*Cameron (David Young, 1865-1945). Amboise, uncoloured etching, signed and titled in pencil, image size approx. 265 x 153 mm, mounted on card, together with Burridge (Fred), Oxcliffe Marsh, uncoloured etching, plate size approx. 190 x 250 mm, mounted, plus Richmond (L.), Bridge over the River Thames, London, 1924, sepia lithograph, signed in pencil, sheet size approx. 220 x 290 mm, mounted on card, plus four others, various, including two etchings by Humphrey Neame (7)
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*Long (Sydney, 1871-1955). Kookaburra & Grasshopper, etching on japan, signed and titled in pencil, some ink marks to left margin, mounted as frontispiece to The Etched Work of Sydney Long A.R.E., A Complete Catalogue of His Etchings, ed. Dorothy Ellsmore Paul, Attic Press, 1928, orig. cloth backed boards, rubbed and some minor marks, 4to (1)
*Eliasberg (Paul, 1907-84). 'Ourscamp', 1967, uncoloured etching, artist's proof, signed and marked 'Epreve d'artiste' in pencil to lower margin, image size approx. 240 x 320 mm, wide margins, together with six other etchings by the same artist, including two printed in colour, and one uncoloured aquatint, each signed and numbered, image size approx. 545 x 335 mm and sl. smaller, all with wide margins, framed and glazed (7)
JACOB PHILIPP HACKERT (1737-1807),"Sappin", 1802, etching, 19 1/4"x 14 1/2"; assorted other prints and engravings to include three small mezzotints engraved by David Lucas after John Constable, Oxford Almanac prints after Edward Bawden, The Benevolent Cottager, after George Morland, fashion plates etc., all unframed and contained in a portfolio.
Charles Bartlett (b.1921) ‘Blue Foreshore’ Aquatint and colour etching Signed Titled to verso Limited edition 24/100 42cm x 51cm Jeremy King (born 1933) River scene Lithograph Signed 30cm x 63cm. (2) Bartlett - Painter and printmaker. Royal College of Art 1946-50. President of the RWS. Showed regularly at the RA. Examples of his work found at the V&A, National Gallery of South Australia and others. See Buckman, D. p.116. King - has exhibited widely throughout England, including the Royal Academy. His work can also be found in the Tate Gallery’s print collection.
Attributed to Egidius Sadeler, circa 1570-1629 - Figures in a mountain pass with cottages and woodland, after P. Stephens; etching, 16.5 x 26cm: together with a large collection of Old Master Prints, to include examples by or after: Esaias van de Velde, Michael van der Gucht, Bartelommeo Biscaino, Stefano Della Bella, Jacob Matham, Pietro Santi Bartoli, Robert Gaywood, Gabriel Perelle, Pieter van Laer, Salvator Rosa, Jan van Aken, and many others, (a lot), (unframed)
After Georges Rouault, 1871-1958 - ‘Arabesques’ and ‘Nocturne’; wood engravings, (4), on two folded sheets, three signed and dated 1932 within the plate, 44 x 33cm., (half sheet size): together with six photogravures after Holman Hunt, an etching of a street scene signed with monogram HSD and dated 1911 within the plate, various sizes, (a lot), (unframed)
James Gillray, 1757-1815 - ‘Phaeton alarm’d! Now all the horrors of the heav’ns he spies, And monstrous shadows of prodigious size, That deck’d with stars, lie scatter’d o’er the skies...’, plate 340, publ. March 22 1808 by H. Humphrey, 27 St. James’s Street; hand-coloured etching, 34.5 x 37.7cm: together with five other prints by Gilray titled: ‘Disciples catching the Mantl!...’, ‘British Tars towing the Danish Fleet into Harbour...’, ‘Politiacl Mathematician’s, shakign the Broad bottom’d Hemispheres...’, ‘Making Decent; ie- Braod-bottomitesgetting into Grand Costume!’; ‘Delicious Dreams! Castles in the Air! Glorious Prospects!’, various publishing dates, (6)

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