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Click here to subscribeBob Dylan, American b.1941- Train Tracks (White), 2010;giclée on Hahnemühle 350gsm Museum Etching paper,signed and numbered 281/295 in pencil, printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 70 x 56cm, (framed)Note: together with a certificate of authenticity from Washington Green Fine Art
Bob Dylan,American b.1941-Wilton Iowa Farmyard, 2016;giclée in colours on Hahnemühle 350gsm Museum Etching paper,signed and numbered 220/295 in pencil,printed by GTZ Fine Art Editions, New York,published by Washington Green Fine Art in association with Black Buffalo Artworks,sheet: 26 x 58.5cm,(framed)Note: together with a certificate of authenticity from Washington Green Fine Art
Bob Dylan, American b.1941-Fisherman, 2009;giclée on Hahnemühle 350gsm Museum Etching Paper, signed and numbered 214/295 in pencil,printed by GTZ Fine Art Editions, New York, published by Washington Green Fine Art in association with Black Buffalo Artworks, sheet: 70 x 56cm,(framed)Note: together with a certificate of authenticity from Washington Green Fine Art
William Tillyer, British b.1938-The Garden Fence, c.1970; The Large Bird House, 1971; (i) screenprint in colours on wove, signed and numbered 25/100 in pencil, sheet: 71.2 x 91.8 cm, (ii) etching on wove, signed, titled, dated and inscribed 'AP' in pencil, plate: 47.4 x 35.9 cm, (unframed) (ARR) (2)
John Hoyland RA, British 1934-2011, Mahi, 1986; etching with aquatint in colours on wove, signed, dated and numbered 30/40 in pencil, from the English Etchings series, printed by Kelpra Studio, London, with their blind stamp, published by Waddington Graphics, London, with their blind stamp, sheet: 60.5 x 50.5 cm, (unframed) (ARR)
A BOX AND LOOSE MAPS AND PRINTS ETC, maps include a map of Massachusetts, Connecticut and Rhode Island published 1832, approximate size 20cm x 26cm, various 18th & 19th century Staffordshire including Meeting places of the Hoar-Cross Hunt, Thomas Gardner road maps Bristol to West Chester and Oakham to Richmond, John Ogilby road map London to Holy Head, with John Carey maps of Hampshire and Dorsetshire dated 1818, C.S. Smith maps of Northumberland, Cumberland and Westmoreland dated 1801, pictures include an architectural study of bridge houses by Joseph Moussa, watercolour on paper, approximate size 16cm x 23cm, a limited edition print depicting Timoleague Friary by Nevil Swinchatt, an etching of a street in Hong Kong, Indian painting on fabric depicting three elephants, reproduction cigarette cards etc. (1 BOX + loose)
VIEW OF THE FONTANKA FROM THE GROTTO AND THE RESERVED PALACE. Unknown Western European engraver. View of the Fontanka River from the Grotto and the Reserve Palace. Engraving with a cutter, etching. Real watercolor painting. Around 1775. Size: 36 x 48 cm. Engraving from the original by G.A. Kachalov 1753 according to the drawing by M.I. Makhaeva. Engraving Avenue on the Fontanka River, view from the Grotto and the Reserve Palace, noon. From the album "Plan of the capital city" of St. Petersburg, with the image of famous avenues, published by the works of the Imperial Academy of Sciences and Arts of St. Petersburg, released for the fiftieth anniversary of the city in 1753. On the left bank of the Fontanka there was the building of the Reserve Palace, where supplies were brought for the needs of the Summer Palace, the residence of Peter I. In front of the bridge was the Special Shipyard, founded in 1716-1717. and rebuilt A.I. Korobov in the late 1730s. To the right is a part of the Summer Garden and the Grotto. The creation of the Summer Garden took place under the control of Peter I himself. The grotto (dismantled at the beginning of the 19th century) was a small pavilion decorated with sea stones, shells and fountains.
PERSPECTIVE OF THE GARDEN FROM THE NORTH SIDE AT A.P. BESTUZHEV-RYUMIN on STONE ISLAND. RUSSIAN EMPIRE, 18th CENTURY. Unknown engraver. Perspective of the garden from the North side at the house of A.P. Bestuzhev-Ryumin on Kamenny Island. Engraving with a cutter, etching. Authentic watercolor painting. Second half of the 18th century Engraving after the original by M.I. Makhaev. View of a garden and a dacha on Kamenny Island (1755) From a series of engravings depicting structures on Kamenny Island, commissioned by A.P. Bestuzhev-Ryumin. Size: 36 x 48 cm. From a 1770s edition.
20th Century Continental School, etching, An architectural study possibly Dresden, signed indistinctly to the lower right, framed, mounted, and under glass, together with another etching of a tree, indistinctly signed and dated 1920 to the lower right, the largest measures 32cm x 40cm overall (2)
of regulation type, the first with curved blade retaining traces of etching, copper alloy stirrup hilt, with enamelled star of the Order of the White Eagle on the langet, wire-bound grip, in its black iron scabbard with a single suspension-loop; the second with burnished blade, white metal hilt including double shell-guard, in a later scabbard; the third with pipe-backed blade (shortened) etched with foliage, the crowned royal letter ‘A’ and the commemorative dates ‘1861-88’, copper alloy hilt including folding shell-guards cast with the commemorative dates, pommel with the crowned letter ‘A’ and wire-bound grip, in associated scabbard, the first: 79.8 cm blade (3)
Charles Hunt, The Red Rover, Southampton Coach, B. Moss & Co. 1851, hand coloured aquatint, 46 x 61.5cm, Charles Hunt, The New London Royal Mail, B. Moss & Co. 1851, hand coloured aquatint, 42.5 x 58.5cm, Clare College, Cambridge, etching, signed indistinctly lower right and titled lower left, 15 x 22.5cm, Wilfred E Jones, Old Whitby, etching, signed in pencil lower right, dated 1944 and numbered lower left 5/25, 25 x 15cm, Archibald Thorburn, birds on the beach, possibly snipe, numbered lower left 684/850, 35.5 x 48.5cm, J Stevens Dews, Endeavour Racing Velsheda Off The Needles, 1934, signed lower right and numbered 628/750 lower left, 61 x 85cm and a quantity of other pictures
†PHILIP REEVES RSA PRSW RGI RE (1931-2017); limited edition etching, 'Rock Image - Irelands Edge', signed, titled and numbered 4/10, 72 x 57cm, unframed.Condition Report: Slight tear to left edge which does not affect image. Paper lightly grubby at edge and slight browning to the bottom left corner outside of the plate.
Gwen Bryson (British, second half 20th century) 'Cornish Tin Mine' lino cut print, signed, dated (19)84 and titled to lower margin, no. 2/12, limed wood frame 4½ x 4 7/8 in (11.5 x 12.4 cm); together with an etching by J. Mays, 'dusk on the river Dart', no. 2/10, signed and titled in pencil, 7 x 8¼ in (17.8 x 21 cm). (2)
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