Ackermann & Co. (publishers). By Permission of the Patentees, This Engraving of the First Carriage, the "Aeriel" is respectfully inscribed to the Directors of the Aerial Transit Company, March 28th, 1843, hand-coloured lithograph, trimmed to image with the title in a separate mount aperture, image size 225 x 300 mm, mounted, framed and glazed, together with Fairburn (J. publisher). Gurney's New Steam Carriage, December 12th, 1827, etching with contemporary hand-colouring, some creasing and staining, trimmed to the neatline and laid on a canvas album page, with a chromolithographic portrait on the verso, 240 x 355 mm, mountedQTY: (2)NOTE:The first print described is a scarce depiction of William Henson's patented Aerial Steam Carriage. The design was one of the first to conceive of what a 'modern' aeroplane would look like and although plausible on paper - and several models were made - the finished machine never flew because the steam-powered engine proved too heavy. The prints were produced to encourage investors and there are several variants showing the plane flying over various parts of the world.The second item illustrates two examples of Gurney's steam carriages on the road, with a panel of explanations below the image. Influenced by meeting Richard Trevithick, the pioneer of steam propulsion, Cornishman Sir Goldsworthy Gurney (1793-1875) built a steam-powered road vehicle himself in 1823. In 1829, he successfully travelled from Bath to London and back at a sustained speed of 15 mph in his steam carriage, and encouraged by this he envisaged a regular passenger service using steam-driven road vehicles as opposed to a horse-drawn coach. It never materialised, because the influential operators of the mail coaches and associated passenger transport, joined forces to ensure that Gurney was forced out of business.
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Buckman (Edwin, circa 1841-1930). The Rugby Match, 1886, etching on wove paper, signed and dated in the image, additionally signed in pencil to lower right, inscribed by the artist to lower left 'To..Dr. Gage Brown, with kind regards 1887', overall toning, plate size 21.5 x 73.5 cm (8 1/2 x 29 ins), with margins, framed and glazed, together with a late 19th or early 20th century naive watercolour on paper showing the various team kits for Bradbury, Harrow, Charterhouse, Oxford, Eton, Winchester, Shrewsbury, Trinity D, and Cambridge, indistinct signature to lower right corner, image size 25 x 36.5 cm, with margins, framed and glazedQTY: (2)
Caricatures. A collection of approximately 20 engravings, mostly early 19th century, including Heath (William, pseud. Paul Pry). The Man wot Drives the Sovereign [and] Caleb Quotem in Parish Factotum..., T. M. McLean, 1829, two etched caricatures with contemporary hand colouring, slight spotting and toning, small margins, each approximately 350 x 240 mm, together with Dighton (Robert). The Classical Almamater Coachman Oxford, A View from Magdalen Hall Oxford, A Noble Duke taken on the Steyne at Brighton, A View taken from Chatham Row Bath, A View from the Swan Brewhouse Oxford, A View Taken from Christchurch Meadows Oxford, A View taken at Oxford, A View of the Telegraph Cambridge, A View from Magdalen College Cambridge & an untitled caricature of Dr William Parsons, circa 1808, together 10 portrait caricatures, all with contemporary hand-colouring, some prints trimmed and tipped on to later paper, each approximately 280 x 210 mm, with Jones (Thomas Howell). King's Colledge to wit- a practical essay, S. W. Fores 1829, etching with contemporary hand-colouring, torn with slight loss to the corners.240 x 355 mm, with others similar, including examples by or after I. Cruikshank, H. Bunbury and S. W. Fores, various sizes and condition QTY: (approx. 20)
Fraser (John, publisher). The Chronological Tree of English History, Walsall, 1852, large uncoloured soft-ground etching of the chronological history of Great Britain displayed on the trunk of a tree, from the Invasion of the Romans to Queen Victoria's visit to the West of Ireland in 1855, set against a backdrop of the Houses of Parliament and the River Thames, some overall toning, one very small puncture hole, laid on canvas, framed and glazed in a contemporary stained oak frame, 900 x 650 mmQTY: (1)
Priddey (James, 1916-1980). "Scarfell Pike from Derwent Water", colour aquatint, titled in pencil to the margin lower left, signed lower right with blind stamp, image size 30 x 22.5cm, framed and glazed, frame size 48 x 38.5cm, together with two further works by the same artist, "After the Storm, colour aquatint, signed lower right, 24.5 x 35cm, framed and glazed, frame size 45 x 54.5cm plus "Waterloo Street Birmingham", black and white etching, signed in pencil lower right, framed and glazed, frame size 42 x 33.5cm, Frank (Hans, 1884-1948), Tyrolean landscape 1920, coloured woodblock, signed and dated to lower right margin, framed and glazed, frame size 40 x 41cm, Ackermann, Eton College Series colour aquatints, Eton College Chapel and Eton School Room, gilt frame, glazed, frame sizes 38.5 x 43cm, together with 7 further framed prints including Farington (Joseph, 1747-1821), Oxford, colour aquatint, Wallenstein circa 1719, Robinson (Brian), colour woodblock 1972, plus 11 unframed prints and a box of approximately 250 steel plate topographical prints, humerous postcards and other itemsQTY: (approximately 275)
Browne (Alexander). Ars Pictoria; Or an Academy Treating of Drawing, Painting, Limning and Etching, 1st edition, London: J. Redmayne, 1669, engraved portrait frontispiece, 30 engraved plates (complete), mostly by Arnold de Jode, small library stamp to title and lower outer corner of each plate, verso of title with manuscript library number, light damp stain to gutter margin of title and lower margins of initial few leaves, some light spotting, minor marginal tears and dust-soiling, front free endpaper with early signature Wm. Beauchamp and later signature of William Goddaire dated 1827 (repair to upper outer corner), modern calf-backed cloth, library blind-stamp to upper board, joints rubbed and scuffed, folioQTY: (1)NOTE:Wing B5097.Alexander Browne (d. 1706) was a miniature painter and auctioneer and one of the first publishers of mezzotints. He was variously a 'practitioner of the art of limning' (although none of his paintings or miniatures survives or can be identified); a drawing master (to Mrs Pepys among others); a colourman; the author of drawing manuals (the first in 1660) and of a treatise on art (Ars Pictoria, 1669); an art auctioneer (conducting sales later at his own premises in Gerrard Street, Soho), and a print publisher and printseller. His shop at 'ye Blew Balcony' in Little Queen Street near Lincolns Inn Fields would have contained quantities of prints, books and artists' materials. After Browne died in 1706 his widow quickly sold his collections at auction.
A Gilbert, Haddon Hall, signed and inscribed verso, oil on canvas, as found, 20 x 26cm; Benjamin Cole, Cripplegate Ward with it's divisions, St Luke's Hospital, hand-coloured map, 37cm x 23cm; Michael Chaplin, Two Dutch Barges, signed limited etching with aquatint, numbered 36/200; together with other prints, engravings, etc.
William Lionel Wyllie RA (1851-1931) - The British Warships HMS "Tiger", "Princess Royal", "Lion", "Warrior" and "Defence" in Action at the Battle of Jutland 31st May 1916 shortly before the "Defence" was sunk, etching, signed by the artist in pencil, 20.5 x 45cm, unframed The original mount worm holed, the print with two evident worm holes extreme lower left and extreme upper right
Henry Mortikar (Mortecai) Rosenberg (1858 - 1947) "Fruit of the Vine" Signed lower left. Oil on Canvas. Label verso on stretcher. Henry Rosenberg was an American painter and print maker during the end of the 19th C. and beginning of the 20th C. He was recognized as an impressionist, a tonalist and a symbolist painter. His artistic training started in Chicago where he was to become an early member of the Academy of design. He then went to Munich to study under Frank Duveneck at the Royal Academy. He then studied in Florence and Venice, Ital where he learned the art of etching from none other than James Abbott McNeil in 1880. They boarded and worked together. He painted and learned from William Merritt Chase in Venice. He was strongly influenced in Venice by his artist friend Arnold Bocklin. For 10 years he was a recognized painter at Pont-Aven, Brittany. Here he painted alongside Paul Gauguin in 1886 with whom he befriended. He studied or worked with many important artist of his day. Henry Rosenberg was a principal of the Victoria school of art in Halifax, Nova Scotia, from 1898 to 1910. He also was an honorary president of the Nova Scotia Museum of Fine Arts. He lived in Alabama towards the end of his life for health reasons. After his death in 1947 the Museum of Mobile, Alabama. Was granted the Rosenberg estate, consisting of his life's collection of paintings and prints. Making this the Mobile Museum of Arts first acquisition. Provenance: Deaccessioned from Museum to benefit their collections, care and acquisition fund. Sight Size: 16 x 20.5 in. Overall Framed Size: 22.25 x 25.5 in.
Henry Mortikar (Mortecai) Rosenberg (1858 - 1947) Oil on Canvas. Signed and dated (1937) lower left. Artist to the Mobile, Alabama Museum of Art. Henry Rosenberg was an American painter and print maker during the end of the 19th C. and beginning of the 20th C. He was recognized as an impressionist, a tonalist and a symbolist painter. His artistic training started in Chicago where he was to become an early member of the Academy of design. He then went to Munich to study under Frank Duveneck at the Royal Academy. He then studied in Florence and Venice, Ital where he learned the art of etching from none other than James Abbott McNeil in 1880. They boarded and worked together. He painted and learned from William Merritt Chase in Venice. He was strongly influenced in Venice by his artist friend Arnold Bocklin. For 10 years he was a recognized painter at Pont-Aven, Brittany. Here he painted alongside Paul Gauguin in 1886 with whom he befriended. He studied or worked with many important artist of his day. Henry Rosenberg was a principal of the Victoria school of art in Halifax, Nova Scotia, from 1898 to 1910. He also was an honorary president of the Nova Scotia Museum of Fine Arts. He lived in Alabama towards the end of his life for health reasons. After his death in 1947 the Museum of Mobile, Alabama. Was granted the Rosenberg estate, consisting of his life's collection of paintings and prints. Making this the Mobile Museum of Arts first acquisition. Provenance: Deaccessioned from Museum to benefit their collections, care and acquisition fund. Sight Size: 15.5 x 19.5 in. Overall Framed Size: 19.25 x 23.25 in.
Original vintage art advertising poster for an exhibition of rare Pablo Picasso engravings (from 1905 to the present day) / Gravures Rares (de 1905 a nos jours) at Galerie 65 Cannes from 9 April to 12 May 1966 featuring Picasso's 1904 etching The Frugal Meal / Le Repas Frugal printed in 1913 of a thin man with his arms around a lady sitting behind a table with a small piece of bread and bottle of wine for their meal set within a border, the exhibition information text above and below with Picasso's signature. The notable Spanish artist and sculptor Pablo Picasso (1881-1973) was one of the founders of Cubism in the early 20th century. Good condition, creasing, tears, staining, tape on bottom edge. Country of issue: France, designer: Pablo Picasso, size (cm): 76x53, year of printing: 1966.
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71174 item(s)/page