Richard Earlom after Claude Lorraine Plates 87 and 99 from Liber Veritatis etching with brown mezzotint 8¾ x 10¾in (22 x 27.5cm), frames 46 x 49.5cm 'From the Original Drawing in the Collection of the Duke of Devonshire - published May 1st 1775 by John Boydell engraver in Cheapside' (Plate 87 - A Shepherd and Shepherdess tending Cattle, and Horsemen galloping over a distant bridge.) (Plate 99 - Apollo and the Cumaean Sybil. The latter sits on a fragment of building in the foreground of a beautiful landscape in which is perceived a distant view of the Sea.)
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A British 1803? pattern Flank Officer's sabre, the 70cm curved blade etched with foliage, having a pierced brass oval hilt with GR cypher, wire bound fish skin grip and lions head pommel, housed in a brass mounted leather scabbard, the top mount engraved Dean, 9 Strand, London, 88cm.Some nicks to the blade edge, which can be seen in the images.Etching generally good.Slight play to the hilt.The mounts on the scabbard are loose.Leather to scabbard has been lacquered.
An 1892 pattern Infantry Officer's sword, having a 82cm blade etched with a crowned ER VII cypher, the pierced steel bowl hilt with further cypher and wirebound leather grip, housed in a steel scabbard, 98cm.PLEASE NOTE, the proof slug appears to be on the wrong side of the blade and the etching is poor which would suggest that this item is a possibly Indian made reproduction.
An 1827? pattern Naval Officer's sword, the 80.5cm curved pipe-back spearpoint blade etched with a crown over fouled anchor and foliage with Royal Coat of Arms to the opposing side, the forte marked Prosser, Maker to the King & H.R.H. the Lord High Admiral, London, having a regulation hilt with wire bound fish skin grip and lions head pommel, housed in a brass mounted leather scabbard, 93cm.Please note that the etching on the blade particularly the makers details is quite poor and therefore the sword could possibly be an Indian made copy.AS WITH ALL LOTS SOLD AT AUTION ANY PERSPECTIVE BUYER MUST SATISFY THEMSELVES IN REGARDS TO AGE / DESCRIPTION / CONDITION BEFORE BIDDING.
A 1796 pattern Light Cavalry sabre, the 71cm curved blade etched with stands of arms and foliage, having a steel stirrup hilt with wire bound fish skin grip and steel back strap, housed in a steel scabbard with suspension rings, 83cm.No makers marks.Etching to blade very faint.Wire to grip is loose.Some play to the hilt.Scabbard with large dent to either side at lower suspension ring and with further smaller dents nearer the tip.
Hermione Hammond (1910-2005) - Rylston Road, Fulham, pen, ink and watercolour on paper, signed lower left, dated 11/75 lower right, 13 x 21cm, together with two other works by the artist; A Mullah, pen, ink and watercolour on paper, signed and dated 5/74 lower left; Fishing scene, etching, signed in pencil to the margin, visible sheet 8.5 x 18cm (3)
A British 1803 pattern light infantry flank officers sword the 75cm curved, single fullered blade with remnants of gilt inlaid etching. Wire bound leather grip and lions head pommel, the leather and brass bound scabbard signed Gibbens, Portsmouth William Gibbons (Gibbens or Gibbins) worked between 1783 and 1830 from two addresses in PortsmouthNote: You must be over 18 to purchase this item. Collection must be made in person or by arrangement with a delivery company that provides an age verification service. We do not provide a shipping service for bladed items.Condition Report: Blade is slightly curved to the left It is oxidized along most of its length and has holes through the fuller 13cm from the tipChips to the cutting edgeBlade it tight in the pommel but the guard is looseWear to gilding on the guard and to the pommelScabbard has split stitching and to the leather, the tip is detached but present
Leonard Brammer (British 1906-1994) "View of Pot Banks (Factory on the Hill, Middleport, Burslem)" 1933, signed in pencil in the margin, from the edition of 35, etching.20.5 x 28cm (framed 35.5 x 42.5cm)Campbell Fine Art.Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in very good, original condition. There are one or two minor spots of foxing and other surface marks in the margins. The print is reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.
Sir Terry Frost, RA (British, 1915-2003) - Artist's Proof etching - Self portrait, signed and dated '80 in pencil lower right, 35.5cm x 27cm, framedWritting verso - Artist's Proof 1980 (Self Portrait) - Given to Sally Hudson when she, Tom and John stayed at Terry's home, Gernick Field Studio, Tredavoe Lane, Cornwall, in the summer of 1983 - on holiday from Vancouver.
Sir Terry Frost, RA (British, 1915-2003) - Signed abstract etching - As issued in ‘Tribute to Birgit Skiold’, Artist's Proof III, signed and dated '83 in pencil lower right, 30cm x 30cm, framedText verso - Given to Sally by Terry, when staying at the Frosts at Gernick Field Studio, Newlyn, July 1983After the untimely death of the artist, ‘A Tribute to Birgit Skiold’ was produced to raise funds for the Birgit Skiold Memorial Trust. 118 artists from various countries contributed free of charge an edition of 25 prints in the 30 x 30 cm format, to create a portfolio of three volumes.
* FRANCES WALKER CBE RSA RSW (SCOTTISH b. 1930) FINNISH LANDSCAPE limited edition etching on paper, signed and numbered 16/30unframedoverall size 58cm x 80cmNote: born in Kirkcaldy in 1930 Frances Walker studied at Edinburgh College of Art and then took up a post as visiting teacher of art for the Hebrides . This experience engendered in her a life-long love of wild and desolate places and since then she has chosen to depict the most remote landscapes, her compositions usually based on coastal reaches, craggy rocks and deserted beaches. Moving to Aberdeen , Walker took up a post at Gray's School of Art where she taught for many years. After retirement she has since divided her time between Aberdeen and the Western Isles, especially Tiree, where she owns a thatched cottage, but more recently has also travelled further afield - her latest inspiration being the even wilder and more desolate landscape of Iceland.
* JOCK MCFADYEN RA (SCOTTISH b. 1950), TREVOR colour etching on paper, signed, titled and numbered 15/15, from the 'Canal Suite'mounted, framed and under glassimage size 50cm x 40cm, overall size 82cm x 63cm Handwritten label versoLabel verso: William Jackson Gallery, LondonNote: Jock McFadyen was born in Paisley in 1950 and moved to England aged 15 in 1966. He gained his BA and MA from Chelsea School of Art which he attended from 1973 to 1977. His first solo show was held at the Acme Gallery in London in 1978. Since then he has had over 40 solo exhibitions including at the National Gallery (residency show), Camden Arts Centre, the Imperial War Museum, Manchester Art Gallery, Kelvingrove Art Gallery and Museum, Talbot Rice (Edinburgh Festival) and the Pier Art Centre (St Magnus Festival). His work has been included in many mixed exhibitions in the UK and abroad including John Moores, Hayward Annual and The British Art Show. In 1981 McFadyen was appointed Artist in Residence at the National Gallery, London and a decade later he was invited to design sets and costumes for Sir Kenneth MacMillan’s last ballet, The Judas Tree (1992) at the Royal Opera House, Covent Garden. McFadyen was elected to The Royal Academy of Arts in 2012 and in 2019 was coordinator of that year’s Summer Exhibition. Starting in 2020, 4 solo exhibitions were held to celebrate McFadyen’s 70th birthday: Jock McFadyen Goes to the Pictures (City Art Centre, Edinburgh); Jock McFadyen: Lost Boat Party (Dovecot Studios, Edinburgh); Jock McFadyen Goes to The Lowry: A Retrospective (The Lowry, Salford) and in 2022, Jock McFadyen: Tourist without a Guidebook, Royal Academy, London. McFadyen’s work is held in 40 public museum collections including Tate, the National Gallery, the V&A, the British Museum and the Scottish National Gallery of Modern Art as well as many corporate and private collections in the UK and abroad. McFadyen lives and works in London, Edinburgh and France.
* ANDA PATERSON RSW RGI PAI (SCOTTISH 1935 - 2022), GLASGOW DUST CART limited edition etching on paper, titled and numbered 1/25mounted, framed and under glassimage size 20cm x 25cm, overall size 41cm x 53cmNote: Painter and administrator, born in Glasgow, married to the artist James Spence. With him she founded the Glasgow Group in the late 1950s, which did much to promote an interest in contemporary art in the west of Scotland and elsewhere. Paterson studied at Glasgow School of Art, in Spain and Portugal. She was elected RSW in 1966 and to Royal Glasgow Institute of the Fine Arts in 1978, and was a winner of the Anne Redpath and Latimer Awards. She showed in mixed exhibitions in Scotland and abroad and had a solo show at Compass Gallery, Glasgow, in 1971, being included in The Compass Contribution at Tramway, Glasgow, in 1990. Paterson was noted for her unusual pictures of ordinary people, often old, lonely and hard-up, which she treated with sympathy. Her work is held by Scottish Arts Council, Arts Council of Northern Ireland and New York Print Workshop.
Paul Cezanne (French, 1839-1906), Paysage a Auvers - Entree de Ferme Rue St. Remy (1873), etching, probably printed on Dr. Gachet's press of ten impressions, 13 by 10.5cm, framed. Note: Cherpin 5; Leymarie-Melot 5 before the plate was steel-faced. The first published issue was in 1914 by Bernheim Jeune for the album Cezanne. Edition of 600. Provenance: with William Weston Gallery, London
Edgar Degas (French, 1834-1917), Sur la Scene No.3. On Stage No.3, (1876-1877), etching, issued by Amboise Voillard in an edition of 150 issued for an exhibition catalogue of the Societe des Amis des Arts de Pau, c.1876/77 with some 40 impressions traced, signed in the plate, 9.5 by 12cm, framed. Note: from the first edition printed from cancelled plate 1910/15. Delteil 32; Reed-Shapiro 24 vi/vi. Provenance: with William Weston Gallery, London

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78408 item(s)/page