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 300
John Whessell (1760 - 1824) The Duke of Grafton's 'Penelope' Oil on canvas Inscribed verso 'Penelope, / Duke of Grafton's Mare / 1806' Exhibited in the Royal Academy, 1806 Penelope (1798-1824), out of Trumpator by Prunella, was a dark bay thoroughbred racehorse bred and owned by the Duke of Grafton at Euston Hall, Thetford, Norfolk; she was the grand-daughter of the famous Highflyer. Penelope won 18 races for the Duke of Grafton without being quite top class but far exceeded her racing performance at stud as she bred for the Duke of Grafton two Derby winners in Whisker and Whalebone. Both later became fine stallions and one of her daughters named 'Woful' won both the 1000 Guineas and the Oaks so Penelope is one of the most illustrious broodmares of all time. Whessell produced an etching of the racehorse. Dimensions: (Canvas) 14.5 in. (H) x 19.5 in. (W) (Frame) 17.5 in. (H) x 22.5 in. (W)
Lot 338
Paul Albert Besnard (French, 1849-1934),'La Mere Malade',Drypoint etching on paper, fourth state, see André-Charles Coppier, 'Les Eaux-Fortes de Besnard' plate 75,Signed in pencil to lower right margin, P&D Colnaghi & Co label and Brogyntyn Estate label verso,The plate 19.5cm x 30cm,The sheet 21.5cm x 31.5cm,Framed and glazedalong with French school (19th century), 'The Death of the Count de Vaudreuil [...]', engraving on paper, hand titled in brown ink to lower margin, the plate 40cm x 32cm, the sheet 40cm x 32cm, framed and glazed, after After Hubert François Bourguignon d'Anvillle Gravelot (French, 1699-1773), 'The Monument Of King Edward II in the Cathedral Church of Gloucester', engraving on paper by Claude Du Bosc (active 1711-1740), 36.5cm x 21.5cm, framed and glazed, and four further engravings on paper, comprising portraits of Sir John Wynne, Sir Thomas Middleton and The Marchioness Of Hertford, with a bucolic scene with cottage and figures (7) Provenance: Property of 7th Baron Harlech, The Lord Harlech, Glyn & Brogyntyn Estates
Lot 340
After George Romney (British, 1734-1802),A three quarter length portrait of Lloyd, Lord Kenyon, Baron of Gredington, Lord Chief Justice of England,Engraving on paper by William Holl (1771-1838), published by William Holl, London 1804, Brogyntyn Estate label verso,58.5cm x 45cm,Framed and glazedalong with Ernest Stephen Lumsden RSA RE (British, 1883-1948), a north African harbour scene, etching on paper, signed in ink and numbered '1.69' to lower margin, dated 1927 in the plate, the plate 24cm x 32.5cm, the sheet 25.5cm x 34.5cm, framed and glazed, and a folded sheet of note paper, the top section printed with a street scene titled 'View Of The Upper & Lower Promenade' after M.D. Eichbaun, published by R. Edwards Bookseller, Cheltenham, the lower section containing the first part of a poem handwritten in brown ink titled 'In The Willow Tree In The Promenade, Cheltenham' (the poem apparently continuing overleaf), the sheet 19cm x 11.5cm, framed and glazed, 30cm x 23cm overall (3) (at fault) Provenance: Property of 7th Baron Harlech, The Lord Harlech, Glyn & Brogyntyn Estates
Lot 337
After James Gillray (British, 1756-1815),'A Plumper for Paul! – or – the Little Taylor Done Over! Vide – The terrible Effects of provoking a Red-hot-Shot from the Broad-Bottom'd-Whig-Battery',Hand-coloured etching on paper,Published March 13th 1807 by H. Humphrey,25cm x 35cm,Framed and glazed
Lot 501
ART/GLASGOW/THEOLOGY Lalanne, Maxine A Treatise on Etching Translated from the French by S.R. Koehler Sampson, Low, Marston, Searle & Rivington, London, 1880 Gilchrist, Alfred I Belong to Glasgow Robert Gibson & Sons, Glasgow, signed with the author's compliments, Dec. 1941 Together with various volumes of Transactions of the Old Glasgow Club, leatherbound Victorian Bible, two leatherbound volumes of Good Words, a plastic chess set, dominoes etc. Condition Report:Available upon request
Lot 2671
Baden-Baden.: Rennen in Iffezheim (Courses de Bade). In Farben gedruckte und kolor. Rad. mit Aquatinta von J. Harris nach Herauld (Heyrault), (1861). Bildgr. 53 x 104 cm. Blattgr. ca. 65 x 113 cm. Gerahmt (nicht ausgerahmt). Schefold 27047. - Etw. gebräunt und lichtrandig, stock- und braunfleckig. - Printed in colours and colour etching with aquatint by J.Harris after Heraud, framed. Somewhat browned and sun faded, foxing, brown stained. D
Lot 344
Etching of the Cathedral of Antwerp, indistinctly signed, 46x30cm; and other watercolours, prints, including a study of two Pheasants by E J Hoy, 1938, 44x38cm; FIhing boats on a stormy sea by A Flowers, 19x32cm; a small early 19th century cross-stich panel depicting a castle turret and oak trees with sea in the distance, 23x24cm, etc.Qty: 10
Lot 46
WILLIAM WILSON WINTER Etching, signed to plate, inscribed ‘W. Wilson’, ‘Edward Holloway imp.’ and titled ‘York - Winter’ in pencil to margin, numbered ‘54’ verso plate size 16.5cm x 16.5cm (6.5in x 6.5in), unframedProvenance: William Wilson (1905-72) and thence by descent to the present ownerNote: William Wilson and Edgar Holloway (1914-2008) met in 1935. In 1936 the pair rented a cottage in Essex in 1936 where they set up a printing press.
Lot 93
GERALD LESLIE BROCKHURST 6 ETCHINGS: CORINNE; SEULE; MAUREEN; STUDY FOR A DECORATION; FRANCIS MCNAMARA; HEAD OF A GIRL Etching, signed in plate, signed in pencil to margin;SEULE, Etching, signed in pencil to margin;MAUREEN, Etching, signed in plate, signed in pencil to margin;STUDY FOR A DECORATION, Etching, signed in pencil to margin;FRANCIS MCNAMARA, Etching, signed in plate, signed in pencil to margin;HEAD OF A GIRL, Etching, signed in plate, signed in pencil to margin (6) plate sizes: 14cm x 10cm (5.5in x 4in); 15cm x 17.5cm (6in x 7in); 11.5cm x 7.5cm (4.5in x 3in); 15.75cm x 12cm (6.25in x 4.75in); 12cm x 9.5cm (4.75in x 3.75in); 9.5cm x 7cm (3.75in x 2.75in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 129
JUNE CAREY MESSENGER Etching, 1/20, signed, numbered and inscribed with title to margin, housed in hand-drawn artist's frame, and a companion, a pair, ‘Do Not Speak’, Etching, 1/20, signed, numbered and inscribed with title to margin, housed in hand-drawn artist's frame (2) plate size 22.5cm x 22.5cm (8.75in x 8.75in) each
Lot 91
JAMES ABBOTT MCNEILL WHISTLER R.B.A. (AMERICAN 1834-1903) SEYMOUR (KENNEDY 31; GLASGOW 30) - 1858/59 Etching, from the second state (of three) before the redrawing of the legs, signed and titled in plate plate size 13cm x 9.5cm (5in x 3.75in) This etching is believed to have been executed in autumn 1858 or spring 1859 when Whistler was staying in London at the Sloane Street home of Francis Seymour Haden Jr. (1850-1918). Haden Jr., the subject represented in this composition, was the eldest son of Whistler’s half-sister Deborah Delano Haden (1825-1908) and Sir Francis Seymour Haden (1818-1910). Literature:Edward G. Kennedy, The Etched Work of Whistler. New York, Grolier Club, 1910 (31)Howard Mansfield, A Descriptive Catalogue of the Etchings and Dry-Points of James Abbott McNeill Whistler. Chicago, Caxton Club, 1909 (32)Ralph Thomas, A Catalogue of the Etchings and Drypoints of J.A M. Whistler. London, John Russell Smith, 1874 (17)Sir Frederick Wedmore, Whistler’s Etchings: a Study and a Catalogue. London, Thibaudeau, 1886 (23)Whistler Etchings Project (30)
Lot 96
GERALD LESLIE BROCKHURST 4 ETCHINGS: CHARLES CLAUDE CARPENTER - 1931; MR WIGGIN - 1932; MRS ALBERT H. WIGGIN - 1932; DR CHARLES LEE REESE Etching, signed and dated in plate, signed in pencil to margin;MR WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;MRS ALBERT H. WIGGIN, Etching, signed and dated in plate, signed in pencil to margin;DR CHARLES LEE REESE, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 30cm x 22cm (11.75in x 8.75in); 25cm x 18.5cm (9.75in x 7.25in); 25cm x 19cm (9.75in x 7.5in); 20cm x 16.5cm (8in x 6.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 94
GERALD LESLIE BROCKHURST 5 ETCHINGS: MARQUETT; HENRY BELL - 1930; PEPITA; A BALLYNAKILL WOMAN; A CONNEMARA PEASANT Etching, signed in plate, signed in pencil to margin;HENRY BELL, Etching, signed and dated in plate, signed in pencil to margin;PEPITA, Etching, signed in plate, monogrammed 'C. P.' in plate, signed in pencil to margin;A BALLYNAKILL WOMAN, Etching, signed in plate, signed in pencil to margin;A CONNEMARA PEASANT, Etching, signed in plate, signed in pencil to margin (5) plate sizes: 21.5cm x 17.5cm (8.5in x 6.75in); 21cm x 15.5cm (8.25in x 6.25in); 11.5cm x 11cm (4.5in x 4.25in); 14cm x 10.5cm (5.5in x 4.25in); 16.5cm x 11.5cm (6.5in x 4.5in), each unframed Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 95
GERALD LESLIE BROCKHURST 4 ETCHINGS: RANUNCULUS - 1921, ELIZABETH; PAQUITA; CHIQUITA Etching, signed in pencil to margin;ELIZABETH, Etching, signed in plate, signed in pencil to margin;PAQUITA, Etching, signed in plate, signed in pencil to margin;CHIQUITA, Etching, signed in plate, signed in pencil to margin (4) plate sizes: 20cm x 15cm (8in x 6in); 15cm x 10cm (6in x 4in); 14cm x 10.75cm (5.5in x 4.25in); 16cm x 13cm (6.25in x 5.25in) Private British collection Gerald Brockhurst’s primary muses were Anäis Folin and Kathleen Woodward. Both sat for numerous portraits and figure studies with the aid of lavish period-style costumes and props, often in whimsical guises inspired by the heroines of Shakespeare or Greek mythology.Anäis, Brockhurst’s first wife, was the defining muse of his early portraiture. For most of the First World War the couple lived in Ireland where they befriended the artist Augustus John. During this period Brockhurst predominantly produced paintings, and was encouraged by John to adopt a freer paint-application technique.Brockhurst had experimented with printmaking in the 1910s, but it was not until the early ‘20s that he committed to etching in earnest. In a market increasingly oversaturated with etchings of landscapes and urban views, Brockhurst concentrated on portraiture, many of which were transpositions of compositions he had painted in the late 1910s and early ‘20s. He soon achieved distinction for his rendering of skin, hair and textiles with astonishing naturalism. Each composition is imbued with a refined stillness, with flesh that appears almost to glow and to possess conceivable weight and mass.From 1928 Brockhurst joined the Royal Academy Schools as a visiting teacher and met the sixteen year old Kathleen Woodward, who went by ‘Dorette’. She became his new muse, and the pair later married.In 1939 the couple moved to America where Brockhurst enjoyed great acclaim. Commissions from prominent figures including Marlene Dietrich, The Duchess of Windsor and J. Paul Getty helped crystallise his legacy as one of the most important British portrait artists of the early twentieth century. A retrospective of Brockhurst’s portraiture was held at the National Portrait Gallery in London, the Graves Gallery in Sheffield and the City Art Gallery in his native Birmingham.
Lot 51
WILLIAM WILSON CHURCH BY MOONLIGHT / LATTON PRIORY, ESSEX - 1936 Etching, 4/5, signed to plate, signed by the artist in pencil to margin, signed and numbered by Edgar Holloway (the printer) in pencil to margin, further inscribed with title in pencil to sheet lower edge, and a companion, ‘Latton Priory, Essex’ - 1936, etching, signed, inscribed with title and dated to margin by Edgar Holloway (the printer), further inscribed in pencil with title to sheet lower edge (2) 13cm x 10.5cm (5in x 4.25in); 18.25cm x 13.25cm (7.25in x 5.25in)Provenance: William Wilson (1905-72) and thence by descent to the present ownerNote: William Wilson and Edgar Holloway (1914-2008) met in 1935. In 1936 the pair rented a cottage in Essex in 1936 where they set up a printing press. Both artists made etchings of Latton Priory in 1936.
Loading...-
71174 item(s)/page