We found 1741 price guide item(s) matching your search

Cityscape of a Bourbon Street in New Orleans, Louisiana, the home state of the artist. Signed lower right. Measures 21" x 17" including frame, 13" x 9.5" image only. Condition: Age related wear.

Peter Nuttall (b.1943) - Cityscape, ink and watercolour wash, signed and dated '69 lower right, 23 x 35.5cm, together with a Rowlandson colour satirical print, 27 x 22cm (2)

Blue and white glazed body with encircling cityscape scene. Cylindrical form; flared base and scalloped rim.Doulton Burslem backstamp. #vase Weight: 3.5 lbs Issued: 20th c.Dimensions: 12.25"HManufacturer: Doulton BurslemCountry of Origin: England

Meyor, Abstract Cityscape, oil on canvas, signed bottom right, dated 2005, in white painted frame (45cm x 35cm)

A reprographic Art Deco shipping print, together with a Ben Maile cityscape

After Sayed Haider "S.H." Raza (Indian, 1922-2016). Fantastical oil on board painting depicting a cityscape filled with vibrant bubbles, figures, and creatures. Signed along the lower right corner.Sight; height: 35 1/2 in x width: 23 3/4 in. Framed; height: 42 1/2 in x width: 30 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

Two unframed prints, ' The Americas Cup ', signed G. Fouille (within the plate), and an American cityscape signed Tully Crook in pencil, largest 50cm x 37cm

Brendan Neiland (British b. 1941) lithograph print- Cityscape, 70/125, signed and dated 1981, in glazed frame measuring 65.5cm x 95.5cm overall

John Bampfield - (1947-) A large 20th century oil on canvas painting by John Bampfield to depict a winter cityscape with figures and buildings. Signed by the artist to the corner, framed. 

Alicia Dubnyckyj (b.1979), acrylic on panel, Cityscape, signed verso and dated 2002, 89 x 60cm, unframed

Lisa Golightly Blue Sea and Man, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Lisa Golightly Hands on Waist, 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Lisa Golightly Lake Swim (Study), 2023 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly's artistic career began with photography. Her father was a painter, and though she grew up exposed to his practice, she discovered her appreciation for photography at an early age. However, while working on her Fine Art Photography and Photojournalism BFA, she found her way back to painting, developing an artistic practice which marries a deep technical and theoretical understanding of photography with painting. "As straightforward as it may sound, I have fallen in love with the brush, the color, the intimate experience of painting and creating my own world." Today, Lisa's artistic practice still begins with photography. She first scours the internet and estate sales for bundles of anonymous old photography and film. Then, she reframes, rebuilds and reimagines existing subjects of these forgotten photos in the terms of her own memory. She exaggerates light and color in a way that recalls old film photography, painting in pastel, washed out palettes that mimic overexposed film. Working with acrylic, and painting in a distinct painterly style, she references impressionism, pointillism, as well as the oeuvre of Fairfield Porter and Lois Dodd to create paintings that are both anonymous and inherently personal in nature. Lisa's work straddles the line between the familiar and the anonymous, creating an uncanny gray area in which we can all find some part of ourselves, our history or our memory. Lisa further explores the relations between memory, physical distance and the passage of time in this body of work. These paintings are more an exploration of memory than a visual reproduction of film photography. They are a bricolage of truth, interpretation and memory that capture the act of suspending time and the innate flaws in doing so. These works also explore the sense of collective memory, and the universal nature of human experience. Lisa comments that when procuring old photographs, "Strangely, a lot of times it's like 'Oh that could have been my family.' It's fascinating how a lot of images are something we all have, certain things, times or places that we all document similarly." Born in Eugene, Oregon, Lisa Golightly studied at the University of Arizona where she received a Bachelor of Fine Arts in Fine Art Photography and Photojournalism in 1996. Solo exhibitions include Marking Time, George Billis Gallery, Los Angeles, CA (2020), Linda Hodges Gallery, Seattle, WA (2020), Recent paintings, Clove and Creek, Kingston, New York (2018), If Only For A Little While, Good Eye Gallery, Los Angeles CA (2016), and more. Her work has been reviewed in Paper Magazine, Luxe Interior and Designs, The Huffington Post, and The Wall Street Journal. She has participated in art fairs including the Venice Art Walk in Venice Beach, California. Her art was selected for a promotional campaign in London, England in celebration of International Women's Day. She was also chosen to produce an album cover and interior art for musician Alec Lytle. Lisa lives and works in Portland, Oregon, where she spends her days in the old carriage garage-turned-studio in the back yard of her 100-year-old home. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Select Exhibitions/Awards SOLO EXHIBITIONS 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA 2018 Thoughts on Summer, Linda Hodges Gallery, Seattle, WA Selected Group Exhibitions 2022: "5", Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Two Person Exhibition, Julie Nester Gallery, Park City, UT Gallery Representation Linda Hodges Gallery, Seattle Billis Williams, Los Angeles George Billis Gallery, NYC/CT Tayloe Piggott Gallery, Jackson Hole WY Julie Nester Gallery, Park City UT Statement about AOAP Submitted Artwork I often do detail studies for larger paintings. These little postcards are small portions of larger paintings I am working on.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.    

Burnett. 1970 - 1980. Cityscape Paris with figures. Oil on canvas. Dimensions: H 33 x W 41 cm. In good condition.

Chris Dijkman. Circa 1920. Dutch cityscape with figures. Oil on canvas. Dimensions: H 40 x W 60 cm. In good condition.

A. van Bruggen. 21st century. Cityscape Paris with figures. Oil paint on panel. Dimensions: H 20 x W 30 cm. In good condition.

Max Nauta (1896-1957)Winter Amsterdam cityscape, watercolor 62x93 cm, outer dimensions incl. frame total 88x118 cm

Anonymous, cityscape after P G Vertin, panel 24x18 cm

Anonymous, cityscape after P G Vertin, panel 15x12 cm

Signed Johan Schrauwen, cityscape is winter atmospheres, maroufle 50x40 cm

A vintage 20th century oil on board & mixed media painting of cityscape in orange & black shades. Signed illegibly to bottom right. Framed. Measures approx. 120cm x 40cm. 

A large mid century modernist cityscape, acrylic on canvas, in a plain metal frame, indistinctly signed. H.126 W.155cm.

BATMAN FOREVER (1995)/BATMAN & ROBIN (1997) - Light-Up Police Car Model Miniature Display - A display of a light-up police car model miniature from Joel Schumacher's superhero films Batman Forever and Batman & Robin. In both films, Gotham City police officers drove antique police cruisers in keeping with the series' uniquely timeless style.This lot consists of a plastic and metal model Studebaker painted black and blue with white and silver-color details, decals including a Gotham City Police shield crest, and red and blue lights on the top. It is displayed inside an acrylic case with a printed background of a cityscape and wires leading to the police lights from a switch on the back of the display powered by a 9V battery. The acrylic exhibits scratching. Dimensions: 9.5" x 5" x 4.25" (24.25 cm x 12.75 cm x 11 cm)Contains electronics; see electronics notice in the Buyer's Guide.Estimate: $1,500 - 3,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

BLADE RUNNER (1982) - Set of Four Los Angeles Cityscape Etching Masters - A set of four Los Angeles cityscape etching masters from Ridley Scott's sci-fi classic Blade Runner. The film's depiction of 2019 Los Angeles was brought to life through compositing model-miniatures, matte paintings, and sets.This lot consists of four pairs of clear plastic sheets with printed black designs. They feature varied informational labels including "Photo Pairs" for "Blade Runner," "Return to Customer" labels, and labels for "Stetson Visual Services," an offshoot of model maker Mark Stetson's Entertainment Effects Group (EEG). This lot exhibits some mild discoloration. Dimensions: (each) 24.5" x 13.5" (62.25 cm x 34 cm)Estimate: $3,000 - 6,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

BLADE RUNNER (1982) - Production-Made Small-Scale Hades Refinery Etched Brass Sheet - A small-scale Hades refinery etched brass sheet from the production of Ridley Scott's sci-fi classic Blade Runner. Model miniatures etched into brass were used to depict the hellish Los Angeles of 2019, including the flaming refineries that dotted its cityscape in the so-called "Hades landscape" sequence.Created by the EEG model shop for the production but ultimately unfinished, this brass sheet features 17 small-scale rows of brutalist design etchings in the distant shapes of towers, tanks, and buildings. The brass is hole-punched in two places and exhibits dents from use and handling. Dimensions: 24" x 12.25" (61 cm x 31.25 cm)Estimate: $1,000 - 2,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

BLADE RUNNER (1982) - Production-Made Large-Scale Hades Refinery Etched Brass Sheet - A large-scale Hades refinery etched brass sheet from the production of Ridley Scott's sci-fi classic Blade Runner. Model miniatures etched into brass were used to depict the hellish Los Angeles of 2019, including the flaming refineries that dotted its cityscape in the so-called "Hades landscape" sequence.Created by the EEG model shop for the production but ultimately unfinished, this brass sheet features two mirrored rows of brutalist design etchings of ornately detailed towers, tanks, and buildings. The brass is hole-punched in two places and exhibits dents from use and handling. Dimensions: 24" x 12.25" (61 cm x 31.25 cm)Estimate: $1,000 - 2,000Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

FRIDAY 13TH PART VIII: JASON TAKES MANHATTAN (1989) - Crew Sweater - A crew sweater from the production of Rob Hedden's slasher sequel Friday the 13th Part VIII: Jason Takes Manhattan. The black sweatshirt (size "L") features a printed image of a hockey mask and Manhattan's cityscape above the film's title with a red "Vancouver" cancel stamp across the word Manhattan. Custom crew sweaters like these were made for the crew due to the production mostly being filmed in Vancouver. Also included is a behind-the-scenes photograph and a letter of authenticity from a crew member who was gifted the sweater at the end of production. The sweatshirt exhibits fading and shrinkage from age and use.Estimate: $300 - 600Bidding for this lot will end on Thursday, June 29th. The auction will begin at 8:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, June 28th or Friday, June 30th.

A silver-plated brass relief depicting pheasants with a cityscape in the background, France around 1900 (damaged, restored). Signed l.o. G. Bonnier, in a blackened wooden frame, h 47 x w 33 cm.

Plamen Russel (b.1964, Bulgarian) mixed media on canvas - Cityscape, signed verso, 50cm x 60cm, framed

Two framed mixed media's one depicting a cityscape which is signed (unreadable). [47x58cm]

Alex Katz (b.1927)CityscapePigment print in colours, 2016, signed and numbered from the edition of 90 in pencil, published by the Serpentine Gallery, London, on Crane Museo wove paper, the full sheet printed to the edges, sheet 762 x 546mm (30 x 21 ½ in)

Trevor Grimshaw (British 1947-2001) Abstract cityscape Signed and numbered 3/15 in pencil, print and graphite drawing.13.5 x 12cm (framed 27.5 x 25.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The artwork is in very good, original condition with no obvious faults to report. The artwork is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

An extremely rare and possibly undocumented 'castle top' silver vinaigrette, by Nathaniel Mills, Birmingham 1843, the hinged lid decorated in high relief with a cityscape, possibly depicting the Royal Exchange in Manchester, the sides and base with engine-turned decoration, revealing a gilt interior with an intricately decorated and pierced foliate grille, 4.8cm wide, the total weight of the item 41 gramsAs seen on the Antiques Road Show.

Portolan chart Carte Particulieres de la Mer Mediterannée [sic]. Faict A Marseille par Bremond, 1663.Manuscript portolan chart in pen and ink and watercolour heightened in gold, on single sheet of vellum (54 x 78.5cm), showing the Mediterranean from Portugal in the west to the Levantine seaboard in the east, names of coastal settlements written perpendicular to coastline, rivers and deltas also included, 13 compass roses each with projecting rhumb lines, several with flourishes incorporating mascarons and foliate decoration, decorative title cartouche lower left with allegorical figures either side, decorative unnumbered scale bar lower right, captions 'Europa' and 'Grecia' within strapwork cartouches (the latter incorporating mascaron), inset view of Marseilles upper left, Habsburg coat of arms within Spanish landmass, vignette of a man-of-war in the Atlantic (adjacent to the straits of Gibraltar), vignettes of Islamic rulers in turbans and robes within the landmasses of Africa, Turkey and Egypt, those for Turkey and Egypt each with adjacent vignette of fanciful coat of arms incorporating crescent surmounted by a crown, vignette of Jerusalem cityscape and the three crosses of Calvary at a right angle to right-hand border, Red Sea picked out in red, broad red and green border around all sidesNote: Note: The Bremond family were a dynasty of cartographers active in Marseille in the late 17th and early 18th centuries. The family member responsible for this example is likely to be Estienne: the Huntington Library holds a portolan chart of the Aegean Sea which bears the signature 'Facit a Marseille par Estienne Bremond, 1655' (mssHM 31); the University of Cambridge holds a similar chart, depicting the Aegean and eastern Mediterranean, signed only with the initials 'E B' but now attributed to Estienne and dated to c.1650 (Maps.Ms.Plans.697); it is thought to be the only portolan in their collections. One notable feature of the present example is that that the place-names are in large part not in the forms standard to any one major language and in some cases appear to show an Occitan influence, such as Gibarta for Gibraltar, Antibou for Antibes, and Nisa for Nice. A descendant of Bremond, Laurent, published in the 1720s a collection of charts Recueil de plusieurs plans des ports et rades de la mer Mediterranée, describing himself on the title-page as 'Hydrographe du Roy et de la Ville'.Provenance: Paxton House, Berwickshire, Scotland.

Matchbox Regular Wheels c.1967 - retailers tiered card collapsible shop display stand intended to hold the full range of 75 models finished in yellow and red with colourful header displaying a cityscape - overall condition is very good - this particular design display rarely comes up to auction and makes for a wonderful display

Corgi 292 "Starsky & Hutch" Ford Torino - red, white stripe, cast 4-spoke wheels, chrome front and rear bumpers with 3 x correct figures - generally Near Mint with Excellent inner tray and printed cityscape, outer striped window box is Good with some creasing and scuffs.

Corgi 290 "Kojak's" Buick Police Car - metallic brown, chrome wheels, figure with hat - Near Mint - striped window box is Good Plus but is missing cityscape backing card, also with "Lieutenant" self-adhesive badge.

Bob Dylan,American b. 1941-Drawn Blank Series, 8 prints in two portfolios: Woman In Red Lion Pub, 2014; Sunday Afternoon, 2014; Cityscape, 2014; Bragg Apartment, New York City, 2014; Slide, 2014; Bicycle, 2014; Train Tracks, 2014 (Red); Sunflowers, 2014;each giclée in colours on 350gsm  350gsm Hahnemühle Museum Etching wove,each signed and numbered 36/295 in pencil,each printed by GTZ Fine Art Editions, New York,each published by Washington Green Fine Art, with blind stamp, in association with Black Buffalo Artworks,sheet: 70 x 56 cm (six)sheet: 91.5 x 71 cm (two)(unframed)(8)Note: each together with COA issued by Washington Green Fine Art. 

Bob Dylan,American b. 1941-Cityscape, 2014; giclée print in colours on 350gsm Hahnemühle Museum Etching wove,signed and numbered 117/295 in pencil,printed by GTZ Fine Art Editions, New York,published by Washington Green Fine Art in association with Black Buffalo Artworks,sheet: 70 x 56 cm,(framed)Note: together with COA issued by Washington Green Fine Art.

Martin Stuart Moore (1946 - ) Late 20th Century signed Martin Stuart Moore framed limited edition lithograph of Bristol panoramic cityscape "Memories of Bristol." Print number 74 of 950. Including major landmarks in Bristol such as suspension bridge and Park Street. Framed and glazed. Measurements approx width 76cm x length 61cm.

John Bampfield (1947-) A large 20th century oil on canvas painting by John Bampfield to depict a spring cityscape scene featuring mother and child walking in street amidst buildings a tree in blossom. 

ROLF HARRIS (AUSTRALIA 1930-2023) 'FIFTIES RUSH HOUR' a London cityscape, limited edition print on paper, 122/195, signed to lower margin, no certificate, approximate sizes - image 37cm x 67cm, frame 72cm x 101cm, condition: corners of the frame are separating, glass broken (artist resale rights apply)

Louis Albert Roessingh (1873-1951), Oil Painting on Canvas Frame Size: 27 by 30 1/2 in. (68 by 77 cm.) All measurements are approximate. Signed (lower right) Louis Albert Roessingh (1873-1951) was a Dutch painter known for his landscapes and cityscapes, as well as his portraits and still-life paintings. He studied at the Academy of Fine Arts in Rotterdam and later moved to Paris, where he was influenced by the Impressionist and Post-Impressionist movements. Roessingh's paintings were characterized by their vibrant colors and loose brushwork, which captured the beauty and essence of the Dutch landscape and cityscape. His works were exhibited in several prestigious galleries throughout his career, including the Royal Academy in London and the Salon des Independants in Paris. Roessingh's legacy as a talented painter continues to be celebrated today. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Paul Marny (1829-1914), watercolour, Cathedral cityscape, Abbeville, signed, 36 x 60cm

John Shinnors (b. 1950)Morning InteriorOil on board, 82 x 85cm (32 x 33½ ")SignedIn this outstanding painting, it is early morning, apparently, as dawn light blooms with a flush of pink over what could well be the profile of King John’s Castle. On the right, a white-garbed female figure looks calmly out on the awakening day. The red and white on the chequered bedspread to the left picks up the light, though the source of the light on the figure’s nightdress, or perhaps sheet, is not at all obvious. The warming glow might well come from within.John Shinnors likes to pose questions for viewers, and often the first question is to make them wonder just what they are looking at. He is adept at taking staple elements of his pictorial vocabulary and presenting them in a way that recasts them as arrangements of abstract pattern. To some extent he does that here, but it as if he is feeling mellow, and the mood infuses the picture and extends to his being easy on the viewer. The various elements, including figure, bed, wall, curtain, window, the sleepy sprawl of the intervening cityscape and the distant, castle-like profile, are readily apparent and adroitly managed in a very clever composition.Its energy radiates from a vertical division just off the centre, as the line of the base of the bed picks up and adds spin to the the line of the window’s glazing bar above, opening out the space and encouraging us to accommodate the elements to either side, the room’s interior. Generally in his work the artist favours innumerable shades of black, white and grey. They are in evidence here, as is his penchant for lively injections of red. He also uses muted blues to tremendous effect, plus characteristic tinges of ochre, and of course the generous colouring of that beautiful, radiant glimpse of sky. Colour temperature play a vital role.Limerick’s best-known artist, Shinnors was born in 1950, studied at LSAD under the guidance of the remarkable Jack Donovan, and spent time travelling in England as a musician before returning home to commit himself to life as a painter. Early magic-realism gave way to his mature style which is, in its way, equally magical. Widely sought after, his work is in all the major collections.Aiden Dunne, April 2023

‡ BRYN RICHARDS oil on board - Cardiff cityscape with the imposing building 'Brunel House', formerly 'Great Western House', bearing British Rail logo, 39 x 69cmsProvenance: directly from the artist's family, consigned via our Cardiff officeComments: framed and ready to hang

Ewald Mataré (1887 Aachen - 1965 Büderich) (F)'Finnisches Pferd', 1929/30, Bronze, braun patiniert, 26,5 cm x 22 cm x 10,5 cm, im Guss signiert, eines von insgesamt 14 Exemplaren, Plinthe verbogen, partiell leichte oberflächliche Kratzer, unterseitig Kleberückstände, Literatur: Wvz. Schilling 66bEwald Mataré war ein bedeutender deutscher Bildhauer und Grafiker, der zunächst zwischen 1907 - 1914 Malerei an der Kunstakademie in Berlin bei Lovis Corinth studierte und sich innerhalb der 1920er Jahre der Bildhauerei zuwandte. Holzschnitte und plastische Tierdarstellungen gehören zu den künstlerisch-handwerklichen Techniken, die Mataré besonders schätzte. Die Körper der Tiere reduzierte er auf flächige Grundformen und stellte sich der geistigen Herausforderung die Anatomie des Animalischen in eben diese Grundformen zu übersetzen. Als Material wurde vorwiegend Holz gewählt, dessen natürliche Maserung der Künstler durch glatte Oberflächenpolierung hervorzuheben wusste. An dieser Stelle muss darauf eingegangen werden, dass Mataré nicht von der Tätigkeitsbeschreibung des Schnitzens überzeugt ist - vielmehr sei es so, dass er als Künstler die Tiere aus einem plastischen Gedanken heraus bildhauerte. Der Künstler selbst beschreibt seine Arbeit an den Tierfiguren zu jenen Jahren als "fürstliches Vergnügen". Darauf geht er 1959 während eines Atelierbesuchs des Instituts für den wissenschaftlichen Film Göttingen näher ein. Mataré beschreibt eine glückliche Zeit, in der er einfach aus sich heraus, ohne jeden Zweck, ohne jede Notwendigkeit seine Tiere formte. Er erinnert sich selbst als alleinstehenden jungen Mann, der für sich selbst entscheiden konnte im Sommer in die Landschaften zu gehen, ans Meer, nach Spiekeroog, nach Sylt und nach Finnland. Sicherlich sind diese Tierdarstellungen angelehnt an die ältesten kunsthistorischen Tierdarstellungen, die es beispielsweise als Wandmalereien aus reinen Erdpigmenten in der Höhle von Lascaux (Frankreich) bis heute erhalten sind. Jahrtausende alte Relikte der Kunst, die das Tier als überlebenswichtiger Begleiter des Menschen, als Raubtier, als heiliges Tier und als Teil der Natur zeigen. Das finnische Pferd stammt aus den Jahren 1929/1930, als der Künstler mit einigen wenigen Edelhölzern nach Finnland reiste. Vor Ort entstand die Plastik aus Holz, die dann in einem Zwischenguß in Bronze gefasst wurde. Ewald Mataré arbeitete die weitere Abstrahierung heraus, bis einige Merkmale des Tieres nicht nur reduziert wurden, sondern gar verschwanden. Einzuordnen ist das finnische Pferd noch bevor die Werke Matarés während des Nationalsozialismus als entartet galten. Ebenso noch bevor sich der Künstler religiös dominierten Themen und städtischen Auftragsarbeiten zuwandte: In den Jahren 1948-1956 erstellt er für die Stadt Köln vier Domportale, den Taubenbrunnen am Westportal, die Gürzenichtüren, die Lochner-Säule, das Mosaik am Alter Markt und weitere Arbeiten. Einerseits ehrt ihn dieses Vertrauen in seine Kunst, um das Stadtbild zu beeinflussen. Doch weiß Mataré auch um die schöne Zeit, in der er selbstständig und aus seinem Inneren heraus seine Tiere formte.Ewald Mataré (1887 Aachen - 1965 Büderich) (F)'Finnisches Pferd', 1929/30, bronze, brown patinated, 26,5 cm x 22 cm x 10,5 cm, signed in the cast, one of 14 copies in total, plinth bent, partially slightly scratched, underneath adhesive residues, Literature: Cat. Rais. Schilling 66bEwald Mataré was an important German sculptor and graphic artist who initially studied painting at the Berlin Art Academy with Lovis Corinth between 1907 - 1914 and turned to sculpture within the 1920s. Woodcuts and sculptural representations of animals are among the artistic-craftsmanship techniques that Mataré particularly valued. He reduced the animals' bodies to dimensional basic forms and took up the intellectual challenge of translating the anatomy of the animal into precisely these basic forms. The material chosen was predominantly wood, the natural grain of which the artist was able to emphasise through smooth surface polishing. Here, it must be pointed out that Mataré is not convinced of the activity description of carving - rather, it is said that as an artist he sculpted the animals out of a plastic thought. The artist himself describes his work on the animal figures in those years as a ''princely pleasure''. He elaborates on this in 1959 during a studio visit of the Göttingen Institute for Scientific Film. Mataré describes a happy time in which he simply formed his animals out of himself, without any purpose, without any necessity. He remembers himself as a single young man, who could decide for himself to go out into the countryside in summer, to the sea, to Spiekeroog, to Sylt and to Finland. Certainly, these depictions of animals are leaned on the oldest art-historical depictions of animals, which are preserved to this day, for example, as wall paintings made of pure earth pigments in the cave of Lascaux (France). Thousands of years old relics of art, that show the animal as a companion of man that is essential for survival, as an animal of prey, as a sacred animal and as a part of nature. The Finnish horse dates from 1929/1930, when the artist travelled to Finland with a few precious woods. On site, the sculpture was made of wood, which was then set in bronze in an intermediate casting. Ewald Mataré worked out the further abstraction until some features of the animal were not only reduced but even disappeared. The Finnish horse can be classified even before Mataré's works were considered degenerate during National Socialism. Likewise, even before the artist turned to religiously dominated themes and urban commissions: In the years 1948-1956, he created four cathedral portals, the dove fountain at the west portal, the Gürzenich doors, the Lochner column, the mosaic at Alter Markt and other works for the city of Cologne. On the one hand, this confidence in his art to influence the cityscape honours him. But Mataré also knows about the beautiful time when he formed his animals independently and from within himself.

Etel Adnan (Lebanon, 1925-2021)Thresholds mixed media on paper, leporello, booklet 22 pages signed, titled, inscribed, dedicated 'Thresholds' from 'Ghairi bisifat kaouni' to Charbel Dagher 2003 writing and drawing Etel Adnan Beiteddine 2003', executed in 200317.5 x 259.6cm (6 7/8 x 102 3/16in).Footnotes:Provenance:Property from a private collection, DubaiAgial Art Gallery, Beirut Formerly property from the collection of Dr Charbel DagherBonhams has the privilege of presenting one of Etel Adnan's most distinctive artistic creations. Threshold is one of Adnan's leporello works dedicated to and formerly in the collection of Dr Charbel Dagher. Adnan was influenced by Dr Dagher's thought-provoking poem 'Threshold' that explores the concept of boundaries and limits, both physical and metaphorical. Through its use of vivid imagery and metaphorical language, the poem suggests that everything in life has a threshold, and that these limits are an inherent part of the human experience. Here Adnan features transcripts of Dagher's poem and combines it with visual observations that are drawn using simple lines and bright colours conveying a sense of playfulness and spontaneity. The choice of the leporello format presented Adnan with a dynamic paradox: an expanded space, multiplying its potentialities as the pages unfurl but when closed, reduced to the symbolic space of a notebook, a metaphor for mobility and aesthetic nomadism. The term 'leporello' comes from the character of the same name in Mozart's opera Don Giovanni, who carries a long list of the protagonist's romantic conquests. Adnan's leporellos are a series of accordion-folded booklets that combine text and images, however, they are not lists but rather an exploration of memory, place, space and language. Other leporellos by Adnan also feature lavish illustrations of landscapes and transcriptions of Arab poetry by writers and poets including Mahmoud Darwish and Yusuf Al Khal as well as her own writing. Adnan's leporellos typically feature one continuous landscape or cityscape image that unfolds across the accordion folds, while the text accompanies the images, often in short poetic fragments. One of Adnan's most well-known leporellos is 'Mount Tamalpais Morning,' which depicts the Northern California mountain in bright blues, greens, and yellows, and features text that evokes the experience of being in nature. Other leporellos include 'Shoreline,' which portrays the coastline of the Mediterranean, and 'Journey to Mount Tamalpais,' which describes Adnan's drive to the mountain and features an image of the road winding through the landscape. Adnan's leporellos are intimate and personal works, reflecting her deep connection to place and her experience of the world. They invite the viewer to enter into Adnan's world and explore the relationship between image and text, landscape and memory, and the possibilities of the accordion fold format.-Dr Charbel Dagher-Dr Charbel Dagher is a Lebanese-American poet, writer, and educator. His poetry is known for its themes of identity, exile, love, and loss, and it often explores the complex relationship between the individual and society. Dagher's poems are characterized by their vivid imagery, emotional intensity, and lyrical language. He frequently employs metaphors and symbols to convey his ideas and feelings, and his use of sound and rhythm adds a musical quality to his work. Dagher's poetry is deeply personal and reflective, yet it speaks to universal themes and experiences. His work captures the complexity and beauty of the human experience, and his words resonate with readers across cultures and borders. One of Dagher's notable works is his collection of poems titled 'Anthems for the Unwanted,' which explores the experiences of refugees and immigrants. The collection highlights the struggles, hopes, and dreams of people who are often marginalized and silenced in society.-Threshold Poem-The poem Threshold begins with an image of a door, which represents a threshold or boundary between two spaces. The door is described as 'narrow' and 'barren,' suggesting that it is not particularly inviting or welcoming. This image sets the tone for the rest of the poem, which is concerned with the idea of limits and boundaries. The next few lines of the poem describe various physical thresholds, such as the point at which a river meets the sea and the place where the earth meets the sky. These images serve to emphasize the idea that everything in life has a limit or boundary. The poem then shifts to a more metaphorical exploration of thresholds. The speaker suggests that there are limits to what we can know and understand, and that these limits are like 'a wall we cannot breach.' This image suggests that there are some things that are simply beyond our comprehension, no matter how hard we try. The final lines of the poem suggest that even death itself is a threshold, a boundary that we cannot cross. The speaker suggests that death is like a door that we must all pass through eventually, and that it represents the ultimate limit or boundary.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Tony Bennett (American, B.1926): New York Cityscape, late 1970s/early 1980s, oil on canvas, signed by Tony Bennett to the lower right with his family name Benedetto, framed, 13 3/4in x 17 3/4in (35cm x 45cm) framed Footnotes: Provenance: Acquired by the current owner whose partner was a tour manager for Tony Bennett at the time, from a Mayfair art gallery exhibiting a selection Bennett's paintings. Tony Bennett is one of the longest-performing artists in the music industry, having won 20 Grammy Awards and a Lifetime Achievement Award over the course of an extraordinary 70-year career. He retired from performing at Radio City Music Hall in August 2021. Bennett produced paintings and drawings throughout his career, with recurring images being the cityscape and skyline of his hometown New York City. For further information on this lot please visit Bonhams.com

Elof Wedin (Swedish/American, 1901-1983). Oil on board painting titled "Chicago Construction" depicting a cityscape with construction equipment, 1928. Pencil signed and dated along the verso, on which is perhaps painted a preparatory painting. There is a clear plexiglass sheet that protects the verso and allows the signature to be seen.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 19 1/2 in x width: 15 1/2 in. Framed; height: 20 in x width: 24 in.Condition: The painting shows no signs of restoration when inspected under UV light. There are a few areas that fluoresce under UV light, however, this is likely due to the pigment used during the painting's inception. Soiling to the verso original to the artistic process.

Signed oil on canvas of a naked lady overlooking cityscape (Some cracking of paint as seen in pictures) 38cm x 64cm approx and signed watercolour of a naked lady

Fleurons, an R.Lalique opalescent glass bowl, design 1935, pattern 3312, the body moulded in high relief with a spiralling abstract motif, stencil signature to centre, 8 x 20.5cm; together with a Fornasetti dish, a German jar with cityscape design, and two items of Poole PotteryThe Lalique bowl with a chip to the rim and some further areas of fritting. The Foranasettie dish has rubbing and scratching to the decoration. 

John Bampfield (1947-) A large 20th century oil on canvas painting by John Bampfield to depict a spring cityscape scene featuring mother and child walking in street amidst buildings a tree in blossom. 

A large vintage retro 20th century Venice cityscape watercolour and pencil painting. Framed. Measures approx. 58cm x 117cm.

Maarten van Heemskerck, Philips Galle - Series: Jonah and the Whale - 1566 / Description: Complete of four engravings included the famous scene with the whale.1.Jonah fleeing the presence of the Lord; the Lord appears in the sky at upper left and Jonah turns and flees; a seascape with a ship on a rough sea 2.Jonah cast on shore by the whale; a monstrous fish regurgitates Jonah on to dry land overseen by the Lord above. 3. The people of Nineveh repenting upon hearing the prophecies of Jonah; Jonah stands in a street with his arm outstretched and is surrounded by alarmed figures kneeling, bowing over and clasping their hands; at right is the King of Nineveh in a columned building: 'When the news reached the king of Nineveh, he rose from his throne, took off his royal robes, covered himself with sackcloth and sat down in the dust... 4. Jonah complaining under the gourd; Jonah sits, at left, in the shade under a vine and looks down upon a vast and magnificent cityscape; the Lord appears in the sky above. Design by Heemskerck, engraved by Philips Galle, publishers address of Joan Galle. Second state with the text cartouche above. / Dimensions: 20,40 x 24,50 cm / Condition: Homogenous set on fools head with bell's watermarked strong laid paper, trimmed on the borderline. Good condition with no folds, tears or stains. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (179-182.II) / Medium: Engravings /Circa: 1566

KRIS HARDY (BRITISH 1978) 'ROME II', a contemporary Italian cityscape, signed bottom right, mixed media on canvas, approximate size 72cm x 112cm frame 88cm x 128cm, Condition Report: good condition

A reproduction monochrome photographic print, two sunbathers looking out to sea, within a card mount, slender frame, under glass 77cm x 63cm overall, sold along with a modern colour print, after C Stephen, cityscape with buildings and cathedral, mounted, framed and glazed (slipped) 44cm x 56cm overall Appears to be a framed poster, with no other information avaiable to front or reverse.

Original vintage travel poster Beautiful old Dusseldorf / Schönes altes Düsseldorf Beautiful old Dusseldorf - Artwork by Harald Gutschow (1927-1998) features a night time cityscape with people and cars travelling through the streets of Dusseldorf. Good condition, creasing, tears. Country of issue: Germany, designer: Harald Gutschow, size (cm): 84x60, year of printing: 1969.

GEORGE OWEN Englischer Künstler: Cityscape with two Men. Kubistische Stadtkulisse. Lithographie 1927. Expl. 2/20. Signiert, datiert und als „Lithograph“ bezeichnet sowie mit dem Monogramm und Datum im Stein. Am breiten Unterrand (von fremder Hand ?) bezeichnet „Souvenir of Trinidad“. Auf aufgewalztem chamoisfarbenem China. 33,7 x 23 cm. Breiter Rand gering unfrisch und mit winzigen Randläsuren. [ms]

Full title: Southern European school: Animated cityscape, oil on canvas, 19th C.Description: Work: 102 x 60 cm Frame: 114,3 x 72,2 cm