from The Platt & Peck Co. FAVORITE STORIES HANS ANDERSEN circa 1910. "Ole Luk-Oie and the Children".

No Binding. Zustand: Very Good. Color Plate suitable for framing h: 9 1/2" x w: 7 1/4" from The Platt & Peck Co. FAVORITE STORIES HANS ANDERSEN circa 1910. "The Little Mermaid".

Zustand: New.

Lithograph, with later wash. Image area: 150 x 240 mm; Dimensions of recent mount surround: 270 x 358 mm. Near-fine condition. The view is of Grahamstown within thirty years of the arrival of the 1820 Settlers. No longer merely a garrison on the eastern frontier of the colony, it is also filled with houses and larger buildings, a last outpost of civilization.…

Zustand: Fair. No manufacturer. ca. 1880s-1900s. 30 cm card with 31 cm cardboard displayer. 21 cm colour card pasted to backing. 3 cm padded frame with a 1 cm silk fringe. Some glitter on card. "Listen to the Christmas Bells!" written at bottom. Fringe is loosening at bottom and there is a 1 cm dampstain on cloth at bottom. Other spotting elsewhere and fringe a bit crushed on one side. Cardboard displayer was once attached but has come unglued. Chip to edges of cardboard. No inscription.…

No Binding. Zustand: Very Good. 1st Edition. FAVORITE STORIES FROM HANS CHRISTIAN ANDERSEN'S: THE LITTLE MERMAID, THE TIN SOLDIER, OLE LUCK-OIE AND THE CHILDREN. These will look great framed! Vibrant colors single sided glossy stock. published ca. 1910 colored Plates Three Fairy Tales Book Plates single-sided 9 1/2" x 7 1/2".…

Zustand: Sehr gut. Zustand: Sehr gut | Seiten: 26 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Hervorragend. Zustand: Hervorragend | Seiten: 26 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Hervorragend. Zustand: Hervorragend | Seiten: 86 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Hervorragend. Zustand: Hervorragend | Seiten: 84 | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

First Edition. Exhibition poster, 42.5cm x 27cm (ca. 16-1/2" x 10-1/2"). Printed in black on thin white stock. Surface staining to verso (not visible from printed side), else about Fine. Unbacked. Designer not credited. A well-designed exhibition poster, inviting artists to participate in an anti-imperialism-themed group show at the NAB Gallery, a non-profit cooperative art space founded in 1974.…

Hardcover. Zustand: Very Good. 1st Edition. This is the First and only edition; of this unique and beautifully executed handmade artist's manuscript book and research portfolio. Quarto (approx. 32 cm x 27 cm). Bound in thick charcoal-grey card stock covers with an original screen-printed or painted African mask graphic applied to the upper front board, secured with a heavy black plastic comb spine binding. This meticulously assembled manuscript volume serves as an immersive artistic, formalist, and thematic survey of traditional African tribal masks. Rather than presenting a purely anthropological text, the uncredited author evaluates the masks through an artistic lens, focusing heavily on bilateral symmetry, pattern distribution, structural mass, and geometry. The geographic scope spans West, Central, and East Africa, tracking the structural and decorative traits of regional groups including the Kwele, Ogowe River, Baoule, Yoruba, Dogon, Cameroons, Ibo, Bambara, Bushongo, Songe, Bembe, Bateke, Bobo, Chokwe, Ibibio, Senufo, Dan, and Guere tribes. The book opens with an elegant, minimalist hand-lettered title page in ink with a geometric black paper collage element. The text throughout is uniformly and beautifully hand-lettered in dark ink on paper panels neatly tipped-in (mounted) onto heavy black card stock leaves. The volume is methodically organized via a Table of Contents into five analytical sections: Shape, Decoration, Simple, Pattern, and Dramatic. The text is accompanied by an exceptional array of original artwork utilizing diverse techniques. Media includes: original high-contrast monochrome and colour block prints (linocuts), vibrant hand-painted watercolour silhouettes, detailed ink-wash illustrations, fine graphite drawings, layered sepia monochrome watercolour washes, hand-cut white paper collage silhouettes, and high-quality black-and-white documentary photographic plates. The manuscript concludes with a formal Bibliography and an Acknowledgements leaf. The author explicitly credits the Pitt Rivers Museum in Oxford for providing access and enabling the inclusion of several photographic plates from their renowned holding of African masks. The text is deeply grounded in mid-century art history scholarship, utilizing a bibliography that references Ladislas Segy's African Sculpture (1952), Elsy Leuzinger's Art of The World - Africa (1960), Leon Underwood's Masks of West Africa (1948), and Douglas Fraser's Primitive Art (1962), with text panels explicitly analysing Fraser's specific theories on the "heart-shaped face" and "rippling surfaces." An exceptional, cross-disciplinary piece of book art blending rigorous mid-century museum research with highly sophisticated graphic design, typography, printmaking, and studio techniques. CONDITION There is some edge wear rubbing to the covers, light staining to rear cover, a couple of creased page corner tips within else in very good general condition. Anonymous [Uncredited British Artist / Oxford Art Researcher] (illustrator).…

Zustand: Good. Hand colored wood engraving from an unsigned drawing. This print has been taken from a German magazine. It is undated. Mount: 13 x 9; image: 7-7/8 x 6 inches. Fine.

Zustand: Good. Print on rag paper. 20 x 26 inches.

Zustand: Good. An original 19th century albumen print mounted on paper. Good condition. Paper size 9.5x6 inches, photograph size 4.5x3.25 inches.

Zustand: Good. Hand colored wood engraving from an unsigned drawing. This print has been taken from a German magazine. It is undated, but after 1898, when Hawaii became a Territory of the United States. Mount: 17-3/4 x13; image: 10-1/4 x 7-1/4 inches. Fine.

Zustand: Good. Black and white print on thick paper. 15 x 20 inches image on 20 x 26 inch deckel edged paper. Probably a reproduction of a 19th century lithograph.

Zustand: Good. Hand colored wood engraving from a drawing by an unknown hand. This print was removed from a German magazine. Mount: 13 x18; image: 10 x 14 inches. Fine.

Zustand: Good. An original 19th century albumen print of a painting, mounted on paper. Some discoloration on the right side, as shown. Labeled "Lent by Mr. W. Meyerick, No. 1018." Paper size 7x10 inches, photograph size 2.25x3 inches.

First edition / original artwork. Two lovely pieces, very similar to, and likely copies of details from Itaya's monumental banner of the night procession*, which was created in 1860**. The original banner showed a large number of the demons. These pieces each show one detail from this spectacular night. Original water colour and gouache on silk covered washi (Japanese card) with an applied gilt border and the silk speckled kozo washi (mulberry paper) surround. In the first painting, two oni (?) (Japanese supernatural demons) are in the parade, with a long banner or streamer on a pole. In the second image, four female yokai or demons are engaged in a cosmetic / grooming ritual. They are busy applying makeup, holding a mirror, and attending to one another. The red lipstick in particular implies that these are demons. Both images are humorous in style, much as Halloween takes the fear out of All Hallow's Eve. *The hyakki yagyo (????) is the parade in which one hundred demons, or yokai, march through the streets at certain times of the year. As the parade passed, those foolish enough to peer out of their windows risked being killed or abducted. Each painting has a silk painted panel of 16cm x 17cm on a backing of 22cm x 27cm. ** The original 6 metre long panel is currently hanging in the "Art Gallery of New South Wales." Another detail from the panel, in an almost identical style and border, is held at the Pompidou Centre, Paris. Holding ref. AM 2023-361.…

Zustand: Poor. 64mo (70 x 55 mm). Homemade binding, cloth spine (loosening, front cover perished); back cover: board covered with glazed paper, present on the pastedown inside (detaching) but the glazed paper on the outside is torn away. VERY WORN (see the 44 IMAGES on our website), the back cover becoming unstable but all the leaves are attached. Preserved in a fine cloth case which is perfectly fitted to allow the manuscript to be correctly removed and completely protected. HIGHLY CURIOUS LILLIPUTIAN ALBUM CONTAINING JUVENILE DRAWINGS OF THE MOST UNLIKELY ASSEMBLAGE OF UNDER-REPRESENTED PEOPLES, NAMELY AFRICANS, NATIVE AMERICANS, AND ABORIGINAL AUSTRALIANS, ALL DEPICTED IN THEIR NATIVE HABITATS AND INDIGENOUS ATTIRE. We have never encountered a manuscript such as this one, either in permanent collections on in the trade. Our album contains 41 colored drawings and b/w sketches on 35 leaves, with a number of blanks bound in. They include: AFRICANS: 28 drawings and b/w sketches, including hunting scenes (some on horseback); nude and partially clothed Africans; African landscapes with lions, tigers, and great birds (some devouring each other); an African child being saved from a tiger by an angel; and a man and woman dancing in a garden; three Africans cultivating grapes; several Africans fighting, and much more. Some of the drawings feature palm trees and rounded huts. The caption on one of the drawings reads "In die Jagt" (sic). NATIVE AMERICANS: 9 drawings and b/w sketches, including hunting scenes with the hunters in full headdress with feathers; in one of the drawings a group of three men are in combat with a tiger who leaps from a large tree. Interestingly, some of the drawings likewise feature palm trees. The caption on one of the drawings reads "Zweiter Theil vom dem Ameriganer oder Idianer." ABORIGINAL AUSTRALIANS: 4 drawings and b/w sketches, the most remarkable being a scene of two men seated beneath a tree, a large dinosaur bird flies immediately above, and in the sky a peaceful sun sees all. The caption on one of the drawings reads "Dritter Theil von dem Australiener." GNOME: 1 b/w sketch. The gnome wears a backpack and carries a gnarled walking stick, his conical hat bearing a heart-shaped ornament, in the background a laughing sun peers over the horizon. That Parts II and III have a divisional title suggests that there were one or more leaves at the beginning of Part I as well, now no longer extant. Nonetheless, this is a fascinating little children's manuscript and remains A REMARKABLE SURVIVAL. CATALOGUER'S NOTE: We are grateful to Dr. Claudia Bubenik for helping us transcribe the juvenile German inscriptions.…

Hardcover. Zustand: Very good. First. AN ALBUM OF PACIFIC WATERCOLORS. 25 October 1843-10 October 1846. Individual sheets of wove paper window-mounted onto uniform paper (8" x 5 7/8", 202mm x 149mm). The ink sketch over graphite, the watercolors heightened in gum arabic. Most captioned in ink recto. All with manuscript in Burney's hand verso, signed (or initialed) by him and dated. Bound in later (ca. 1880?) half morocco over marbled boards. On the spine, "'PACIFIC COAST SKETCHES. 1845-46'" gilt. Rubbed generally. All but 5 watercolors (and the ink drawing) with pin holes at the four corners, in one case having pulled through with loss; some with old fill. The only official record of William James Burney (perhaps it is too fanciful to seek a connection to James Burney, the rear-admiral who accompanied Captain Cook on his last two voyages) is that he was commissioned a first lieutenant in the Royal Marines 8 May 1843. Some five months later, the first item in the present album finds Burney aboard a corvette, H.M.S. Talbot, laid down in 1821 and launched in 1824. The first item, captioned verso "Napoleon being informed that Marmont had been Suprised [sic] during the night. . ." shows someone familiar with cartoons mocking the First Consul in the British press -- despite recounting the battle at Laon from early March 1814. Carefully hatched, it shows a capable artist not without a certain amount of training. Following the careful ink sketch is a gap of more than two years (25 October 1843 to 11 November 1845), and the paintings (a full list with measurements and dates is available) show the Lieutenant in Lima. The first 24 watercolors -- the first 22 located in Lima, the last two more generally Peru -- have been attributed not to Burney but to an artist of the Lima School; cf. an album with 63 "costumbrista" watercolors owned by Dr. Archibald Smith, resident surgeon in Lima, which was sold at Christie's London 25 September 2003 (lot 432). These must be the work of a local artist working from either a pattern-book or else a standard repertoire. The following three pictures (nos. 26-28) depict Mexican subjects, as does no. 30; no. 29 is captioned "Peruvians." verso. These show much more curiosity on Burney's part, with an analysis of the grinding of pozole (although he is unaware that the corn is soaked in lime) into masa and the making of tortillas. No. 27, "A Man dragging a Water Cask" has an additional drawing in ink of the water cask but viewed at 90 degrees from the depiction recto, suggesting that Burney saw the water cask himself, and, presumably, painted the picture -- and therefore all those that follow (10). Perhaps most intriguing are the four pictures from Hawaii (nos. 31-34), the first depicting taro and poi ("Tarro and Poë") with a description verso of the nature of taro and the making of poi. The second depicts a Hawaiian woman horseback, and the final two of outrigger canoes (canoes with a lateral support), both with descriptions verso. Hawaii, still an independent kingdom, was nevertheless engaged with the United Kingdom as well as with France and the United States; doubtless the Talbot was sent there to maintain open trade. The final picture, of a Chilean mounted horseback, shows Lieutenant Burney in Valparaíso about six weeks after his last picture from Hawaii. Five of the pictures (nos. 9, 10, 29, 33 and 34) have part of a J. Whatman watermark, and two of the dates end in 2 (and the preceding digit is almost certainly a 3). All but the ink sketch are numbered in Burney's hand verso, from 5 to 93, with some consecutive runs but also gaps as large as 12. Those numbers correspond roughly to the dates; no. 21 is dated November 14th 1845, and the subsequent picture, no. 33, July 16th 1846 (eight months). This suggests some sort of editorial process -- or perhaps even the loss or destruction of material -- from a larger group of paintings. The pinholes suggest that the pictures were displayed, perhaps in Burney's cabin or in a communal space aboard ship. …

Zustand: Good. Hand-colored lithograph. 28 x 36.5 cm (sheet). Very Good, light surface soling in the margins, colors fresh.Provenance: From the Collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Zustand: Good. Two reproductive prints of an engraving on a single sheet. 57.5 x 44.5 cm (sheet). Very Good, toning along sheet edges.Provenance: From the Collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.