We found 71174 price guide item(s) matching your search
There are 71174 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
71174 item(s)/page
Lot 20
*Julian Trevelyan RA (1910-1988) 'Richmond' etching and aquatint in colours, signed 'Julian Trevelyan', inscribed with title and numbered 57/75 in pencil sheet 80 x 57cm *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Appears to be lightly stuck down, causing a little cockling. Light fold mark to lower right corner. A few dents to margins.
Lot 30
*Valerie Ganz (1936-2015) 'Leaving the Coal Face' etching and aquatint, signed, inscribed with title and numbered 4/50 in pencil plate mark 15.2 x 35.3cm *Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Appears to be in good order. A little cockled to printed area, but this does not detract. Some thunderbugs under glass.
Lot 35
*John Brunsdon (1933-2014) 'Landscape II' etching and aquatint, signed and dated 'John R Brunsdon 1962' in pencil l.r., inscribed as titled and numbered '8/50' 50 x 65cm *Artist's Resale Right may apply to this lot.Condition report: Not examined out of glazed frame, appears to be generally in good condition, some dirt to the mount.
Lot 85
Frederick Landseer Griggs (1876-1938) Imagined building, based on medieval East Anglian architecture etching, signed 'F L Griggs', with letter verso 26 x 17.5cm A letter is pasted to the back of the frame dated '9 May 1933' and reads: 'My dear Wellington, I feel very much complimented that you should wish to have something of my work. That and a lot of other things were left unsaid in our short meeting today. The subject of the etching you saw and decided upon is (you may be disappointed to hear) an imaginary one - like most of mine, or at any rate my best ones. It is based upon medieval methods and materials in East Anglian building'.Condition report: Not viewed out of glazed frame, the sheet has been cut down and there are only thin margins, it has been stuck down to the backing (although this appears to be done loosely), mount is not in good condition and needs replacing.
![Original Etching by A. P. Thomson depicting Glasgow University. [46x39cm- frame]](https://cdn.globalauctionplatform.com/aaf75cc1-1708-4005-a65d-ae2000b06981/dbacb4b6-8254-43e9-ac24-ae3500992082/468x382.jpg)
Lot 86
GIOVANNI BATTISTA PIRANESI (Mogliano Veneto, 1720 - Rome, 1778).Untitled.Etching.Size: 50 x 36 cm; 66 x 54 cm (passe-partout).MeasurementsPiranesi first arrived in Rome in 1740, and there he found an established market for the sale of views of the city as souvenirs of the Grand Tour. His Views, however, transcended topographical fidelity and became heroic and tragic visions of the power of Roman architecture. Piranesi's Venetian origins were decisive in this particular representation of the city; his training as an engineer and builder in stone (in the poetic effect of the ruin, for example), and his apprenticeship as a set designer (sensitivity to the effects of light and great skill in linear and atmospheric perspectives). The plates were printed and sold in single sheets or in collections, initially through his publishers, Bouchar and Gravier. Piranesi went to the former's establishment every evening to see which views sold best and to listen to the comments of the customers. In 1760, however, the artist opened his own establishment, in the Palazzo Tomati, and from then on took control of the entire business, from printing to sales. Over the next two decades he produced a large body of work, and after his death in 1778 the business only increased. His son Francesco Piranesi expanded his father's series of 135 plates by two, and continued to sell in Rome until 1799, when he settled in Paris. Francesco sold the first Paris edition between 1800 and 1807, and after his death in 1810 the plates were acquired by the house of Firmin-Didot, which continued to publish them between 1835 and 1839. After the latter date they were acquired by what is now the Royal Chalcography in Rome.Piranesi was an Italian engraver who produced more than 2,000 engravings of real and imaginary buildings, as well as Roman statues and reliefs. He studied architecture in Venice with his uncle, Matteo Lucchesi, where he learned about the works of Palladio, Vitruvius and the buildings of antiquity. In 1740 he moved to Rome, accompanied by the Pope's envoy in Venice, Marco Foscarini. In the Italian capital he was impressed by the Roman ruins and focused on depicting them, combining descriptive zeal and fantasy in a style that advanced Romanticism by a hundred years. In Rome he learned the technique of etching, and in 1743 he published his first large series of prints, "Prima Parte di Architettura e Propettiva". At the age of just twenty-three Piranesi already revealed his mastery as an engraver and his inventiveness. He opened his workshop opposite the French Academy in Rome, so he was always in close contact with French artists and scholars. His engravings enjoyed great commercial success, as they were sold to travellers as souvenirs of the Eternal City. In 1761 he became a member of the Accademia di San Luca in Rome. Prints by Piranesi are preserved in the world's leading museums, including the Hermitage in St Petersburg, the Louvre, the Metropolitan Museum in New York, the Rijksmuseum in Amsterdam, the British Museum, and the Fine Arts Museums in Dallas, San Francisco, Detroit, Washington, Sydney and Montreal.
Lot 557
Bryan INGHAM (1936-1997)Still LifeEtchingArtists Proof, initialled and dated 1972Plate size 30 x 40cmThe Personal Collection of Jonathan Grimble Part IIJonathan Grimble (1942 - 2021) was well known in Cornwall as an art dealer and collector. Jonathan started collecting Cornish art in the mid-1980s with his wife Ann.Ann passed away in 2000, and Jonathan moved to Marazion where he successfully ran the Market House Gallery and brought many modern and contemporary artists to further prominence. He later ran the Porthminster Gallery and Westcotts Gallery in St Ives.Jonathan was heavily involved in the modern British and Cornish art scene and was an agent for the executors of Sandra Blow’s estate, which he ran from Sandra’s studio in St Ives.During his time as an art dealer, Jonathan put together his own incredibly impressive collection of Cornish and contemporary art, featuring artists such as Sandra Blow, Terry Frost, Alexander Mackenzie, Paul Feiler, Wilhelmina Barns-Graham, Fred Yates, Jack Pender, Trevor Bell, Paul Mount, John Milne, Denis Mitchell, Peter Lanyon and many more.David Lay Auctions were honoured to be asked by the executors of Jonathan’s estate to catalogue, market and sell Jonathan’s remarkable collection of Cornish and modern British art. After the huge success of the first sale, held in situ, in Jonathan's stylish seafront home overlooking Mounts Bay, we now have the pleasure of selling Part II, which will be sold in our auction rooms as part of our February Cornish & Fine Art sale. Condition report: This etching is unusual for being on a yellow-tinted paper giving it an aged appearance. There is no foxing, damage or repair but there are adhesive tape marks at the top and bottom center
Lot 658
David HOCKNEY (1937)Sexton Disguised as a Ghost (S.A.C. 90; MCA Tokyo 87)Etching with aquatint, 1969Signed and numbered 7/100Plate size 45.5 x 32.2cmSheet size 62 x 46cmFrom 'Illustrations for Six Fairy Tales from the Brothers Grimm', on Hodgkinson handmade paperPurchased at Sotheby's, label to verso.Condition report: Excellent condition very tastefully presented. There is no sign of foxing or any other issue.
Lot 307
A group of four Continental prints, to include: Roger Hebbelinck, two signed and numbered aquatints, Heiner Krasser, German Town, signed coloured etching, 29 x 39cm, and a print on canvas of a canal in Amsterdam, 39 x 74cm, Harrie Koolen, Fishing Boats by the Harbour, signed (lower right), oil on canvas, 58.5 x 48cm, : RJ Barry, Gathering, oil on board, 49 x 56.5cm and Rural Farm, unsigned, oil on canvas, 48 x 58.5cm (7)
Lot 379
A collection of five late 19th and early 20th century prints and a watercolour; to include, Honore Broutelle (1844-1929), St George and The Dragon, wood engraving on paper, 24 x 18cm; Ivy Anne Ellis (20th Century), figure in a cave, wood engraving, 16 x 9cm; David Venables (b.1943), Mining Village, South Yorkshire, signed 'Venables' (lower right), charcoal and chalk on paper, 23 x 35cm; Dhuva Mistry, From the North II, signed indistinctly (lower right) and numbered '32/33' (lower left), etching on paper, 25 x 31cm; Art Nouveau style drawing, mythic scene, pen on paper, 14 x 11cm
Lot 381
A collection of three late 19th - early 20th Century prints; to include, Johan Georg Franz Schwartz (1850-1917), A Dove Opus 4a, signed 'F Schwartz' (lower centre), etching on paper, 14 x 11cm pl.; Maur, Harlequins on a stage, signed 'Maur' (lower right) and numbered '2/10' (lower left), etching on paper, 20 x 15cm pl.; Grace E. Rogers, Classical figures, signed 'G E. Rogers (lower right) and numbered '5/25' (lower left), engraving on paper, 21 x 15.5cm. Three in the lot (3)
Lot 386
Three country scenes; to include, Sir Francis George Newbolt (1863-1940), landscape with a tree and shack, signed 'Newbolt' (lower right), etching on paper, 22.5 x 17.5cm pl.; J.M. Percival, Post mill, signed 'J.M Percival' (lower right), 20 x 15cm pl.; Helen Dora Robinson (fl.1911-1938), A water mill, signed and dated 'Helen Robinson 1928' (lower right), etching on paper, 15 x 21cm pl. Three in the lot (3)
Lot 390
A large collection of prints depicting figures in urban and country scenes; to include, Adriaen van Ostade (1610-1685), a later impression of The Hunchback Fiddler, etching on paper, 15 x 10cm; William Strang (1859-1921), The Butcher and the Sheep, signed 'W Strang' (lower right), etching on paper, 20 x 14cm; F. Arnold, a market scene, signed indistinctly (lower right), etching on paper, 14 x 18cm; British School, 20th Century, barn interior, dated '1928' (lower left) and signed indistinctly (lower right), etching on paper, 20 x 14cm; Joseph Benwell Clark (1857-1938), The Dinner Hour, etching on paper, 20 x 17cm pl.; George Wooliscroft Rhead, religious scene, etching on paper, 28 x 20cm; Joseph Bishop Pratt (1854-1910), figures on a country track, signed 'Joseph B Pratt' (lower right), Print Sellers Association blind stand (lower left) mezzotint on paper, 21 x 24cm; James Carter (1789-1855) after Frederick Goodall, The Village Festival, engraving on paper, 19 x 27cm. Eight in the lot (8)
Lot 396
A collection of five unframed prints; to include, Edouard Henri Leon (1873-1968), Paris from the Seine, signed and dated ' Eduardo Leon 19' (lower right) and numbered 25/2' (lower right), etching on paper, 26 x 31cm; Theodore Irving Dalgliesh (1855-1941), continental street scene, signed 'T I Dalgliesh' (lower left), etching on paper, 52 x 28cm; William Padgett (1851-1904), Corterge, signed 'W Padgett' (lower right), etching on paper, 19 x 26cm; Japanese School, figures with Mount Fuji in the distance, indistinctly marked, ink on paper,24 x 35cm; an interior scene, engraving on paper, 35 x 48cm. five in the lot (5)
Loading...-
71174 item(s)/page