There are 78391 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe* Cort (Cornelis, 1533-1578). St. Francis Penitent in the wilderness, 1575, engraving by Cornelis Cort after Girolamo Muziano, pub. Bonifazio Breggi, Rome, trimmed to ruled border, some surface marks, 510 x 370mm (20 x 14.5ins), together with Galle (Cornelius II, 1615-1678), Landscape with Tobias and The Angel, etching, [pub. Suzanna Verburggen], trimmed to image, 290 x 415mm (11.5 x 16ins), framed and glazed. Hollstein 114. (2)
* Rembrandt (Harmensz van Rijn, 1606-1669). Christ before Pilate: larger plate, etching, with drypoint, 1636 [but later, probably early 18th c.], on wove paper, without watermark, margins trimmed, some light surface soiling and a few small nicks to extreme edges, plate size 56 x 45.5cm (22 x 18ins). Bartsch 77. A good strong impression. (1)
* Abbe (Solomon van, 1883-1955). Barrister at Work, etching with drypoint, signed and numbered 18/50, plate size 26 x 26cm (10.25 x 10.25ins), framed and glazed, together with Short (Sir Frank, 1857-1945), A South Coast Road, etching, signed in pencil, plate size 147 x 267mm (5.75 x 10.5ins), framed and glazed, plus Bradshaw (Brian, 1923-), Revolutionaire, drypoint etching, signed and titled in pencil to lower margin, 24.5 x 36cm (9.5 x 14ins), framed and glazed (3)
* Austin (Robert Sargent, 1895-1973). [Daisies], etching, signed and limited 66/75 in pencil below image, 10.5 x 13.5cms (4 x 5.25ins), together with, untitled image of a female wood cutter, etching, etched initials of, R S A below image, signed in pencil in lower margin, 16 x 11.5cms (6.25 x 4.5ins). Robert Sargent Austin taught engraving at the Royal College of Art from 1927 to 1944 and was a member of the Royal Watercolour Society, The Royal Society of Etchers and The Royal Academy. (3)
* Hubbard (Eric Hesketh, 1892-1957). The Fair Gound, etching, signed , titled and numbered 57/100 below image, 20 x 29.5cm (8 x 11.5ins), together with a signed woodcut by the same artist, plus The Mower, etching, signed, titled and numbered 33/50 below image, 20 x 15cm (8 x 6ins), and Short (Frank), The New Inn, Poole, etching, signed in pencil below image, 25 x 17.5cm (9.75 x 7ins), plus Osborne (Malcolm), Female portrait, etching, signed below image by artist, 23 x 17.5cm (9 x 7ins), and Blaylock (Thomas Todd), The Ebbing Tide, woodcut printed in colours, signed and titled below image, 17 x 25cm (6.75 x 9.75ins), and, Woollard (Dorothy C.)Ye Old Lattice Inn, etching, signed in pencil below artist, 19.5 x 27cm (7.75 x 10.75ins) (7)
* McBey (James, 1883-1959). The Passing Gondola, 1926, etching, signed and numbered LVI in ink to lower margin, (from the British edition of 60 numbered in Roman numerals), 21.4 x 26.6cm (8.5 x 10.5ins), framed and glazed. Wofsy, Etchings & Dry-points of James McBey (1997) 230. A further twenty prints were published for America, numbered AI-AXX. (1)
* Rosenberg (Louis Conrad, 1890-1983). Greek cafe, etching, signed below image in pencil, 13.5 x 19cms (5.5 x 7.5ins), mounted, framed and glazed, together with, Hallward (Reginald, 1858-1948), Angel and Old man, 1939, soft ground etching, signed, dated and limited 1/25 below image, 21.5 x 27.5cms (8.5 x 10.75ins), mounted, framed and glazed, with, Buchanan (Birtram), Seascape from the cliffs, late 20th. century, etching, signed in pencil below image, 11 x 22cms (4.25 x 8.75ins), mounted, framed and glazed, with another two similar, plus a folder containing twenty-two etchings, engravings and gravures, various sizes and condition (27)
* Walcot (William, 1874-1943). Two city scenes, two etchings, both signed in pencil below image, one with a personalinscription to Malcolm Salaman, one image laid on near contemp. card, 13 x 12cms (5 x 4.75ins), the other 18 x 25cms (7 x 10ins). Malcolm Salaman was an English author, journalist and critic, particularly on prints, who frequently contributed to the art magazines of the day. He also wrote the introductions to the 33 volume series ‘Modern Masters of Etching’ published between 1925-32 by ‘The Studio’. (2)
Wilfred Crawford Applebey - Original signed etching of "The Royal And Ancient Club House" produced to celebrate the 200th Anniversary ltd ed no 3/75 - signed in pencil and inscribed to the border "The Headquarters of Golf Bicentenary Etching - 75 /No3" image 8.5 x 13.75" - scarce. W C Applebey studied at Glasgow School of Art, exh Glasgow 1912, GI x 48 and RSA x 14.
Michael Ayrton (British, 1921-1975) Rising, from the Minotaur Series signed lower right "Michael Ayrton", proof etching 50 x 74cm Beginning in 1961, Michael Ayrton wrote and created many works associated with the myths of the Minotaur and Daedalus, the legendary inventor and maze builder, including bronze sculpture and the pseudo-autobiographical novel "The Maze Maker" (Holt, Rinehart and Winston, 1967)
* John Augustus Atkinson 1775-1833- "Charcoal Bark". published May 1st 1803, by JA Atkinson & JA Walker London & Messrs John & Josiah Boydell, Pall Mall, London; etching and aquatint printed in colours, 20x25cm: Raphael Wintter 1784-1852- "Thierstudien"; five plates, c.1831, etchings: William Henry Pyne 1784-1852- "Cattle Market; Domestic Employment"; published by Pyne & Nattes, aquatint in brown, pl.1,2: together with a folio of other 18/19th century etchings and engravings by and after various hands to include After Teniers, "La Vessie"; Frank Palou, "Notice to Quit"; Klien, Peasant travellers; Ludwig Richter, Zu den Vater Kommen die Kinder"; and others, (17) (unframed)
* Le Brussel, act. early 19th century- "Aloys Senefelder"; lithograph, after Jabard, full sheet with margins, on cream wove, 31x24cm, (unframed) Note: Senefelder the inventor of lithography; Problems with the printing of his play Mathilde von Altenstein caused him to fall into debt, and unable to afford to publish his new play, playing with an etching technique using a greasy, acid resistant ink as a resist on a smooth fine-grained stone of Solnhofen Limestone. He then discovered that this could be extended to allow printing from the flat surface of the stone alone, the first Planogrphic process in printing. He joined with the André family of music publishers and gradually perfected his technique into a workable state. He called it "stone printing" or "chemical printing", but the French name "lithography" has stuck.
* Carlo Marrata 1623-1713- "..Abraham Isaac..."; etching, overall good impression, handling marks and minor creasing to the centre margins, scattered foxing to the entire sheet: After Giuseppe Maria Mitelli 1634-1718- The Triumph of Bacchus and Ariadne; etching on wove: Pietro Monaco c.1707-1772- "S.Pietro ....Da Gesu Cristo.."; published in Venice, engraving after Giovanni Battista Crosato c.1697-1756: and others by and after various hands, (a lot) (unframed)
Frances Myers, American b.1936- "Gotham"; aquatint in colours, signed, titled and inscribed `Artist`s Proof` in pencil, 69.5x55cm: American School, late 20th century- Straw basket; screenprint in colours, signed, numbered 17/90 and dated 1981 in pencil, 95x74cm: American School, late 20th century- Seated figure with flowers; etching printed in colours, signed, numbered 20/50 and dated 78 in pencil, 60x47cm: together with a framed poster for a Picasso exhibition at The Pace Gallery, New York, 108x70cm., (4) Provenance: with Joan E Kaplan, New York, according to label attached to the reverse of the frames of three of the above pictures
* After Pablo Picasso 1881-1973- Horse and carriage from the Portfolio of "La Célestine"; c.1968, (B.1583) etching, on cream wove with full margins, bears signature and numbered 25/50 in pencil, bears blind stamp for Liberia Prandi Reggio, good condition, 25x33cm Note: There were 66 etchings for the Portfolio of La Célestine which Picasso completed between April 11 and August 18, 1968. The series was printed in collaboration with brothers Piero (1934-2001) and Aldo Crommelynck who, in 1963, set up a studio in Mougins when Picasso was 82 years old. Picasso`s prolific production relied on these engravers. The original portfolio was published by Editions de l`Atelier Crommelynck in Paris in 1971. (unframed)
* Jacques Villon- "Marchands des Quatres Saisons"; (G. & P. 273) etching with aquatint, signed in pencil, on cream laid paper with margins, unnumbered impression, from the original edition of 25, good condition, 30.4x38.5cm: "La mer vient a nous tandis que la montagne or Sur le Galet, Les vieux"; (G. & P. 178) etching with aquatint printed with tone, inscribed essai and signed in pencil, on cream wove with margins, good condition: "Le Banc Des Vieux"; lithograph printed in colours 1899, signed in blue crayon, numbered 3/40 (recorded as edition of 40), on simili japan paper, with margins, in good condition apart from minor paper discolouration and pale mount staining, (3) (unframed)
* James Arden Grant 1887-1974- The Bathroom; circa 1920s, dry-point etching, 2nd state, initialed and inscribed in pencil, on laid paper, with margins, scattered staining within the image, 20x24cm: together with an interesting folio of lithographs and dry-point etchings by Grant, mostly signed and dated c.1920s, predominantly of his wife and young family, to include "Cafe Types; The Drawing lesson; Beach Scene; Zeda; The Bath and others, with multiple images various states and proofs: Hubert Andrew Freeth 1912-1986- "Campbell Dodgson Esquire"; etching printed with tone, 1938, 2nd state, signed dated and titled in pencil, (a lot) (unframed)
Samuel Buck 1696-1779 and Nathaniel Buck fl. 1724-1759- The North Prospect of the City of Wells; The South-West Prospect of the City of Lincoln"; published by S. & N. Buck, No. 1 Garden Court, Middle Temple, 1736-1745, two plates from the "Cities, Sea-ports, and Capital Towns"; London, engravings by S. & N. Buck, No. 1 Garden Court, Middle Temple, 32x81cm,ea: Wenzel Hollar 1607-1677- Lincoln Cathedral/ Ecclesia Cathedralis Lincolniensis Facies Occidentalis "; 1672, etching with engraving, published in 1672 for Monasticon Anglicanum: or, the History of the Ancient Abbies, Monasteries, Hospitals, Cathedral and Collegiate Churches, with their Dependencies, in England and Wales. Note: Hollar returned to England in 1652 and begun working for the publisher John Ogilby and the antiquary Sir William Dugdale. Over the next twenty-five years he etched more than 566 plates for them, dedicated to Michael Honywood dean of Lincoln, (3)
Ken Moore b.1923- The dressing room; 1983, off-set lithograph, signed and numbered 3/25, 52x26cm: Jo Oakley, late 20th century- Mosaic; etching: Robert Heinbel, late 20th century- Deux Filles; off-set lithograph: Patricia Emery, late 20th century- still-life; reproductions printed in colours, and others (7) (may be subject to Droit de Suite)
Loading...
![* Austin (Robert Sargent, 1895-1973). [Daisies], etching, signed and limited 66/75 in pencil below image, 10.5 x 13.5cms (4 x](http://lot-images.atgmedia.com/SR/10729/2796907/210-201072185413_468x382.jpg)
![* Brockhurst (Gerald Leslie, 1890-1978). Una [also called ‘The Young Creole’], 1929, etching, signed in pencil be](http://lot-images.atgmedia.com/SR/10729/2796907/216-201072185421_468x382.jpg)
![* Brockhurst (Gerald Leslie, 1890-1978). Fabian [1921], etching, signed in pencil below image, plate size 17.5 x 12.5cm (7 x](http://lot-images.atgmedia.com/SR/10729/2796907/217-201072185423_468x382.jpg)
