A set of four coloured equestrian prints showing 19th century winners of the Derby, 24 x 29 cm approx in burr wood style frames with gilt slips together with a coloured print after Juliet McLeod showing the racehorse Brigadier Gerard, 46 x 57 cm in a wooden frame, a study of a racehorse before the start, indistinctly signed Fairlauf (?) and dated 75, a pair of signed limited edition coloured prints of golfing subjects after Terry Marmagon, a 19th century engraving of Jenny Lind, a coloured etching portrait of Napoleon, etc.
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A signed limited edition black and white etching showing Soho House, Houndsworth, signed bottom right S Howard, dated 1996, edition 10/100, 42 x 55 cm approx in black and gilt frame together with a 20th century tapestry panel after a design by Kaffe Fasset, a pair of paintings on velvet of birds, fruit, etc., a pair of mirrors in the Art Nouveau style, etc.
'Maida Hill', London drypoint etching after William Lionel Wyllie (British 1851-1931) signed and titled in pen 18cm x 25cm unframed, Battle of Flamborough Head, 19th century watercolour unsigned and four other engravings max 26cm x 36cm (6) Condition Report Click here for further images, condition, auction times & delivery costs
Gerald Leslie Brockhurst RA, RE (1890-1978) ''The Amberley Boy'' Signed in pencil, a black and white etching, together with a further signed etching by the same artist ''The Two Melisandes'', 19cm by 14.5cm and 14cm by 8.5cm respectively (2) Melisandes depicts Anais Folin, the artist's first wife, holding their baby daughter. Reputedly Anais could only stand for a brief 20 minutes following the birth, and as such the artist etched the image onto the plate in this time. See illustration
Christopher Richard Wynne Nevinson (1889-1946) ''Survivors at Arras'' Signed in pencil and dated 1918, a black and white dry point etching, 28cm by 23cm See Illustration The Tate Gallery holds an example of this 1917-8 work illustrated: British Artist's at the Front, No. 1 1918. A brief commentary noted that ''The rest of Arras after the War will have to be built again''.
A Double Sided Strip Map, depicting Arundel, Chichester and London, highlighted in watercolour (later glazed frame), possibly early XVIII Century, an XVIII Century London to Pool hand coloured map, potentially taken from a book, No 262 in top left, hand coloured hunting scene, Skipton Castle and church scene etching etc:- One Tray
A COLLECTION OF DUTCH ETCHINGS to comprise works by or after Abraham Hondius (see illus.), Adriaen van de Velde, Karel Dujardin, Jan van Goyen (?), Pieter van Laer, Aelbert Cuyp, Hendrik de Goudt, Allart van Everdingen, Adriaen Verboom and other hands; also a soft-ground etching by John Crome (`Wagon wheels, tree trunk and beams`), two framed (34 images) ++ Mixed; a little worn; some with pale stains; some trimmed to within image; foxing etc
WALTER RICHARD SICKERT (1860-1942) THE OLD BEDFORD (THE SMALL PLATE) (Bromberg 135) Etching, 1910, the only state, on tan wove paper 11 x 8.2cm. * This image was etched in 1910 but the music hall had been pulled down 12 years before. The venue had been a particular favourite of Sickert's and he had produced etchings of it as early as 1888. Selective wiping has varied the tone of some of the impressions but the tightly-pressed crowd - some eager and attentive, some perhaps inclined to rowdier participation - capture well the artist's obsession with the spirited atmosphere of a music hall. The total edition size is unspecified as there was a numbered edition of 50 impressions on wove and also unnumbered impressions on laid (some of which were signed). ++ Wide margins, folded to fit the frame; slightly rubbed on the platemark; characteristic discolouration of the paper
•MICHAEL CANNEY (1923-1999) RHINOCEROS Etching with aquatint and plate tone, 1947, signed and dated 14.5 x 21cm. * Evidently inspired by Albrecht Durer's famous woodcut of 1515. The animal in Dürer's print was a gift from an Indian sultan to King Manuel of Portugal and was the first to have been seen in Europe for nearly 1500 years. The King donated the rhino to Pope Leo X but the beast died en route to Italy. Durer never saw a rhino and based his famous print upon a sketch and a descriptive letter. ++ Slight time toning
WILLIAM LIONEL WYLLIE (1851-1931) An early 20th century Victorian etching of London Thames barges entitled Londons River 1900 being set in a good ornate wooden frame with glaze to front. Signed by artist in pencil with notation around picture. William Lionel Wyllie (5 July 1851 – 6 April 1931) also known as W L Wyllie was a prolific English painter of maritime themes in both oils and watercolours.[1] He has been described as "the most distinguished marine artist of his day."[2] His work is in the Tate, the Royal Academy, the Imperial War Museum, the National Maritime Museum and many other institutions around the world. 36x51cmd
A collection of prints and drawings by or after Old Masters and others The Judgement of Paris engraved by R. G. Woodman after Rubens, 1813; and another similar; Circle of Michel Corneille the Younger, Landscape with huntsmen and a barge, red chalk on laid paper, 20 x 30 cm; Luca Giordano, 'Sancta Anna', engraving on laid paper, 31 x 22 cm, framed, with folds, heavy creasing and staining throughout; After Honoré Daumier, Court Scene, photogravure, François Perrier, two engravings after ancient statues in Rome, no. 62 from a set of 100 and a Roman consul from the Villa Ludovisi; After Guercino, The Guardian Angel, by Stephanie Keeth Goldman, 1994, no. 2/30, signed lower right, etching, After Albrecht Durer, The Knight, Death and the Devil, later impression, engraving on laid paper, 22.5 x 16.5 cm; Giovanni F. Venturini after Galles, Polidoro, etching on laid paper, 18 x 18 cm; together with some portrait engravings, mostly 18th and 19th century; few watercolours of London river views and other hand-coloured prints, some modern including Hedley Fitton etc. (a quantity, approximately 100)
Six portrait or figural engravings. L. J. Cathelin after Vanloo. Joseph Vernet, Peintre du Roi, engraving, 1770, 39 x 30cm , moulded gilt frame; D. Martin after A. Carpantiers, portrait of D. F. Roubiliac, mezzotint, 1765, 38 x 26cm; J. Simon after Lancret, Spring, a reverse glass coloured print, c.1758, 25 x 36cm; R. Dighton, 'A Walk from Bridge Street to St John's Hall', coloured etching 1815, 36 x 26cm; After Reynolds, Caroline Duchess of Marlborough, mezzotint, for Robert Sayer, 37 x 25cm; one other (6)
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