We found 6626 price guide item(s) matching your search

Cecil Aldin, pair of chromolithographs, The Bell at Stilton and The White Hart at Hook, 36 x 60cm and a mezzotint of Miss Farren after Thomas Lawrence

Four antique prints of Norfolk, including mezzotint of Castle Acre priory after John Constable by D. Lucas, hand coloured engraving of Cromer, lithograph by Ladbrooke of Gissing Church, plus one other (4)

Mezzotint of Lady Anne Culling and Children by Eugene Tilly, signed in pencil; after the original by John Hoppner; framed and glazed, 20 inches (app.50cms) x 16 inches (app.40cms)

* ANNABEL MAUNSELL, A SET OF FOUR COUNTRY SCENES mezzotint on paper, each signed, numbered 34/150 and dated '75 image size 10cm x 10cm each, sheet size 19.5cm x 19.5cm each, overall size 22cm each Framed and under glass.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), FRENCH WINDOW mezzotint on paper, signed, titled and numbered 22/50 image size 15cm x 13cm, sheet size 28cm x 24cm, overall size 32cm x 28cm Framed and under glass. Note: Dorothea Wight (born in Devon England, 1944, died 2013, Muswell Hill, London) was a British printmaker and artist. Wight is best known for founding the Studio Prints on Queen's Crescent (London), where editions of artists’ prints were created, working with some of the most important contemporary British artists, including Frank Auerbach, Lucien Freud, Ken Kiff, R.B. Kitaj, Leon Kossoff, Celia Paul, Paula Rego, William Turnbull, Kim Lim, Stephen Conroy and more than 100 other artists. She married her collaborator in the workshop, Marc Balakjian in 1973. The two would lead Studio Prints in introducing a number of techniques to British printmaking and the studio was considered "at the forefront of British Printmaking for 40 years". She was also an exceptional artist in her own right, best known for her mezzotints which have been exhibited across the world in countless solo and group exhibitions. Her works are in a number of permanent collections in the UK including those of the V&A, The British Museum, The British Council, the Arts Council of Great Britain, the Museum of London, The Fitzwilliam Museum, The New Art Gallery Walsall and The Ashmolean. Dorothea Wight's mezzotints are also included in major public collections in France, Germany, Poland, Belgium, Norway, Poland and Australia.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), THERE IS A GREEN HILL FAR AWAY mezzotint on paper, signed, titled and numbered artist's proof image size 15cm x 13cm, sheet size 28cm x 24cm, overall size 32cm x 28cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), STEPS TO A DOOR mezzotint on paper, signed, titled and numbered 50/50 image size 15cm x 13cm, sheet size 33cm x 28cm, overall size 36cm x 32cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), FAR FROM HERE mezzotint on paper, signed, titled and numbered 7/100 image size 20cm x 25cm, sheet size 40cm x 32cm, overall size 44cm x 66cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), FEBRUARY AFTERNOON mezzotint on paper, signed, titled and numbered 7/100 image size 20cm x 25cm, sheet size 40cm x 32cm, overall size 44cm x 66cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), BEHIND THE CURTAINS mezzotint on paper, signed, titled and numbered 6/100 image size 20cm x 25cm, sheet size 40cm x 32cm, overall size 44cm x 66cm Framed and under glass. Note: see text with lot 631.

* DOROTHEA WIGHT (BRITISH 1944 - 2013), BEYOND THESE DOORS mezzotint on paper, signed, titled and numbered 41/75 image size 44cm x 25cm, sheet size 61cm x 40cm, overall size 65cm x 44cm Framed and under glass. Note: see text with lot 631.

After Wallerant Vaillant, Boy reading in a studio, Mezzotint, approx. 27.5cm x 21.3cm

Late 18th Century English School - Coloured mezzotint - Three girls dancing, 7.75ins diameter, in gilt moulded frame

Faber, John II"Shepherdess" - Schäferin mit Blumengirlande(Amsterdam um 1695-1756 London) Mezzotinto, koloriert, nach Henry Pickering. Sichtmaß 36 x25,2 cm; in Passepartout und unter Glas ger. - Fleckig, rechts unten Riss.Stich Faber, John II''Shepherdess'' - Shepherdess with garland of flowers.(Amsterdam c. 1695-1756 London) Mezzotint, coloured, after Henry Pickering. Visible size36 x 25,2 cm; framed in passepartout and under glass. - Spotted, lower right tear.

"Mezzotinto" mit Affenkind aus der Commedia dell'ArteNymphenburg, 20. Jh.Entwurf Franz Anton Bustelli, um 1760. Weißporzellan. Am Boden Pressmarke und Modellnummer"68 / 0", auf dem Sockel geprägter Rautenschild. H. 19 cm. - Pendant zu "Lalage".Bayern, deutsches Porzellan, Komödiant, Porzellanfigur ''Mezzotint'' with monkey child from the Commedia dell'ArteNymphenburg, 20th century.Designed by Franz Anton Bustelli, c. 1760. White porcelain. Press mark and model number''68 / 0'' on the bottom, embossed lozenge shield on the base. H. 19 cm. - Pendant to''Lalage''.

Meteorologie - - Johann Georg Leutmann. Instrumenta Meteorognosiae Inservientia I. Thermoscopia II., Barcopia III. Hygroscopium. IV. Anemometrim. V. Plagoscopium. VI. Hyetometrum... Mit einem Mezzotinto Frontispiz und 16 gestochenen Tafeln. Wittenberg, Zimmermann, 1725. 14 Bll., 175 S. (1). HPrgt. d. Zt. Sehr selten, für uns kein Exemplar im internationalen Handel nachweisbar. Erste Ausgabe der seltenen Schrift über Meterologie und Klimaforschung. Leutmann (1667-1736) war Mechaniker, Feinmechaniker, Mathematiker an der Akademie der Wissenschaften in Sankt Petersburg, wo er eine Professur für Mechanik und Optik erhielt. - Minimal gebräunt. Gutes Exemplar. With a mezzotint frontispiece and 16 engraved plates. Very rare, no copy traceable to us in international trade. First edition of the rare writing on meterology and climatology. Leutmann (1667-1736) was a mechanic, precision engineer, mathematician at the Academy of Sciences in Saint Petersburg, where he received a professorship in mechanics and optics.- Minimally browned. Good copy.

Mezzotints.- Watson (Thomas, c.1743-1781) Miss Kitty Dressing, after Joseph Wright of Derby (1734-1797), mezzotint, a good impression on 18th century laid paper with indistinct circular watermark, platemark 450 x 330 mm (17 3/4 x 13 in), sheet 455 x 340 mm (17 7/8 x 13 1/2 in), trimmed to or just within platemark, edges reinforced verso, printers' creases within image, some restoration to lower margin, framed, 1781; together with a scratched letter proof of Valentine Green's Miss Brusby, after Pierre Etienne Falconet, mezzotint, 450 x 325 mm (17 3/4 x 12 3/4 in), under glass, minor surface dirt, framed, 1772 (2)

NO RESERVE Shakespeare (William).- Boaden (James) An Inquiry into the Authenticity of Various Pictures and Prints ... offered to the Public as Portraits of Shakespeare, mezzotint portrait frontispiece, 4 engraved portraits, lacking half-title, first few ff. detached from text block due to cracked upper hinge, water-staining, Robert Triphook, 1824 bound with Wivell (Abraham) An Inquiry into the History, Authenticity & Characteristics of the Shakespeare portraits [and supplement], 2 parts, including supplement, engraved portrait frontispiece of the author, 21 engraved plates, directions to binder / errata f., 1 plate with tear to margin at foot, some spotting and offsetting, By the Author, 1827, together 3 works in 1 vol., new endpapers, contemporary half morocco, gilt, rebacked, preserving original backstrip, corners worn, rubbed, 8vo

WILLIAM WARD mezzotint - shooting interest, Stephen Hemsted Esquire of Ilsley, Berks, 1814, Ryman & Co Fine Art Dealers, Oxford label verso, 66.5 x 47cms and after AUGUSTUS WALL CALLCOTT antique print - titled 'Returning Home from Market, Crossing the Stream', 40 x 50cms

Early Twentieth Century School : Head and Shoulder Study of a Lady Wearing a Blue Hat, mezzotint in colours, indistinctly signed by the engraver, with magins, 17 cm x 12 cm, together with the companion piece, framed as a pair. (2)

A group of three 18th century mezzotint portrait engravings of Thomas Sydenham, M. D., Henry Boyle Lord Carleton, & John Pym Esq., all by I. & P. Knapton, London – 1746, 1741, & 1738 respectively, 15¼” x 10”, in matching glazed frames. (24½” x 18½” over-all).

JOHN SMITH (1652-1742) after SIR GODFREY KNELLER (1646-1742). A group of five late 17th/early 18th century mezzotint portrait engravings: 1) Godfrey Kenner (self portrait), 14½” x 11”; 2) Grinlin Gibbons, Sculptor (1690), 13¼” x 10”; 3) Mrs Arabella Hunt, Singer (1706), 13¾” x 10”; 4) Mary Butler, Duchess of Ormond (1702), 16½” x 10¾”; 5) Henriette Crofts, Duchess of Bolton (1703), 16¼” x 10”; four in modern glazed burr-walnut frames, one in glazed gilt frame.

Cecil Aldin, pair of chromolithographs, The Bell at Stilton and The White Hart at Hook, 36 x 60cm and a mezzotint of Miss Farren after Thomas Lawrence

19th century mezzotint depicting Sir James Saumarez, Vice admiral of the Line, in period gilt frame aperture 59 x 43cm

Walter Alfred Cox (British 1862-1908): Gathering the Hay, mezzotint signed in pencil 21cm x 29cm, together with three further engravings after F Riley, max 17cm x 26cm (4)

19th century colour mezzotint entitled A Free Trade and Sailor's Rights, 33 x 44cm, in glazed maple frame

A mid-Victorian Mezzotint by Minnie Cormac, portrait of a young lady in an ornate heavy gilt picture frame (examples of artist's work are in the National Portrait Gallery), 28" x 39".

* Turner (Joseph Mallord Willam, 1775-1851). Penmaen-Mawr, Caernarvonshire, [1834], on pale cream heavy wove paper, by James Tilbitts Willmore (1800-1863) after J.M.W. Turner, a fine engraver's proof, finished but before any letters, subsequently published in Picturesque Views in England and Wales [1827-1838], small collector's blindstamp to lower right corner of the plate W.G.R. [W.G. Rawlinson], plate size 254 x 31.5 cm, sheet size 35.7 x 50 cm, tab-mounted in pale cream window mount (38 x 50.5 cm), together with: Short (Frank, 1857-1945). The Felusea (Liber Studiorum), mezzotint on thick cream wove paper, a trial proof, before title, signed, titled, and marked trial proof, before title by Frank Short in pencil, additionally inscribed to lower left margin 'To my friend H.G.W. Ford. Christmas 1938. F.S.', plate size 21 x 27.5 cm, sheet size 28.4 x 41 cm, tab-mounted in pale cream window mount, plus Bonneville, Savoy (Plate 1, Liber Studiorum), mezzotint on thick cream wove paper, signed in pencil by Frank Short, published by Robert Dunthorne, 1st November 1887, plate size 21.5 x 29 cm, sheet size 32 x 40.5 cm, plus two others similarQty: (5)NOTESProvenance: W.G. Rawlinson Collection (for the first work).

* Turner (Joseph Mallord William, 1775-1851). The Source of the Arveron in the Valley of Chamouni, Savoy, 1816, etching and mezzotint on pale cream laid paper, by Turner and Henry Dawe (1790-1848), a proof with strong, dark contrasts, trimmed to the image, without the engraved title and publication line, sheet size 185 x 262 mm (7.25 x 10.3 ins), tab-mounted in large card window-mount (65 x 51 cm, together with: Lake of Thun, Swiss (Liber Studiorum, part III, plate 15), published June 10, 1808, etching and mezzotint by J.M.W. Turner and Charles Turner (1774-1857), printed in brown ink, an engraver's proof on pale cream laid paper, a fine clean impression, trimmed to image, without the printed title and publication line below, sheet size 180 x 260 mm (7.1 x 10.25 ins), tab-mounted in large pale cream card window-mount (65 x 51 cm)Qty: (2)NOTESFrom the Liber Studiorum [1807-1819], Part XII, Plate 60 and part III, plate 15, respectively. Turner distilled his ideas about landscape in his Liber Studiorum, a series of seventy prints plus a frontispiece published between 1807 and 1819. To establish the compositions, he made brown watercolor drawings, then etched outlines onto copper plates. Professional engravers usually developed the tone under Turner's direction, and Charles Turner here added mezzotint to describe a Swiss mountain lake agitated by an approaching storm, with a distant lightning strike causing figures in the foreground to hurry for cover.

* Ilsted (Peter, 1861-1933). Little Girl with a Flat Cap, 1924, colour mezzotint on wove, inscribed in pencil 'Orig. Radierung of Peter Ilsted', plate size 48 x 47.5 cm, sheet size 63 x 61.5 cm, framed without glass (79 x 76.5 cm) Qty: (1)

ARR * Dalì (Salvador, 1904-1989). King of Aragon, 1971-2, etching and mezzotint on wove paper, printed in dark blue and orange, signed lower right, numbered 130/250 in pencil, some overall light toning, plate size 35.5 by 26.7cm, sheet size 65.6 by 50 cm, framed and glazed (68 x 52 cm)Qty: (1)NOTESLiterature: Michier & Löpsinger 528.

After George Morland - mezzotint - 'The Cottager's Favourite (44cm x 54cm), together with a series of prints mounted in two frames and two smaller prints. (5).

Charlotte MORGAN 'Love Birds' and 'Park Life'Two monoprints Each signed Together with a mezzotint 'Pale Moon' by Ingrid Allen

After Charles Turner (British, 1773?1857) A framed and glazed antique colour mezzotint 'Surrender of the Children of Tippoo Sultaun'. H.66 W.84cm

ENGLISH SCHOOL (LATE 18TH CENTURY) - Portraits of the English Kings, hand coloured mezzotint laid to reverse of glass, framed, 35cm x 25cm, frame size 47cm x 36cm, also the companion - a pair. (2)

KATARZYNA COLEMAN (XX/XXI) (ARR) A framed and glazed mezzotint, Industrial scene. Signed in pencil verso. 25cm x 34.5cm

Duelling.- Angelo (Henry) A Treatise on the Utility and Advantages of Fencing ... to which is added, A Dissertation on the Use of the Broad Sword ..., 47 engraved plates, 6 aquatints, 1 mezzotint portrait plate, scattered faint spotting, abrasion mark to front pastedown where label removed, later half-morocco, a little rubbed and faded, slight bumping to corners, oblong folio, 1817.

Henry T Greenhead after George Morland (1762-1804), limited edition (180) mezzotint, portrait of a young girl wearing a hat and holding a sheaf of corn, signed by the engraver lower right, published Ross, London 1910, label with details about the picture verso, 27cm x 33cm

After George Morland (British 1763-1804): 'No.1 Feeding the Pigs', coloured mezzotint by J. R. Smith pub. 1801, together with Maritime Museum watercolour poster and two other posters, max 46cm x 57cm (4)

NO RESERVE Shakespeare (William).- Boaden (James) An Inquiry into the Authenticity of various Pictures and Prints ... offered to the public as Portraits of Shakespeare, mezzotint portrait frontispiece, 4 engraved plates, half-title misbound after title, occasional spotting, bookplate, contemporary calf, gilt, 8vo, 1824.

Coloured mezzotint after George Morland "Rustic Employment"

A 19th century coloured mezzotint 3/4 length portrait of a young lady and dog in a walnut frame

After W. Bigg, colour mezzotint, 'A Lady and her Children, relieving a poor cottager', 45x54cm; together with two other mezzotints (af)

Valentine Green after Edward Francis CunninghamKitty Hunter, mezzotint, scratched letter proof published by John Boydell c.1771, 40.5 x 29cm; one mezzotint after Kneller, 25 x 18cm; and two further mounted but unframed (4)

Richard Earlom after Luca GiordanoThe Judgement of Paris, mezzotint published by John Boydell c.1778, 39 x 46cm

DAVID LUCAS AFTER JOHN CONSTABLEEast Bergholt, mezzotint numbered "1" to top corner, 20 x 23.5cm twenty three further similar numbered mezzotints, and nine un numbered, all unframed (33)

Miscellaneous 18th and 19th c prints and drawings, to include several mezzotint portraits, some faults, various sizes, sold in portfolio

VINTAGE BRIARWOOD CIRCULAR TOP TABLE, framed black and white mezzotint and a German stoneware jug, 72cms H, 45cms diameter, 21.5 x 33cms, 27cms H, measurements respectively

SEVEN HAND COLOURED ENGRAVINGS LATE 18TH / EARLY 19TH CENTURY comprising: two stipple engravings after Barker of Bath 'Labour and Health' by Francesco Bartolozzi and 'The Woodman' by Thomas Gaugain, 'The Furze Cutter' after Joseph Barney, a coloured mezzotint 'Mr Bannister Jnr and Mr Parsons' after Samuel de Wilde, a farmyard scene after George Morland, laid down on canvas, 'A View of Trajan's Pillar at Rome' after Piranesi and #The Southwark Iron Bridge' published by Whittle & Laurie, all in glazed frames, six giltwood and gesso one Hogarth style (7) 56.5 x 59cm (max)

Terry Harrison (1951-2017), watercolour, River in autumn, signed, 21 x 31cm, and After Daniel Chodowiecki (1726-1801) The King of Prussia reeviewing his troops, publishd by Sawyer and Bennett, hand coloured framed mezzotint, dated 1778

Charles Turner, ARA (1775-1857) after John Hoppner (British, 1758-1810), Admiral Lord Nelson, full length portrait, mezzotint, pub. Colnaghi & Co., London, 1806, 24½ x 16in. (62.25 x 40.6cm.), in a bird's eye maple frame. * Water damage to frame at lower and upper left. Print has restoration to tear at lower right corner. Dirty smudge to left end of lower margin. Two small restored tears to upper margin at left and two small tears visible to top right margin. Not examined out of frame.

Susan E. Jameson (British, b. 1944), "Mr Tiffany's Lamp" mezzotint, signed and dated '76, titled and numbered 23 of an edition of 50 in pencil lower edge, plain silvered frame 19 x 25in. (48.3 x 63.5cm.) * Provenance: The Pallas Gallery Ltd, London, 12th July 1977, with Certificate of Authentication.

A framed and glazed signed mezzotint by Japanese artist Tomoe Yokoi, depicting a basket of pears and a watermelon slice. Edition 8/100. H.55 W.70cm

Napoleonic Interest - a 19th century reverse mezzotint - 'The French Army defeated. The Emperors of Russia, Austria etc in pursuit. Bonaparte blowing up the Bridge at Leipsic', Walker, Fox & Knot, circa 1815, 25.5cm x 35.5cm, framed

***Please note, the description of this lot has changed.Evelyn (John) Sculptura; or, the History and Art of Chalcography, and Engraving in Copper, second edition, engraved portrait frontispiece, plate and folding mezzotint plate by Prince Rupert of the Rhine after Ribera, light offsetting, marginal water-staining to folding plate, bookplate of Henry Yates Thompson with his manuscript note of acquisition "Quaritch Sep 30th 1885" and presentation label from his widow, later diced calf, gilt, a little rubbed, 8vo, for J. Payne, 1755.*** Originally published in 1662 this was the first book in English to describe the process of mezzotint engraving and to include a mezzotint print, 'The Executioner' by Prince Rupert of the Rhine after Ribera. Mezzotint was invented by Ludwig von Siegen in the 1640s and the process was developed and brought to England by Prince Rupert, whom Evelyn credited with the invention. This edition includes 'The Little Executioner', a copy of Rupert's version; itself a reduced version of the head in Rupert's masterpiece, the much larger 'Great Executioner' of 1658.

A 19th century mezzotint of a maiden with a dancing goat, 23" x 18".

A 19th century mezzotint of a naval officer, 22.5" x 14.5".

After S. H. Grimm, 18th century mezzotint (a droll) + another similar, together with a hand coloured mezzotint, the first 12" x 9.75", the others both 13.5" x 9.5", (all A/F) (3).

J Finlayson After Joshua Reynolds, 'Mr Garrick in the Character of Kitely', mezzotint, 15" x 10.75". (unframed).

4 pictures as described.After Will Henderson, sailing boats on the water, coloured mezzotint, signed in pencil lower right 29cm x 40cm, framed and glazed. A coloured mezzotint by John Cother Webb, signed in pencil lower right, 39cm x 50cm. After Bob Richardson, Vienna scene, signed Ltd edition print, 41cm x 52cm, framed and glazed. After Liz Taylor, 'Piccadilly', signed Ltd edition print, 44cm x 63cm, framed and glazed.