There are 71174 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe*Fitton (Hedley, R.E., 1859-1929). Rialto Bridge, Venice, etching, signed and titled in pencil to lower margin, plate size approx. 365 x 335 mm (14.25 x 13.25 ins), mounted Hedley Fitton was an etcher who specialised in architectural views and street scenes in London, Florence, Venice and elsewhere. He was awarded a gold medal by the Société des Artistes Francais. (1)
*Fitton (Hedley, R.E., 1859-1929). Cour du Corbeau, Strasbourg, pub. Robert Dunthorne, December 1st 1919, etching, first state, signed in pencil to lower margin, plate size approx. 485 x 310 mm (19 x 12.25 ins), period stained wood frame, glazed, with orig. publisher's partly-handwritten label to verso (1)
*Gross (Anthony, 1905-84). Meadow with building and belltower beyond, etching, signed in pencil, plate size approx. 210 x 140 mm (8.25 x 5.5 ins), framed and glazed, together with two additional signed etchings by Anthony Gross, entitled Polyphenus, and Bucoliastae [from Theocritus, Sixe Idyllia, pub. Clover Hill Editions, 1971], plate size approx. 210 x 145 mm (8.25 x 5.75 ins), both mounted (3)
*Gunn (David W., 20th c.). Boats in the harbour, linocut, signed and dated 25, image size approx. 130 x 180 mm (5 x 7 ins), mounted, together with seven other various etchings, including a few of the Pont Neuf, Toulouse by Arthur Yvon (?), dated 1929, an etching of French first world war soldiers in a trench, unsigned, a woodcut illustration by Jane Muus for Jules Romain's Paris, 1949, and a linocut by A. Abramavitz, entitled 'Residences, Hollywood', dated 1933 (8)
*Hankey (William Lee, 1869-1952). 'Sur la Plage', etching with drypoint, signed in pencil, and marked 'To Pay off Derby' a unique unnumbered proof, in excellent condition, plate size approx. 455 x 550 mm (18 x 21.5 ins) William Lee-Hankey, R.E., studied at the Royal College of Art. He lived in France for part of his career and produced etchings of French scenery and breton peasants. Provenance: Purchased in Penzance in 1970, at the sale of house contents belonging to Gerald du Maurier. This unique proof was apparently produced in payment for a set of Crown Derby china. (1)
*Howarth (Albany E., A.R.E., 1872-1936). The Market, Spain, etching, signed in pencil, plate size approx. 250 x 165 mm (10 x 6.5 ins), framed and glazed, together with another similar etching of a Spanish street scene by the same artist, signed in pencil, plate size approx. 165 x 165 mm (6.5 x 6.5 ins), framed and glazed, plus an etching of the gardens at the Villa d'Este, signature indistinct, plate size approx. 303 x 206 mm (12 x 8 ins), framed (3)
*Mackenzie (James Hamilton, A.R.S.A., A.R.E., 1875-1926). Figures working by a windmill, etching, signed in pencil, plate size approx. 255 x 290 mm (10 x 7.5 ins), some light mount staining, together with Steinlen (Theophile Alexandre, 1851-1923), Calvaire Serbe: Premier Episode, 1916, uncol. lithograph, signed, titled in pencil in another hand, image size approx. 250 x 440 mm (9.75 x 17.25 ins), with margins, some marks, and light foxing, plus Davis (Philip W., 20th c.), Dresden, 1930, uncol. etching showing a stone bridge with paddle steamer and baroque church, signed, titled and dated in pencil, plate size approx. 187 x 340 mm (7.5 x 13.5 ins), mount stained, and other various etchings, mostly continental scenes (11)
*Maclaughlan (Donald Shaw, 1876-1938). Sussex Landscape, 1920, etching, signed in pencil, plate size approx. 150 x 270 mm (6 x 10.5 ins), some light overall toning, mounted, with label of Albert Roullier Art Gallery, Chicago to verso Regarded as one of America's finest etchers of the early twentieth century, although he lived and worked mostly in France and Italy. (1)
*Morgan (William Evan Charles, born 1903). Nymphs Bathing, 1928, etching with drypoint, signed, dated, titled and numbered 75/83, plate size approx. 200 x 280 mm (8 x 11 ins), in very good condition, framed and glazed William E. C. Morgan studied at the Slade School of Art, and took the 1924 Prix de Rome for engraving. See Guichard, British Etchers 1850-1940, page 51. (1)
*Nevinson (Christopher Richard Wynne, (1889-1946)). The Willows, etching, signed in pencil, plate size approx. 175 x 140 mm (6.75 x 5.5 ins), with margins, some minor surface marks and traces of damp to extrems., some discol. to upper outer corners where previously hinged, sheet size approx. 320 x 230 mm (12.75 x 9 ins) (1)
*Pott (Constance Mary, 1862-c.1930). On the Medway, etching, signed, titled and inscribed 'To Alice with much love from Constance M. Pott', plate size approx. 247 x 373 mm (9.75 x 14.5 ins), some light mount staining, small portion to right hand margin torn and missing, just touching plate border, mounted (1)
*Robertson (Percy, 1869-1934). St. Paul's Cathedral, 1921, etching with drypoint, signed in pencil, plate size approx. 188 x 136 mm (7.5 x 5.25 ins), framed and glazed, together with Buckingham Palace, with marching troops and figures on The Mall, etching with drypoint, signed in pencil, plate size approx. 138 x 186 mm (5.5 x 7.25 ins), framed and glazed, plus one other signed etching of an estuary landscape, by the same artist (3)
*Rushbury (Sir Henry George, RA, RE, 1889-1968 ). 'The Harbour', etching with drypoint, signed in pencil, plate size approx. 203 x 303 mm (8 x 12 ins), framed and glazed, with orig. label of James Connell & Sons, Glasgow to verso, together with Porta Maggiora, Orvieto, etching, signed in ink to lower margin, plate size approx. 195 x 237 mm (7.75 x 9.25 ins), framed (2)
*Shannon (Charles Haslewood, 1863-1937). 'Gathering Wood', lithograph printed in blue, approx. 240 x 470 mm (9.5 x 18.5 ins), framed and glazed, together with Sparks (Nathaniel, 1880-1957), Cheddar, Somerset, etching, signed in pencil, plate size approx. 200 x 190 mm (8 x 7.5 ins), with wide margins, mounted, plus other various etchings, lithographs, etc., including Boutet, Legros, two etchings of London street scenes with figures by Charles Laborde, one entitled Preche dans Leicester Street, the other entitled St. Pauls, etc. (10)
*Simpson (Joseph, 1879-1939). 'A Russian Girl', etching, signed in pencil, and numbered 12/75, plate size approx. 302 x 213 mm (12 x 8.5 ins), framed and glazed, with period label to verso of David C. Lamond, Dundee, together with two other similar etched portraits by Joseph Simpson, one depicting a young man wearing a tam o'shanter, the other showing a woman with cat, each signed in pencil, the latter marked 'Trial Proof', plate size approx. 300 x 250 mm (12 x 10 ins) and similar, both framed and glazed (3)
*Synge (Edward Millington, 1860-1913). The Bridge at Sisteron, etching, signed in pencil, plate size approx. 200 x 200 mm (8 x 8 ins), framed and glazed, together with 'On the Tagus', etching, a trial proof, signed in pencil, plate size approx. 175 x 175 mm (7 x 7 ins), framed and glazed, plus one other etching by the same artist of the interior of a barn, signed in pencil, plate size approx. 190 x 260 mm (7.5 x 10 ins), framed and glazed Edward Millington Synge studied under Sir Seymour Haden, and completed his first etching around 1890, becoming ARE ten years later. He travelled extensively on the continent, and married in 1908, but died suddenly in 1913. All his copper plates were destroyed in the first world war. (3)
*Whistler (James McNeill, 1834-1903). Chelsea, etching, pub. J. S. Virtue, plate size approx. 130 x 200 mm (5 x 8 ins), together with Clark (Charles Herbert, 1890-), Cottage with trees beside a stream, etching, signed in pencil, plate size approx. 243 x 138 mm (9.5 x 5.5 ins), mounted, plus four other various etchings (6)
*Whistler (James McNeill, 1834-1903). Passages from Modern English Poets. Illustrated by The Junior Etching Club, pub. Day & Son, [1865], forty-seven etched plts. on forty-five leaves, including two etchings by Whistler (The Angler & A River Scene), and works by Henry Moore, Tenniel, J. E. Millais, Charles Keene, Walter Severn, F. Barwell and others, first few leaves stained to lower margins (very slightly affecting etching by Henri Moore), small semicircular waterstain to fore-margin towards centre of volume, just touching engraved surface of some plates, otherwise in good condition, a.e.g., orig. blindstamped purple cloth gilt, rubbed and some marks and soiling, with some discol., minor wear to extrems., small 4to (1)
*Wilkinson (Henry, b.1921). Spaniels putting up a pheasant, coloured etching, signed in pencil, and numbered 24/75, plate size approx. 225 x 320 mm (9 x 12.5 ins), framed and glazed, together with an etching of a gundog by David Gee, signed in pencil, plate size approx. 125 x 175 mm, framed and glazed (2)
*Nevinson (Christopher Richard Wynne, (1889-1946)). Returning to the trenches, 1916, drypoint etching printed in dark brown, a strong impression with burr, signed and dated in pencil, from the edition of 75 on laid paper, with wide margins, in excellent condition, plate size approx. 150 x 201 mm (6 x 8 ins), sheet size approx. 216 x 280 mm (8.5 x 11 ins) See illustration on rear cover of this catalogue. (1)
*Nevinson (Christopher Richard Wynne, (1889-1946)). Returning to the trenches, 1916, drypoint etching printed in dark brown, a strong impression with burr, signed and dated in pencil, from the edition of 75 on laid paper, with wide margins, in good condition, apart from some light surface soiling, and faint creases to margins, plate size approx. 150 x 201 mm (6 x 8 ins), sheet size approx. 216 x 280 mm (8.5 x 11 ins) (1)
Corinth (Lovis, 1858-1925). Gesammelte Schriften, Berlin, Fritz Gurlitt Verlag, 1920, etched self-portrait frontis. (some light foxing), signed, eight full-page lithographs on pale green hand-made paper, each signed, and one full-page etching, signed, b&w illusts. to text, t.e.g., remainder untrimmed, some light foxing to endpapers and half-title, orig. reversed calf-backed boards with colour litho. design to upper cover, some overall light foxing, and very sl. rubbed, large 4to Limited edition of 120 signed copies, this being number XX of 20 special copies numbered in Roman numerals, with all of the plates signed by the artist, and the additional full-page signed etching. (1)
Loading...
