The Emily Fisher Landau Collection: An Era Defined | Online Auction

Richard Pettibone b. 1938 Enter Not Within These Gates signed and dated 1989 (on the reverse) painted maple 17¼ by 17¼ in. 43.8 by 43.8 cm. Executed in 1989, this work is unique

View 1 of Lot 214: Enter Not Within These Gates

enter not within these gates

Contemporary Discoveries

Works from the Blema and H. Arnold Steinberg Collection

Works from the Blema and H. Arnold Steinberg Collection Jim Dine b. 1935 Crommelynck Gate (The Black Dust) signed, titled and dated 1983 (on the reverse) oil on canvas with wood construction 72 ¼ by 92 in. 183.5 by 233.7 cm. Executed in 1983.

View 1 of Lot 306: Crommelynck Gate (The Black Dust)

crommelynck gate (the black dust)

The Silk Road: Orientalist Paintings and Furniture from a Belgravia Residence

Arthur Trevor Haddon British 1864 - 1941 In the Souk and By the Gate, Cairo: a pair both signed TREVOR HADDON lower right both oils on canvas Unframed: each 46 by 36cm., 18 by 14¼in. Framed: each 66 by 56cm., 26 by 22in.

View 1 of Lot 29: In the Souk and By the Gate, Cairo: a pair

in the souk and by the gate, cairo: a pair

GOLD: The Midas Touch

TYLER SHIELDS American b. 1982 BEYOND THE GATES, 2012 Chromogenic print, flush-mounted to card. Signed and editioned 'AP1' on a Certificate of Authenticity accompanying the work. Framed. 101.6 by 71.2cm., 40 by 28in.

tyler shields | beyond the gates, 2012

Private Collection of Fine Japanese Prints

TSUKIOKA YOSHITOSHI (1839-1892) MEIJI PERIOD, LATE 19TH CENTURY WATANABE NO TSUNA CUTTING OFF THE DEMON'S ARM AT THE RASHOMON GATE (RASHOMON WATANABE NO TSUNA ONIUDEKIRI NO ZU) woodblock print, vertical diptych, signed Oju Yoshitoshi ga, sealed Taiso, publisher's details trimmed, 1887 vertical oban diptych (each sheet joined): 71.7 x 24.8 cm, 28¼ x 9¾ in. To view Shipping Calculator, please click here

tsukioka yoshitoshi (1839-1892) watanabe no tsuna cutting off the demon's arm at the rashomon gate (rashomon watanabe no tsuna oniudekiri no zu) | meiji period, late 19th century

Fabergé, Imperial & Revolutionary Art

Petr Petrovich Sokolov 1821 - 1899 At the Gates signed with monogram (lower right) oil on canvas 67 by 105.5 cm, 26⅜ by 41½ in.

at the gates

Modern & Post-War British Art Day Sale

TRISTRAM HILLIER, R.A. 1905-1983 THE ENTRANCE GATE AT ZARZA LA MAYOR signed and dated 70 oil on canvas unframed: 35.5 by 41cm.; 14 by 16¼in. framed: 51.5 by 57cm.; 20¼ by 22½in. Please note: Condition 11 of the Conditions of Business for Buyers (Online Only) is not applicable to this lot. To view Shipping Calculator, please click here

tristram hillier, r.a. | the entrance gate at zarza la mayor

Scottish Art

SIR JOHN LAVERY, R.A., R.S.A., R.H.A. 1856 - 1941 SKETCH OF THE HOSPITABLE GATE ﻿signed, titled and dated l.l.: SKETCH OF/ THE HOSPITABLE GATE/ J LAVERY 86 oil on panel 26.5 by 40.5cm., 10½ by 16in.

sir john lavery, r.a., r.s.a., r.h.a. | sketch of the hospitable gate

Books, Manuscripts and Music from Medieval to Modern

From the Library of Clayre and Jay Michael Haft

From the Library of Clayre and Jay Michael Haft William Robertson Sha'ar o Petach el Leshon Hakodesh [in Hebrew]. The first gate or the outward door to the holy tongue opened in English containing... the Hebrew grammar... London: Evan Tyler for Humphrey Robinson, [1654] Second edition (with the double column text), small 8vo (144 x 88mm.), contemporary blind-stamped calf, rebacked, text leaves slightly browned at extremities, old ink stain to p. 5, extremities slightly rubbed ONE OF THE EARLIEST COMPREHENSIVE HEBREW MANUALS PRINTED IN ENGLAND. Robertson was a "pedagogical revolutionary with an egalitarian message and a passionate and parenthetical style, [who] believed that Hebrew was not an esoteric language and that almost any man, given plain and careful instruction, could learn Hebrew even without the aid of a teacher... stressing the importance of reducing Hebrew words to their roots, and teaching the language by alphabetical principles rather than by scriptural texts" (ODNB). LITERATURE: cf. Wing R1612 (1653 edition) PROVENANCE: "Richard Hogwell, 1799": ownership inscription to verso of front free endpaper

View 1 of Lot 233: W. Robertson | [Hebrew] The first gate or the outward door to the holy tongue opened in English, London, [1654]

w. robertson | [hebrew] the first gate or the outward door to the holy tongue opened in english, london, [1654]

Important Watches Including the Gunter Sachs Cartier Portico Mystery Clock and the Mercedes Gleitze Rolex Oyster 

8-day duration movement concealed within the entablature beneath the rock crystal buddhist lion

8-day duration movement concealed within the entablature beneath the rock crystal buddhist lion bevelled rock crystal ‘dial’, diamond-set hands, the hour hand in the form of a stylised palmette 12-sided gold and black enamel chapter, appliquéd platinum and diamond-set Roman numerals interspersed by black enamel panels framed by gold edges and with repeated stylised ogee arch motif, the back with similar repeated ogee motif and stylised rosettes the portico formed of two rock crystal columns with black enamel and gold-banded bases and capitals, rising from onyx and stepped rock crystal plinths, all set upon a stepped gold base, the back with engraved cursive signature of Cartier Paris, the columns supporting an onyx, gold and agate entablature centrally surmounted by a Buddhist lion on a stepped black enamel broad square plinth flanked by two coral cabochons, the lion’s plinth friction fitted to the entablature and removing to reveal the frosted gilded movement cuvette with apertures for winding and hand setting, the clock suspended from the entablature via a gold framework supported by a gold hoop affixed to a rock crystal beam, heightened by a small square coral plaque with raised pyramidal top accompanied by a later fitted presentation case Dimensions 35 x 24 x 13 cm. 13¾ x 9½ x 5 in Please note that Sotheby's is not able to assist buyers with the shipment of any lots containing restricted materials into the US. A buyer's inability to export or import these lots cannot justify a delay in payment or a sale's cancellation.

View 1 of Lot 169: The Shinto Shrine Gate Mystery Clock No. 6 | Completed on 15 June 1925 | A magnificent and important rock crystal, gold, onyx, black enamel, diamond, agate and coral 8-Day Portico Mystery Clock surmounted by a Buddhist Lion

the shinto shrine gate mystery clock no. 6 | completed on 15 june 1925 | a magnificent and important rock crystal, gold, onyx, black enamel, diamond, agate and coral 8-day portico mystery clock surmounted by a buddhist lion

Daniel Israel Austrian 1859 - 1901 The Jaffa Gate, Jerusalem signed D Israel lower right oil on board Unframed: 25.5 by 30.5cm., 10 by 12in. Framed: 49 by 55cm., 19¼ by 21¾in.

View 1 of Lot 82: The Jaffa Gate, Jerusalem

the jaffa gate, jerusalem

JAMES PATERSON, P.R.S.W., R.S.A. 1854-1932 THE GATE TO THE HIGHLANDS ﻿signed l.l.: James Paterson; signed and inscribed on the reverse oil on canvas 49.5 by 74.5cm., 19½ by 29¼in.

james paterson, p.r.s.w., r.s.a. | the gate to the highlands

Orientalist Art

Daniel Israel Austrian 1859 - 1901 The Jaffa Gate, Jerusalem signed D Israel lower right oil on board Unframed: 25.2 by 30.5 cm., 9⅞ by 12 in. Framed: 49 by 54.5 cm., 19¼ by 21⅜ in.

View 1 of Lot 5: The Jaffa Gate, Jerusalem

Classic Photographs

Ansel Adams 1902 - 1984 'The Golden Gate' gelatin silver print, mounted, signed and titled in pencil on the mount, the photographer's San Francisco studio label (BMFA Label 3) on the reverse, 1932, probably printed before 1935 image: 6 ⅜ by 9 in. (16.2 by 22.9 cm.)

'the golden gate'

American Art

Property from the Collection of Senator William Benton, Sold by the Estate of Helen Boley

Property from the Collection of Senator William Benton, Sold by the Estate of Helen Boley THOMAS HART BENTON 1889 - 1975 STUDY FROM NATURE (STUDY FOR 'THE WHITE HORSE BY THE GATE') signed Benton and dated 55 (lower right) tempera en grisaille on paper 14 ½ by 21 ¾ inches (36.8 by 55.2 cm) This work will be included in the forthcoming catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen.

thomas hart benton | study from nature (study for 'the white horse by the gate')

Old Master Drawings

Property from the Collection of Ambassador and Mrs. Felix Rohatyn

Property from the Collection of Ambassador and Mrs. Felix Rohatyn Hubert Robert Paris 1733 - 1808 Vignola's Gate to the Farnese Gardens, Rome, with a coach and horses Red chalk 437 by 336 mm; 17 ½ by 13 in

vignola's gate to the farnese gardens, rome, with a coach and horses

Contemporary Day Auction

Property from a Private Collection, Ohio Christo 1935 - 2020 The Gates, Project for Central Park signed and dated 1984 (upper left) graphite, pastel, wax crayon, fabric, charcoal and topographic map on paperboard, in 2 parts i: 11¼ by 28¼ in. (28.6 by 71.8 cm.) ii: 22¼ by 28¼ in. (56.5 by 71.8 cm.) Executed in 1984.

View 1 of Lot 731: The Gates (Project for Central Park, New York City)

the gates (project for central park, new york city)

Photographs

Ansel Adams 1902 - 1984 'The Golden Gate (Before the Bridge)' mural-sized gelatin silver print, mounted, signed in pencil on the mount, the photographer's Carmel studio stamp (BMFA 5 and 6), titled in ink, on the reverse, framed; accompanied by a selection of original typed correspondence on the photographer's letterhead and corresponding postmarked envelopes image: 18¾ by 27⅝ in. (47.6 by 70.2 cm.) frame: 28¼ by 36½ in. (71.8 by 92.7 cm.) Executed in 1932, printed in 1965.

View 1 of Lot 60: 'The Golden Gate (Before the Bridge)'

'the golden gate (before the bridge)'

Old Master and British Works on Paper Online 

AFTER PERINO DEL VAGA St. Peter and St. John healing a cripple at the gate of the temple Pen and brown ink, heightened with white, on prepared paper; bears numbering, lower right, on the album page: 17 239 by 164 mm (drawing) 629 by 479 mm (mount) To view shipping calculator, please click here

after perino del vaga | st. peter and st. john healing a cripple at the gate of the temple

The Art of Travel

LUDWIG BLUM Israeli 1891-1975 The Damascus Gate, Jerusalem signed and inscribed L. Blum Jerusalem lower right oil on canvas 38 by 46cm., 15 by 18in. framed: 51 by 58cm., 20 by 22¾in. Please see shipping calculator link: click here Please note, Condition 11 of the Conditions of Business for Buyers (Online Only) is no applicable to this lot

ludwig blum | the damascus gate, jerusalem

THE MEETING AT THE GOLDEN GATE and JOB ON THE DUNG HEAP, two full-page miniatures attributed to Jean Colombe, on two leaves from a Book of Hours, in Latin, illuminated manuscript on vellum. [France (Bourges?), 15th century (c. 1470)]

THE MEETING AT THE GOLDEN GATE and JOB ON THE DUNG HEAP, two full-page miniatures attributed to Jean Colombe, on two leaves from a Book of Hours, in Latin, illuminated manuscript on vellum. [France (Bourges?), 15th century (c. 1470)] two miniatures, each c.155 × 105mm, each filling the verso of a leaf, the rectos (framed as the reverses) with the ends of preceding texts in a fine bâtarde script with two-line illuminated initials: (a) The Meeting at the Golden Gate, with Joachim and Anne, the Virgin Mary’s parents, about to embrace, standing outside the open doorway of an elaborate city wall with a gold door; the recto with the end of the Verses of St Gregory: ‘iustos. peccatores iustifica omnibus fidelibus miserere et propicius efto mihi peccatori. Amen. Pater noster. Ave Maria. Domine Ihesu Christe propter illam amaritudinem tuam …’; (b) Job on the Dung Heap, set in a courtyard in Bourges, Job’s body free of the sores that are sometimes depicted, approached by his three friends (Eliphaz the Temanite, Bildad the Shuhite and Zophar the Naamathite), who gesticulate as they speak to him; the recto with the end of the prayer ‘Fidelium deus omnium conditor et redemptor …’; the backs of the leaves inscribed with late 19th-century prices in a Continental hand ‘5800’ and ‘3600’, and with Bruce Ferrini’s pencilled stock nos. ‘VM 6609’ and ‘VM 6611’; minor abrasion and some very small areas of pigment loss, e.g. part of Anne’s white veil, and a crease at the upper left corner of the Job leaf, but generally in fine condition; each in a giltwood frame, with a photocopy of the reverse of each leaf stuck to the back. TWO STRIKING SCENES ILLUMINATED BY JEAN COLOMBE The miniatures can be attributed to Jean Colombe (c.1430–1498), who was born and worked in Bourges for most of his life, except for an interlude in the late 1480s in Savoy, where he completed the illumination of the Duke de Berry’s Très Riches Heures and the Apocalypse of the Dukes of Savoy (Escorial, MS E. Vit. V). Some of his works are described or listed by Plummer (1982), and his oeuvre was reexamined in the landmark exhibition in Paris in 1993 (Avril & Reynaud, 1993). A striking feature of Colombe’s mature work, exemplified in the present miniatures, is the central role played by architecture. The walls and gateway of Jerusalem in The Meeting at the Golden Gate, depicted like those of a contemporary, late-medieval, French city, are treated as far more important and detailed than the somewhat muted and impressionistic landscape setting. In Job on the Dung Heap the building on the left behind Job creates dramatic perspective, and leads the eye back towards the building in the right background, which is recognisably the Sainte-Chapelle at Bourges (built by Jean, Duke de Berry and destroyed in the 18th century). John Plummer appositely described Colombe’s ‘figures placed in elaborate, rather operatic stage sets … the miniatures have a breadth and complexity that belies their actual size’ (1982, p. 54). In the Meeting at the Golden gate miniature, we see Colombe’s talent for evoking atmosphere: the use of subtle gold highlights on draperies and architecture under a dark blue sky gives a sense that the scene takes place at dusk, bathed in a sunset glow. PROVENANCE 1. From a Book of Hours apparently broken-up by the late 19th century, when the leaves were in an unidentified French(?) collection. 2. Bruce Ferrini (1950–2010), manuscripts dealer of Akron, Ohio: his non-consecutive stock numbers on the reverse suggest that he had at least one more miniature from the same manuscript. 3. Sam Fogg Rare Books and Manuscripts: bought in April 1990 by: 4. The Boehlen Collection, Bern, MS 1404. LITERATURE J. Plummer, The Last Flowering: French Painting in Manuscripts, 1420–1530, from American Collections (New York, London: Pierpont Morgan Library, OUP, 1982), esp. nos. 42, 54, 68–70. F. Avril and N. Reynaud, Quand la peinture était dans les livres: les manuscrits enluminés en France, 1400–1520 (Paris, 1993), pp. 326–38.

View 1 of Lot 29: Illuminated Leaves, C15th | The Meeting at the Golden Gate and Job on the Dung Heap, attributed to Jean Colombe, from a Book of Hours, in Latin, illuminated manuscript on vellum. [France (Bourges?), 15th century (c. 1470)]

illuminated leaves, c15th | the meeting at the golden gate and job on the dung heap, attributed to jean colombe, from a book of hours, in latin, illuminated manuscript on vellum. [france (bourges?), 15th century (c. 1470)]

Contemporary Art Day Auction

Christo 1935 - 2020 The Gates (Project for Central Park, New York) ﻿ signed, titled and dated 1986 graphite, charcoal, wax crayon, pastel, fabric, printed paper and paper collage on paper, in two parts (i) 78 by 67 cm. 30¾ by 26⅜ in. (ii) 78 by 31 cm. 30¾ by 12¼ in.

View 1 of Lot 645: The Gates (Project for Central Park, New York)

the gates (project for central park, new york)

Japanese Woodblock Prints | Including the Sokolov Collection

The Sokolov Collection Utagawa Kunisada (1786-1865) Scene at the Gate of the Thunder God in Asakusa (Asakusa raijin-mon no kokei) Edo period, 19th century woodblock print, signed Toyokuni ga, published by Fujiya Tosuke, 6th month 1853 Vertical oban triptych: Each sheet approx. 36.5 x 25.5 cm.

View 1 of Lot 54: Utagawa Kunisada (1786-1865) Scene at the Gate of the Thunder God in Asakusa (Asakusa raijin-mon no kokei), Edo period, 19th century

utagawa kunisada (1786-1865) scene at the gate of the thunder god in asakusa (asakusa raijin-mon no kokei), edo period, 19th century

Japanese Woodblock Prints

UTAGAWA HIROSHIGE (1797-1858) BACK GATE OF THE SHRINE AT KAMEIDO: THE TAMAYA RESTAURANT (KAMEIDO URAMON, TAMAYA) EDO PERIOD (19TH CENTURY) Woodblock print, from the series Famous Restaurants of Edo (Edo komei kaitei zukushi), signed Hiroshige ga, published by Fujiokaya Hikotaro (Shogendo), circa 1838-40 Horizontal oban: 24.8 x 36.3 cm., 9 3/4 x 14 1/4 in.

utagawa hiroshige (1797-1858) back gate of the shrine at kameido: the tamaya restaurant (kameido uramon, tamaya), edo period (19th century)

A Grand Vision: The David H. Arrington Collection of Ansel Adams Photographs

Ansel Adams 1902 - 1984 'Golden Gate Before the Bridge, San Francisco' gelatin silver print, mounted, signed and with title and date '1933' in pencil on the mount, the photographer's Carmel studio stamps (BMFA 7 and 8), titled and dated in ink on the reverse, framed, an Andrew Smith Gallery, Santa Fe, label on the reverse, circa 1932, probably printed between 1963 and 1970; accompanied by a certificate of provenance, signed by Michael and Jeanne Adams (2) image: 15½ by 19½ in. (39.4 by 49.5 cm.) frame: 31½ by 35½ in. (80 by 90.2 cm.)

View 1 of Lot 87: 'Golden Gate Before the Bridge, San Francisco'

'golden gate before the bridge, san francisco'

The Orientalist Sale

JAMES WEBB British 1825-1895 THE ST. SOPHIA GATE, CONSTANTINOPLE signed James Webb lower left oil on canvas 101 by 125cm., 40 by 49in. To view shipping calculator, please click here

james webb | the st. sophia gate, constantinople

Old Master Prints

Rembrandt Harmensz. van Rijn 1606 - 1669 Peter and John Healing the Cripple at the Gate of the Temple (B., Holl. 94; New Holl. 312) etching and drypoint on laid paper with a Foolscap with Seven-Pointed Collar watermark 1659 a fine impression of New Hollstein's second state (of six), printing with touches of rich burr throughout, and delicate wiping marks in the sky plate: 170 by 217 mm. 7⅛ by 8½ in. sheet: 182 by 220 mm. 7¼ by 8⅝ in.

View 1 of Lot 523: Peter and John Healing the Cripple at the Gate of the Temple (B., Holl. 94; New Holl. 312)

peter and john healing the cripple at the gate of the temple (b., holl. 94; new holl. 312)

European & British Art

Property from a German Private Collection

Property from a German Private Collection Eduard Gaertner German 1801-1877 Das Schloßportal, Abendseite (West elevation of the Palace Gate) signed E. Gaertner lower right on the mount, titled on the mount watercolour, pencil, and pen and ink on paper composition: 9 by 9cm., 3½ by 3½in. (arched top); sight size: 12 by 12cm., 4¾ by 4¾in. framed: 19 by 19.5cm., 7½ by 7¾in.

das schloßportal, abendseite (west elevation of the palace gate)

Christo (1935-2020) The Gates, Project for Central Park, New York City: 5 Prints four signed in pencil Christo and inscribed For Geney and Hugh (lower right); one signed in brown pencil Christo (lower right) five offsets printed in colors on wove paper mounted to paper board the largest sheet: 39¼ by 27½ in. (99.9 by 69.8 cm.) Executed circa 1980 - 2003.

View 1 of Lot 105: The Gates, Project for Central Park, New York City: 5 Prints

the gates, project for central park, new york city: 5 prints

Old Master Paintings & Works on Paper Day Auction

Flemish School, 16th century A diptych: Jonah and the Whale; and Samson removing the Gates of Gaza both oil on panel, shaped tops each: 73.4 x 25 cm.; 28⅞ x 9⅞ in. framed: 86 x 64.5 cm.; 33⅞ x 25⅜ in. (2)

View 1 of Lot 304: A diptych: Jonah and the Whale; and Samson removing the Gates of Gaza

a diptych: jonah and the whale; and samson removing the gates of gaza

Important Works from the Najd Collection 

WILLIAM LOGSDAIL British 1859 - 1944 THE GATES OF THE KHALIFA, CAIRO signed and dated William Logsdail f. 87 lower right oil on canvas 112 by 81cm., 44 by 32in.

william logsdail | the gates of the khalifa, cairo

TOMASSO: The More a Thing is Perfect

Flemish School, 17th Century Portrait of a falconer, the Amsterdam Gate in Haarlem in the distance oil on canvas 187 x 98 cm.; 73⅝ x 38½ in.

View 1 of Lot 48: Portrait of a falconer, the Amsterdam Gate in Haarlem in the distance

Results for "The Gates"