Herbert Thomas Dicksee RE (1862-1942)'Clouds have a silver lining, don’t forget; Just bide a wee, and dinna fret' - a young woman and her King Charles Spaniels sitting in a window seat, hoping the rain will soon stop. Location: the inside of Penshurst Place, Kent. original etching on vellum, signed artist’s proof with blindstamp, edition of 300, published by the Fine Art Society, London, 1907image 47 x 58.5cmProvenance: The Bryan Steele Collection.Condition report: Vellum quite strongly discoloured. Obvious cockling throughout. Some light brown speckled foxing visible in margins, and a little surface dirt. Image strong. Some stains on extreme lower edge. Not seen outside of frame.
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Herbert Thomas Dicksee RE (1862-1942)A Christmas card ‘With Best Xmas Wishes from Mr & Mrs Herbert Dicksee’. original etching on paper: study of a recumbent Irish Wolfhoundimage 7.7 x 12.5cm.Provenance: From the artist’s grandson; the Bryan Steele Collection.Condition report: Paper lightly discoloured, and a little light dirt around the platemark. Some light creases scattered throughout. A couple of very tiny specks of foxing. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942)‘The Little Gipsy’, a girl sitting with her terrier dog in a woodland glade, both gazing at flames under a cooking potoriginal etching on vellum, signed artist’s proof, blindstamped, edition of 400, published by Frost & Reed, 1903image 48.5 x 60.4cmProvenance: The Bryan Steele Collection.Exhibited: The Royal Academy, London, 1904, number 1310.The sitter was a family friend, a young Gladys Cooper, before she became a famous actress.Condition report: Vellum has discoloured to a light orange colour. A little very light cockling, barely noticeable. Some light speckles of foxing. A couple of small drops of glue or varnish in the printed area. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942) ‘Airedale Pups’original etching on wove paper, signed artist’s proof, edition of 150, this ‘33/150’, no other state, published by Frost & Reed, 1930image 15.2 x 28cmProvenance: From artist’s grandson; the Bryan Steele Collection.Condition report: The paper has lightly discoloured. A light brown vertical line running down the paper approx one inch from right edge. Scattered throughout with light grey dots of foxing. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942)‘The King Watches’, a family of African lions, after the painting by Rosa Bonheur, 1887 original etching on vellum, signed artist’s proof, edition of 350, published jointly by L H Lefevre & Son, London and T McLean, London, 1910image 45.8 x 64.8cmProvenance: The Bryan Steele Collection.Condition report: The paper has discoloured slightly. A few very small specks of ink loss in the background area. Some very pale dots of discolouration just visible in margins. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942)‘Across the Desert’ - Lion, walking, gaze fixed on the horizonoriginal etching on paper, signed artist’s proof, edition of 150, published by Frost & Reed, 1930image 24.8 x 42.6cmProvenance: From the artist’s grandson;the Bryan Steele Collection.Condition report: A very light wave to the paper. A few very light specks of foxing, only visible under close scrutiny. Otherwise good condition. Not seen outside of frame.
Giovanni Battista Piranesi (Italian, 1720-1778)'Vestigie delle Terme d'Antonino Caracalla (the Baths of Vespasian)'etching, signed within the print 'Piranesi fe' l.l.11.5 x 17cmLiterature: Focillon 104Provenance: Christopher Mendez, 51 Lexington Street, London, W1;The Estate of Virginia Chapman, late of Debden Manor, Debden, Essex.Condition report: The image is strong. The paper has very lightly discoloured and there are a couple of very light dots of foxing. A little light surface dirt. The paper has been trimmed very close to the edge of the image. Appears to be stuck down. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942)Irish Wolfhound, lying downoriginal etching on paper, signed artist’s proof, circa 1918 (different detail and plate size to a limited edition of 125 of the same subject titled ‘Waiting’ published by Frost & Reed, 1918)plate 15 x 40cmProvenance: The Bryan Steele Collection.Condition report: The paper has discoloured to a light brown, more so on the left hand side, with some lighter dots. The paper is speckled throughout with dots of foxing. Not seen outside of frame.
Herbert Thomas Dicksee RE (1862-1942)‘Bonnie Prince Charlie’, a King Charles Spaniel, seated. original etching on satin (very rare, a rich, well-defined image), signed artist’s proof, published by the Fine Art Society, London, 1902 (on vellum paper only), plate 24.8 x 19.7cmProvenance: From the artist’s grandson;the Bryan Steele Collection.Condition report: The satin is a light golden colour. Small scattered tiny flecks of black around the spaniel's head and in corners, possibly ink. Some pale grey scattered spots in right-hand background area and further small dots and flecks elsewhere. Not seen outside of frame.
δ Barry Flanagan (1941-2009)Hare In The Dark (Cocteau)Etching printed in colours, 1994, signed and inscribed Artists Proof, numbered from the edition of 10 in pencil, on wove paper, with full margins, 370 x 450mm (14 1/2 x 17 3/4in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ David Hockney (b.1937)Mo Asleep (Tokyo 116)Etching with aquatint, 1971, signed and dated in pencil, numbered from the edition of 75, published by Petersburg Press, London, on J. Green wove paper, with full margins, sheet 892 x 705mm (35 1/8 x 27 ¾ in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Harland Miller (b.1964)In Shadows I Boogie (Blue)The complete box set, comprising the etching with letterpress relief printing in colours and monograph, 2019, the print signed recto and numbered from the edition of 100 verso in pencil, the monograph signed and numbered from the edition of 100 in black ink, all housed within the original blue presentation box, together with a second signed copy of the monograph (pink), overall 345 × 253 × 45mm (13 1/2 × 9 7/8 × 1 6/8 in) (folio) (2)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Antony Gormley (b.1950)FirmamentEtching, 2008, signed, titled, dated and numbered from the edition of 60 in pencil verso, on wove paper, with full margins, sheet 650 x 750mm (25 1/2 x 29 1/2 in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Peter Howson (b.1958)Muslim WomanEtching, 1994, signed, titled, dated and numbered from the edition of 50 in pencil, on wove paper, the full sheet 520 x 430mm (20 1/2 x 17in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Barry Flanagan (1941-2009)TransfixedEtching printed in colours, 1994, signed and inscribed Artists Proof, numbered from the edition of 10 in pencil, on wove paper, with full margins, 450 x 370mm (22 3/4 x 14 1/2in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Henry Moore (1898-1986)Mother and Child 4 (Cramer 704)Etching 1983, signed inscribed PL4 and numbered from the edition of XV, an artist's proof aside from the edition of 50, printed by James Collyer and John Crossley, published by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, on Arches paper, with full margins, sheet 381 x 324mm (15 x 12 ¾in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Barry Flanagan (1941-2009)MinniEtching, 2003, signed, dated and numbered from the edition of 15 in pencil, on wove paper, with full margins, 565 x 485mm (22 1/4 x 19 1/8in) (framed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A COLLECTION OF ANTIQUE ENGRAVING PRINTS ETC, to include Chaucers Canterbury Pilgrims by William Blake, Mrs Fitzherbert by Richard Cosway, the Judgement of Paris by Luca Giordano, Portrait of a Lady engraved by Valentine Green, Donna Plebia Di Piza by Jean-Baptiste Greuze, two others by the same hand, others assorted engravings and prints together with three modern Greek icons (two boxes and loose) Condition Report There is an oak slip around the print, the slip appears to be glued to the print, visible image size including rebate is approximately 20cm x 57.5cm, it is a vintage etching
CERAMICS, METALWARES AND PICTURES, ETC, to include Henry Wilkinson signed etching of a setter, signed John Trickett limited edition print, D M Sedgwick oil on board of a butterfly and flowers, silver hallmarked spirit cup, porringer, Doulton Lambeth stoneware, as found, Noritake tea wares, Masons storage jar, as found, other pictures and sundries etc (box and loose)
TREVOR HODGKISON (1928-2013) 'Libation for Orpheus', a dry point etching 17/40, and 'Above Sorrento Harbour' dry point etching with colours 4/40-, both signed to lower margins, together with 'Sexton Burrow, Devon' by David Harban, monochrome etching 2/10, 'Soar Valley' by Sandra Harris, etching with colours, garden watercolour by Shirley Easton and coastal watercolour initialed DM, largest size 42cm x 46cm including frame
A BOX AND LOOSE PRINTS etc to include Rolf Harris 'Self Portrait 2 - A La Van Gogh' 270/295 signed to lower margin, frame size approximately 29cm x 22cm, J Lewis Stant 'The Harbour Staithes 1948' etching, Neil Cawthorne print of Red Rum, signed by Donald Ginger McCain, Hilary Scoffield landscape print etc together with photo frames
PAINTINGS AND PRINTS, etc, to include a Robert King limited edition print 6/300, abstract oil on canvas by Suzan Hobday, Naomi Tydeman limited edition print, Shirley Trevena limited edition, indistinctly signed etching of a female figure 3/35, watercolour of a Geisha indistinctly signed TAM?, paintings by Michael Haswell, together with assorted paintings and prints by a variety of artists and an art folder (26)
VALERIUS DE SAEDELEER (Belgian, 1876 - 1946) limited edition (125/250) etching with aquatint - snowy Oostvlaams landscape, titled on printed label verso 'Grandes Arbres', signed in the print and signed in pencil Hebbelinck, circa 1930s, 55 x 59cms Provenance: private collection, west Wales. Auctioneers Note: Saedeleer is among Belgium's most acclaimed 20th Century landscape painters. In 1914, he was among dozens of Belgian refugee artists who relocated to Wales under the patronage of the Llandinam sisters, Gwendoline and Margaret Davies. Saedeleer and his family lived in Aberystwyth for 6 years before returning to Belgium. At the height of the global economic recession, he collaborated with highly-skilled printmakers like Robert Hebberlinck, to make limited-edition colour etchings inspired by some of his most popular canvases Presentation & Condition: framed and glazed. Paper with slight yellow discolouration, frame with superficial paint spots
Johann Carl August Richter Johann Carl August Richter (1785 Dresden - 1853 ebenda) "Berg-Palais des verst. Lord Findlater von der Seite der Elbe". Originaltitel Altkolorierte Umrissradierung/Papier, um 1820-1825. Blattränder beschnitten. Darstellung 8,5 cm x 12,5 cm. Dargestellt ist das 1811 fertig gestellte Palais des James Ogilvy, 7. Earl of Findlater (1750 - 1811) in Dresden-Loschwitz; 1821-1850 war es ein beliebtes Ausflugslokal, bis dort 1861 die drei "Elbschlösser" erbaut wurden. Hand-coloured etching on paper, ca. 1820-1825. Trimmed to the platemarks.
Anton Graff Anton Graff (1736 Winterthur - 1813 Dresden) nach Porträt von Salomon Gessner Kupferstich und Radierung/Papier, 1784. Grafik von Matthias Gottfried Eichler (1748 - 1821) nach dem 1781/82 entstandenen Gemälde Anton Graffs (heute im Deutschen Historischen Museum, Berlin). Im breiten Blattrand ger. fleckig. Plattenmaß ca. 30,5 cm x 22,5 cm. Copper engraving and etching on paper, 1784, by M. G. Eichler after the painting by Anton Graff. Minor stains to the wide margins.
Friedrich Besemann Friedrich Besemann (1796 Göttingen - 1854 ebenda) attr.; "Göttingen vom Hagen ab". Originaltitel Altkolorierte Radierung. Monogr.; Um 1820-1830. Plattenmaß ca. 16 cm x 20,5 cm. Rahmen. Attributed to Friedrich Besemann (1796 - 1854). Hand-coloured etching with a view of Göttingen. Monogrammed in the plate.
Giovanni Battista Piranesi Giovanni Battista Piranesi (1720 Mogliano - 1778 Rom) Ansicht der Hadriansvilla in Tivoli Radierung, 1770. In der Darstellung betitelt "Veduta degli avanzi del castro pretorio nella Villa Adriana a Tivoli". Piranesi war selbst an Ausgrabungen in der Villa Hadrian in Tivoli beteiligt. U. l. bez. "Cavalier Piranesi delin. ed inc.". Breiter Papierrand, geglätteter Mittelfalz. Plattenrand 37,5 cm x 65,8 cm. Rahmen. Provenienz: Kunsthandlung Boisserée, Köln. Wvz. Hind 94 I (von IV). Etching. Titled and inscribed.
Jean-Honore Fragonard Jean-Honore Fragonard (1732 Grasse - 1802 Paris) nach "Die Schaukel". Originaltitel. Handkolorierter Kupferstich/Papier, 1792. Grafik von Nicolas de Launay nach dem 1767 entstandenen Gemälde von Jean-Honore Fragonard (1732-1806) in der Wallace Collection, London. Darstellung ca. 42 cm x 58 cm. Rahmen. Copper engraving and etching on paper, 1792, by Nicolas de Launay after the painting by Jean-Honore Fragonard.
Georg Daniel Heumann Georg Daniel Heumann (1691 Nürnberg - 1759 ebenda. 1740-1753 Hofkupferstecher in Göttingen) "Ritterspiel das in Sr. Königlichen Majestät Georg I. Gegenwart auf der Göttingenschen Universität den 1. August 1748 gehalten worden ist". Originaltitel Kupferstich (u. Radierung?)/Papier, 1748. Einblattdruck mit vielfiguriger szenischer Darstellung. Unterhalb-deutsch-lateinische Legende mit Sign.; 22 cm x 42 cm (Passepartoutausschnitt). Rahmen. Weitere Exemplare befinden sich im Germanischen Nationalmuseum in Nürnberg und in der Royal Collection in England. Copper engraving (and etching?) depticing the tournament for George II King of Great Britain held at the University of Göttingen, August 1748.
A. Grell, "Der Markt in Halle", Radierung, 1837, unten in der Platte signiert, betitelt und datiert, Plattenmaß H*B 10*12,5cm, Blatt unten rechts mit jüngerer Widmung (Bleistift)A. Grell, "Der Markt in Halle", etching, 1837, signed, titled and dated at the bottom of the plate, plate size H*W 10*12,5cm, sheet lower right with recent dedication (pencil)
Moritz Bernhard Pretzsch (1885-1945), "Abendstille", Farbradierung, u.l. in der Platte monogrammiert, u.r. handsigniert, unten links betitelt, Plattenmaß H*B ca. 11*11cm, außerhalb des Motives partiell stockfleckig, verglast gerahmt (Altersspuren, Leiste neu zu leimen), Gesamt-H*B 24,5*19,5cmMoritz Bernhard Pretzsch (1885-1945), "Evening silence (Abendstille)", color etching, monogrammed on the plate, signed by hand on the lower left, titled on the lower left, plate size H*W approx. 11*11cm, outside of the motif partially foxed, framed glass (signs of age, strip to be glued again), total H*W 24.5*19.5cm
Max Slevogt (1868, Landshut - 1932, Neukastel), "Gottesdienst der Georgiritter", um 1920, Radierung/Papier, unten rechts handsigniert, Motivmaß H*B 23*17cm, Blatt gebräunt, leichte Altersspuren, verglast gerahmt, rückseitig mit Etikett "Original-Radierung von Max Slevogt", Gesamt-H*B 35,5*29cmMax Slevogt (1868, Landshut - 1932, Neukastel), "Divine Service of the Georgiritter", c. 1920, etching/paper, signed by hand at lower right, motif size H*W 23*17cm, leaf browned, slight signs of age, framed by glass, reverse with label "Original etching by Max Slevogt", total H*W 35.5*29cm
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71174 item(s)/page