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HEDLEY FITTON (1857-1929)Rue St. Romain, Rouenoriginal etching, first statepencil signed in the lower margin12 1/2 x 13 1/2 in (31.7 x 34.3cm)Provenance: with Robert Dunthorne, LiverpoolSold with three other etchings comprising 'The Empress' by Robert Houston; St. Giles Cathedral, Edinburgh by Mary Mackay; and The Castle, Edinburgh by Mary Mackay; four (4)
WALTER GREAVES (1846-1930)Duke Street, Chelseaetching, signed in plate 'W.Greaves', with some foxing in margins and on mountPl. 8 x 7 in (20.3 x 17.8cm); together with a further etching by the same artist depicting Old Chelsea Bridge, 1872; two (2) The son of a Chelsea boat builder, Walter Greaves and his brother Henry ferried the artist James Whistler on the Thames. Already an amateur artist when he first met Whistler in 1863, he later became an unpaid studio assistant of the artist. As a topographical draughtman he specialized in recording the Thames and Streets of Old Chelsea before their development in the later Victorian era.
‡ANNE ELIZABETH WATSON (1921-2003)WW2 Pilots receiving weather observationsetchingpencil signed in the lower margin6 x 8 1/4 in (15.3 x 20.9cm) In 1939 when war broke out, as an eighteen year old, Anne Watson postponed her art school training and joined the WAAF, finding a post in the Meteorology Department. This gave her a firm understanding of weather conditions and cloud formations. It also enhanced her powers of observation as a painter and provided her with an opportunity to record interesting WW2 subject matter. After the war Anne Watson continued training as an artist, working with Leslie Ward and Kenneth Martin. In 1958 she married the painter John Christopherson.
Herbert Thomas Dicksee (British 1862-1942): Lady in a Doorway, drypoint etching signed in pencil, after Jean Corot, 'The Ferryman' and 'L'allée des Arbres', two Grafton Proof polychrome prints, Sunset off the Coast, lithograph signed by Julius Olsson, Theatrical Scene, lithograph signed by Doris Zinkeisen etc max 51cm x 66cm framed and unframed (8) Condition Report & Further Details Click here for further images, condition, auction times & delivery costs
NO RESERVE Volpato (Giovanni) View of the ceiling of the Farnese Gallery with the frescoes of Annibale Carracci, etching with full hand-colouring in watercolour and bodycolour, heightened with gold, on thick laid paper, platemark 375 x 855 mm. (14 3/4 x 33 3/4 in), 453 x 872 mm. (17 3/4 x 34 5/8 in), minor spotting and surface dirt, unframed, [ca. 1775-1777].
*Turner (William, of Oxford, 1789-1862). Berry Pomeroy Castle, near Totnes, Devon, circa 1820-30, watercolour with traces of pencil, and scratching out, unsigned, 26 x 37.3 cm (10.25 x 14.7 ins), framed and glazed with label to verso of Michael Bryan Fine English Watercolours (giving title of the work as Goodrich Castle) The ruins of Berry Pomeroy castle in Devon became a favourite location for artists seeking a picturesque subject in the late 18th and early 19th century, including Francis Towne (1739-1816), Thomas Girtin (1775-1802) and J.M.W. Turner, who included an etching of it as an example of 'Elevated Pastoral' in his Liber Studiorum. (1)
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