Dennis Ray Beall (American, b. 1929). Etching and aquatint titled "Baal" depicting abstract forms in black and white, 1960. Pencil signed and dated along the lower right; titled and editioned A.P. along the lower left.Sight, height: 20 1/2 in x width: 16 in. Framed, height: 26 1/2 in x width: 21 1/2 in.Condition: The sheet is lightly toned. There are networks of foxing throughout. Light wear along the deckled edges. A few light creases along the upper right and left corners. The artwork is floated in frame; it is mounted to foam. Framed under glass; light wear to the frame; not inspected out of frame.
We found 78388 price guide item(s) matching your search
There are 78388 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
78388 item(s)/page
Fred Becker (American, 1913-2004). Etching on paper titled "Insectivore" depicting abstract forms of bugs, 1950. Pencil signed and dated along the lower right; titled along the lower left.Sight; height: 15 3/4 in x width: 11 3/4 in. Framed; height: 25 in x width: 20 1/4 in.Condition: There are no major losses or restorations. Light undulation to the sheet throughout; the sheet is toned. There are a few light handling creases throughout. There is a very small tear along the top center edge. Some wear along the extreme edges. There are two pinholes along the top left and right corners; likely original to production. The sheet is mounted to the matboard with two pieces of framers tape along the verso along the top right and left corners. Framed between non-acidic mats. Framed under glass; some wear to the frame. The paper backing of the frame has been cut along three edges to allow for inspection out of frame.
Group of 12 etchings, watercolors, and drawings including several works by Stefano Della Bella. This groups includes:"Mongisgneur le Marquis a Chevel" depicting an equestrian portrait from "Methode et Invention Nouvelle de Dresser les Chevaux," 1737. Hand colored etching.Stefano Della Bella (Italian, 1610-1664). Etching titled "Two Cavaliers Dueling with Pistols on Horseback" from the series "Divers exercices de cavalerie," ca. 1645-46. Published by Israel Henriet (French, ca. 1590-1661).Silkscreen reproduction print of a French late 12th century painting in the Pierpont Morgan Library. Titled "Christ Appearing to Mary Magdalene (Noli Me Tangere)."After Stefano Della Bella (Italian, 1610-1664). Etching depicting plate 18 from "Various animals (Diversi animali)" depicting a camel viewed from behind with a pyramid.Watercolor on paper painting depicting the interior of a basilica or church.Stefano Della Bella (Italian, 1610-1664). Etching titled "The Colosseum" depicting two herds of animals being directed towards the Roman amphitheater from "Paysages et ruines de Rome," ca. 1646. Published by Francois Langlois (French, 1588-1647).Two watercolor on paper paintings depicting Italian landscapes.Drawing and watercolor painting depicting a group of individuals in a courtyard dancing.Stefano Della Bella (Italian, 1610-1664). Etching titled "Place Royale," depicting an equestrian statue in front of a royal palace, 1642.Pierre-Auguste Renoir (French, 1841-1919). Etching depicting a reclining nude woman.Graphite on paper portrait sketch depicting a well-dressed gentleman.(Sight) height ranges from: 3 in to 16 in; width ranges from: 2 1/2 in to 20 3/4 in. (Framed) height ranges from: 8 in to 24 3/4 in; width ranges from: 7 1/4 in to 28 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Frightened" depicting three nude women walking along a hillside near a body of water, 1912. 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 386, plate 248.Image; 7 3/4 in x width: 5 3/4 in. Sight; height: 9 1/4 in x width: 6 3/4 in. Framed; height: 17 in x width: 14 in.Condition: There are no visible rips, tears, losses, or restorations. The sheet is slightly toned; there is a slight undulation to the sheet throughout. There is a minute pinhole along the left edge of the sheet. Light wear along the deckled edges of the sheet. There is old framing tape along the top edge of the sheet along the verso. The sheet is affixed to the non-acid mat frame with two pieces of framer's tape along the verso along the top left and right corners. Some pencil inscriptions along the verso: "54/1096," "25,8 x 33," and "G.5258." There is also a crown-shaped watermark in the paper; original to the paper. Light wear to the frame; framed under glass.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Mrs. Cleveland II," depicting a portrait of Mrs. Cleveland, President Grover Cleveland's wife, 1899. The etching was done after an oil painting of the same name painted by Zorn. A 6th state printing. Pencil signed along the lower right corner of the print. Titled along the lower left corner of the print and dated in the lower left corner of the sheet.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 226, plate A.146.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909) plate D.144.Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Förlaget, Stockholm, 1928) page 48, plate D.144, plate A.146.Edited Birgitta Sandstrom, "Zorn: I Svart Och Vitt," (Zornmuseet: Mora, Sweden, 2002), page 195, plate A.146."Zorn in America: A Swedish Impressionist of the Gilded Age" (Swedish-American Historical Society, Chicago, 2009), page 142.Image; height: 9 3/4 in x width: 6 1/4 in. Sheet; height: 12 3/4 in x width: 9 3/4 in.Condition:There are no visible rips, losses, or restorations The sheet is unevenly toned. Light wear to the deckled edges. There are two remnants of painter's tape affixed along the upper edge of the verso. The artwork is not framed.
Robert Motherwell (American, 1915-1991). Aquatint and soft-ground etching on Georges Duchene Hawthorne of Larroque handmade paper titled "Red Open with White Stripe," 1978-79. Printed by Catherine Mosley in the artist's studio, Greenwich, with the blind stamp lower right. Published by Brooke Alexander, Inc., New York. A superb, richly-inked impression. Pencil signed and numbered 21/56 along the lower left.Literature: Belknap 207.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 18 1/4 in x width: 35 1/2 in. Framed; height: 27 1/4 in x width: 44 in.Condition: The colors are bold and bright. There are no visible rips, tears, major creases, or restorations when inspected under UV light. Some unevenness to the deckled edges, original to the artist production; there is one minute tear along the lower right edge which may be inherent to the deckled edges, though it is difficult to determine. This spot measures 1/4 inch in length. There is undulation to the sheet throughout. The artwork is floated in the frame; not inspected out of frame. Light wear to the frame throughout; framed under plexiglass.
Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "I Forgot It Was Sunday." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print. From a suite of five prints.Unframed; height: 17 in x width: 14 3/4 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
William Wiley (American, b. 1937). Monoprint on paper with soft-ground etching titled "Rhoom for Error" depicting a cityscape along the left and a stacked checkerboard running through the center dividing the city from the frenetic black and white lines along the right side of the work, 1983. Pencil signed and dated along the lower right. Numbered 6 along the lower left.Provenance: Peter M. David Gallery, Minneapolis, Minnesota; Private Minneapolis collection.Sight; height: 21 in x width: 29 in. Framed; height: 31 3/4 in x width: 38 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Group of three 19th century etchings by James McNeill Whistler and Joseph Pennell including:James McNeill Whistler (American, 1834-1903). Etching and drypoint depicting Battersea Bridge and Chelsea Church, 1879. Fifth state of five.Joseph Pennell (American, 1857-1926). Etching on laid paper titled "A Watergate - Venice" depicting a Venetian canal, 1883. With a partial crowna nd shield watermark. Signed and dated in plate along the left center.Joseph Pennell (American, 1857-1926). Etching on owve paper titled "One the River," 1894. Inscribed in plate.(On the River) Sheet; height: 13 in x width: 9 1/2 in. Matted; height: 14 in x width: 11 in. (Watergate-Venice) Sheet; height: 9 1/2 in x width: 13 1/2 in. Matted; height: 11 in x width: 14 in. (Battersea Bridge) Sight; height: 5 3/4 in x width: 8 1/2 in. Matted; height: 10 3/4 in x width: 13 1/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "It's Just my Rough Habits, I Guess." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Malcolm Haynie Myers (American, 1917-2002). Etching titled "Magic Forest," depicting an abstract expressionist scene of a figure riding a horse through a forest teaming with creatures, 1961. Pencil signed and dated along the lower right; numbered 10/15 along the lower center; titled along the lower left.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 24 in x width: 26 in. Framed; height: 32 in x 33 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
After Simone Cantarini, called il Pesarese, 17th CenturyThe Rest on the Flight into Egypt bears extensive inscription (on verso)red chalk on paper heightened with white22.2 x 17.3cm (8 3/4 x 6 13/16in).Footnotes:ProvenanceCollection of Ilario Massaron and thence by descent to the present ownerThe present work is after a lost original by Cantarini known through his etching (see: British Museum, acc. no. U,3.41).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A collection of pictures, prints, etc. to include AFTER LOW "Winston", 23.5 cm x 16.5 cm, various Vanity Fair prints to include "Statesman No. 6", "Statesman No. 10", etc., AFTER W. P. FRITH "The road to ruin - Arrest", black and white etching, published, 44 cm x 54 cmm, together with "Ascot", etc. (1 box - 6 loose)
ENGLISH SCHOOL IN THE 19TH CENTURY MANNER A set of five studies of orchids and other botanical studies, watercolours, inscribed with Latin names 23 cm x 35 cm, AFTER T WORLIDGE "Mrs Brookes" printed for John Bowles & Son at the Black House in Cornhill, black and white etching 35 cm x 25 cm together with box of assorted books (2 boxes)
AFTER R STANLEY G DENT "Hospital scene", engraving, signed and dated '34 lower right, 17 cm x 21 cm, AFTER FRANK HARDING "Blackfriars Bridge", black and white etching, signed and titled in pencil lower left and right, 17 cm x 36.5 cm, together with various other decorative pictures, prints, etc. (1 box)
George Vertue (British, 1684-1756) Thomas Hardy Earl of Arundel and Surrey and Aletha Talbot Countess of Arundel and Surrey with their family, dated 1743, engraving, unframed, figures include [left to right] Lady Katherine daughter of Henry Lord Maltravers / Alethea Talbot Countess of Arundel and Surrey / Thomas Howard Earl of Arundel and Surrey / Sr Henry ord Maltravers Knt of ye Bath / Thomas Howard Esq. Ob. S. P. / Gilbert Howard Esqr. Ob. S. P. / Sr William Howards Ld. Stafford Knt Bath ancestor to the pt. Earls Stafford. / Charles Howard ob. S. P. / a Dwarf Domestick together with another rendition of the same plate at a later date, with an ink inscription ÔÔthis copy was givenÉÉ..me by his Grace the Duke of Norfolk, in whose profession the original plate É.. 2nd August 1763Õ, featuring Hans Holbein the YoungerÕs portrait of Thomas Howard, Third Duke of Norfolk (1473-1554) etching engraving, mounted on linen, after Sir Anthony Van Dyke original oil painting (2) the first approx plate size 425 x 568mmCondition: Wear commensurate with age, viewing recommended in person.The print was a commission from the Duke of Norfolk and never sold publicly, according to Walpole. Similar later examples can be seen in the British Museum Archive. Museum number: P,2.148
After Wenceslaus Holler (1607-1677), bust of a young man, an etching after an original work by Holbein. 13.5 x 9 cm (PL), margins trimmed, together with a further three works after Holler "Mulier Diepana", "Mulier Hibernica" and "Oni Maioris Sive Pretoris". Each +/- 9.5 x 6 cm (PL) (4), all unframed. (see illustration).
After E.P. Burrow (British School early 20th century), The chapel From Brewhouse Yard Eton, signed in pencil lower right, etching. 28 x 20 cm (SH), together with a further four prints, one depicting the long chamber at Eton in the mid 19th century, a map of Rutland, engraving with later hand colouring, a map of Northamptonshire engraving with later hand colouring and a copper plate engraving a view of Eton College in Buckinghamshire, engraved for the modern universal British traveller. All various sizes by different hands (5). (see illustration).
Walter Richard Sickert (British, 1860-1942),'Noctes Ambrosianae',Etching on paper,Signed and titled in the print,The plate 22.5cm x 25.5cm,Framed and glazed CONDITION REPORT:The print in framed under glass and has not been removed for inspection. The paper appears to have darkened slightly over time, but is still relatively bright showing no obvious foxing. The print shows a minor undulation across the surface. The corners of the print each shows a bright white dot approximately 5mm diameter. It is not clear how these dots have been produced or if they're are part of the original work. The frame appears to be structurally sound.
Cotman (John Sell), The Architectural Antiquities of Normandy, London: Printed for John and Arthur Arch, Yarmouth: J.S. Cotman, 1821, defective, 25 copperplate etchings only, various divisional titles, portions of text, etc., disbound, earlier 17th c Dutch vellum binding, gilt panelled, blocked and tooled with scrolling foliage, worn, folio (53 x 36.5cm), with [Mary Dawson Turner (1774-1850)], after John Scarlett Davis (1804-1845), John Sell Cotman, author of Antiquities &c., portrait, etching, s.l., s.n., 1818, 31.5 x 23.5cm, three topographical named-view prints by Cotman, lithographed by Vincent Brooks, etc., (6) The folio defective as catalogued and sold as a collection of plates not subject to return; its binding with wear and worn losses. The mixed media prints unexamined our of their respective frames &/or mounts, some foxing, other faults apparent from image.
An 1827 Pattern Naval officer's sword, the pipe back blade with a spear point, etched with a coat of arms and an anchor, the brass hilt with a hinged guard and lion head pommel enclosing a fish skin grip, complete with bullion sword knot and leather scabbard, blade 79cm total 94cmShipping disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportBlade with wear to the etching, some minor knocks to the blade edge. Wear and some losses of colour to the scabbard. The top portion of the scabbard bends when the sword in present, although no splits or holes can be seen. Grip appears to have a painted finish. General knocks and wear commensurate with age.
An 1846 pattern officer's naval sword, the shagreen handle, with engraved initials, with its field case, 91.5cm long, blade 74cm longShipping disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportThe blade does not appear to be plated, but heavily polished. As a result, the etching is nearly entirely missing, with only remnants visible towards the grip. Please see the additional images.

-
78388 item(s)/page