We found 6606 price guide item(s) matching your search

ENGLISH SCHOOL (CIRCA 1900) - 'Bishop Percy's House, Bridgnorth', watercolour, signed indistinctly, framed 21.5cm x 30cm, frame size 42cm x 50cm, also an etching by Sir Hugh Casson and a mezzotint print after J M W Turner. (3)

* Duke of Wellington. [Greatbach(W.), Wellington Crossing the Pyrennees, 1858], uncoloured engraving after T. J. Barker, proof before title and letters, very slight spotting, 670 x 510 mm, mounted, framed and glazed, together with Lipschitz (S. publishers). The Peninsular Heroes Assembled at the United Services Club, circa 1860, uncoloured lithograph after John Prescott Knight, 450 x 555 mm, mounted, framed and glazed, with Davey (W. T.). The Hero and His Horse on the Field of Waterloo, Twenty Years after the Battle..., Thomas MacLean, November 1st 1851, uncoloured mezzotint after B. R. Haydon, slight staining, 440 x 485 mm, mounted, framed and glazed, plus Smith (Anker). Field Marshall the Duke of Wellington K. G. &c. &c Giving orders to his Generals previous to a General Action..., Heapy Thomas & Ackermann R. August 8th 1822, uncoloured engraving on India wove after Thomas Heapy, some spotting, slight water staining, light overall toning, one repaired marginal closed tear, appears to be laid on card, 620 x 890 mm, framed and glazed, and Cousins (Henry). The Right Honourable & Honourable Elder Brethren of the Corporation of Trinity House London, This Portrait of His Grace The Duke of Wellington K. G. &c. &c. ...., Thomas Boys [Jany. 1st. 1841], uncoloured mezzotint after John Lucas, slight toning and staining, 770 x 485 mm, framed and glazed, with another seven prints similar, various sizes and conditionQTY: (12)

* Earlom (Richard). [James Stuart, Duke of Richmond and Lennox], J. Boydell, September 1st 1773, mezzotint on laid paper, a fine dark early impression, after Anthony van Dyck, very slight spotting, faint corner crease, thread margins, 510 x 358 mm, together with:Watson (Thomas), Miss Elizabeth Ann Cooper & Master Frederick Grey Cooper, Children of Grey Cooper Esqr, published for W. Shropshire, March 20th 1775, mezzotint after D. Gardner, some spotting but largely confined to margins, manuscript annotation (possibly a collector's number) to upper right margin, 345 x 405 mm, sheet size 460 x 485 mmQTY: (2)

* Hogg (Arthur). Tulips, Thomas Ross & Sons, 1947, mezzotint, printed in colours and finished by hand, signed by the artist in ink to the lower right, slight creasing and soiling but confined to the margins, 485 x 380 mmQTY: (1)NOTE:Derived from Dr Robert Thornton's famous plate published in 'The Temple of Flora'.

Three Prints; including a Joseph Knight Mezzotint of a bucolic landscape with annotation 'Rawcliffe Chorlton' verso, a lithograph after Hanslip Fletcher, and an F Robson colour print (3)

Indian School/Three Studies of Trades People/body colour on mica/each 11cm x 8.5cm/framed as one and a mezzotint portrait of a woman, signed Edmund Wardle CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

After Thomas Gainsborough (1727-1788), a mezzotint after Thomas Gold Appleton (1812-1884). A portrait of the The Duchess of Devonshire, published 1890, in giltwood frame, 68cm x 88cm exc. frame

George Keating (British 1762-1842) after George Morland (British 1763-1804): 'Children Playing at Soldiers', mezzotint with later hand-colour pub. John Raphael Smith, London 1788, 47cm x 57cm

Prints - Angelo Asti, after, A Queen uncrowned, mezzotint, 51cm x 34cm; Boris O'Klein, by and after, One By One etc, both signed, titled in pencil, 20cm x 48cm; others Country Pursuits etc (10)

Dame Laura Knight (British, 1877-1970) 'Southern Blonde', c.1928, mezzotint, signed in pencil to lower margin and bearing title35.5cm x 27.25cm Condition: Unframed - handling creases throughout - diagonal fold line to lower right corner, approx. 7cm long and 2cm deep. Staining visible to edge of right margin, pinholes to corners which have left small marks. Upper right corner of margin has some creases. Acquired 'Dame Laura Knight - Etchings' exhibition at Blond Fine Art Ltd., 33 Sackville Street, London, April - May 1980.

[Scottish antiquarianism] Bannatyne Club A Series of Etchings chiefly of Views in Scotland. By John Clerk of Eldin, Esq. With Additional Etchings and Facsimiles from his Drawings. Edinburgh: for the Bannatyne Club, 1855. Large folio (50.5 x 31cm), original maroon quarter roan, printed paper label to front board, lithographic portrait frontispiece on india paper, mounted, additional mezzotint portrait, 55 etched or tinted lithographic plates (numbered 1-55 but many containing multiple separately printed images), one additional plate, spine rubbed, covers slightly sunned, tips bumped, spotting to endpapers, occasional light spotting elsewhere [David Laing, The Bannatyne Club. Lists of Members and the Rules, with a Catalogue of the Books printed for the Bannatyne Club since its Institution in 1823, 1867, p. 85]Note: Note: Second edition, enlarged, number 98 in the Bannatyne Club series; it was first published in 1825 with 28 plates only. John Clerk of Eldin (1728-1812), 'a true child of the Enlightenment' (ODNB) is best remembered today for his Essay on Naval Tactics (1790). 'Clerk was an exceptional amateur artist. His wealthy background afforded him the luxury of entertaining numerous careers, including medicine and business, and he also showed a considerable interest in geology. In the 1740s he began sketching alongside his brother-in-law, Robert Adam, and the artist Paul Sandby. Clerk travelled extensively throughout Scotland, recording a wide range of landscapes and ancient buildings. His sketches of Edinburgh and the surrounding areas are highly personal representations of his native countryside' (National Galleries of Scotland, online). The Bannatyne Club was an antiquarian printing society founded in Edinburgh in 1823 by Sir Walter Scott on the model of London's Roxburghe Club.Provenance: 1) Robert Graham (1785-1859), of Redgorton and Balgowan, advocate; 2) Thence by descent; 3) Lyon & Turnbull, 1st February 2005, lot 211.

After I Faber, Catharine, daughter of Sir Edward Dering, mezzotint,20.5x13cm,framed and glazed;and after I Faber,Sir Jonathon Perceval,mezzotint,20.5x13cm,framed and glazed.Qty: 2

After Joseph Wright of Derby, The Arkwright Children with a goat, mezzotint,38.5x30cm,framed and glazed; and a companion work.Qty: 2

Norman Hirst (1862-1956) after the Frank Dicksee PRA (1853-1928) painting of My Fair Lady - Mezzotint etching, signed in pencil by both artists, published by Thomas Agnew and Sons, London 1904 - Image 29cm x 45cm, plate 33.5cm x 51cm - Printsellers Association blindstamp lower left, mounted and framedJohn Robert Dicksee (1817-1905) - My Lady's Page - original signed artist proof etching published by WR Howell & Co, London 1903 - Mezzotint - 30cm x 44.5cm - printer: F. Goulding, London - after his own painting exhibited at the Royal Academy 1873, number 532 - mounted and framedJohn Robert Dicksee (1817-1905) Kent Village Street Scene (Chidingstone) - original etching, signed artist's proof, published by WR Howell & Co, London 1900 - plate 42cm x 35.5cm - Printer: F Goulding, London - mounted and framed

Richard Earlom, British 1743-1822- Annunciation scene, after Giovanni Batista Cipriani; etching with aquatint, published by John & Josiah Boydell, Cheapside, 1787, 50 x 30 cm.: together with ten further engravings by Earlom after Cipriani, a mezzotint by Earlom after Carlo Dolci, and two etchings with mezzotint by Earlom after Claude Lorrain (14) (unframed) Unframed. General discolouration and spots of foxing across the sheets, alongside creases, folds, and tears. In fair to poor condition overall.

After Sir Godfrey Kneller, British/German 1646-1723- Portrait of Grinling Gibbons; mezzotint, 28 x 21.8 cm. Framed and glazed. Unexamined out of frame. A horizontal crease running across the sheet towards the centre. Significant abrasions towards the lower edge of the sheet. Light marks, dents, and abrasions across the sheet generally. Otherwise in fair condition overall.

Samuel William Reynolds, British 1773-1835- Portrait of Sir Joseph Paxton, after Octavius Oakley; mixed-method mezzotint, proof, published May 1st 1851 by R. Moseley 58, London St, P. & D. Colnaghi & Co., 13 & 14, Pall Mall East, and J.L. Grundy, 130, Regent Street, London, 60.5 x 43 cm.: Louis Hague, Belgian 1806-1885- Her Majesty's Picture of the Transept of the Great Exhibition, after David Roberts RA; hand-coloured lithograph, from Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, published May 1st 1852 by Dickinson Brothers, 114, New Bond Street, 65.5 x 46.8 cm.: Robert Carrick, British 1829-1904- Looking over the Dam, after Philip Branon; hand-coloured lithographpublished by Ackermann & Co., June 9th 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 49 cm.: W L Walton, British fl. 1834-1856- The East End, after Phillip Brannan; hand-coloured lithograph published by Ackermann and Co. in 1851, bears label for Baynton-Williams, Knightsbridge, to the reverse of the frame, 33.5 x 50 cm.: together with a contemporary etching of an interior at the Crystal Palace Exhibition, numbered '4/10' in pencil (lower left) (part mounted/unframed) (5) Sir Joseph Paxton: Framed and glazed, unexamined put of frame. Light marks and chips to the frame generally. Light cockling to the sheet within the frame. Discolouration to the sheet generally, alongside dark marks towards the upper and left edges, and further marks to the sheet in areas. Evidence of spots of light foxing in areas. Otherwise in fair condition overall. Great Exhibition: Framed, mounted, and glazed, unexamined out of frame. Light marks and scuffs to the frame generally. Light cockling to the sheet within the frame. Evidence of light horizontal folds running down the sheet, visible to the left-hand side, with a noticeable fold to the lower edge of the sheet. Light discolouration to the sheet in areas. No evidence of further creasing or of tears to the sheet. Otherwise in fair condition overall. Looking over the Dam: Framed, mounted, and glazed, and unexamined out of the frame. General marks and chips to the frame. Very light cockling to the sheet, and evidence of very light creases in areas, consistent with handling. Evidence of very minor marks to the sheet in areas. Otherwise in good condition overall. The East End: Framed, mounted, and glazed, unexamined out of frame. General marks and chips to the frame. Evidence of minor discolouration to the sheet. Evidence of very minor creases in areas, consistent with handling. Possible very minor spots of foxing, and spots of restored foxing, in areas. Otherwise in good condition overall. Crystal Palace etching: Discolouration to the sheet where it has been exposed to the light. Evidence of very minor spots of foxing in areas. No evidence of creases, tears, or water damage to the sheet. Otherwise in good condition overall.

Sharon Aivaliotis (b. 1951), 'Oranges' limited edition mezzotint 9/75, signed and dated 1998 in pencil, 19 x 23cm, framed and glazed, with a framed and glazed modern print depicting fishing vessels, overall frame size 77 x 86cm, and an unframed modern geometric screenprint, 60 x 72cm. (3)

[PORTRAITS] EARLOM (R.) & TURNER (C.) engravers: "Portraits & Characters Illustrious in British History... engraved in Mezzotinto," folio, 100 mezzotint portraits, contemp. burgundy straight grain morocco gilt, (spine rubbed), L., S. Woodburn, ca. 1815; and another, later vol. (2).

ESSEX, Wanstead, Wanstead Park, copper, Earl’s coronet above arms of the Earls of Tylney with supporters, rev. engraved no. 31 canal, 33mm, 13.88g (W – [cf. 1144]; About extremely fine, extremely rare £300-£360 --- Wanstead Park was laid out by Sir Josiah Child (1630-99) in the late 17th century. Wanstead House, better known numismatically as the Palladian mansion depicted on Skidmore’s Globe series penny, was built for Child’s third son, Richard, the first Earl of Tylney (1680-1750). In the north-west corner of the Park was a body of water, square in shape but with rounded corners, known as the bason, which was fed by a string of channels and irregularly-shaped ponds. The passes appear to have been discontinued after the death of John, the second Earl (1712-84), when a number of them were engraved as memorials, presumably for acquaintances and servants, although by then the second Earl had been largely resident in Italy for 20 years following a homosexual scandal. Sold with further background information and a photocopy of a view of the bason from a coloured mezzotint, c. 1815

Richard Smythe (1863-1934) signed mezzotint - portrait of a lady with a harp, published 1913 by Agnew, 32cm x 41cm, in glazed frame, 54cm x 67cm

A group of assorted prints, including a 19th century mezzotint of Horacio Nelson; also a print of Red Rum, Arkle and Dessert Orchid and others similar, with a Victorian maple frame (14)

An unframed 18th Century portrait mezzotint of the Right Honourable Thomas McKenny, Lord Mayor of Dublin 1818, published in 1820

A quantity of assorted pictures and prints including a set of four gilt framed mezzotint engravings, Morden map of Cheshire, two watercolours by Dorothy Templeton, an Oscar Droege wood cut, Japanese embroidered panel, etc.Condition varies from Ok to poor.

George Thompson (publisher) - 'The Shepherds Adoring the Messiah', 18th century reverse coloured mezzotint on glass, 25.5cm x 25.5cm, within a stained wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Richard Purcell, after William Hoare - 'Katharine Countess of Lincoln', 18th century reverse coloured mezzotint on glass, 35cm x 25cm, within an ebonized frame, together with a similar mezzotint, 'The Right Hon. Maria Countess of Coventry'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

J. Johnson, after Charles-Antoine Coypel - 'If Musick of its Self has Soothing Charms…' (Lady playing a Guitar and Gentleman playing a Hurdy-Gurdy in a Landscape), 18th century reverse coloured mezzotint on glass, 25cm x 35cm, within a painted wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Robert Laurie, after David Teniers - 'The Devout Family', 18th century reverse coloured mezzotint on glass, 24.5cm x 34cm, within a Hogarth style frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

After Robert Dighton - Two Gentleman at the Horse Race, 18th century mezzotint, published by Carrington Bowles, 32cm x 25cm, within an ebonized and gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

British School, probably after Philippe Mercier - Beauty Unmasked, 18th century reverse coloured mezzotint on glass, 30cm x 35cm, within a painted carved wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

James McArdell, after Anthony van Dyck - 'Lord John & Lord Bernard Stuart sons of Esme Duke of Lenox', 18th century mezzotint, sheet size 49.5c x 35cm, together with two other 18th century mezzotints, 'William Duke of Leinster' and 'Mary Duchess of Ancaster 1757'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

John Simon, after Charles-Antoine Coypel - 'The Town Coquet', 18th century reverse coloured mezzotint on glass, 35.5cm x 25cm, within an ebonized and gilt frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Henry Dawe, after Édouard Henri Théophile Pingret - Half Length Portrait of the Violinist Niccolò Paganini, 19th century mezzotint with hand-colouring, 14cm x 10.5cm, within a stained wood frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

DOROTHEA WIGHT (1944 - 2013) A framed and glazed mezzotint, window view, numbered 1/75, untitled and signed in pencil. Image size 10 cm x9cm. Wight was a British printmaker and artist best known for founding the Studio Prints where editions of artists’ prints were created including Frank Auerbach, Lucian Freud and Paula Rego. Best known for her mezzotints which are held by the V&A, British Museum, British Council, Arts Council and the Fitzwilliam Museum.

Various early 18th-19th century portrait engravings. Including a mezzotint of The Royal Family, with King William,, Queen Mary, George and Anne of Denmark after B. Lens, a portrait of Richard II after S.F. Ravenet, Earl Rivers his Book & Caxton his Printer to Edw. after C.Grignion, Master John Prideauux Basset after A Ramsay, Maria Carolina (Queen of the Two Sicilies) after F Liani and an early 19th century engraving of Mary Wilcox as Caraboo (6)

Smugglers at moonlight colour mezzotint; Hunting scene colour mezzotint; and a Coaching scene colour mezzotint (3)

Pair of botanical engravings after Johann Wilhelm Weinmann Pair of hand coloured botanical mezzotint engravings, after Johann Wilhelm Weinmann (German, 1683-1741), from Phytanthoza Iconographia, published c1740, no.581 'Horminum' and no.734 'Moly'. Framed and glazedframes measure48.5cm x 35cm

After Stubbs, engraved by Henry BircheGame Keepers, mezzotint 1790, publ. B B Evans, 44.5 x 67cm (visible)

Sydneye Wilson after George Romney, coloured mezzotint, portrait of Mrs Lee Acton, 77cm x 54cm, framed

After Johan Zoffany, RA.(1733-1810) Colonel Mordaunt's Cock Match, by R. Earlom, hand-coloured mezzotint, published by Laurie and Whittle, London 1794, with condition defects, including worm holing in the paper, particularly in the lower area of the plate and lower margin, with a significant surface scratch on print surface approximately 8cm in length, a smaller scratch towards upper right corner, possibly laid down, the paper and margins with general surface browning, sold unexamined out of frame, S. 53.4 x 69.8cm a/f

CLIFFORD R. JAMES, INTERIOR OF A DUTCH HOUSE (AFTER PEETER DE HOOGH)' artists proof colour mezzotint, 44cm x 38cm, signed in pencil to margin, in gilt frame and glazed, with handwritten label verso

HENRY COUSINS AFTER GEORGE HAYTER: 'HER MOST GRACIOUS MAJESTY THE QUEEN' mezzotint, publ. Colnaghi, in original gilt frane 71 x 96cm, and a similar pair 'Victoria' and 'Albert' by C.E Wagstaffe, in similar frames 57 x 70cm (3)

A 19th Century Elm Windsor Rocking Chair, together with a Victorian pine plate rack, together with a machine made tapestry, 196cm by 148cm, a 19th century coloured engraving and a mezzotint after John Cother-Webb (5)

Ernest Stamp (British, 20th century), after Gainsborough, Mrs Graham, mezzotint in colours, pub.1912 by G.J. Howell, signed in pencil,19x12ins, mounted, framed and glazed.

Samuel Cousins RA, after Sir Thomas Lawrence PRA (British,19th century), Miss Macdonald, stipple engraving with mezzotint, mounted, framed and glazed.

After John Opie (British, 1761-1807), Aesculapius, Flora, Ceres and Cupid Honouring the bust of Linnaeus. Mixed engraving mezzotint and stipple. Engraved by James Caldwell. 20 x 14.5Qty: 1

An ecclesiastical mezzotint of Madonna and Child, 99 x 76cm, framed and glazed.99 x 76cm

Susan E. Jameson (b. 1944) 'Long Meg Sunset' , signed limited edition mezzotint print, 51/150. 34cm X 30cm, framed and glazed, with Christie's certificate of authentication to verso.

Framed 1793 mezzotint 'Lioness and whelps : whelped in Tower of London in 1792' by Richard Earlom (1743-1822) after James Northcote (1746-1831) - frame 58cm x 71cm ~ slight shadow lines / creases otherwise in good used condition

After I Faber, Catharine, daughter of Sir Edward Dering, mezzotint,20.5x13cm,framed and glazed;and after I Faber,Sir Jonathon Perceval,mezzotint,20.5x13cm,framed and glazed.Qty: 2

Durham Oxen. A George IV period mezzotint, engraved by Charles Turner after Thomas Weaver, dedicated to Sir Clifford Constable, Bart, of Tixall, Staffordshire, published in London by Benjamin A. Bond, 29 July 1828, scratched-letter state before 'proof' erased [as per the example in the British Museum]. 58cm by 70cm. Framed & glazed. An attractive mezzotint, slight surface wear in places, appears to be pasted down with light creases, unexamined out of frameProvenance: Discovered many years ago in Fred Hillman butcher's shop, Stafford View, on the corner of White Lion Street. Vendor's father-in-law owned the shop

‡  REMBRANDT VAN RIJN (DUTCH 1606-1669)JAN CORNELIS SYLVIUSEtching, 1633, a very good impression of New Hollstein's first state (of three), with burr-like tonal printing visible to details on the nose, printing before later rework with mezzotint rocker, on laid paper with watermark of Foolscap with five-pointed collar [cf. Hinterding K.c.2]Sheet 167 x 140 mm (6 1/2 x 5 1/2 in) (unframed)Provenance:Private Collection, NorwayLiterature:Bartsch 266; New Hollstein 124 i/iiiCondition Report: - Minor toning to upper corners from old hinging verso- Scattered minor spotting and browning, mainly only visible verso- Small margins, trimmed with thread margins, or trimmed just into plateCondition Report Disclaimer

* Thornton (Dr Robert). The Superb Lily, June 1st. 1799, mezzotint by Richard Earlom after Reinagle, printed in colours and finished by hand, large margins, slight spotting and toning, 485 x 460 mm, framed and glazedQTY: (1)NOTE:Dunthorne. Number 301. Plate II The 'Earlom Plate', state 3.

Four framed works to include: Rural Landscape (20th century), oil on canvas, signed lower left, approx. 60 x 90 cm, in gilt frame; George Sidney Hunt (1856-c.1917), Lord Nelson, mezzotint in colours, signed in pencil and blind stamped below, 'published 1921 by the Museum Galleries, 26 Museum Street, London' in print above, 12.5 x 10 cm; 20th century floral still life, oil on canvas, signed 'Paterson' lower right, 20.5 x 25.5 cm; and one other framed print After 'The Haywain' by John Constable (1776-1837) (4)

Edmund Wardle, (20th century), after, a mezzotint print, Edwardian lady, signed, 19 x 15cm, later mounted framed and glazed, and a selection of decorative prints, ladies, inc oval

Guntars Sietins (1962). 2002. Paper, mezzotint. 69.9x51.9 cm

Guntars Sietins (1962). 2007. Paper, mezzotint. 70.1x52.2 cm

V Green of London gilt framed mezzotint, published 1780, of Sir Joshua Reynolds in cap and cape, inscribed self portrait

Richard Earlom (British, 18th /earl 19th century), after Mario di Fiori, "A Concert of Birds. In the Breakfast Room at Houghton", mezzotint engraving, published 1778 by John Boydell, London, 16.5x33.5ins, framed and glazed.

William Hyde (British, 1859-1925), nocturnal landscape with church to foreground, mezzotint, 24 x 32cm, framed and glazed.