Arsenal v Bolton Wanderers match action etching, circa 1935,by an unknown hand, depicting two of the leading inter-war teams, with the goalkeeper catching the ball surrounded by the opposition, mounted, glazed and framed, overall 31 by 43cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
We found 78411 price guide item(s) matching your search
There are 78411 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
78411 item(s)/page
Gertrude Hayes (British, 1872-1956) 'New Cricket Field, Inverleith Place', published by W.H. Benyon & Co., Cheltenham, etching, published circa 1900, of a cricket match with town in the background, signed in pencil by the artist on lower margin, glazed and framed, overall 41 by 49cm.Please be aware all glass will be removed from framed and glazed items prior to posting and may result in delays to shipping your items. (This service is included in the cost of postage and packing). We can also totally remove all framing and mounts upon request to reduce shipping costs. Alternatively lots can be collected in person by prior appointment from NN8 1RT.
A selection of books relating to art and antiques, including: The Gentle Art of Faking Furniture, by Herbert Cescinsky; Encyclopaedia of the Arts, by Herbert Read (Ed.); Renoir: My Father, by Jean Renoir; A Short History of Engraving and Etching, by A.M. Hind; and others, contained across two boxes.
ÉMILE GALLÉ (Nancy, France, 1846 - 1904).Art Nouveau vase, ca.1900.In multilayer glass and acid etched with flowers and foliage.Signed on one side.The vase appears to be lowered at the top mouth and has a small manufacturing hairline crack (no breakage).Provenance: Spanish private collection, formed between 1970 and 1995. Measures: 53,5 x 23 x 23 cm.Great vase with organic inspired design, as it was typical of the modernist period and the creations of Émile Gallé. With a conical body seated on a circular base, the glass is worked in different layers, combining textures through acid etching.Émile Gallé began his career working for his father, who owned a glass and ceramics factory, making designs with floral and heraldic motifs. Very interested in botany, he studied it in depth during his youth, alternating with drawing classes. Between 1862 and 1864, at his father's request, he traveled through Italy, England and Germany, becoming interested in the applied arts but also in subjects that he would later reflect in his works, such as music, philosophy and nature. On his return, he settled in Meisenthal, where the glass furnaces of his family were, in order to fully learn the craft of glassmaker. He also traveled to London and Paris to see the collections of their museums. In 1874 he took over his father's factory, and soon achieved great international success, winning awards at international exhibitions and selling works to major collections and museums. Today, pieces made by Émile Gallé can be seen in the Hermitage Museum in St. Petersburg, the Metropolitan Museum in New York, the Orsay Museum in Paris, the Brohan Museum in Berlin and the Victoria & Albert Museum in London, among many others.
MULLER FRÈRES; France, ca. 1910.Art Nouveau vase.Acid-etched cameo glass. Signed "Muller Frères Luneville".Procedure: Private Collection, Spain between 1970-1990.Measurements: 11 x 10 x 6.5 cm.Acid-etched glass vase, composed of two layers of glass, the lower one of an amber tone and the upper one dark brown, almost black in the areas where it retains its full thickness, and almost orange, more translucent, where it has been thinned more. The acid-etched motif depicted is a lake landscape on two planes, which are clearly separated by the lake that runs between them. The difference in thickness (and therefore in tone) has been used to reflect the depth of the space in a naturalistic way.The Muller brothers began working for Gallé, and later established their own glassworks in Luneville. Years later, production moved to Croismare, and the pieces were signed "Muller Croismare". The firm produced mottled glass and acid-etched cameo glass, mainly between 1905 and 1937.Cameo glass has been known since ancient times, although it was revived at the end of the 19th century in France and England. Gallé presented his acid-etched cameo technique at the Paris Exhibition of 1889, with the aim of bringing modernist glass to the public. It was a quicker and cheaper form of decoration than the wheel-engraved cameo, resulting in more affordable, mass-produced but handmade pieces, as no stencils were used and the motif was hand-drawn on each piece. The cameo glass technique consists of blowing a bubble of two or more layers of glass of different colours, which are then cut or removed by acid etching the bottom, thus leaving the motif in relief, in the colour of the top layer of glass.
PAINTINGS AND PRINTS TO INCLUDE A BURNETT PARISIAN SCENE OIL ON CANVAS, approximate size 40cm x 50cm, Clifford Hatts oil on board depicting a still life of items in a child's nursery, initialled bottom right, artists label verso, an etching of Damme in Belgium by Johny De Witte, amateur watercolours, three folios containing prints depicting soldiers in historical uniforms, a Chinese embroidered silk panel etc (Qty)
Informel - - Emil Schumacher. (1912 Hagen/Westf. - 1999 Ibiza). Set aus 3 Arbeiten. 1959. Je Aquatintaradierung auf chamoisfarbenem Vélin. Blattmaße von 13,5 x 10 cm bis 48 x 45,6 cm. Je signiert und nummeriert. 1 Arbeit punktuell unter Passepartout montiert. - Wohlerhalten. Gratige Abzüge. 2 Arbeiten je 1 von 40 Exemplaren, 1 Arbeit eines von 150 Exemplaren. - Mit 2 Arbeiten aus dem Zyklus "Poesie in Schwarz Weiß". - "Das Drama der Radierungen ist das Ur-Drama der Dinge an sich. In dieses mächtig-elementare Geschehen bringt Schuhmacher substilste Mittel ein. Seine Platten sind tief geätzt, mit der Nadel zerkratzt...Schumachers besindere Stärkere liegt darin, daß er eine Summe des Formlosen und Unwesentlichen, des bildnerisch Zufälligen zu ordnen und zu kontrollieren weiß, um aus ihnen ein Objekt ästhetischer Sensation zu formen". (Sam Hunter über den Radierzyklus). Set of 3 wokrs. Each etching on buff vellum. Each signed amd numbered. One work mounted under passepartout. - Good condition. - 1 works each one of 40 copies, 1 work out of 150 copies.
Serge Poliakoff. (1906 Moskau - 1969 Paris). Composition grise. 1963. Farbaquatinta über Radierung auf Arches-Bütten (mit Wasserzeichen). 65 x 49 cm (76 x 55,8 cm). Signiert und nummeriert. - Zart gleichmäßig gebräunt mit leichten Lagerspuren im weißen Rand (Motiv nicht betroffen). Verso mit vereinzelten Braunfleckchen, die Aquatinta etwas durchscheinend. Mit hübschem Plattenrand. Harmonische Komposition. Rivière, XIII. - Ein Exemplar von 50. Colour aquatint over etching on Arches laid paper (with watermark). Signed and numbered. - Delicate evenly browned with slight traces of storage in the white margin (motif not affected). Verso with isolated brown spots, the aquatint somewhat translucent. With nice platemark. Harmonious composition. - One copy of 50.
Amerikanische Moderne - Hard-Edge - - Kenneth Noland. (1924 Ashevill (USA) - 2010 Port Clyde (USA)). Marron. 1990. Farbradierung und Aquatinta auf Guarro-Papier. 37 x 55 cm (40,5 x 59 cm). Monogrammiert und nummeriert. - Sauberer und farbleuchtender Abzug. Mit schönem Schöpfrand. Eines von 50 Exemplaren. - Hg. v. Polígrafa, Barcelona (mit dem Blindstempel). Colour etching and aquatint on guarro paper. Monogrammed and numbered. - Clean and colour luminous print. With beautiful scooped margin. - One of 50 copies. - Published by Polígrafa, Barcelona (with the blind stamp).
Informel Hann Trier (1915 Düsseldorf - 1999 Castiglione)o.T. 1973. Aquatintaradierung auf Papier. 59 x 49 cm (70 x 59 cm). Signiert, datiert und nummeriert. - Blatt gering beschnitten, leichte Lagerspuren. Gerlach-Laxner, G 147. - Eins von 150 Exemplaren. - Erschienen als Jahresgabe der Kestner-Gesellschaft. - Beigegeben: Ders. Lob der Hand. 1959/60. Daraus 4 Aquatintaradierungen mit Vernis-mou auf Papier. Blattmaß je 37,4 x 24 cm. Je signiert und datiert "63". - Gerlach-Laxner, G68. - Enthält Blatt 1, 4, 9 u. 10. - Je eins von 20 (GA 315) Exemplaren. Aquatint etching on paper. Signed, dated and numbered. - Sheet slightly trimmed, light storage traces. - One of 150 copies.
Horst Janssen (1929 - 1995 Hamburg)Sammlung von 3 Arbeiten. 1966-1988. 1 Radierung und 2 Lithographien, je auf Papier. Blattmaße von 37 x 28 bis 63 x 49 cm. Je signiert, zusätzlich in der Platte signiert, datiert und betitelt. - Vereinzelt etw. knickspurig an den Kanten, sonst in ordentlichem Zustand. Enthält: - Edgar Allan Poe, 13.2.1966. - Theodor Fontane. - Langenhorner Jubilate I, 16.2.1988. Set of 3 works. With 1 etching and 2 lithographs, each on paper. Each signed, additional signed, dated and titled in the print. - Partly some traces of use, overall in good condition. - With works as listed above.
* WILL MACLEAN MBE RSA RGI RSE HON D.LITT (SCOTTISH b.1941), THE DEPARTURE coloured etching on paper, titled label verso image size 49cm x 62cm, overall size 55cm x 69cm Mounted, framed and under glass. Handwritten label verso. Note: Will Maclean RSA, Professor of Painting in the University of Dundee, is one of the outstanding Scottish artists of his generation. He was born in Inverness where his father, a former sailor, was harbour master, and he spent his childhood between Inverness and Skye. His art is rooted in his knowledge of the Highlands, the Highland people and their history and in his own early associations with sailors and the sea. These things make it relevant and immediately accessible, yet it remains uncompromisingly modern in its forms and in its concerns.
Thomas Bonfrey Burton (Beverley 1886-1941): 'The Street' and 'Old Shops in Walkergate Beverley', two etchings signed and titled in pencil; Wilfred Stephens (British early 20th century): 'The Priory - Christchurch', etching signed and titled in pencil; James Neele (British 1791-1868) after George Kemp (British fl.1823-1843): 'East Riding and Ainsty of Yorkshire' with Vignette of Beverley Minster, engraved map with hand colouring pub. 1836 max 30cm x 23cm (4)
James Gillray (British 1756-1815): 'The pacific entrance of Earl-Wolf into Blackhaven', etching with hand colouring pub. Hannah Humphrey 1792, three further etchings verso 'Frying Sprats', 'Toasting Muffins' and 'Weird Sisters - Ministers of Darkness - Minions of the Moon' 39cm x 53cm (unframed)
(1923 Düsseldorf - 2016 Öschelbronn. War um 1975-2002 ansässig in Worpswede)"Mühle in Worpswede". OriginaltitelRadierung u. Aquatinta/Papier. Sign. u. betitelt. Ger. fleckig. Plattenmaß ca. 16 cm x 24,5 cm. Rahmen.Etching and aquatint on paper. Hand-signed and titled. Minor stains. im Internet
(1858 Radeburg - 1929 Berlin)"Frau mit Reisigsack"/"Holzsammlerin". OriginaltitelRadierung, Vernis mou und Stoffdruckverfahren/gewalztes China auf Kupferdruckkarton, um 1902. Sign.; Wvz. Rosenbach 31b. Sehr seltenes, bedeutendes Blatt Zilles. Verso auf altem Klebezettettel vom Künstler eigenhändig bez. "4. Graphische Ausstellung des Deutschen Künstlerbundes Chemnitz 1912. Heinrich Zille"; überdies auf einem Ausstellungsetikett des Sächsischen Künstlerverbands vom Künstler eigenhändig bez. "Heinrich Zille", mit Adresse Zilles in Berlin-Charlottenburg u. Betitelung "Frau mit Reisigsack. Radierung", Verkaufspreis M "26./ungerahmt 23". Plattenmaß ca. 41 cm x 33,1 cm; Blatt ca. 53,5 cm x 43,5 cm. Rahmen.Etching and vernis mou on paper, approx. 1902. Hand-signed. Inscribed and titled by the the artist on two exhibition labels on the backing board.
(1847 Berlin - 1935 ebenda)Badende KnabenRadierung, Kaltnadel und Vernis mou/chamoisfarbenes China-, auf Kupferdruckpapier aufgewalzt, 1896. Sign.; Wvz. Schiefler 43 II (wohl b1 der c). Eines der Exemplare für den Künstler mit warmem Plattenton von der vollendeten Platte und nach Löschung der gestochenen Schrift im Unterrand. Das Blatt mit seinem Motiv von der Saale bei Bad Kösen ist die früheste und wohl schönste graphische Fassung des später von Liebermann oft wiederholten Themas. Ger. stockfleckig. Plattenmaß ca. 23,2 cm x 29,5 cm. Rahmen. Etching, drypoint and vernis mou on paper. Hand-signed. Minor foxing.
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Frühling". OriginaltitelRadierung in Braun/Papier, 1897. Wvz. Rief 14 II (b oder c). Sign.; Überdies in der Platte sign.; Gebräunt, in der oberen linken Blattecke wasserrandig. Plattenmaß 34,3 cm x 24,7 cm. Rahmen.Etching in brown on paper, 1897. Hand-signed. Light toning, water stains to the upper left corner.
(1858 Radeburg - 1929 Berlin)"Schwangere mit Kind auf dem Arm". OriginaltitelAquarellierte Heliogravüre, Radierung u. Feder/gewalztes China auf Kupferdruckkarton, 1908. Sign.; Überdies in der Platte sign.; Wvz. Rosenbach 46a. Rarer Abzug mit frei sichtbarem, von Zille selbst überarbeitetem Kinderkopf. Einige kleine, helle Flecken. Plattenmaß ca. 19,7 cm x 12,6 cm; Blatt ca. 30 cm x 20,2 cm. Rahmen.Laut Rosenbach gefiel Zille der von der Mütze verdeckte Kinderkopf nicht, so dass er "auf einigen Drucken die Radierung sorgfältig korrigiert hat, indem er die Mütze ausradiert bzw. -geschabt hat und das Gesicht mit Feder nachzeichnete. Durch das Aquarell-Kolorit wurden diese Korrekturen weitgehend überdeckt".Hand-coloured etching, vernis mou and pen on paper, 1908. Hand-signed and coloured by the artist. Further signed on the plate. Some small bright stains.
(1882 Argenteuil - 1963 Paris)"Ajax" zum Buch "Les Rois Mages". OriginaltitelRadierung u. Aquatinta/Bütten (mit Wasserzeichen), 1961. Sign. u. nummeriert 18/20. Hrsg. Pierre Argillet, Paris. Breitrandiges Exemplar mit vollem Blattrand. Plattenmaß ca. 31,5 cm x 24,5cm; Blatt ca. 56 cm x 41 cm. Rahmen.Etching and aquatint on laid paper (with matermark), 1961. Hand-signed and numbered 18/20. Published by Pierre Argillet, Paris. With full margins.
(1924 in Sabang/Provinz Aceh/Indonesien - 2005 Den Ilp/Landsmeer/Niederlande)"Documenta 1964". OriginaltitelFarbradierung in Braun und Orangerot von zwei Platten/Papier, 1963/64. Sign., bez. "eigen druck", dat. 1964 u. nummeriert 4/4. Abzug vor der Auflage von 50 Exemplaren. Der niederländische Maler und Grafiker gehört zu den bedeutenden Vertretern der Kunst zwischen Abstraktion und expressiver Figuration nach 1945. Mit seinen grafischen Arbeiten war Heyboer Teilnehmer der documenta 2 im Jahr 1959 und auch der documenta 3 (1964) in Kassel. Knickfaltig, wasserrandig, einige Randeinrisse. Darstellung ca. 95,8 cm x 101 cm. Rahmen. Etching printed in brown and orange-red from two plates, 1963/64, on two joined sheets of paper. Hand-signed, dated 1964, numbered 4/4, inscribed "eigen druck". Printed by the artist prior the edition of 50. Creases, water stains, some tears to the margins.
(1901 Finkenwerder - 1979 Hamburg)SelbstbildnisRadierung/Papier, 1934. Sign. u. römisch nummeriert XX/XX. Wvz. Rosenbach 44. Seltenes, frühes Blatt Bargheers mit feinen Plattentönen und sichtbaren Ätzspuren. Verso altes Galerie-Etikett der Kunsthandlung Theodor Heller München. Plattenmaß ca. 35,5 cm x 27,8 cm. Rahmen.Etching on paper. 1934. Hand-signed and numbered in Roman numerals XX/XX.
(1872 Bremen - 1942 Kolchos Budjonny/Kasachstan)"Sommerabend". OriginaltitelRadierung/Japan-Papier, 1902. Wvz. Rief 40 c. Sign. mit Künstler-Signet (Worpsweder Wappenschild); überdies sign. vom Drucker Otto Felsing, Berlin. Blindstempel des Kunstverlags Ludwig Müller, Lübeck. in der Platte sign.; Gebräunt. Plattenmaß 17,5 cm x 14 cm. Rahmen.Etching on Japan paper, 1902. Hand-signed by the artist with artist's sign, further signed by the printer Otto Felsing, Berlin. Blind stamp of the Kunstverlag Ludwig Müller, Lübeck. Light toning.
(1929 Hamburg - 1995 ebenda)"Oh Lamme (/) Hamburg zittert". OriginaltitelRadierung u. Aquatinta in Grün/Papier, 1992. Sign., dat. (19)92 u. nummeriert 22/100. In der Platte betitelt sowie bez. "Katalog" u. dat. 7.8.(19)92. Blatt aus der Folge "Der Foliant", Kat. Deutsches Krankenhaus-Museum, Oldenburg, 1992. Plattenmaß ca. 23,8 x 18 cm. Rahmen.Etching in green on paper, 1992. Hand-signed, dated 1992 and numbered 22/100 in pencil. Further dated and titled on the plate.
(Geb. 1939 Hamburg. Ansässig ebenda)Pferd mit Jockey vor gelber MauerRadierung u. Farbaquatinta/Papier, 1969. Sign., dat. u. nummeriert 49/100. Plattenmaß ca. 29,5 cm x 34.5 cm; Blatt ca. 45 cm x 52,5 cm. Rahmen.Etching and aquatint in colours on paper, 1969. Hand-signed, dated and numbered 49/100.
(1944 Sonthofen - 1994 Bad Godesberg)"Ersöl dö Tuarec". OriginaltitelFrühe, 1970 entstandene Arbeit Buthes. Buthe studierte 1964 - 1968 in Kassel bei Adolf Buchleiter und Arnold Bode. 1968 ging Buthe nach Köln, 1970 unternahm er seine erste Reise nach Marokko, dort verbrachte er danach als "Reisender zwischen den Welten" lange Jahre regelmäßig mehrere Monate. 1976 erhielt Michael Buthe den Villa-Romana-Preis, ab 1983 wirkte Buthe als Professor an der Kunstakademie Düsseldorf. Mischtechnik - Wasserfarben mit Collage, Zeitschriften-Abb. ("Turareg bei einem Volkstanz"), Goldbronze, Farbpigmente und Bleistift auf einer abstrakten Radierung. R. u. sign. u. dat. 1970; l. u. betitelt. 75,5 x 108 cm. Rahmen.Lit.: Kat. "Sammlung Ulbricht", Bonn, Graz u. Düsseldorf, 1982/83, Nr. 67, S. 105, Abb. S. 36.Provenienz: Sammlung Ulbricht/Nachlass Dr. Günter Ulbricht (1926 - 1992).Mixed media and collage on an etching. Signed, dated 1970 and titled.

-
78411 item(s)/page