We found 314783 price guide item(s) matching your search
There are 314783 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
314783 item(s)/page
Lot 177
Carriage Prints x 2. BRACKLEY, NORTHAMPTONSHIRE by Charles Knight R.W.S. from the London Midland B Series, issued 1951 in an original style glazed frame print measures 25in long and is slightly trimmed to 9.5in together with SIZERGH CASTLE, NEAR KENDAL, WESTMORLAND by Ronald Maddox from the London Midland C Series, issued 1957 in an original glazed frame. Print measures 25in x 10in.
![* Stubbs (George). [A Horse Affrighted by a Lion] Geo. Stubbs, No. 24 Somerset Street, Portman Square, London, 25th September](https://cdn.globalauctionplatform.com/e8e6edcd-02d6-4e65-9693-ad5d00e5fe7a/13dcb526-dbfc-43a8-bc6a-ad6000c7c10c/468x382.jpg)
Lot 318
* Stubbs (George). [A Horse Affrighted by a Lion] Geo. Stubbs, No. 24 Somerset Street, Portman Square, London, 25th September 1777, uncoloured etching, small margins, slight mount staining, margins neatly re-enforced on verso, plate size 37 x 48 cm, sheet size 39.5 x 49.5 cmQty: (1)NOTESC. Lennox Boyd. George Stubbs. The Complete engraved works, no. 59, state IV. Stubbs's first separately published print. A good dark impression with strong contrast.
Lot 372
* Hollyer (Frederick, 1837-1933). Crudelitas and Saevitia Leading the Faire Dame, after Edward Burne-Jones, platinotype or platinum print, 29.5 x 58 cm, laid on cardQty: (1)NOTESThe original drawing by Edward Burne-Jones shown at the Burlington Exhibition in 1899 is now missing, and only known through this platinotype print by Hollyer.
Lot 405
ARR * Buckland Wright (John, 1897-1954). Jeune Fille au Bain, 1932, drypoint on simili-Japan paper, signed, dated, titled and numbered 18/25 in pencil, a very good impression from the edition of 25, with wide margins, plate size 198 x 85 mm, sheet size 322 x 204 mm, a small rubbed area at the lower right corner, a few minor handling creases in places towards the sheet edges, generally in very good conditionQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); Elizabeth Harvey Lee. Literature: Print Collector’s Quarterly Vol. 22, No. 2, April 1935, Martin Hardie, The Wood Engravings of Clare Leighton, pp. 139-165, no. 209, 195 respectively. Limbing sold in these rooms, 15 June 2017, lot 460; Sheep Shearing purchased by Elizabeth Harvey Lee (January 2017).
Lot 416
* Landacre (Paul, 1893-1963). Indecision, 1935, line wood engraving, a fine, rich and black impression on fibrous Japan paper, signed, titled and numbered 19/60 in pencil, with the red petrel estate stamp in the lower margin, with margins, mounting tape at the sheet edges verso showing through recto, with associated residual mounting paper in places at the sheet edges, a few pencil inscriptions in the lower right corner, image size 189 x 255 mm, 267 x 368 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). This print is the only major wood engraving Landacre completed without hatching or cross-hatching. Wien 161.
Lot 419
* Leighton (Clare Veronica Hope (1898-1989). Dawn in the Train to Mostar, 1926, wood engraving, a very good, black impression on tissue-thin Simili Japan paper, titled in pencil by the artist, a proof impression aside from the edition of 75, with margins, minor surface dirt, in good condition, framed, image size 145 x 189 mm, sheet size 200 x 255 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018), The Artist to Hilaire Belloc, and by descent; with Abbott and Holder Ltd. Print Collector’s Quarterly Vol. 22, No. 2, April, 1935, Martin Hardie, The Wood Engravings of Claire Leighton, pp. 139-165, no. 34. Exhibited: Wood-engravings from the Collection of the Artist’s Family, Abbott and Holder Ltd, 9 April 2018 to 12 May 2018.
Lot 420
* Leighton (Clare Veronica Hope, (1898-1989). Turning the Plough, 1926, wood engraving, on fibrous Japan with wirelines, a rich, black proof impression aside from the edition of 50, titled by the artist in pencil, with margins, barely discernible mount-staining, a tiny ink stain at the upper sheet edge, a pencil inscription at the upper left corner verso showing through faintly recto, in very good condition, image size 165 x 120 mm, sheet size 219 x 175 mm, framedQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Bequeathed by the artist to Hilaire Belloc, and by descent; Abbott and Holder. Exhibited: Claire Leighton, Wood Engravings from the Collection of Hilaire Belloc and Gwen Raverat, Wood-Engravings from the Collection of the Artist’s Family, 9th April 2018 to 12th May 2018. Literature: Print Collector’s Quarterly Vol. 22, No. 2, April 1935, Martin Hardie, The Wood Engravings of Clare Leighton, no 28.
Lot 421
* Leighton (Clare Veronica Hope, 1898-1989). May: Sheep Shearing, from A Farmer’s Year: A Calendar of English Husbandry; and Limbing, from The Lumber Camp Series, 1933, wood engraving, signed, titled and numbered 6/30 in pencil, on thin fibrous Japan paper, from the English edition of 30 (there was also an American edition of 30 numbered with Roman numerals), created for A Farmer’s Year: A Calendar of English Husbandry, written and engraved by the artist, with margins, block 230 x 280 mm., sheet size 285 x 360 mm, a deckle edge at left and bottom, a printer’s crease in the lower margin, some soft paper buckling in the lower left and upper right corners inherent to paper production, in very good condition, unframed, together with: Limbing, 1931, wood engraving, on wove paper, signed and titled, numbered 23/30 and inscribed ‘from the English edition’ in pencil, a very good impression, with margins, a vertical tear extending through the print towards the right, two losses in the lower margin, a smaller loss at the upper left sheet corner, with associated surface skinning presumably due to the removal of an old adhered mount, laid to the backing board, framed, image size 218 x 305 mm, sheet size 275 x 357 mmQty: (2)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Sheep Shearing and Limbing Print Collector’s Quarterly Vol. 22, No. 2, Martin Hardie, The Wood Engravings of Claire Leighton, pp. 139-165, no. 209 and 195 respectively. Limbing sold in these rooms, 15 June 2017, lot 460.
Lot 423
Leighton (Clare Veronica Hope, 1898-1989). The Farmer’s Year, A Calendar of English Husbandry, First Edition published by Collins, London, 1933, the full text with wood engraved illustrations, 1932-1933, including twelve hors-texte full page illustrations, three landscape tailpieces and twelve illuminated letters, en texte, on wove paper, the full sheets as published, in very good condition, bound within original green cloth gilt, (edges slightly rubbed), dust jacket, spine repaired with a couple of small reinforcements to verso, oblong folio, overall size 286 x 286 mmQty: (1)NOTESPrint Collector’s Quarterly Vol. 22, No. 2, April 1935, Martin Hardie, The Wood Engravings of Clare Leighton, nos. 204-212, 216-217, 218, 220, 222-235: a further landscape vignette appears to be unrecorded. The Farmer's Year was the first book Clare Leighton exclusively wrote, engraved, and designed.
Lot 424
* Leighton (Clare Veronica Hope, 1898-1989). Toulon Washerwomen, 1925, wood engraving, on tissue thin Japan, a fine, black proof impression, aside from the edition of 75, titled by the artist in pencil, with margins, a deckle edge at right, in very good condition, a small pencil inscription at the left sheet edge verso showing faintly through recto, framed, image size 125 x150 mm, sheet size 175 x 215 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); The Artist to Hilaire Belloc, and by descent; With Abbott and Holder Ltd. Print Collector’s Quarterly Vol. 22, No. 2, Martin Hardie, The Wood Engravings of Claire Leighton, pp. 139-165, no. 19.
Lot 425
* Leighton (Clare Veronica Hope, 1898-1989). Treading Grapes, 1928, wood engraving, on soft, fibrous, tissue-thin Japan with wirelines, a rich, black proof impression aside from the edition of 60, signed and titled by the artist (edition number cancelled), with margins, minor creasing towards the sheet edges, a pencil number lower right and lower left verso, showing through faintly recto, generally in good condition, image size 188 x 228mm, sheet size 253 x 283 mm, framedQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018). Bequeathed by the artist to Hilaire Belloc, and by descent; Abbott and Holder. Literature: Print Collector’s Quarterly Vol. 22, No. 2, April 1935, Martin Hardie, The Wood Engravings of Clare Leighton, no 119. Exhibited: Claire Leighton, Wood Engravings from the Collection of Hilaire Belloc and Gwen Raverat, Wood-Engravings from the Collection of the Artist’s Family, 9th April 2018 to 12th May 2018.
Lot 451
ARR * Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on fibrous buff wove paper, a very good, rich and tonal impression of the fifth (final) state with the signature added in the plate, signed in pencil and dated in Roman numerals, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, trimmed slightly unevenly, in very good condition, a band of barely discernible mount staining and two tiny brown rustmarks (?) recto and verso, remains of old tape at the upper sheet corners, plate size 132 x 185 mm, sheet size 214 x 288 mmQty: (1)NOTESProvenance: John Camfield Collection; Sold in these rooms on 16 October 2015, The John Camfield Collection of British Etchings 1850-1980, lot 68; Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee. David Ogg, ‘The Etchings of Graham Sutherland and Paul Drury’ in Print Collectors Quarterly, Vol. XVI, Part 1, 1929, see pp. 76–100, illustrated page 80; Douglas Cooper, The Work of Graham Sutherland, 1961, p.69, reproduced plate 3a; Raymond Lister, Samuel Palmer and his Etchings, 1969; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, No. 24, reproduced. Tate Britain holds an impression of this work in the same state (Inventory no. PO2066). The plate was destroyed by 1928.
Lot 455
ARR * Tanner (Robin, 1904-1988). White Violets, 1973, etching, a fine impression, printing with rich contrasts, signed, dated and inscribed ‘Robin Tanner fec. et imp. ’73 / White Violets: Presentation Plate, 1973, for The Print Collectors’ Club. Printed at Kington for Beano & / Robin, on paper made in 1795.’, one of ten artist’s proofs (according to an inscription on the mount) aside from the edition of 150 published by the Print Collector’s Club, on fine laid paper with watermark Initials VI, with margins, a nick at the right sheet edge, very pale mount-staining, otherwise in very good condition, plate size 125 x 100 mm, sheet size 218 x 166 mmQty: (1)NOTESProvenance: Collection of Oliver Hoare (1945-2018); purchased from Elizabeth Harvey Lee (February 2018). Garton 28. Garton does not mention the ten artist’s proofs. He notes that although a couple of impressions were inscribed ‘first state’, it was not possible to distinguish between states from the artist’s biting notes.
Lot 459
* Tunnicliffe (Charles, 1901-1979). Night Owl, and Swallows, two wood engravings, on white Simili Japan paper, good impressions, with margins, printed from the original woodblock by the Artichoke Press for Abbott and Holder, 2017, each with their Edition stamp, both numbered 1/20, respectively, Night Owl image size 165 x 100 mm, sheet size 225 x 162mm, Swallows image size 157 x 102 mm, sheet size 218 x 162 mm, both in pristine condition, framedQty: (2)NOTESProvenance: The artist to Hilaire Belloc, and by descent; Abbott and Holder Ltd, 2018, where purchased by Oliver Hoare (1945-2018). Print Collector’s Quarterly Vol. 22, No. 2, Martin Hardie, The Wood Engravings of Claire Leighton, pp. 139-165, no. 19.
Lot 471
ARR * Anderson (Stanley, 1884-1966). The Wayfarer, 1941, copper line engraving on thick cream wove paper, watermarked FK, signed in pencil, and titled The Wayfarer. (LIne Engraving), Edition 40 prints, by the artist, to lower margin, plate size 164 x 174 mm (6.5 x 6.8 ins), sheet size 268 x 293 mm (10.5 x 11.5 ins), tab-mounted to upper corners in cream card window-mountQty: (1)NOTESMeyrick & Heuser 232. With a handwritten presentation note in blue ink by the artist attached to the window-mount: 'Dear Eric. The five prints will need just an explanation. I have included "The Wayfarer" to enshrine my deep regard + love for you + Elizabeth so I beg of you to accept it for this reason. I hope you will like the subject + engraving. If you don't well, the W.P.B. or one of the least of your friends may be encumbered with it. This token needs no acknowledgement so don't set your thoughts + typewriter to work Yours Ever Stan. I hope you have not already a print of the above engraving.'
Lot 486
ARR * Burra (Edward, 1905-1976). Drag Queen, 1972, etching on pale cream wove paper, from the edition of 75 impressions, as printed by the Print Workshop, and published as a folio of 3 etchings by Alexander Postan in 1972, signed and numbered 58/75 in pencil, plate size 298 x 251 mm (11.75 x 9.9 ins), sheet size 482 x 470 mm (19 x 18 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Gloucestershire. Purchased from Lefevre Gallery, London, May 1, 1980, according to handwritten note to reverse. One of a series of 3 etchings made by Burra at the suggestion of Alexander Postan in 1971, based on a Drag Club in Hastings.
Lot 487
ARR * Burra (Edward, 1905-1976). Wednesday Night, 1972, etching on Sanders off-white wove paper, printed by the Print Workshop, and published by Alexander Postan, in an edition of 75 impressions, signed in pencil, and numbered 53/75, plate size 300 x 250 mm, sheet size 482 x 470 mm (19 x 18 ins), framed and glazed (61 x 52 cm)Qty: (1)NOTESOne of a series of three etchings made by Burra at the suggestion of Alexander Postan in 1971, based on a drag club in Hastings.
Lot 491
ARR * Sutherland (Graham, 1903-1980). Pecken Wood, 1925, etching, on fibrous buff wove paper, a very good, rich and tonal impression of the fifth (final) state with the signature added in the plate, signed in pencil and dated in Roman numerals, one of a total edition of 85 published of the third to fifth states (there was one impression printed of the first state and two of the second), published by the Twenty One Gallery, with margins, trimmed slightly unevenly, in very good condition, a band of barely discernible mount staining and two tiny brown rustmarks (?) recto and verso, remains of old tape at the upper sheet corners, plate size 132 x 185 mm, sheet size 214 x 288 mmQty: (1)NOTESDavid Ogg, ‘The Etchings of Graham Sutherland and Paul Drury’ in Print Collectors Quarterly, Vol. XVI, Part 1, 1929, see pp. 76–100, illustrated page 80; Douglas Cooper, The Work of Graham Sutherland, 1961, p.69, reproduced plate 3a; Raymond Lister, Samuel Palmer and his Etchings, 1969; Felix H. Man, Graham Sutherland: das graphische Werk 1922–1970, 1970, No. 24, reproduced. Tate Britain holds an impression of this work in the same state (Inventory no. PO2066). The plate was destroyed by 1928.
Lot 502
* Josset (Lawrence, 1910-1955). A collection of 21 etchings, various Christmas and greetings cards, etc, depicting various nativity, oast house, stable, cherub and bucolic scenes, each signed in pencil lower right and bearing Christmas greetings from the artist and family, various sizes, the largest card size 20 x 14.5 cm, together with an original pencil and wash head and shoulders drawing of a gentleman by the artist, 25 x 19.5 cm, a few small stains, mounted and a print of the sameQty: (23)
Lot 503
* Jowett (Katharine, 1890-1965). Lanterns in the Wind, Street outside Chien Men, Peking, Temple of Ten Thousand Blessings, Winter Palace, Peking, Temple of Heaven, Peking, Sunshine and Solitude in the Forbidden City, Peking, & Chien Men, Peking, 6 colour woodblock prints, each signed in pencil, several titled to lower margin, or to verso, plus one further colour woodblock print unsigned, image size 255 x 160 mm (10.1 x 6.4 ins), and similar, all framed and glazedQty: (7)
Lot 513
* Shepperson (Claude Allin, 1867-1921). Roulette: Monte Carlo, proof etching with drypoint on laid paper, watermarked F.J. Head & Co, unsigned as issued by the artist's executors, with blind embossed monogramme CF to lower left corner, published in an edition of 75 impressions, numbered 66/75 in pencil to lower right corner, plate size 22.5 x 33 cm (8.9 x 12.9 ins), sheet size 290 x 460 mm (11.5 x 18 ins), together with The Prodigal Son, circa 1907, etching on laid paper, watermarked F.J. Head & Co, a very good, dark impression, unsigned as issued by the artist's executors, in an edition of 75 impressions, numbered 57/75 in pencil to lower right, plate size 200 x 252 mm (7.9 x 10 ins), sheet size 290 x 405 mm (11.5 x 16 ins), plus Diana and the Nymphs, Mi-Careme, and The Child, all etchings printed on laid paper, watermarked F.J. Head & Co, unsigned proofs as issued by the artist's executors, in editions of 35 or 75 impressions, the first numbered 26/35, the second numbered 32/75 and the third numbered 10/75, all with good marginsQty: (5)NOTESMartin Hardie, The Etchings and Lithographs of Claude Shepperson, Print Collector's Quarterly, X, 1923, 20, 4, 8, 13 and 22.
Lot 515
ARR * Tanner (Robin, 1904-1988). Flowers of May, 1972, etching on pale cream wove paper, a trial proof, aside from the edition of 50 published by Penn Print Room in 1974, signed to centre of lower margin, and inscribed Trial Proof to lower left corner, some pale discolouration to paper, plate size 270 x 186 mm (10.6 x 7.4 ins), sheet size 375 x 300 mm (14.75 x 11.75 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 26, ii/ii.
Lot 518
ARR * Tanner (Robin, 1904-1988). The Plough, 1973, etching on pale cream wove paper, from the edition of 50 impressions, published by Penn Print Room in 1974, signed in pencil to centre of lower blank margin 'Robin Tanner fec. et. imp.', and titled by the artist 'The Plough' to lower left blank margin, plate size 161 x 188 mm (6.4 x 7.5 ins), sheet size 265 x 340 mm (10.5 x 13.5 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 30, iv/iv.
Lot 519
ARR * Tanner (Robin, 1904-1988). Wiltshire Roadmaker, 1928, etching on pale cream laid paper, watermarked Hand Made, published in an edition of 50 impressions by Penn Print Room iin 1974, signed in pencil to centre of lower margin, and numbered 30/50 in pencil to lower left blank margin in another hand, light mount stain, 2 patches of tape residue to upper and lower blank margins, plate size 98 x 150 mm (3.9 x 5.8 ins), sheet size 233 x 288 mm (9.1 x 11.4 ins), framed and glazedQty: (1)NOTESProvenance: Private Collection, Sussex, UK. Obtained directly from the artist by the current owner, who worked alongside Robin Tanner as a schools' inspector. Garton 6, iv/iv.
Lot 545
* Rothenstein (Michael, 1908-1993). Timber Felling in Essex, 1946, colour lithograph, printed by The Baynard Press for School Prints Ltd., London (S.P. 5), sheet size 49.5 x 76cm (19.5 x 30ins), framed and glazed (515 x 780 mm), 'Framers of Shaftesbury' label on verso, together with: Mozley (Charles, 1915-1991), The Ballet, 1946, colour lithograph, printed by The Baynard Press for School Prints Ltd., London (S.P. 10), sheet size 49.5 x 76cm (19.5 x 30ins)Qty: (2)NOTESTimber Felling in Essex was Michael Rothenstein's first published print.
Lot 213
DAVID JOHNSTON (AMERICAN 1933 - 2013), LE CONTRE-TENOR; BRIDGE JOINT; and PRINTER'S DEVIL etchings on paper, signed and numbered 7/30 each image size 30cm x 22cm, 30cm x 30cm, and 30cm x 22cm each, overall size 62cm x 49cm Unmounted and unframed, along with Still Pendulum, watercolour on Japanese paper, signed and dated '91, image size 48cm x 31cm, unmounted and unframed, White Tie and Tails, silkscreen print on paper, signed and numbered 98/99, image size 46cm x 31cm, overall size 70cm x 51cm, unmounted and unframed, The Black Hills, White Tie and Tails, The Cricketer and a poster, silkscreen print on paper, each signed and numbered, image size 46cm x 31cm, overall size 70cm x 51cm, all unmounted and unframed, Arizona, watercolour on Japanese paper, signed and dated '91, image size 32cm x 48cm, unmounted and unframed
Lot 222
DAVID JOHNSTON (AMERICAN 1933 - 2013), LE CONTRE-TENOR; BRIDGE JOINT; and PRINTER'S DEVIL etchings on paper, signed and numbered 8/30 each image size 30cm x 22cm, 30cm x 30cm, and 30cm x 22cm each, overall size 62cm x 49cm Unmounted and unframed, along with English Silk, watercolour on Japanese paper, signed and dated '90, image size 50cm x 32cm, unmounted and unframed, Three Shakes,watercolour on Japanese paper, signed and dated '92, image size 31cm x 31cm, unmounted and unframed, The Cricketer, silkscreen print, signed and numbered E.A.I/X, dated '78, image size 50cm x 35cm, overall size 70cm x 50cm, unmounted and unframed, Untitled, silkscreen print on paper, signed and dated '74, numbered H.C.V./X, image size 50cm x 35cm, overall size 70cm x 50cm, unmounted and unframed
Lot 228
AFTER JEAN DE BRUNHOFF (FRENCH 1899 - 1937), BABAR THE ELEPHANT print on paper, unsigned image size 20cm x 25cm, overall size 40cm x 45cm Mounted, framed and under (broken) glass, along with a contemporary school, Behind The ??, pastel on paper, signed and titled indistinctly (lower right), image size 27cm x 20cm, overall size 45cm x 36cm, mounted, framed and under glass (2)
Loading...-
314783 item(s)/page