We found 78186 price guide item(s) matching your search

Rembrandt Harmensz. van Rijn (1606-1669)Jan Asselyn, PainterEtching, engraving and drypoint, circa 1647, but a later impression of New Hollstein's fifth or sixth state (of seven), printing with plate tone on laid paper without watermark, showing signs of wear in the densely cross hatched areas, thread margins to right edge, but otherwise trimmed to or within the platemark, minor spotting and surface dirt, sheet 194 x 171 mm (7 5/8 x 6 3/4 in) (unframed)Literature:Bartsch 277; New Hollstein 236 v-vi/vii 

Tracey Emin (b.1963)Love YouPolymer gravure etching, 2013, signed, titled and dated in pencil, numbered from the edition of 200, on wove paper, with full margins, sheet 346 x 350mm (13 5/8 x 13 3/4in)

Salvador Dalí (1904-1989)A Shattering Entrance on the American Stage, from After 50 Years of Surrealism (Field 74-8H; M&L 673)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from edition F of 195, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, and their inkstamp verso, and with the accompanying title-page, on BFK Rives wove paper, full margins, sheet 655 x 500mm (25 1/2 x 19 3/4in)

Joan Miró (1893-1983)Plate V, from Série Mallorca (Dupin 614)Etching with aquatint printed in colours, 1973, signed in pencil, numbered from the edition of 50, printed by J. -J. Torralba, Barcelona, published by Sala Pelaires, Palma de Mallorca, on Guarro wove paper, with full margins, sheet 720 x 890mm (28 3/8 x 35in) Provenance: Ex coll. Ed Ruscha; Acquired from the above by the present owner.

Julian Trevelyan (1910-1988)Little Fool, from Surrealist Prints I (Turner 53)Etching with aquatint extensively hand-finished with gouache, 1937, printed 1971, signed, titled and dated 1937 in pencil, from the second edition of 20, printed by the artist, London, published by Leslie Waddington Prints Ltd., London, on Crisbook wove paper, sheet 399 x 286mm (15 5/8 x 11 1/4in)

Harland Miller (b.1964)In Shadows I BoogieThe complete boxed set, 2019, comprising an etching with letterpress and relief printing in colours, signed in pencil, numbered from the edition of 100 verso, on wove paper, with the monograph, with title-page, text and illustrations, signed and numbered from the edition of 100 in black ink, bound as published, both housed within the original fitted box, overall 345 x 253 x 45mm (13 1/2 x 9 7/8 x 1 6/8in)

Damien Hirst (b.1965)Beautiful Exotic Stretching Etchy Spinning Void Etching, from StützmappeEtching printed in colours, 1995, signed in pencil, numbered from the edition of 50, published by Contemporary Fine Arts, Berlin and Niels Borg Jensen, Copenhagen, on Zerkall Butten wove paper, with full margins, sheet 440 x 380mm (17 3/8 x 15in)

Salvador Dalí (1904-1989)The Sacred Love of Gala, from After 50 Years of Surrealism (Field 74-8J; M&L 674)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from edition F of 195, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, and their inkstamp verso, and with the accompanying title-page, on BFK Rives wove paper, with full margins, sheet 652 x 497mm (25 3/4 x 19 1/2in)

Pierre-Auguste Renoir (1841-1919)La Danse à la campagne (Delteil 2)Softground etching with platetone, circa 1890, with the artist's signature stamp, on wove paper, with full margins, sheet 325 x 250mm (12 3/4 x 9 7/8in)

Rembrandt Harmensz. van Rijn (1606-1669)A Hurdy-Gurdy Player followed by Children at the Door of a House (‘The Schoolmaster’)Etching, 1641, a good impression of New Hollstein's first state (of four), before any rework, on laid paper without watermark, sheet 93 x 63 mm (3 5/8 x 2 1/2 in), trimmed to or just within the platemark, lower edge and right edge trimmed to image, slightly rough edges with signs of restoration to nicks and small tears at extremities, even toning to sheet (unframed)Literature:Bartsch 128; New Hollstein 191 i/iv

Rembrandt Harmensz. van Rijn (1606-1669)The Stoning of Saint StephenEtching with touches of engraving, 1635, but a later impression of New Hollstein's third state (of four), on laid paper without watermark, printing darkly with light wear in the densely cross hatched areas, platemark 96 x 84 (3 3/4 x 3 1/4 in), sheet 100 x 87 mm (4 x 3 1/2 in) (unframed)Literature:Bartsch 97; New Hollstein 140 iii/iv

Salvador Dalí (1904-1989)Gala's Castle, from After 50 Years of Surrealism (Field 74-8K; M&L 675)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from edition F of 195, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, and their inkstamp verso, and with the accompanying title-page, on BFK Rives wove paper, with full margins, sheet 653 x 500mm (25 1/2 x 19 3/4in)

Rembrandt Harmensz. van Rijn (1606-1669)Jan Cornelis SylviusEtching, 1633, but a later impression of New Hollstein's third state (of three) with the mezzotint rocker rework, showing signs of wear in the densely cross hatched areas, laid onto old paper support, trimmed to or just within the platemark, some plate tone, sheet 164 x 140 mm (6 3/8 x 5 1/2 in) (unframed)Literature:Bartsch 266; New Hollstein 124 iii/iii

Frank Auerbach (1931-2024)BillEtching, 2009, signed and titled in pencil, numbered from the edition of 100, printed by Studio Prints, London, as included in the deluxe book published by Rizzoli International Publications, New York, on wove paper, with full margins, sheet 225 x 198mm (8 7/8 x 7 3/4in)Together with the deluxe book (2)

Victor Pasmore (1908-1998) Il Labirinto della Psiche (Lynton G40)Etching with aquatint printed in colours, 1986, initialled and dated in pencil, numbered from the edition of 90, printed by Vigna Antoniniana Stamperia d'arte, Rome, with their blindstamp, co-published by Marlborough Fine Art, London, and 2RC Edizioni d'arte, Rome, with the 2RC blindstamp, on Fabriano wove paper, with full margins, sheet 1035 x 1610mm (40 3/4 x 63 3/8in)

Rembrandt Harmensz. van Rijn (1606-1669)Christ healing the Sick: 'The Hundred Guilder Print'Etching with drypoint and engraving, circa 1648, but a later impression on cream laid paper without watermark, before Captain Baillie's rework but with substantial wear in the plate, thread margins, tipped onto paper supper at left corners, sheet 284 x 397 mm (11 1/4 x 15 5/8 in) (unframed)Literature:Bartsch 74; New Hollstein 239 ii/iv

Roy Lichtenstein (1923-1997)Illustration for 'Une Fenêtre ouverte sur Chicago', from La Nouvelle Chute de l'Amérique (Corlett 271)Etching with aquatint printed in colours, 1992, initialled in pencil, numbered from the edition of 80, as included in 'La Nouvelle Chute de l'Amérique', printed by Atelier Dupont-Visat, Atelier Dupont-Visat, l'Inéditeur, published by Les Editions du Solstice, Paris, on Arches paper, with full margins, sheet 481 x 353mm (18 7/8 x 14in)

Rembrandt Harmensz. van Rijn (1606-1669)Self Portrait in a Velvet Cap with PlumeEtching, 1638, but a later impression of New Hollstein's third state (of four) before the signature was redrawn, on laid paper with partial watermark, some signs of careful restoration to upper corners, platemark 135 x 105 mm (5 1/4 x 4 1/8 in), sheet 139 x 110 mm (5 1/2 x 4 1/4 in) (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv 

Salvador Dalí (1904-1989)Le Jugement de Paris, from Suite Mythologique Nouvelle (Field 71-8F; M&L 485a)Drypoint with etching and pochoir in colours, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 150, printed by Ateliers Rigal, published by Vision Nouvelle, on BFK Rives wove paper, with full margins, sheet 756 x 565mm (29 3/4 x 22in)

Pablo Picasso (1881-1973)Modèle nu et sculptures (Bloch 185)Etching, 1933, signed in pencil, from the edition of 250, as included in La Suite Vollard, published by Ambrose Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 338mm (17 1/2 x 13 1/4in)

Pablo Picasso (1881-1973) after.Nature Morte (Ginestet et Pouillon E652)Etching with aquatint printed in colours, 1927, signed in pencil, numbered from the edition of 200, published by Galerie Bernheim-Jeune, Paris, on wove paper, with full margins, 498 x 646mm (19 5/8 x 25 3/8in)

Joan Miró (1893-1983)Untitled, from La Bague d'Aurore (Dupin 138; Cramer 45)Etching with aquatint printed in colours, 1958, signed in pencil, numbered from the edition of 60, printed by Atelier Crommelynck, published by Louis Broder, Paris, on BFK Rives paper, with full margins, sheet 376 x 282mm (14 1/2 x 11 1/8in)

Marc Chagall (1887-1985)Jacob's Ladder, from The Bible (Cramer 30)Etching hand-finished with watercolour, 1958, initialled in pencil, numbered from the edition of 100, printed by Raymond Haasen, published by Tériade Éditeur, Paris, on Arches paper, with full margins, sheet 440 x 330mm (17 1/4 x 13in)

Pierre-Auguste Renoir (1841-1919)Femme nue assise (Delteil 12; Stella 12)Etching, c.1906, on laid paper with Fortune watermark, with full margins, sheet 310 x 238mm (12 1/4 x 9 3/8in)

Rembrandt Harmensz. van Rijn (1606-1669)The Star of the Kings: A Night PieceEtching with drypoint, circa 1652, but a later impression of New Hollstein's third or fourth state (of four), on coarse laid paper with much wear in the plate and some blooming, partial thread margins visible in sections to the lower edge, otherwise trimmed to or within the platemark, sheet 94 x 140 mm (3 5/8 x 5 1/2 in) (unframed) Literature:Bartsch 113; New Hollstein 263

Rembrandt Harmensz. van Rijn (1606-1669)Studies of the Head of Saskia and OthersEtching, 1636, but a later probably 18th century impression of New Hollstein's first state (of two), before any rework printing with plate tone on cream laid paper without watermark, thread margin to lower edge but otherwise trimmed to or just within the platemark, sheet 153 x 127 mm (6 x 5 in) (unframed)  Literature:Bartsch 365; New Hollstein 157 i/ii

Howard Hodgkin (1932-2017)Dawn (Heenk 106)Lift-ground etching with aquatint printed in colours, extensively hand-coloured in acrylic, 2000-02, initialled, inscribed 'A.P.' and dated in pencil, an artist’s proof aside from the edition of 60, printed by Jack Shirreff at 107 Workshop, Wiltshire, published by Alan Cristea Gallery, London, on wove paper, the full sheet printed to the edges, sheet 265 x 323mm (10 1/4 x 12 1/2in)

Henri Matisse (1869-1954) after.Odalisque sur la Terrasse (Ginestet et Pouillon E633)Etching with aquatint printed in colours, 1922, signed in black ink, numbered from the edition of 200, published by Galerie Bernheim-Jeune, Paris, on Arches paper, with full margins, sheet 625 x 860mm (24 5/8  x 33 3/4in)

Frank Auerbach (b.1931)Leon Kossoff, from Six Etchings of Heads (Hartley 11) Etching, 1980, signed, titled and dated in pencil, numbered from the edition of 50, printed by Terry Wilson of Palm Tree Studios, published by Marlborough Graphics Ltd., London, with the printer's blindstamp, on Arches paper, with full margins, sheet 404 x 342mm (15 7/8 x 13 1/2in)

Salvador Dalí (1904-1989)The Divine Back of Gala, from After 50 Years of Surrealism (Field 74-8B; M&L 669c)Etching with drypoint and pochoir in colours, 1974, signed in pencil, numbered from edition F of 195, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, and their inkstamp verso, and with the accompanying title-page, on BFK Rives wove paper, with full margins, sheet 653 x 502mm (25 1/2 x 19 3/4in)

Pablo Picasso (1881-1973)Tête (Bloch 1164)Etching and aquatint printed in colours, 1964, signed in pencil, a proof aside from the edition of 50, on Richard de Bas Auvergne laid paper, with full margins, sheet 560 x 408mm (22 x 16in)

Pablo Picasso (1881-1973)Femme Nue Se Couronnant de Fleurs, from the Suite Vollard (Bloch 135)Etching, 1930, signed in pencil, the total edition was 303, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 445 x 334mm (17 1/2 x 13 1/8in)

Rembrandt Harmensz. van Rijn (1606-1669)Saint Jerome in a dark ChamberEtching, burin and drypoint, 1642, but a later impression of New Hollstein's final state (of 3), a good impression but with signs of wear in the densely cross hatched areas, on laid paper without watermark, platemark 152 x 172 mm (6 x 6 3/4 in), sheet 170 x 195 mm (6 3/4 x 7 5/8 in) (unframed)Literature:Bartsch; New Hollstein 212 iii/iii

Pablo Picasso (1881-1973)Flûtiste et Jeune Fille au Tambourin, (Bloch 213)Etching, 1934, signed in pencil, the total edition was 303, as included in La Suite Vollard, published by Ambroise Vollard, Paris, on Montval laid paper, with the Picasso watermark, with full margins, sheet 427 x 339mm (16 7/8 x 13 3/8in)

Pablo Picasso (1881-1973)Modèle et Grande Sculpture de Dos, from La Suite Vollard (Bloch 186)Etching, 1933, signed in pencil, from the total edition of 310, printed by Lacourière, published by Ambroise Vollard, Paris, on Montval laid paper with the Vollard watermark, with full margins, 445 x 340mm (17 1/2 x 13 3/8in)

Pablo Picasso (1881-1973)Plate 11, from Le Cocu Magnifique (Bloch 1254; Cramer 140)Etching with drypoint, 1966, signed in pencil, numbered from the edition of 30, printed and published by Atelier Crommelynck, Paris, on Auvergne Richard-de-Bas wove paper, with full margins, sheet 370 x 478mm (14 1/2 x 18 3/4in)

Pablo Picasso (1881-1973)Dormeuse et Sculptures (Bloch 258)Etching, 1933, signed in pencil, one of fifteen unnumbered artist's proofs aside from the edition of 50, published in 1961 by Galerie Louise Leiris, Paris, on Arches laid paper, with full margins, sheet 412 x 318mm (16 1/4 x 12 1/2in)

William Lionel WyllieLondon DocksAn Etching Signed in pencil in the margin15 x 34.5cmTogether with a companion Fairway to Portsmouth Harbour (a pair)

William Lionel Wyllie "H.M.S. Victory at Portsmouth Harbour" Signed in pencil in the margin, Etching.21 x 49cm

ISRAEL SILVESTRE 'Fountainbleau' etching, 4.25" x 6.25" (10.5cm x 16cm) and another etching after Millet of a woman spinning, 5.25" x 3" (13.5cm x 7.5cm)

Three pastel and watercolour portrait studies, a silverpoint etching and an 18th century engraving. (5)

Sarah Cawkwell. A Seamstress. Etching artist proof, pencil signed dated 1993. 26 x 21 cm. 

Richard Beer. (b. 1928) Spanish Steps. Etching limited edition. Pencil signed and titled. Labelled verso. Sheet size 59 x 78.5 cm.

Late 20th century. Lear limited edition colour etching. Signed indistinctly dated 91. 20 x 32 cm. 

George Soper (1870-1942). Going tro Work. Etching. Signed in pencil. 28 x 17 cm.

Bammes. Early 20th-century. Dresden. Watercolour, signed and dated 1917 together with an 18th-century engraving, an etching by Charles Watson, a modern watercolour and a photographic print. 

20th-century school. Pencil signed limited edition etching. Signed indistinctly. 44 x 34 cm. 

John Brunsdon, British 1933-2014. Tenby, South Wales. Etching with aquatint. Signed and numbered 37/150 in pencil. 40.5 x 44.5cms

Roy Perry. The Angel, Henley-On-Thames. Watercolour. Three further watercolours, an etching and a print.

Eileen Alice Soper (1905-90), The Race, drypoint etching signed in pencil by the artist, 12cm x 19cm (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

James Gillray (1757-1815), Homer singing his verses to the Greeks, aquatint etching, published 1797 by Humphry, 27cm x 34cm; also Thomas Rowlandson, The huntsman rising, aquatint etching, 16cm x 23cm; and Henry Alken, Illustrations to popular songs, published by Thomas McLean, 22.5cm x 28cm (3) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satisfy yourself as to condition. If you are unable to view and a condition report is not already available, please request one and it will be provided in writing).

A British 1796 Pattern Heavy Cavalry Officer's Dress Sword, the 83cm double edge tapering steel blade with a central narrow fuller to each side, faintly etched with Royal coat of arms, crossed standards, foliage and OSBORN WARRANTED within a scroll, the gilt brass stirrup hilt with boat shape guard, ribbed wood grip and baluster pommel, lacks scabbard, 101cm; an Ornamental Sword, with plain 75cm double edge steel blade, bronze hilt with recurving crossguard and loop guard bar, ribbed wood grip and plain pommel, lacks scabbard, 91.5cm (2)Cavalry sword with very dark blade and faint etching. Grip lacks wire binding. Wear to gilding .

Pauline Bradley (b.1944) Alison, artist proof, signed and dated 91 lower right in pencil, etching, 23.5cm x 18.9cm (PL), frame 39cm x 31.5cm, along with 'Vu in the Shade', Var I, signed and dated 2015 lower right, numbered 1/4, etching and lithograph by the same hand, 19cm x14cm (PL), frame 30.5cm x 25.5cm (2)

ARR Rowena Pearce (Contemporary) Water in Tumult, initialed in pencil lower left, dated 1989 on the back, monoprint with oil, 36cm x 34.8cm (SH), frame 53.6cm x 57.8cm, together with Rachel Kantaris (Australian, b.1967) Lambada La Paz, signed lower right in pencil, numbered 12/12, etching, 24cm x 55.7cm (PL), frame 49cm x 79.7cm (2)

ARR John Emanuel (British, 1930-2024) Nude Study, etching in colours, 40cm x 26.5cm, 65cm x 51cm frameProvenance: private collection, purchased from John Boulton Fine Art Condition:The print is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good order, no obvious tears, creasing or losses. There is some very minor cockling. The colours are good and appear stable. There is some mould spores on the mount which does not appear to have extended into the main area of the image. Minor wear and tear to the frame.

Pauline Bradley (b.1944) Vicky, signed and dated 87 lower right, etching, 30.5cm x 25.3cm (PL), frame 43.8cm x 35cm

ARR John Kirby (British, b.1949) Angel, signed and dated '00 in pencil, lower right, numbered 7/10, etching and aquatint, 19.5cm x 30cm (PL), frame 50cm x 57cm

Lewis Christopher Edward Baumer (1870-1963) by and after, two adolescent girls bathing, etching, signed in pencil, 25.5cm x 21cm

AFTER JOHN BRUNSDON "Walberswick" limited edition coloured etching, No'd 10/150, signed, titled and No'd in pencil to the lower margin, 26 cm x 63 cm together with AFTER JOHN BRUNSDON "Stradbroke Church" limited edition coloured engraving No'd 38/125, signed, titled and No'd in pencil to the lower margin, 78 cm x 55 cm (2) CONDITION REPORTS "Walberswick" - glass is in need of a clean. There is some foxing/insect damage to the top corners of the etching. Frame is a bit battered, some gapping at the bottom. "Stradbroke Church" - glass is in need of a good clean. The print itself has a very small amount of browning on the top left hand corner. Frame has knocks and bumps. Otherwise general wear and tear conducive with age and use. AFTER because they are effectively prints and probably not done by John Brunsdon himself even though he has titled, numbered and signed them in pencil himself as he hasn't printed them himself, therefore AFTER and not BY (although the original work would have been by him)

AFTER LUCY WILLIS "Lurcher", monochrome, etching, limited edition No'd. 100/150, No'd., titled, signed and dated 1988 in pencil to lower edge of margin, plate size 54 cm x 37.5 cm