δ Salvador Dalí (1904-1989)Portrait de Ronsard, from Les Amours de Cassandre (Field 68-2-A; M&L 248)Etching with drypoint extensively handcoloured in gouache and gold paint, 1968, signed in pencil, numbered from the edition of 50, published by Pierre Argillet, printed by the Atelier Robbe, Paris, with the artist's blindstamp, with margins, sheet 380 x 280mm (15 7/8 x 11in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
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δ Patrick Procktor (1936-2003)Riva I, VeniceEtching, 1972, signed in pencil, an artist's proof aside from the edition of 75, printed by JC Editions, London, published by Editions Alecto, Cambridge, on wove paper, with full margins, plate 270 x 390mm (10 5/8 x 15 3/8in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Rinder, Frank D.Y. Cameron: An Illustrated Catalogue of his Etched Work with Introductory Essay & Descriptive Notes on Each Plate, Special Edition on hand-made paper, with proofs on Japanese vellum and an original signed etching of the Lion and the Unicorn as Frontispiece, edition of 200 copies, of which this is number 171, James Maclehose and Sons, publishers to the University, Glasgow, 1912 Condition Report:Available upon request
A Castelli maiolica plate and a saucer, c.1725-40, the saucer painted with the infant Bacchus on the shoulders of a satyr after a 17th century etching by Stefano della Bella, the plate with a huntsman on horseback in pursuit of a stag, the rim with putti, the saucer broken and restored, 23cm max. (2)
An Italian sculpted softwood frame in Renaissance taste, 19th century, carved with masks and caryatids, the oval reserve with an etching after Rembrandt van Rijn, St Jerome beside a Pollard Willow, 37 x 25cm overall; together with a gilt-ground panel of the Madonna and Child after Fra Angelico (Italian, circa 1400-1455), late 19th century, in a giltwood and gesso frameIllustration charge £5
Elmer Keene (British, 1853-1929)Lantern Hill & Hillsborough off Branscombesigned and inscribedpastel on paper7.5 x 15cm (sight, unframed);together with a 20th century etching of a bay view, by Donald Crawford; four etchings of Exeter attributed to John Shapland (British, 1865-1929), three pencil-inscribed with the artist's pseudonym; two prints after Shapland; and a view of Exeter by E. W. James (fl. 20th century), shown in various progressive stages from watercolour to colour print
After Daniel King (British, fl. circa 1616-1661)The North Prospect of ye Cathedrall Church of Exeterbearing printed signatures and creststeel engraving16.5 x 30cm (sight); and another engraving by Daniel King, after Richard Newcourt (circa 1610-1679), the East Front of Exeter Cathedral, bearing printed signatures, crest and inscriptionstogether with five further topographical prints of Exeter and surroundings, to include one etching by Samuel Prout (7)
James Gillray, handcoloured etching - Britannia between Death and the Doctors - "Death may decide when Doctors' Disagree", published H Humphrey, May 20th 1804, plate 25 x 38cm, glazed frame, together with 'The Union Club' by Gillray. (2)Britannia, not examined out of frame but appears to be trimmed close to plate mark and mounted, condition generally ok (see images), Union club not examined out of frame, some damage to lower centre. Both frames are antique with some losses to mouldings
Christopher R W Nevinson ARA (1889-1946)'Marlow'etching and drypoint, 1926-7, signed 'C. R. W. Nevinson' in pencil l.r.plate mark 27.7 x 35.3cmLiterature: Jonathan Black, 'C.R.W. Nevinson, The Complete Prints', Farnham, 2014, p.177, no.128.Nevinson sketched by the River Thames with his father whilst a student at the Slade. He returned there in the early 1920s with his wife, Kathleen, to escape the noise of a jazz club that opened above his flat in Euston Road. 'Marlow' was first exhibited at Alex Reid & Lefevre, London, in April 1927. A watercolour of the same scene was first exhibited at the Leicester Galleries, London, in March 1926.Condition ReportFramed size 36.5 x 44.2cmPaper discolouration with foxing to the margins. Some areas of the print have a cloudy appearance through the glass, this may have occured if the print was framed whilst still a little wet. Unexamined out of glazed frame, please contact the department for a more detailed report.
Christopher R W Nevinson ARA (1889-1946)'Sèvres'etching and drypoint, 1926-7, signed 'C. R. W Nevinson' in pencil l.r.plate mark 27.7 x 35.3cmLiterature: Jonathan Black, 'C.R.W. Nevinson, The Complete Prints', Farnham, 2014, p.172, no.119.'Sèvres' was first exhibited at Alex Reid & Lefevre, London, in April 1927. An oil on canvas of the same scene was exhibited at the Leicester Galleries, London, in March 1926.Condition ReportFramed size 36.5 x 44.2cmDiscolouration to paper. There are two 4.5cm white marks along the top margin, perhaps due to previous taping. Some areas of the print have a cloudy appearance through the glass, this may have occured if the print was framed whilst still a little wet. Unexamined out of glazed frame, please contact the department for a more detailed report.
â–´ Pablo Picasso (Spanish, 1881-1973) Sculpteur devant sa Sculpture: Plate I from Le Chef-d'Oeuvre Inconnu (Bloch. 82; Cramer: 20)etching, 1927, signed 'Picasso' in ink l.r., numbered '78/99' l.l.plate 19 x 27.5cm Provenance: The Zwemmer Gallery, London.Condition ReportFramed 42 x 49.5cmViewed in the frame there is some timestaining and light cockling, there are two brown stains, one to the centre of the left margin and another to the extreme left corner of the margin. Examined out of the glazed frame there is a large amount of acid staining, please see images. The edges of the sheet are stuck down and taped. The middle of the work does not appear to be stuck down but it is not possible to remove the sheet and examine the reverse without damaging the work. Sheet size: 33.5 x 41cm.
â–´ Sir William Russell Flint RA ROI (1880-1969)'Spanish Wheelwrights'drypoint etching, published 1936, from an edition of 75, signed 'W. Russell Flint' in brown ink l.r.plate mark 23 x 32cmCondition ReportNot viewed out of glazed frame. Light mark from edge of mount visible in upper margin. Spots of light foxing visible in margins.
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