We found 71174 price guide item(s) matching your search

'View of London from Greenwich Park', hand-coloured aquatint and etching, c. 1815, engraved for The Complete English Travellers, 18cm x 30cm, later framed and glazed, together with Harrison's History of London, 'An Engraving Plan of the City and Environs of London as Fortified by Order of Parliament in the Years 1642 and 1643', later hand-coloured, 19cm x 31cm, later framed and glazed.  (2)

Leonard Russell Squirrell RE RWS (British, 1893 - 1979) Lambeth Palace from the Thames Etching, from a drawing made on the spot by Frank Emanuel, 17.5cm x 24.5cm.  ARR

Malcolm Osborne (British, 1880 - 1963) Portrait of Shrimant, Sampatrao Gaikwad Baroda, born May 18th 1865 Signed and dated, etching, 23cm x 18cm; also a similar portrait etching, 'Mona', signed indistinctly, 22.5cm x 16cm.  (2)  ARR

Rowland Langmaid (1897-1956) - 'The Houses of Parliament and Westminster Bridge', etching, pencil signed to margin, 15.5 x 38.5 cm

After Valerie Thornton (1931-1991) - 'Lanercost Lancet', etching, numbered 57/70, pencil signed and dated '75 to lower margin, 35 x 23 cm

William Lionel Wyllie (1851-1931) - HMS Dreadnought shortly after commissioning, etching, pencil signed to lower left margin, 21 x 18 cm

William Lionel Wyllie (1851-1931) - Sailing vessels off the coast, etching, signed to lower left margin, 22.5 x 30.5 cm

After Valerie Thornton (1931-1991) - 'Lanercost', etching, numbered 8/70, pencil signed and dated '75 to margin, 35 x 23 cm

K Vernon, pencil signed etching St Pauls from Watling Street

Dorothy Sweet, pencil signed etching "Old Gateway In Ipswich"

Hugh Banner, pencil signed etching

K Vernon, pencil signed etching The Ancient House, Ipswich

Elise V Cole, pencil signed etching, "Strangers Hall, Doorway, Norwich"

STAFFORDSHIRE POSTCARDS, Three Albums containing 761 early 20th century Postcards of cities, towns, villages, railway stations and coal mines in Staffordshire featuring, STAFFORD, including The Old Curiosity Shop, St. Joseph's Convent, The Workhouse, The Ancient High House, The Mill, The Picture House, Siemens' Works, Factories, The Prison, Gaol Square, The Library, Schools, Infirmaries, Municipal Buildings, Roads and Streets, River Sow and Baths, Bishton Hall and a souvenir of the Royal Visit 1907, LICHFIELD, including The Market Square, St. John's Hospital, The Friary, Recreation Grounds, Schools, Churches, The Cathedral, Members of the Clergy, The Sword and Mace Bearers, Streets, The Close, The Soldiers Home - Whittington Heath, Whittington Barracks, Locks and Canals and a rare photograph of Mr Claude Grahame-White solo pilot on the London to Manchester flight, April 23rd 1910, signing autographs in Lichfield, this card is signed but is probably a preprinted signature, RUGELEY, including Sheep Fair, Arbour Tree Cottages, built 1578, demolished 1897, The Post Office, Railway Line, The Albion Inn (Landlord and Customers standing outside), The Cenotaph and War Memorial, Streets and Roads, The Market Place, Shops (Manton's, Mercer's, Whitworth's, The Co-op) The Town Hall, Hotels, Churches, The Vicarage, Schools, Hawkeshead Priory and College, The Chase, Etching Hill, The Weir, Brereton Wall Memorial and Lodge and several of RUGELEY CAMP including a German POW hoisting the British flag on Armistice Day 11/11/1918 and Staff and Officers at the Camp, ARMITAGE, including Tunnel Hill, The Boat House, Cottage Homes, The Towers, Potteries, The Bridge, Streets, Cottages and Churches, HEDNESFORD, including The Electric Palace, The Accident Home, Lourdes Convent, Churches, Streets, Canals, a Sunday School Demonstration and the Proclamation of King George V 1910, CANNOCK, including The Bandstand, The Fire Station, Beaudesert Hall, Streets, Shops and Schools, The Courier Office and The Chase, CHASETOWN & CHASE TERRACE, including The Chasetown Churchyard Brigade Company 'Having Snap', The Vicarage, The Pool, The Cinema, Sankey's Corner and Streets, BURNTWOOD, The Asylum HAMMERWICH, Cottage Hospital, NORTON CANES, Pinfold Farm, The Infant School and Streets, CHESLYN HAY, Waterworks, Post Office, Isolation Hospital and Salem Church, STRETTON, The Garage Cafe and The Bluebell Hotel, THE MEYNELL HUNT outside Byrkley Lodge, Great Haywood & Little Haywood, including the famous Motor Car Accident of 1905 and The Square, Shugborough Lodge and The Flag Hotel, KINGS BROMLEY & ABBOTS BROMLEY, Village, Church, Market Place and Horn Dance, UTTOXETER, King George V visit, a Fire, The Memorial, The Market Place, Railway Crossings and Sidings, BURTON ON TRENT, Breweries, The Town Hall, The Market Place and Trent Bridge. There are several other small Villages in the collection but these only warrant single Postcards in most cases. Other significant places of interest include CAMPS at Penkridge Bank, Brockton Camp B and Milford, RAILWAY STATIONS at Stafford, Stone, Newcastle, Penkridge, Sandon, Uttoxeter, Colwich, Great Haywood, Barton, Walton, Burton on Trent, Tutbury, Sudbury, Milford and Rugeley and COAL MINES at Brereton, Hednesford Valley Pits, West Cannock, Brindley Heath and THE TAKEROO EXPRESS, most cards are in good condition (with exceptions), viewing recommended

A QUANTITY OF ETCHING, ENGRAVINGS AND LITHOGRAPHIC PRINTS ETC, to include a Martin Schongauer etching 'St Agnes' approximate size 17cm x 11cm excluding margins, etching 'Sacrifice to Priapus' after Jacapo De Barbari, print after Rembrandt 'The Raising of Lazarus', on laid paper with Van Geldern watermark, paper size 38cm x 26.5cm, an engraving print after Michele Louis Van Loo ' Sebastiano Josepho Carvalio Melio Marchioni Lombalio' engraved by Jaques Firmin Beauvarlet and dated 1767 - title detached, some staining, tears and creases, approximate size 66cm x 93cm, two Charles Coypel engravings, print after J Harraden 'Oxford from Hinksey Hills, Sidney Tushingham dry point etching 'Shrimpers' together with other 19th and 20th century engravings, etchings and prints etc including Muirhead Bone 'War Drawings' (FOLIO AND LOOSE)

TWO BOXES AND LOOSE PAINTINGS AND PRINTS ETC, to include a Vic Bowcott landscape watercolour depicting Lichfield Cathedral across Stow Pool, approximate size 34cm x 53cm, an indistinctly signed Czech town view in winter, approximate size 21cm x 27cm, a Swedish print of a deer on hessian by Susan Jakobsson, a Reginald Smallindge etching depicting a fishing village, a Thomas Kitchin map of Devonshire together with assorted prints and reproduction maps

Jean Hardy, drypoint etching, 'The Butterfly Catcher', signed, 34 x 46cm and two watercolour river landscapes by Reginald Davis

Paul Drury (1903-1987), drypoint etching from Memorial Portfolio, Self portrait, signed in the plate and dated 1949, 14.5 x 19.5cm

Daniel Nikolaus Chodowiecki. (1726 Danzig - 1801 Berlin). Ziethen sitzend vor seinem König den 25ten Januar 1785. Um 1786. Radierung auf Velin. 46,7 x 58 cm (50,3 x 62,3 cm). In der Platte bezeichnet "gezeichnet und gestochen von D. Chodowiecki" und betitelt "Ziethen sitzend vor seinem König / den 25ten Januar 1785/ der hinterlassenen Gattin des Helden ehrerbietigst gewidmet von D. Chodowiecki". Unter Passepartout punktuell montiert und unter Plexiglas gerahmt. - Mit Fehlstellen und Einrissen im Randbereich, teils hinterlegt. Papier gegilbt. Insgesamt altersspurig und mit Braunfleckchen. Ausgzeichneter, kräftiger und nuancierter Druck. Etching on wove paper. Inscribed in the plate and titled. Mounted under passepartout and framed under plexiglas. - With losses and tears in the margins, partly backed. Paper yellowes. Overall age-marked and with small brown spots. Excellent, strong and nuanced impression.

Deutschland - Bonn - - J. Ziegler. (1749 - 1802). Ansicht der Churkölnischen Residenz Stadt Bonn = Vue de la Ville et Residence Electorale de Bonne. Späterer Abzug nach dem Druck von 1789. Kolorierte Radierung auf Van Gelder Zonen Vergé (mit WZ). 35 x 45,9 cm (41 x 53 cm). Mit gestochenem Namen, Titel, Bezeichnung sowie Publikationsvermerk. Punktuell unter Passepartout montiert. - Papier überwiegend gleichmäßig gebräunt. Insgesamt gut. Ausgezeichneter Druck in zarten Farben koloriert. Die großformatige und formatfüllende Darstellung mit breitem Rand. Aus dem Album "Collection de cinquante vues du Rhin: les plus intéressantes et les plus pittoresques, depuis Spire jusqu'à Dusseldorf, dessinées sure les lieux d'après nature = Fünfzig malerische Ansichten des Rhein-Stromes, von Speyer bis Düsseldorf". - Hg. von Artaria und Compagnie am Kohlmarkt, Wien 1798. - Nach der Arbeit von Laurens Janscha (1749-1812). - Die Ansicht zeigt im Vordergrund fünf Figuren auf einer Straße am Rheinufer, die auf den Fluss blicken. Eingebettet ist die Ansicht mit dem Blick auf Bonn mit seinem Münster und dem Kurfürstlichen Schloss. Coloured etching on Van Gelder Zonen Vergé. With engraved name, title and inscription as well as publication note. Mounted in spots under passepartout. - Paper mainly evenly browned. At all good. Perfect impression, coloured in tender colours. The large-sized and format-filling depiction with wide margins. - Later impression after the print of 1789. - From the album "Collection de cinquante vues du Rhin: les plus intéressantes et les plus pittoresques, depuis Spire jusqu'à Dusseldorf, dessinées sure les lieux d'après nature = Fünfzig malerische Ansichten des Rhein-Stromes, von Speyer bis Düsseldorf". - Published by Artaria and Compagnie am Kohlmarkt, Vienna 1798. - Engraved after the work of Laurens Janscha (1749-1812).

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Elisabeth-Ufer (Berlin). 1913/14. Holzschnitt. Gercken 642. Dube H 197. Schiefler 224. Im Unterrand von fremder Hand bezeichnet. Eines von nur fünf bekannten Exemplaren. Auf Kupferdruckpapier. 20,5 x 23,1 cm (8 x 9 in). Papier: 52,2 x 39 cm (20,6 x 15,4 in). [CH]. • Handdruck des Künstlers. • Zwei der nur fünf bekannten Exemplare befinden sich in Museumsbesitz: in der National Gallery of Art, Washington, D.C., und im Portland Museum of Art, Portland/Oregon. • Im selben Jahr entsteht nicht nur eine gleichnamige, kompositorisch ähnliche Kaltnadelradierung (Gercken 641), sondern auch das motivisch eng verwandte Gemälde 'Rotes Elisabethufer, Berlin' (Pinakothek der Moderne, Bayerische Staatsgemäldesammlungen, München, Gordon 275). • Charakteristische Vorgehensweise: Häufig entwickelt Kirchner eine bestimmte Darstellung in seinem favorisierten druckgrafischen Verfahren, dem Holzschnitt, und widmet sich dem Motiv dann noch einmal malerisch in Form eines Gemäldes. PROVENIENZ: Barbara Wentzel, Suttgart (wohl 1975 durch Erbschaft von Prof. Dr. Hans Wentzel erhalten). Sammlung Hermann Gerlinger, Würzburg (1988 von der Vorgenannten erworben, mit dem Sammlerstempel, Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 156, SHG-Nr. 154 (m. Abb.). Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 323, SHG-Nr. 727 (m. Abb.). Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, Bd. 3 (543-847, 1912-1916), Bern 2015, S. 114, Kat.-Nr. 642 (m. Abb., S. 115). 'Viel Arbeiten aus dem Kopf, über Holzschnitt oder Radierung zum Bilde sich entwickelnd wie früher ja auch oft.' Kirchner an Luise Schiefler, 29. Juli 1937, in: Wolfgang Henze (Hrsg.), Ernst Ludwig Kirchner – Gustav Schiefler, Briefwechsel 1910–1935/1938, Stuttgart 1993, Nr. 626. Aufrufzeit: 10.06.2023 - ca. 17.00 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Elisabeth-Ufer (Berlin). 1913/14. Woodcut. Gercken 642. Dube H 197. Schiefler 224. Inscribed in lower margin by a hand other than that of the artist. One of five known copies. On copper plate printing paper. 20.5 x 23.1 cm (8 x 9 in). Sheet: 52,2 x 39 cm (20,6 x 15,4 in). [CH]. • Hand-printed by the artist • Two of the five known copies are museum-owned: one is at the National Gallery of Art, Washington, DC and one at the Portland Museum of Art, Portland/Oregon. • The same year the artist made the drypoint etching of the same name (Gercken 641) with a similar composition, as well as the very similar painting 'Rotes Elisabethufer, Berlin' (Pinakothek der Moderne, Munich, Gordon 275). • Typical method: Kirchner often conceived a certain motif in the woodcut, his preferred technique, and then revisited the motif in a painting. PROVENANCE: Hermann Gerlinger Collection, Würzburg (with the collector's stamp, Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig (permanent loan from the Hermann Gerlinger Collection, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Hermann Gerlinger Collection, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Hermann Gerlinger Collection, 2017-2022). LITERATURE: Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 156, SHG no. 154 (with illu.). Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Hermann Gerlinger Collection, Halle (Saale) 2005, p. 336, SHG no. 531 (with illu.). Günther Gercken, Ernst Ludwig Kirchner. Kritisches Werkverzeichnis der Druckgraphik, vol. 3 (543-847, 1912-1916), Bern 2015, p. 114, cat. no. 642 (with illu., p. 115). 'We used to conceive many works from memory, from woodcut over etching to painting.' Kirchner to Luise Schiefler, July 29, 1937, in: Wolfgang Henze (ed.), Ernst Ludwig Kirchner - Gustav Schiefler, Briefwechsel 1910-1935/1938, Stuttgart 1993, no. 626. Called up: June 10, 2023 - ca. 17.00 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Alfred-Louis Brunet-Debaines, an 18th century etching of a rural winter landscape, from a painting by Benjamin William Leader A.R.A., framed and glazed . 78 x 46 cm.

Robert Sargent Austin (1895-1973) RA PRWS PRE, Sisters of Assisi, etching and engraving, framed and glazed. 11 x 13.5 cm.

Assorted pictures and prints to include landscape watercolour, oils, topographical etching etc; and various picture frames to include gilt composition examples

André Dunoyer de Segonzac (French 1884-1974) - Groupe de Niches, etching, 29 x 24cm; together with one other by the same hand (2)

Marie Adler (Austrian 1863-1947) - Interior scene, etching, signed in pencil to the margin, 20 x 26cm, unframed

Henry Wilkinson, coloured etching of curlers, signed in pencil and numbered 48 / 75, framed under glass, 35 x 25cm

Henry Wilkinson, coloured etching of curlers, signed in pencil and framed under glass, 35 x 25cm

A framed and mounted Etching 'A Roman, Ancient Britain, A pict, A druid' engraved for Russell's History of England. 16 3/4" x 12 3/4".

A framed and mounted William Radcliffe Etching of 'Flint Castle'. 10 1/4" x 8 3/4".

A framed and mounted Etching depicting a busy river scene with barges and figures and a town with a Cathedral in the distance, no visible signature. Together with a river scene with barges (sailing) moored.

Dolch für Kadetten, Kaiserliche Marine, um 1900, Klinge korrodiert, wohl ehemals Zierätzung, Hersteller wohl Eickhorn, Solingen, Messingbeschläge, Bein vergilbt, frühere Drahtumwicklung verloren, L 46,5 cm. Dagger for cadets, Germany, Imperial Navy, around 1900, blade corroded, probably former ornamental etching, manufacturer probably Eickhorn, Solingen, brass fittings, leg yellowed, former wire wrap lost, l 46.5 cm

Glas-Konvolut aus Vasen und Murano-Objekten: blassrote, dickwandige Vase mit floralen und ornamentalen Ätzungen, Moser, Karlsbad, unterseitig Ätzsignatur. H. 20 cm; kleine farblose Vase, Jugendstil, quadratischer Stand, nach oben leicht verjüngend, Blumendekor, H. 10 cm, min. best.; Vase mit quadratischem Stand, leicht bauchig, rot-grüner marmorierter Glasfluss, darüber feine florale Goldverzierungen, H. 25 cm; Zierpokal aus farblosem Glas auf hellblau-gelbem Fuß mit aufgeschmolzenen Verzierungen, Murano, H. 20 cm; gelbe Glasfigur, Fisch, Delfin, Murano, um 1890, Haarr. oder Kratzer am Stand, H. 28 cm; alle leichte Altersspuren. / Glass assortment of vases and Murano objects: red, thick-walled vase with floral and ornamental etchings, Moser, Karlsbad, etching signature on the underside. H. 20 cm; small colourless vase, Art Nouveau, square stand, slightly tapering towards the top, floral decoration, h. 10 cm, slightly dam.; vase with square stand, slightly bulbous, red-green marbled glass flow, above fine floral gold decorations, h. 25 cm; ornamental goblet of colourless glass on a light blue-yellow base with fused decorations, Murano, h. 20 cm; yellow glass figure, fish, dolphin, Murano, c. 1890, hairline or scratch on the stand, h. 28 cm; all slight signs of age.

Hans SCHÄRER (1927-1997)HundRadierung, IX/X, mit Bleistift signiert und datiert '8827,5 x 19 cm, Rahmen: 54,5 x 39 cmHans SCHÄRER (1927-1997)DogEtching, IX/X, signed and dated '88 in pencil27.5 x 19cm, frame: 54,5 x 39 cm

Kurt MEYER-EBERHARDT (1895-1977)FuchsFarbradierung, mit Bleistift signiert30 x 26,5 cm, Rahmen: 41 x 37 cmKurt MEYER-EBERHARDT (1895-1977)FoxEtching in colors, signed in pencil30 x 26.5 cm, frame: 41 x 37 cm

Erich BRAUER (1929-2021)Auf dem WegRadierung, mit Bleistift signiert, Beilage aus dem Ausstellungskatalog "Die Wiener Schule" der Galerie Sydow, Frankfurt 196612,5 x 15 cmErich BRAUER (1929-2021)On the wayEtching, signed in pencil, supplement from the exhibition catalog "The Viennese School" of the Sydow Gallery, Frankfurt 196612.5x15cm

Jean-Baptiste GREUZE (1725-1805)Le paralytiqueKupferstich von Jean-Jacques FLIPART (1719-1782) 1767, gewidmet an Zarin Katharina die Grosse von Russland54 x 64 cmZustand: sehr schlecht, mehrere Risse, teilweise auf Unterlage montiert.Jean-Baptiste GREUZE (1725-1805)Le paralytiqueEtching by Jean-Jacques FLIPART (1719-1782) 1767, dedicated to Tsarina Catherine the Great of Russia54 x 64 cmCondition: very bad, several cracks, partly mounted on cardboard.

David T Robertson, (1886 - 1944) The Grand Canal, Venice, etching, 62/95, signed bottom right in pencil, dated (18cm x 29cm) unframed

William Lionel Wyllie, (British, 1851-1931) Yachts Rounding Warner Lighthouse, etching, signed bottom left in pencil, paper label verso, ebonised glazed mounted frame, (17cm x 21.5cm)

Arthur Winston Dale Megoran (1913-1971) "Shelducks in the Evening" coloured etching and titled in pencil, with blind stamp for "Artist's Proof Warwick Galleries", 27.5cm x 36cm, and similar "Razorbills", both mounted in glazed oak frames (2)

After Rembrandt, a 19th century etching, framed & glazed, 10 by 15cms.

Frederick Marriott (British 1860-1941) - Edinburgh Advocates Close - coloured etching, signed in pencil to the margin, framed & glazed, 11 by 22cms.

A old etching possibly Rembrandts mother

Group of artwork x 6 - Large coloured signed european etching largest (65cm x 51cm overall), abstract figural watercolour / drawing, Artwork sculpture and prints (6)

James Alphege Brewer (1881-1946) After Henry Charles Brewer (1866-1950)''Notre Dame Paris''Signed and inscribed in pencil, coloured etching, 41cm by 56.5cm

After John Sell Cotman (1782-1842)"The East end of Howden Church, Yorkshire"Etching, together with three further etchings after the same hand, "Easby Abbey, Yorkshire", "Kirkham Priory, Yorkshire" and "Walsingham Abbey Gate", 39cm by 28.5cm, 37.5cm by 26.5cm, 31cm by 23cm and 31cm by 23cm (4)

§ JAMES MCBEY (SCOTTISH 1883-1959) OVATION TO THE MATADOR Signed, pen and ink and watercolourDimensions:46.5cm x 30.5cm (18.25in x 12in)Provenance:Provenance: Allinson Gallery, USA Note: Note: This work dates from c.1911McBey’s etchings proved incredibly popular with London audiences. His career break came with an exhibition at the Goupil Gallery, where he sold seventy-seven prints, and his most in-demand compositions were those inspired by travels abroad. He had first experienced the benefits of new visual and art-historical stimuli while travelling in the Netherlands in 1910, where he painted, drew, and studied Rembrandt’s etchings in the Rijksmuseum. Visits to Morocco and Spain followed shortly thereafter, and McBey amassed a significant body of work depicting Spanish bull-fighting rings.The thrilling, theatrical atmosphere of the ring is captured in The Ovation to the Matador (c.1911) wherein a bull-fighter in traditional attire presents himself triumphantly. The crowd he faces is unseen, but their jubilant reception is made evident by the matador’s raised arms and delighted expression. McBey adjusted this composition for a dynamic etching of the same title, which evidences his mastery of intaglio to evoke varied qualities of light and shadow.Spain would prove to be a continuing source of inspiration. A Brave Bull, San Sebastian (1932) (Lot 141) post-dates the etching market crash which compelled McBey to predominantly work in watercolour and oil paint.

§ JAMES MCBEY (SCOTTISH 1883-1959) STRANGE SIGNALS Signed and numbered XVIII in pen to margin, etching, from a numbered edition of 76 plus three additional proofs Dimensions:23cm x 39.5cm (9in x 15.5in)Provenance:Literature: Martin Hardie, Etchings and Dry Points from 1902-1924 by James McBey, P.& D. Colnalghi & Co. Ltd, London, 1925, no.186 Note: Note: During World War One McBey initially was sent to Rouen with the Army Printing and Stationery Office, but in 1917 was appointed an official war artist, and was commissioned with an Expeditionary Force to the Middle East. During a reconnaissance in the Sinai Desert he produced a celebrated series of etchings, including Strange Signals, which capture the heat of the climate and the intrepid nature of the explorers.

§ JAMES MCBEY (SCOTTISH 1883-1959) OVATION TO THE MATADOR Signed and numbered XIII in pen to margin, etching from an edition of 30Dimensions:26.5cm x 17cm (10.5in x 6.75in)Note: Note: McBey’s etchings proved incredibly popular with London audiences. His career break came with an exhibition at the Goupil Gallery, where he sold seventy-seven prints, and his most in-demand compositions were those inspired by travels abroad. He had first experienced the benefits of new visual and art-historical stimuli while travelling in the Netherlands in 1910, where he painted, drew, and studied Rembrandt’s etchings in the Rijksmuseum. Visits to Morocco and Spain followed shortly thereafter, and McBey amassed a significant body of work depicting Spanish bull-fighting rings.The thrilling, theatrical atmosphere of the ring is captured in The Ovation to the Matador (c.1911) wherein a bull-fighter in traditional attire presents himself triumphantly. The crowd he faces is unseen, but their jubilant reception is made evident by the matador’s raised arms and delighted expression. McBey adjusted this composition for a dynamic etching of the same title, which evidences his mastery of intaglio to evoke varied qualities of light and shadow.Spain would prove to be a continuing source of inspiration. A Brave Bull, San Sebastian (1932) (Lot 141) post-dates the etching market crash which compelled McBey to predominantly work in watercolour and oil paint.

Graham Clarke, artist's proof, coloured etching "Nethercott", signed in pencil to the mount, image size 72cm x 58cm, 80cm x 93cm overall, framed

Bob Dylan (American 1941-), Iron Railing, 2013, giclée print on 350gsm Hahnemühle museum etching paper, signed and numbered from an edition of 295, published by Washington Green Fine Art; sheet: 56 x 70cm (framed)sheet: 56 x 70cm (framed)In very good conditionNo visible knocks, tears or creases to the sheetFramed in a plain silver frame with a white mountThis work has not been examined under the frame

José Parlá (American 1973-), 'One Eighty Fourth Street', 2009, Giclee print overlayered with one handprinted silkscreen on 310gsm Hahnemuhle German Etching Paper, signed, titled, dated, and numbered from an edition of 100 in pencil, published by Elms Lesters; sheet: 137.5 x 73cm (Framed)sheet: 137.5 x 73cm (Framed)In very good conditionNo visible knocks, tears or creases to the sheetFramed in a black frame with a white mountThis work has not been examined out of the frame or under the mount

Harland Miller (British 1964-), 'Armageddon: Is It Too Much To Ask?', 2017, polymer-gravure with photo-etching and block-printing on wove paper, signed in pencil recto, numbered from an edition of 50 in pencil verso, published by Manifold Editions; sheet: 102 x 67cmARRsheet: 102 x 67cm

Tracey Emin (British 1963-), 'Bird On A Wing After DB', 2018, etching printed in blue on wove paper, signed, titled, dated, and numbered from an edition of 200 in pencil, published by Emin International; sheet: 46 x 45cmARRsheet: 46 x 45cmIn very good conditionNo knocks or tears to the sheetSome minor handling creases to the sheet, visible upon close inspection Minor mark just above the birds upper wing, visible upon close inspectionThis work has been stored flat and has not been framed.

BEN NICHOLSON (1894-1982)Still life 1965 signé et daté 1965 au revers de la feuille; signé, titré et daté 1965 au revers du panneauaquarelle et encre sur papier (revers d'une gravure) monté sur le panneau préparé par l'artistesigned and dated 1965 on the reverse of the sheet; signed, titled and dated 1965 on the reverse of the boardwatercolor and ink on paper (reverse of a soft-ground etching sheet) laid on the artist's prepared boardfeuille : 37 x 32 cm. sheet : 14 9/16 x 12 5/8 in. dimensions de l'ensemble : 43 x 38 cm. overall : 16 15/16 x 14 15/16 in.Footnotes:ProvenanceGalerie Beyeler, Bâle Collection Giani, MilanCollection particulière, ItalieExpositionBâle, Galerie Beyeler, Ben Nicholson, mai - juin 1972, no. 48This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

William Lionel Wyllie (1851-1931) British depicting ships at sea by land, published in August 1913 by W.R Howell & Co, London, signed in pencil lower left, etching on paper, 22 cm x 51 cm, within a glazed giltwood frame

Φ Norman Stevens ARA (1937-1988)Birds of Paradise and Early Abstract by Modern British MasterSigned, dated, numbered and inscribed 13/100 Birds of Paradise and early abstract by Modern British Master Norman Stevens 1980 (in pencil to margin)Etching70.1 x 79.6cm (sheet)Provenance:The Redfern Gallery, London, where purchased by Dr Peter Mangold, March 1980;And by descent

Φ Richard Beer (1928-2017)Venice; Café TurbotTwo, the former signed and inscribed Venice artists proof Richard Beer (in pencil to margin), the latter signed, numbered and inscribed Café Turbot 61/70 Geoffrey with love March '95 Richard Beer (in pencil to margin)Both etching39.4 x 59.7cm; 46.2 x 40.2cm (plate) (2)Provenance:Private Collection, Wiltshire

Sir David Young Cameron RA (Scottish 1865-1945)View of the Thames Signed D.Y.Cameron (in pencil to margin)Etching19.4 x 30.6cm (plate)Provenance:The Collection of Bob and Elisabeth Boas

ETSUKO MONTGOMERY "Mantra" black and white etching, limited edition No. 8/21, numbered and titled lower left, signed lower right 37.5 cm x 28 cm together with another by the same hand "White Mantra" limited edition No. 8/20, numbered and titled lower left, signed lower right 38 cm x 28.5 cm together with two black and white photos and a BBC Symphony Concert programme dated Wednesday 6th November 1935 (5) CONDITION REPORTS Unframed - as is its companion pair.