We found 75501 price guide item(s) matching your search

Olga SIEVERS (1902-1965) Les Sylphides Wood etching and staining depicting a scene from The Ballet Blanc 'Les Sylphides', signed and titled, 37.5cm x 51.5cm, 55.5cm x 70.5cm framed.

Robert Kent THOMAS (1816-1884) Sandyhurst College Etching, signed to margin, plate 12cm x 20.5cm 31cm x 39.5cm framed.

Susannah CLEMENCE (1953) The Quarrel Artist's proof etching, signed and titled, plate size 20cm x 25cm, 43.5cm x 48.5cm framed.

Anthony GROSS (1905-1984) Untitled Etching, engraving & intaglio print, Oxford University Press, 1970, image size 10cm x 10cm; together with original works and sketches from artists including Peter Clough, Isobel Atterbury Heath and Reina de Weijer. (Qty)

GRACE GARDNER (1920-2013) I must be dreaming. Etching aquatint, artists proof, signed and inscribed in pencil, 11.5 x 24.5cm.

Valerie DAVIDE (1938-2017) Three Mixed Media Works Each signed, one mounted on a card inscribed 'Jenny & Andrew, with many thanks, love Val', largest 29.5cm x 42cm, together with three original works by Judy Lusted; Robbie MACGREGOR (1955) Cockerel, Watercolour, signed and dated 2009, 22.5cm x 31cm; together with an Isobel Vargis etching, numbered 22/50, plate size 7.5cm x 14cm; and six other works, mostly unsigned (14) (6) Shipping is available from £32.50 to a UK Mainland address.

Gabrielle MOORE Nude Etching, signed and inscribed, numbered 5/50, plate size 14 x 9cm, 35 x 25cm framed.

Luigi KASIMIR (1881-1962) Archway Etching in colour, signed, 33cm x 29cm, 53cm x 46cm.

ARR AFTER DAVID HOCKNEY (b.1937) *ARR'French Shop - Alimentation', etching with aquatint in black and red, number 261 of a limited edition of 500, signed and dated (19)71 in the margin, some foxing,62.5 x 55cm. there is foxing throughout and staining. It is framed and glazed. No restoration as far as we are aware. Brought by the current vendor in 1971 from the Observer.

AFTER WILLIAM LIONEL WYLLIE (1851-1931)Battleships in a Harbour, etching, signed in pencil in the margin,15 x 27cm.

ARR LEONARD RUSSELL SQUIRREL (1893-1979) *ARRThe Picnic, watercolour, etching, signed and titled in the margin, unframed,27 x 38cm.Two other signed prints, by the same hand. (3)

ARR LEONARD RUSSELL SQUIRRELL (1893-1979) *ARRClay Church, Norfolk, looking to Blakeney, etching signed and titled in the margin in pencil,17 x 29cm.Another, by the same hand 'Cromer'. (2)22 x 32cm. paper is very yellow.

AFTER WILLIAM LIONEL WYLLIE (1851-1931)Battleships in Calm Waters, etching, signed in pencil in the margin,22 x 34cm.

ARR LEONARD RUSSELL SQUIRREL (1893-1979) *ARRHyde Park Corner, etching, signed and titled in the margin, unframed,19 x 26.5cm.

AFTER WILLIAM LIONEL WYLLIE (1851-1931)HMS Victory at Portsmouth, etching, signed in pencil in the margin,20 x 29.5cm.

Mid XIX Century English Percussion Side Lock Pistol by Hegley, London, ornate etching to hammer, lock plate and trigger guard, proof marks to barrel.The Pistol action appears to function correctly but we are unable to guarantee working order

Mid-Late XIX Century English Percussion Side Lock Pistol, with folding bayonet, top of barrel engraved by Crickmay Portsmouth, ornate etching to hammer, case, trigger guard and muzzle with stirrup ramrod.Pistol Length approximately 24cm, pistol length with bayonet extended approximately 32cm

XIX Century British Pattern 1845 Sword and Scabbard, by Henry Wilkinson, Pall Mall, London, ornate etching to blade, Victoria Royal Cypher to hilt and fishskin grip.SERIAL NUMBER 29747

* CHARLES MURRAY (SCOTTISH 1894 - 1954), RAIN, PORT BANNATYNE, BUTE drypoint etching on paper, signedmounted, framed and under glassimage size 17cm x 25cm, overall size 38cm x 45cm Provenance: The Scottish National Gallery of Modern Art hold a copy of "Rain, Port Bannatyne, Bute" (purchased in 1964). Their website suggests a date of 1930.Note: Charles Murray was born in Aberdeen and studied at the Glasgow School of Art for three years. He served with the ‘White Army’ in Russia from 1918-20, joining a diverse group of counter-revolutionary forces who fought against the Bolsheviks. On his return to Glasgow, Murray won the highly coveted "Prix de Rome" for etching and studied at the British School in Rome from 1922-25. He travelled extensively in Europe but came back to Scotland in 1926 to teach engraving at the Glasgow School of Art (where he taught and inspired Ian Fleming RSA RSW RGI), and later lived in Leeds and Middlesex. He produced paintings and etchings in a style influenced by Mannerism. Murray had his first major one-man show at The Leicester Galleries (London) in 1946 and another at Batley Art Gallery in 1950. There was a Memorial exhibition at Temple Newsam House (Leeds Museum & Art Galleries) in 1955 and an Edinburgh International Festival show at the Merchant Company Hall in 1977. Murray's paintings have always attracted academic acclaim and the Tate bought one of his paintings in 1940. His work is held in UK Public collections including at Glasgow Museums & Art Galleries, the Arts Council Collection (Southbank Centre), Bradford Museum & Galleries, the Ferens Art Gallery, The Hepworth, Leeds Art Gallery and Museums, Kirklees Museum & Galleries, Sheffield Museums, Aberdeen Art Gallery & Museums and Tate (London).

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 161mounted, framed and under glass image size 37cm x 50cm, overall size 52cm x 62cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.

* IAN FLEMING RSA RSW RGI (SCOTTISH 1906 - 1994), UNTITLED etching on paper, studio stamp verso, no. 171mounted, framed and under glass image size 37cm x 50cm, overall size 61cm x 77cm Provenance: the artist's studio sale.Note: Ian Fleming was born in Glasgow and studied drawing, painting and printmaking at Glasgow School of Art. After graduating, he worked with etcher Charles Murray, and then travelled on an art school scholarship to London, Paris and Spain. In 1931 Fleming started teaching at Glasgow School of Art. During this time he met William Wilson, with whom he exchanged print-making ideas. He served in the police and army during the second world war and continued sketching and printmaking throughout. Notable are the prints he made of the Glasgow blitz. After the war Fleming taught again at Glasgow School of Art and at Hospitalfield, Arbroath. At this time he moved towards painting, rather than print-making, producing landscapes, harbours and portraits both in oil and watercolour. Fleming was principal of Gray's School of Art between 1954 and 1971. He continued in printmaking after his retirement. He died at Aberdeen.

* GERALD LESLIE BROCKHURST RA (BRITISH 1890 - 1978), UNA etching on paper, signedmounted, framed and under glassimage size 21.5cm x 16cm, overall size 56cm x 47cm

Rachael Kantaris (b.1967) – 'Cobalt Crush', limited edition etching in colours, signed and numbered 12/20 in pencil below, 49 x 66 cm, frame dimensions: 77 x 91 cm, glazed and framed

A large collection of watercolours, an oil painting and prints, to include: watercolour and acrylic paintings by: Parker Hagarty, Jane A. Cooper, Sheppard, Barabara Ashton and Ruth Fisher; an oil painting signed M. Sheppard; A c.19th century engraving of The Hamilton vase and one other unsigned etching; together with a print after Salvador Dali (22)

Anna Pugh – 'New Year’s Eve' (1984), limited edition etching, signed, dated, titled and numbered 46/200 in pencil below, 28 x 32 cm, framed

▲ John Buckland Wright (1897-1954) 'Bathers'woodcut, signed and dated 'John Buckland Wright 1946' in pencil l.r.13.5 x 19.5cm, framed, and Charles W Cain (1893-1962) 'Indian Silversmith'etching, signed and dated 1875, 23 x 28cm, framed (2)Condition ReportBoth mounted , glazed and framed. Fair but glass dirty.

GRAHAM CLARKE - an etching entitled 'Harbour' Limited Edition number 1/100, signed in pencil by the artist to the mount - 58cm x 70cm

An early 20th century Chinese silver cylindrical box with domed lid, gilt interior, melon finial, with profuse seaweed etching and embossed decoration, maker's mark to base, 10 cm H, light wear to rim

James Gillray (1756-1815) 'The King Brobdingnag and Gulliver (Plate 2nd) Scene - Gulliver Manoeuv'ring with his Little Boat in the Cistern'hand-coloured etching, published by H Humphrey, London, 180435 x 46cmCondition ReportFramed: 49 x 60cmFoxing and time staining. Light creasing. Viewed out of the frame there are dirty marks and smudges to the margins. There two red marks to the margin l.c. The corners are a little dog-eared. The upper right corner and lower left corners have fold marks. The print has been stuck down on board and the sheet measures 40 x 52.5cm. There is a 4cm tear to the centre of the left edge. Please see additional images.

Sheila Oliner (British, 1930 - 2020), Sunset, etching, titled lower centre, inscribed lower left A/P (Artist's Proof) and numbered X/XV (10/15), signed in pencil lower right, 74 x 57.5cm and another by the same artist, female nude in profile, etching, inscribed lower left A/P and signed in pencil lower right, 74 x 57.5cm (2)

Herbert G Hampton (1889 - 1943), The Mall from Hammersmith Bridge, etching, signed in pencil lower right and titled lower left, 18 x 20.5cm, framed and glazed

Continental school, collection of five views of Prague - including Charles Bridge, each hand-coloured etching, inscribed in pencil and a print of Prague, indistinctly signed in pencil lower right and dated '96, inscribed E.A. lower left, all framd and glazed (6)

Julia Manning (British, contemporary) 'Raven's Nest', Skokholm Island, Pembrokeshire etching and lino blocks, signed, titled and numbered 1/5 to lower margin, stepped light oak frame 50 x 118cm, frame size 84 x 149cm * Provenance: Purchased from the artist, 2017. Copy of original purchase invoice will accompany the lot.

After Sir Edwin Landseer The Rivals, spaniel and pug black and white etching, etched signature and date 1893 plate size 6½ x 8¾in. (16.5 x 22.5cm) Condition: Acidic discolouration and superficial spotting throughout

Richard Earlom after Claude Lorraine Plates 87 and 99 from Liber Veritatis etching with brown mezzotint 8¾ x 10¾in (22 x 27.5cm), frames 46 x 49.5cm 'From the Original Drawing in the Collection of the Duke of Devonshire - published May 1st 1775  by John Boydell engraver in Cheapside' (Plate 87 - A Shepherd and Shepherdess tending Cattle, and Horsemen galloping over a distant bridge.) (Plate 99 - Apollo and the Cumaean Sybil. The latter sits on a fragment of building in the foreground of a beautiful landscape in which is perceived a distant view of the Sea.)

Michael Mattingley (British, contemporary) Two works - oil on board and etching, comprising: 1. 'Cotswold Barns', oil on board, signed lower left, 4¾ x 9¾in (12.1 x 24.7cm) 2. 'Winters Morning', colour etching, A/P, signed and titled in pencil, 11½ x 8½in (29.2 x 21.6cm)

**Harry Norman Eccleston OBE (British, 1923-2010) 'Tapping' etching, signed, dated 1979, titled and numbered /59/70 to lower margin, painted and parcel gilt frame 34.3 x 23.5cm, frame size 62 x 45cm  **(Subject to ARR)

Limited Edition Publications, (No 75)with original signed etching Black Cat and Lily, (15 of 60) by Elizabeth Blackadder.

After Emil Nolde - 'Lausbuben'  etching & aquatint (1908)  bears a pencil signature  9" x 6.25"  framed

* EILEEN ALICE SOPER (BRITISH 1905 - 1990), WET SANDS etching on paper, signed, titled label verso mounted, framed and under glassimage size 15cm x 20cm, overall size 47.5cm x 40cm Label verso: John Mathieson & Co, Edinburgh

* FRANCES WALKER CBE RSA RSW (SCOTTISH b. 1930) FINNISH LANDSCAPE limited edition etching on paper, signed and numbered 16/30unframedoverall size 58cm x 80cmNote: born in Kirkcaldy in 1930 Frances Walker studied at Edinburgh College of Art and then took up a post as visiting teacher of art for the Hebrides . This experience engendered in her a life-long love of wild and desolate places and since then she has chosen to depict the most remote landscapes, her compositions usually based on coastal reaches, craggy rocks and deserted beaches. Moving to Aberdeen , Walker took up a post at Gray's School of Art where she taught for many years. After retirement she has since divided her time between Aberdeen and the Western Isles, especially Tiree, where she owns a thatched cottage, but more recently has also travelled further afield - her latest inspiration being the even wilder and more desolate landscape of Iceland.

* GERARD BURNS (SCOTTISH b. 1961), HAMMER limited edition etching on paper, signed and numbered 5/10mounted, framed and under glassimage size 11cm x 12cm, overall size 41cm x 45cm

* JOCK MCFADYEN RA (SCOTTISH b. 1950), TREVOR colour etching on paper, signed, titled and numbered 15/15, from the 'Canal Suite'mounted, framed and under glassimage size 50cm x 40cm, overall size 82cm x 63cm Handwritten label versoLabel verso: William Jackson Gallery, LondonNote: Jock McFadyen was born in Paisley in 1950 and moved to England aged 15 in 1966. He gained his BA and MA from Chelsea School of Art which he attended from 1973 to 1977. His first solo show was held at the Acme Gallery in London in 1978. Since then he has had over 40 solo exhibitions including at the National Gallery (residency show), Camden Arts Centre, the Imperial War Museum, Manchester Art Gallery, Kelvingrove Art Gallery and Museum, Talbot Rice (Edinburgh Festival) and the Pier Art Centre (St Magnus Festival). His work has been included in many mixed exhibitions in the UK and abroad including John Moores, Hayward Annual and The British Art Show. In 1981 McFadyen was appointed Artist in Residence at the National Gallery, London and a decade later he was invited to design sets and costumes for Sir Kenneth MacMillan’s last ballet, The Judas Tree (1992) at the Royal Opera House, Covent Garden. McFadyen was elected to The Royal Academy of Arts in 2012 and in 2019 was coordinator of that year’s Summer Exhibition. Starting in 2020, 4 solo exhibitions were held to celebrate McFadyen’s 70th birthday: Jock McFadyen Goes to the Pictures (City Art Centre, Edinburgh); Jock McFadyen: Lost Boat Party (Dovecot Studios, Edinburgh); Jock McFadyen Goes to The Lowry: A Retrospective (The Lowry, Salford) and in 2022, Jock McFadyen: Tourist without a Guidebook, Royal Academy, London. McFadyen’s work is held in 40 public museum collections including Tate, the National Gallery, the V&A, the British Museum and the Scottish National Gallery of Modern Art as well as many corporate and private collections in the UK and abroad. McFadyen lives and works in London, Edinburgh and France.

* ANDA PATERSON RSW RGI PAI (SCOTTISH 1935 - 2022), GLASGOW DUST CART limited edition etching on paper, titled and numbered 1/25mounted, framed and under glassimage size 20cm x 25cm, overall size 41cm x 53cmNote: Painter and administrator, born in Glasgow, married to the artist James Spence. With him she founded the Glasgow Group in the late 1950s, which did much to promote an interest in contemporary art in the west of Scotland and elsewhere. Paterson studied at Glasgow School of Art, in Spain and Portugal. She was elected RSW in 1966 and to Royal Glasgow Institute of the Fine Arts in 1978, and was a winner of the Anne Redpath and Latimer Awards. She showed in mixed exhibitions in Scotland and abroad and had a solo show at Compass Gallery, Glasgow, in 1971, being included in The Compass Contribution at Tramway, Glasgow, in 1990. Paterson was noted for her unusual pictures of ordinary people, often old, lonely and hard-up, which she treated with sympathy. Her work is held by Scottish Arts Council, Arts Council of Northern Ireland and New York Print Workshop.

* CAT OUTRAM, GAYFIELD SQUARE limited edition coloured etching on paper, signed, titled, numbered 6/50 and dated 2014mounted, framed and under glassimage size 23cm x 25cm, overall size 42cm x 42cm

Bernard Howell Leach (British, 1887-1979), Single Tree, signed l.l., etching No.10/25, 21 by 8cm, framed. Note: Artist Resale Rights apply

Theodore Casimir Roussel (French, 1847-1926), Portrait of Miss Hetty Pettigrew (1908), signed on a tab below, drypoint etching, 26 by 14.5cm, framed. Provenance: with The Parkin Gallery, London

Paul Cezanne (French, 1839-1906), Paysage a Auvers - Entree de Ferme Rue St. Remy (1873), etching, probably printed on Dr. Gachet's press of ten impressions, 13 by 10.5cm, framed. Note: Cherpin 5; Leymarie-Melot 5 before the plate was steel-faced. The first published issue was in 1914 by Bernheim Jeune for the album Cezanne. Edition of 600. Provenance: with William Weston Gallery, London

Edgar Degas (French, 1834-1917), Sur la Scene No.3. On Stage No.3, (1876-1877), etching, issued by Amboise Voillard in an edition of 150 issued for an exhibition catalogue of the Societe des Amis des Arts de Pau, c.1876/77 with some 40 impressions traced, signed in the plate, 9.5 by 12cm, framed. Note: from the first edition printed from cancelled plate 1910/15. Delteil 32; Reed-Shapiro 24 vi/vi. Provenance: with William Weston Gallery, London

Theodore Casimir Roussel (French, 1847-1926), The Agony of Flowers (1890-1895), softground etching and aquatint, 44 by 35cm, framed. Catalogue Raisonne: Hausberg 45

Charles Prosper Sainton (British, 1861-1914), Spirit of the Marsh, signed l.r., titled on the mount below, silverpoint etching, 34 by 27cm, gilt frame

Henri de Toulouse-Lautrec (French, 1864-1901), Charles Maurin (1898), drypoint etching, 17 by 9.5cm, gilt frame

Theodore Casimir Roussel (French, 1847-1926), Laburnums at Battersea (c.1879), drypoint etching, signed to a tab below, 34 by 22cm, framed. Note: Hausberg 34

David Hockney R.A. (British, 1937), Dog Etching No.11, from Dog Wall, signed and dated 1998 l.r., etching No.28/35, 22 by 26.5cm, framed. Provenance: with Alan Cristea Gallery, London. Note: Artist Resale Rights apply

Robin Tanner (British, 1904-1988), Autumn, signed l.c., titled and dated 1930 verso, etching, 33 by 31cm, framed. Note: Ref Garton 18, state ii/ii, from the edition of twelve published by Garton and Cooke in 1982. Note: Artist Resale Rights apply

Denny, Thomas, Glory, Azure & Gold - Twelve Stained-Glass Windows, 2015, No.38/125, Reed Contemporary Books, in a slip-case with a signed etching, No.38/120

William Lionel Wyllie (British, 1851-1931), Victory Breaking the Line at Trafalgar, signed l.l., etching, 12 by 16cm, framed

Paul Cezanne (French, 1839-1906), portrait of Armand Guillaumin (1873), etching, 15 by 10.5cm, gilt frame

Robin Tanner (British, 1904-1988), Christmas Card for 1929, titled verso, etching, 15 by 10cm, framed. Ref: Garton 10 only state. Note: one of 200 impressions sent to friends. Provenance: the Collection of Raymond Lister, author, collector and friend of the artist. Note: Artist Resale Rights apply

TALL ART NOUVEAU VASE | Moser, Karlovy Vary, Carlsbad (Czech / Bohemian) | laminated glass, etched flower decor, design by O. Tausek | 46.5 cm | Lot description | This beautiful Art Nouveau vase comes from the famous Moser glassworks and is the work of the glass artist Tausek. The vase is decorated with etched-out decor with the motif of stylized leaves that elegantly wind across the surface. The Art Nouveau aesthetic, typical of this era, is reflected in flowing, organic shapes and an emphasis on natural motifs. The tinting of the glass goes from soft yellowish and orange hues to deep green tones at the top of the vase, giving the whole piece a subtle color dynamic. The etching technique and masterful processing of details underline the high quality of work that made the Moser glassworks famous throughout Europe. This is a very rare vase that only rarely appears on the market. This collector's item is a fine example of the craftsmanship and artistic sensibility that defined glass production at the turn of the 19th and 20th centuries. | Bidders are asked to inquire about the condition of the item before the auction. any complaints will not be taken into account. | condition report*In case of missing photos, please feel free to contact us.