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Lot 1

A rare Thomas Webb & Sons etched and polychrome- infill black glass vase, with a bird and flowers or butterfly and ferns in Greek key borders, 24cm h, oval etched mark GUEST BROS PATENT 1877, c1880 The collaboration between Thomas Webb and the Guest Brothers is confirmed by the allocation of certain designs to the Guest's in the Thomas Webb Pattern Books. A similar but unmarked vase , almost certainly a Webb/Guest product is illustrated Hajdamach (Charles R), British Glass 1800-1914, col plt 40. Guest's were well known for some of the finest etching on glass in the Stourbridge district and such excellence not surprising given that one of the two brothers had been John Northwood's partner in 1859. In fine condition

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Mempes (Mortimer) - Whistler as I knew Him, from the edition de luxe of 500, this copy no 80, signed by the author, plts and an original etching, ivory, cloth gilt; Adam & Charles Black, 1904; Water Shaw Sparrow - A Book of British Etching 1926; Beverley Nichols - A Book of Ballads, illus H M Brock, 1934 (3)

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WILLIAM WASHINGTON Clocks to Mend etching, dated 1930 in the plate, signed in pencil, 27 x 23.5cm In excellent condition and apparently not laid down although unexamined out of the modern frame. A good impression and excellent example of this artist's highly realistic print making, reminiscent of the engravings of Stanley Anderson

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WILLIAM LIONEL WYLLIE Shipping in a River etching with drypoint, signed in pencil, 9 x 33.5cm In good condition

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WILLIAM LIONEL WYLLIE Extensive Industrial Landscape with Shipping etching with roulette and drypoint, signed pencil and with Print Sellers Association blindstamp, published by L H Lefevre & Sons, 1903, 25 x 45cm Some even light time staining with mild vertical bands, a few cuts and scratches to the paper surface which are not too noticeable and do not detract from the appearance

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WILLIAM LIONEL WYLLIE The Fourth Bridge etching, signed in pencil, 16.5 x 38cm In fine condition in the original frame with trade label of Robert Dunthorne & Son Liverpool which is inscribed with the title

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A South German small cabinet inlaid with etched steel plaques, last quarter of the 16th Century of rectangular form, veneered in rosewood, the corners each reinforced by a shaped etched steel bracket, the outer faces each inlaid with pairs of white metal bands framing a raised moulding enclosing a large steel plaque, each etched with scrolling foliage enclosing a central panel of differing scenes, including on the reverse Christ entering Jerusalem on the reverse, a marine monster on one side, a grotesque demi-figure on the other, and with biblical scenes on the top and front, the latter opening to reveal a series of drawers and a central door, the door secured by a contemporary lock, the drawer and panel fronts all inlaid with steel plaques etched with scrolling foliage and strapwork bands, the inside of the lid inlaid with white metal bands and a large steel plaque etched with the Arrest of Christ in the Garden (the carrying handle and keys each missing, the etching with areas of light wear, the veneer with one small chip and cracks on the reverse, one foot associated) 24.1 cm ; 9.5in by 30.4 cm ; 12 in by 21.6 cm ; 8.5in

Lot 1

An North Italian etched comb morion, circa 1580, possibly Brescian with one-piece skull rising to a tall roped comb, pierced with a pair of holes for a plume-holder, encircled around the base with brass-caped lining rivets on brass rosette washers (two missing from each side), down-turned brim rising to a point front and rear, turned roped edge (the skull with several small holes and an internally patched repair), etched throughout in the so-called Pisan manner, comprising an elaborate strapwork panel involving elements of armour on each side of the comb, the skull decorated with a trellis design filled with further elements of armour, and the brim bordered with acanthus at the base of the skull (etching refreshed) 29.2 cm ; 11.5in high A Brescian morion with similar etched ornament on the comb and brim is preserved in the Doge's Palace, Venice.

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AUGUSTUS EDWIN JOHN, 1878-1961, BRITISH, ETCHING, ENTITLED NUDE GIRL WITH KNEE ON COUCH, Impression No. 14/25, signed in pencil, 6 1/4 ins x 3 3/4 ins, framed and glazed.

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AUGUSTUS EDWIN JOHN, 1878-1961, BRITISH, ETCHING, DEPICTING A HALF LENGTH PORTRAIT OF A SEATED MAN, signed in pencil, 4 1/4 ins x 3 1/2 ins, framed and glazed.

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Charles Maurice Detmold. A vulture sat on a pinnacle of rock. Etching, 4" x 3.75" Signed in ink with a monogram and dated "1903." Mounted but unframed.

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William Tatton-Winter. Stonehenge. Coloured drypoint etching, 10.5in x 13.75in. Signed in pencil by the artist. Published by the Museum Galleries, London, 1928. Mounted, framed and glazed.

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L*** Robert Brightwell, (Exh. 1926-38) "BRIGHT YOUNG PEOPLE", A PEKINGESE AND PUPS, an etching signed in pencil lower right, entitled in pencil lower left, 14.5cm x 21cm, (5.7in x 8.3in), in decorated surround, card mount, framed under glass

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A leopard, large-plate etching, by Herbert Dicksee, 1914.

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Durham Mustard too powerfull for Italian Capers, or the Opera in an Uproar', etching by James Gilray, coloured by hand, published by T. Tegg, 1807, unframed.

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'Barnard Castle', engraving by W. Byrne after T. Hearne, 1799, coloured by hand; and 'Darlington Church', etching after R.W. Billings, coloured by hand. (2)

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Pheasants, colour etching, signed proof by Henry Wilkinson.

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A salmon river with a castle in the distance, etching and drypoint, signed proof by Norman Wilkinson.

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'The Bold Buccleuch', colour etching, signed proof by Tom Carr, no. 38 from an edition limited to 75.

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'Over the Gate', colour etching, signed proof, by Tom Carr, numbered 70 from an edition limited to 75.

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'In the Snow - the Hunt Wicket', colour etching, signed proof, by Tom Carr.

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'The Bog', colour etching, signed proof by Tom Carr.

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A leaping salmon, etching, signed proof by D.T. Robertson.

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Newcastle upon Tyne, drypoint etching, signed proof by William Lionel Wyllie.

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Newcastle upon Tyne, drypoint etching, signed proof by William Lionel Wyllie.

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East Coast cobles putting out from a beach, drypoint etching, signed proof, by William Lionel Wyllie.

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Fishing boats off the coast, etching, signed proof by W.L. Wyllie.

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'The Farm' - etching, first trial proof by J.F. Slater, 1916.

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Etching of a square sail barge, Simon Winch 42/50.

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W. CROZIER, "Volterra", framed etching 5/50, and another of a lion drinking water. (2)

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19th Century hand tinted etching St. Huberts.

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AFTER WILLIAM DUTHIE, SCOTTISH, 20th CENTURY, "NEWTONHILL HARBOUR", etching, exhibition label verso, framed. 20cm by 22.5cm

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Herbert Dicksee Prowling Leopard etching, 20in x 28in (51cm x 71cm)

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Wilfred Applebey Edinburgh University Medical College, etching, signed, 8 1/2in x 13 1/2in (21.6cm x 34.3cm)

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William Strang (1859-1921) Etching - 'The Cotters Family' x 2, and 2 more Strang etchings (4- all unframed)

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Salomon van Abbe (1883-?) unframed etching with drypoint, titled 'The Old School' signed in pencil, 25 x 25, and another 'The Huntsman'

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Small Baxter print of Balmoral Castle, 6 x 10cms, and a coloured etching of the Lamb Inn, Eastbourne (2)

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Job Nixon (1891-1938 British) etching 'An Italian Fiesta' signed, 68 x 69cms

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M.M. Rudge: etching Durham Cathedral from the Weir; Herbert Reeve signed etching, Gateway of School House, Eton; and two others

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Peter Doig, b. 1959, 100 years ago, signed and numbered 21/46, colour etching, image: 96.5x60.5cm.; 38x23.75in., sheet: 120x82.5cm.; 47.25x32.5in. Executed in 2001, this work is number 21 from an edition of 46.

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Damien Hirst, b. 1965, YOU THREW A MELON AT MY HEAD (FROM IN A SPIN, THE ACTION OF THE WORLD ON THINGS), signed Etching on Hahnmuhle paper, plate: 39.5x27cm.; 15.5x10.5in., sheet: 91.5x71cm.; 36x28in. Executed in 2002 and published by Charles Booth - Clibborn at Paragon Press, this work is from an edition . of 68.

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Joseph Beuys, 1921 - 1986, honiggefÅ ss, signed and numbered 46/75, etching and aquatint on paper, 56.5x44.5cm.; 22.25x17.5in. Executed in 1982.

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Arnulf Rainer b. 1929, haute coiffeur, signed, inscribed ubermalte Radierung zur Mappe no.17 (...) 'Haute Coiffure' and dated 61, hand coloured etching, 50x35.5cm.; 19.75x14in.

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Herbert Dicksee (1862-1942) A Scottish Deerhound, etching, published by Frost and Reed, London, 1912, 44 x 43cm

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Pierre Auguste Renoir (1841-1919), Le Chapeau Epingle, etching, 16 x 12cm

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James Abbott McNeill Whistler (1834-1903), Old Westminster Bridge, drypoint etching, 3ins by 8ins

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1766-67. 7 George III, Acts 1-59 [includes the Tea Act], pp 1-894, the Tables of Statutes partly excised,. slight damp?staining, mostly confined to the margins, contemp. calf, patch of leather missing from upper cover, folio. Contains several important Acts relating to the American colonies, including An Act for taking off the Inland Duty of One Shilling per Pound Weight upon all Black and Single Teas consumed in Great Britain, and for granting a Drawback upon the Exportation of Teas to Ireland, and the British Dominions in America.. for permitting the Exportation of Teas in smaller Quantities than One Lot to Ireland, or the said Dominions in America, and for preventing Teas seized and condemned from being consumed in Great Britain; An Act for granting certain Duties in the British Colonies and Plantations in America, for allowing a Drawback of the Duties of Customs upon the Exportation, from this Kingdom, of Coffee and Cocoa Nuts of the Produce of the said Colonies.. and for more effectually preventing the clandestine Running or Goods in the said Colonies..; and An Act for restraining and prohibiting the Governor, Council, and House of Representatives, of the Province of New York.. from passing or assenting to any Act of Assembly, Vote, or Resolution.. Also includes An Act to enable the Trustees of the British Museum to exchange, sell, or dispose of, any Duplicates of printed Books, Medals, Coins, or other Curiosities..; An Act to amend and render more effectual An Act.. for Encouragement of the Arts of Designing, Engraving, and Etching, Historical and other Prints, and for vesting in, and securing to Jane Hogarth Widow, the Property in certain Prints; and An Act for erecting a proper and convenient Pier at the Port of Saint Ives in the County of Cornwall, for the better Protection of Ships and Vessels.. (1)

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After Charles Edward Baskett - Signed artist's proof etching - Industrial river scene with shipping, margin with presentation inscription dated 1916, 30cm x 45cm

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After Sir Frank Brangwgn - Etching 'The Old Bridge Albi Southern France, margin signed with inscription, verso with Fine Art Society label dated October 1943, 50cm x 63cm

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A group of five prints including a floral woolwork picture, an etching of a musician, a print of the French Assembly and a framed indenture (5).

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W Renison, York Minster, etching, signed and inscribed in pencil, 45x30cm.

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Alex Mortimer, 'Hay Barges', etching, 28x40cm.

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J G Rennie, The Pool of London, etching, signed in pencil, 17x30cm.

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After William Hogarth, 'Pit Ticket' engraving, 32x38.5cm and F....H......Round, Rye, signed etching, 19x27cm.

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Cecil Aldin (1870-1935) - Artist's proof etching - West Highland terrier asleep in an easy chair, 8.25ins x 11.25ins, signed in pencil and No. 81/100, in modern frame and glazed

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Soichi Hasegawa - Untitled composition; etching with aquatint printed in colours, signed and numbered 56/130 in pencil, 17x19.3cm

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Barry Flanagan - Horse, Pig and Man; etching, signed, inscribed 'AP' and numbered 5/9 in pencil, 17x21.5cm

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French School c1960 - Beach scene; oil on canvas, signed, 14.3x29. 8cm: Early 20th Century School- 'Market Scene, Mexico'; hand-coloured etching, signed, numbered and titled in pencil, (2)

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William Lionel Wyllie - 'Forth Bridge'; etching, signed in pencil, 16.2x37.9cm., (unframed)

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HERBERT DICKSEE, SIGNED IN PENCIL TO MARGIN, BLACK AND WHITE ETCHING, Published 1914, A leopard on the prowl, 18" x 27"

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