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Lot 6

HAROLD WYLLIE (1880-1973) 'Launch of H.M.S. Agamemnon 64 Guns at Bucklers Hard 1781', etching, pencil signed in the margin, 21 x 31cm; and an engraving after Samuel Atkins (2)

Lot 65

JAMES GILLRAY 'A Masonic Anecdote', etching, hand-coloured, originally published by Hannah Humphrey, 52 x 46cm; and eight further various, all unframed (9)

Lot 67

A PORTFOLIO OF MIXED ENGRAVINGS AND WATERCOLOURS TO INCLUDE: two Rossini etchings - 'Veduta dell' Isola Tiberina' and 'Veduta di Fianco dei Portici d'Ottavia'; various works by Sidney Curnow Vosper, two wood engravings by Clarence Whaite; etching after Rembrandt; miscellaneous botanical engravings and watercolours, print after Henry Moore; calligraphic Lord's Prayer etc., and a small collection of black and white photographs taken by Donald Dyer Richardson, all unframed

Lot 70

PIERRE FALKÉ (1884-1947) 'A la terasse', etching, 20 x 16.5cm; and ten further, artists to include Ernest Laborde (X8); Verge-Sarrat and Minartz, all mounted but unframed (11)

Lot 73

LOUIS CONRAD ROSENBERG (1890-1983) 'Nice', etching, pencil signed in the margin and numbered 'CVII', 22 x 13cm

Lot 76

FOLLOWER OF LOUIS ICART (1888-1950) A female beauty in blue dress, etching in colours, 38 x 31cm

Lot 1433

William Palmer Robins (1882-1959) Hertfordshire Peasant, 1921 etching on paper, mounted and seven other etchings by Robins, signed and dated in pencil 11cm. x 9.5cm (image) (8)ProvenanceH.G. Murphy (1884-1939), and thence by descent to the present owner.

Lot 142

A coloured etching, signed in pencil, framed, gross 76cm x 67cm.

Lot 285

Fredrick Cecil Jones (1891-1956). Sunny Weather, etching, signed to the mount, labels verso, 13cm x 17cm, and a further engraving. (2)

Lot 32

A FRAMED AND GLAZED ETCHING SIGNED BY THE ARTIST

Lot 403

Dry Point Etching Marsham Street, Westminster by William Walcot R.E. Commissioned by Sir Valentine Crittall, Christmas 1936

Lot 457

Signed Colour Etching & 5 Other Pictures

Lot 2495

A Mark I Webley & Scott Air Rifle with a hinged barrel the bracket marked .22. Manufactured between 1925-1932. Numbered 498 on the frame. With further Electo Etching.

Lot 535

ALBRECHT DURER (1471-1528), a coloured etching of a Knight on his horse, mounted, framed and glazed, approximate size 40.5cm x 30cm, together with a June Vickery watercolour of mallards on a riverbank, signed and dated 1979, and an Alan Ingham open edition print 'Spring in the Dales', both mounted, framed and glazed (3)

Lot 567

A SMALL GROUP OF PICTURES AND PRINTS, to include an oil on board in the style of Oliver Clare, framed, size approximately 17cm x 22cm, a pair of Francis Wells hand tinted dry point etchings of Scotland, signed in pencil, framed and glazed size approximately 17cm x 25cm, a Stephen Parrish etching of sailing ships and a pen and ink drawing of a Fairy by Margaret Cave (5)

Lot 175

MM Rudge Signed Etching of 'An Alpine Village' signed below in pencil, measures 19x17.5cm approx.

Lot 477

W. Heath Robinson Etching - with 'Frothfinders' Federation Eight Dinner Menu Christmas 1908' to the front, internally depicts a gentleman smoking a pipe, some speckled foxing present, otherwise in A/G condition

Lot 691

India - Torre Futtapoor, a Fort in Bundelcund 1799 Print - aquatint with etching, coloured, published by Thomas Anburey Jan 1st 1799, from Hindoostan Scenery consisting of Twelve Select Views in India by Francis Jukes and Thomas Anburey. Depicts a hill fort in Madhya Pradesh with temple below. Framed measures 71x57cm approx. (cracked glass to frame)

Lot 694

India - Rahouths hand coloured etching by Solvyns, Francois Balthazar - from the Paris edition of Les Hindous, Paris Chez L' Auteur 1808-1812. This tribe who inhabit a mountainous country, form a military cast, and esteems themselves superior to others asserting that they descend from the first inhabitants of Hindoostan. Framed measures 50x63cm approx.

Lot 695

India - Blattes hand coloured etching by Solvyns, Francois Balthazar - from the Paris edition of Les Hindous, Paris Chez L' Auteur 1808-1812. Unframed, mounted measures 37x49cm approx.

Lot 701

India - Porom Houngse hand coloured etching by Solvyns, Francois Balthazar - from the Paris edition of Les Hindous, Paris Chez L' Auteur 1808-1812. The species of Faquirs called Purrum-hungse in the belief of the superstitious Hindoo, is a man descended from heaven who lives thousands of years without taking the smallest nourishment and who, thrown into the water or the fire, suffers no fatal effect from either, unframed measures 42x58cm approx.

Lot 500

Valerie Thornton (British, 1931-1991)AMBOISEEtching with aquatint printed in colours, 1973, signed, dated, titled and numbered 68/150 in pencil, on wove paper, with full marginssheet 57 x 75cm, framed

Lot 402

Edwardian street scene, monochrome etching, dated 1918, 27cm x 20cm; botanical print, Flora Danica, figural prints and a county map.

Lot 414

After David Teniers, "Fête Flamande engraving, impression 50cm x 68cm; together with after Rembrandt, "Saskia", early 20th Century print, 57cm x 42cm; and an etching, signed Richard Plews. (3)

Lot 33

John Walker, signed limited edition two colour etching and collagraph, abstraction with the words 'Forge', 1990, 8/20 edition, H.86 W.67cm

Lot 34

Andre Masson, etching and chine colle of an erotic scene, signed limited edition 37/60, 51 x 42cm

Lot 4

A Kathe Kollwitz, pregnant woman with folded hands, original etching, 1898-99, from a Von Der Becke edition, Munich blindstamp (Muenchen-22), Ferdinand Roten Galleries, Baltimore, 28.6 x 22.8cm

Lot 129

Emmanuel Mukwiro (20th century): 'Couple Dancing', etching, hand-signed and numbered in pencil

Lot 170

A quantity of loose prints of various subjects to inc woodblock prints, a hand-signed etching and an aquatint of two female nudes, unframed

Lot 57

An 1822 pattern infantry Field Officer’s sword, slightly curved, pipe backed blade 32¼”, etched on both sides with crowned VR cypher and wreath in panels, regulation gilt brass hilt, with turn down inner portion and incorporating crowned VR cypher, stepped pommel, ornamental backstrap, wirebound, fishskin grip,  in its brass scabbard with 2 rings, engraved at the top “Major General W J Gairdner, 14th & 16th Bengal N.I”; together with a folder of colour illustrations and detailed notes on General Gairdner and his swords. Good Condition, the hilt retaining little original gilt (blade cleaned, etching faint). See also Lot 52 Plate 20 Note: from the collection of the late Brigadier Holmes (1946-2011) Military Historian, author and television presenter.

Lot 371

Edward Sullivan, etching, gateway in Normandy, signed in pencil, 26 x 20cm and Frank Henry Mason, etching of Venice

Lot 375

James Alphege-Brewer, colour etching, Cockington Forge, 15 x 20cm

Lot 386

John Nicholson, dry point etching, horse grazing, signed in pencil with accompanying original presentation mount dated 1922 15 x 20cm, unframed

Lot 179

* RACHEL EVERITT (SCOTTISH), THE NARK etching, signed, titled and numbered 1/20 12.5cm x 8.5cm Mounted, framed and under glass

Lot 98

Vincent Sheridan  THE HIERARCHY Etching, 24" x 30" (61 x 76cm), signed and inscribed ed. 26/50

Lot 99

Vincent Sheridan  THE OUTCAST Etching, 18" x 23" ( 46 x 58.5cm), signed and inscribed, ed 28/50

Lot 150

DOLLAR$andART 'Roman Abramovich', from the Di$ruptive$ Collection, German etching, AP signed titled and numbered, 60cm x 60cm, framed and glazed.

Lot 447

Archibald Thorburn signed etching of Grouse in Flight 1895, framed and mounted. 27 x 17cm

Lot 1076

Robert Henry Smith ''The Battle of Jutland'', etching, signed in pencil to margin, titled to gallery label verso; Robert Brookes (20th Century) ''Brent, Maldon''; Allan Graham (20th Cenutry) The Fish Quay at North Shields''; G L Hall, Coastal landscape signed and dated 1873; and a small Victorian glazed picture frame

Lot 1085

After John Seymore Lucas 'Captain of the Grand' etching by Paul Adolphe Rajon, pencil signed, 43cm by 33cm; together with after Jan Van Huysum 'A Flower Piece', published by John Boydell, 1778, 55cm by 42cm (2)

Lot 161

John G Mathieson "On the Dochart" Etching, signed in pencil, in a glazed frame, 22 x 32cm

Lot 311

STANLEY SPENCER. Framed, glazed limited edition 22/75 etching on paper, titled Greeting Hilda, 28cm x 41cm.

Lot 240

Robert Sargent Austin (British 1895-1923) "The Trace Horse 1921" Etching, signed in pencil Robert Austin to lower right, 16.5 x 20cm, framed

Lot 241

Harold Storey (British 1888-1965) "Ploughing" Signed Proof Etching, signed in pencil to lower right, 14 x 24cm, artist history to verso, framed

Lot 383

A 19th century limited edition etching, Nuremberg market race, indistinctly signed, framed and glazed; together with a print After RENIOR, framed

Lot 450

19th century Tunbridge Ware Cribbage Board with Counters and Two Dice, Two Chas Stadden Pewter Military Figures ' Coldstream Guards ' and ' Grenadier Guards ', Vintage AA Membership Beehive-Style Badge (E6095), etc plus Follower of William Douglas MacLoed Black and White Etching of Sailing Boats, Vintage McDougall's Cake Competition Award and a Decorative Tile

Lot 609

Framed and Glazed Reproduction James Millerd's Print of The City of Bristol 1973 (republished by Bristol Eveing Post in 1973) together with Print of an Antique Black & White Etching of A Prospect of the City of London

Lot 42

Ade Adesina RSA RGI (b.1980). Ace of Clubs, ' Tic-Toc'. Linocut print. Signed and numbered 17/30. 77 x 57cm. Framed. My work is a visual commentary around the ideas of ecology and our ever-changing world. I am fascinated by how the human footprint is affecting our planet. Our world is full of wonderful landscapes and I wish to highlight the continual damage caused through things such as deforestation, the politics of energy consumption, and endangered wild species. I am a traditional printmaker, painter and sculptor with modern twist; I work with mostly woodcarving, linocut, etching, and oil. I combine my African cultural roots with the British culture, producing work that makes people reflect on the past, present and the future. My practice is influenced by my experiences of travel and the imagery that I encounter. Recently I spent time in Italy, Nigeria, Scottish Islands and Germany, immersing myself in different cultures and collecting a variety of imagery to use in my next body of work. I enjoy researching and visualising the differences between countries both historically and culturally. My ideas come from the new places I’ve visited and I source information from documentaries and current affairs. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 62

Ian Chamberlain. 'Communication I', etching, image size 27 x 22cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 66

Ian Chamberlain. 'Sat Study I', etching, image size 22 x 18cm. Signed and numbered 3/30. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 67

Ian Chamberlain. 'Sat Study II', etching, signed and numbered 13/30. Image size 22 x 18cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 68

Ian Chamberlain. 'Sat Study IV', etching, signed and numbered 7/30. Image size 41 x 39cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 69

Ian Chamberlain. 'Dome II', etching, signed. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 70

Ian Chamberlain. 'Dome I', etching, signed and numbered 4/6. Image size 21 x 20cm. Framed. I am a printmaker who has been passionate about, and specialising in etching (intaglio) for several years. My work takes reference from an on-going interest in manmade technological forms of industrial structures - such as bridges, the scientific radio telescopes at Goonhilly Satellite Earth Station, or ex military structures such as the Acoustic sound mirrors in the UK. The majority of the subjects and locations I record were considered at the forefront of technology during their lifetime. Some of those technologies are now defunct or have been reconfigured for different uses. The subject matter therefore is echoed in the process used to record it. The etching process enables me to make a sustained enquiry into the subject’s structure, location and the effects of time passing. It becomes my own visual experience and a graphic equivalent to an observed moment in time. I begin each project with an intense enquiry through on site observation and drawing. In visiting these locations I can develop my own subjective emotional response; the artist is not seen but my physical intervention is paramount and my factual research and first hand experience evidence a sense of place. The subject itself is then removed from its surroundings and the familiar. The structures are shown devoid of the human figure so that architectural scale cannot be based on the physical measurements of the human body. This ambiguity adds to the sense of the monumental and projects a feeling of the iconic. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.I begin by finding my way around the subject, evaluating the form through the use of light and dark in quick charcoal studies. These are then taken into the studio where, if required, more sustained studies incorporating finer lines are made. The continuation of the drawing element is an integral part of my process. You can see evidence of the drawings within the etchings’ continually changing hierarchy and emphasis. Bringing into focus new elements and pushing others back. This evidences the recording and decision-making taking place. For me, the importance and value of the etching process is integral to both the making and the content of the work. Etching offers a unique means of working - inherent in its make up is the intervention upon the surface and the sculptural physicality of the process; layering and building-up information through cyclical reapplications of grounds, drawing, etching, burnishing and drypoint. My prints are not just an architectural study, they are evidence of me seeing and responding to a subject in a meaningful way. This is what etching allows me to do - to investigate place through an organic evolution of recording and insights into location through the interlinking processes of drawing and printmaking. Please note that final invoices will include buyers' premium at 27% (inclusive of VAT) added to the hammer price. Ewbank's are waiving all vendor commission for the charity. Transplant Links Community is a UK registered non-religious and non-political charity that saves the lives of children and adults in the developing world who suffer from life-threatening end stage kidney disease. Offering teaching and advice, and carrying out living kidney transplants, sharing their knowledge with local medical teams in a variety of countries - so that sustainable transplant programmes become a possibility for the future.

Lot 1316

J Eggett, 'Portsmouth Harbour', signed, numbered and dated '76, etching, pl.16.5 x 42.5cm.

Lot 1324

Graham Clarke, 'Silent Night'; 'Winter Fuel', a pair, each signed in pencil, titled and numbered 88/400, colour etching, pl.13.5 x 17cm. (2)

Lot 1478

Noel MacKenzie, 'The Pool of London'; 'The Houses of Parliament'; a pair, each signed, etching, pl.11 x 16cm.

Lot 1653

AFTER GEORGE STUBBS, ARA (1724-1806) SHOOTING (Lennox-Boyd 11-14) The set of four, engravings with etching by W. Woollett, published by T. Bradford, 1770-1771 Each 39 x 53cm. (4) ++ Three subjects with some damages but pl. IV generally good

Lot 1781

•GEORGES ROUAULT (1871-1958) FEMME NUE, ASSISE (from `REINCARNATIONS DU PERE UBU`) Heliogravure with etching with aquatint, c.1928, 26.5 x 17cm. ++ The paper time-toned with some pale spotting

Lot 1790

WILLIAM WALCOT (1874-1943) THE BANK OF ENGLAND Etching with drypoint and aquatint, 1920, signed in pencil, unframed 17.5 x 27cm. ++ Good condition

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