We found 6489 price guide item(s) matching your search

Mortimer Luddington Menpes RI RBA RE (Australian/British, 1855-1938) Japanese bronze workershand-signed in pencil to marginetching and drypoint20 x 20cm;together with Osaka: The Venice of Japanhand-signed in pencil to marginetching and drypoint19.5 x 20cm (2)

James McNeill Whistler (American, 1834 - 1903)"La Vieille aux Loques" - 1858Etching and Drypoint. Signed in plate.Old label verso from original framing.Image Size: 8.25 x 5 7/8 in.Overall Framed Size: 13.25 x 10.75 in.Framed behind glass.

Visconti Limited Edition Edvard Munch 'The Scream' fountain pen, black resin and metal parts AG925 /silver, Artwork: drypoint engravingVisconti Limited Edition Edvard Munch 'De Schreeuw'. Vulpen, in zwarte hars en metalen onderdelen, AG925 /zilver, Kunstwerk: droge naald gravure

Félicien ROPS (1833-1898), etching and drypoint ‘Le paradis de Mahomet’, Illustration for ‘Tableaux des moeurs du temps’, 1867 and lithograph ‘Les Derniers Flamands’, published in the magazine Uylenspiegel n° 9 March 1857Félicien ROPS (1833-1898), ets en droge naald ‘Le paradis de Mahomet’, Illustratie voor ‘Tableaux des moeurs du temps’, 1867 en lithografie ‘Les Derniers Flamands’, verschenen in het tijdschrift Uylenspiegel n° 9 maart 18579.5 x 7 & 7 x 6.5 cm

Félicien ROPS (1833-1898), drypoint etching ‘L'oliviérade Monaco’, signed and dated 1876 in the plateFélicien ROPS (1833-1898), droge naald ets ‘L'oliviérade Monaco’, getekend en gedateerd 1876 in de plaat36 x 24 cm

Salvador DALI (1904-1989), drypoint on paper ’The Kiss’, numbered S XIX/L and signedSalvador DALI (1904-1989), droge naald op papier ‘De zoen’, genummerd S XIX/L en getekend40.5 x 25 cm uit de portfolio The Song of Songs of King Solomon, met certificaat Kunstgakerij De Vuyst 1982

Circle of Giulio Romano (Italian Renaissance 1499-1546): Aphrodite and Eros - the Allegory of Creation, ink and wash with drypoint or stylus under-drawing on brown-toned vellum unsigned 33cm x 28cm

Herbert Dicksee (British 1862-1942): 'Bonnie Prince Charlie - A King Charles Spaniel', drypoint etching on vellum signed in pencil pub. Fine Art Society 1902, 27cm x 22cm

Herbert Dicksee (British 1862-1942): 'A Sealyham Pup', drypoint etching on paper signed in pencil with blindstamps pub. Frost & Reed 1923, 30cm x 22cm

Herbert Thomas Dicksee (British 1862-1942): 'The Last Furrow', drypoint etching pub. Frost & Reed 1899, 32cm x 62cm, in Arts & Crafts oak frame with hammered copper panel decorated with foliate patterns overall 73cm x 103cm

Herbert Thomas Dicksee (British 1862-1942): 'Where’s Master?', first edition artist's proof drypoint etching on vellum signed in pencil pub. Frost & Reed 1911, 39cm x 57cmNotes: This etching depicts King Edward VII’s favourite dog, Caesar; hence the etched tag in the margin inscribed 'I Belong to the King'. The Wire Fox Terrier waits for his master following the King’s death in 1910.

John Skeaping (1901-1980), Study of a deer feeding from a branch, etching with drypoint, signed and dated 1928 in penil, 22x17cm, framed and glazed

Attributed to John Reginald Biggs SWE FRSA (1909-1988), drypoint etching of a seated female nude, unsigned, printed attribution to inner mount and label on backboard, 18.5x13.5cm, framed and glazed

Sidney Tushingham (1884-1968), A pair, Arch Santa Teresa, Palermo, and Church of St. John and St. Paul, Rome, each signed in pencil lower right margin, drypoint engravings, 50cm x 44cm paper size, (2).

Sidney Tushingham (1884-1968), A group of three - ‘John’; Venetian brothers; Venetian seat; each signed in pencil lower right margin, drypoint engravings, the largest 29cm x 44cm paper size, (3).

Sidney Tushingham (1884-1968), A group of three - Banners of St. Marks; Doorway Palazzo Palermo; Montefelcino, each signed in pencil lower right margins, drypoint engravings, the largest 51cm x 42cm paper size, (3).

Sidney Tushingham (1884-1968), A pair, Mother and child in a doorway, and mother and baby, each signed in pencil lower right margins titled, drypoint engravings, 47.5cm x 35cm paper size, (2).

Sidney Tushingham (1884-1968), by and after, Polperro, signed in pencil lower right margin, drypoint engraving, 24cm x 31.5cm.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Farm Horse", drypoint etching, signed in pencil lower centre and signed in the plate, pub.1957, edition not known, framed, 12 x 16cm. *Appleby & Arnold Catalogue Raisonne No.184.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Runaway", drypoint etching, signed in red ink lower right and numbered in pencil 34/35 lower left, signed in the plate, pub.1958, framed, 13.2 x 16.5cm.*Appleby & Arnold Catalogue Raisonne No.194.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Low Tide Jersey", drypoint etching, signed lower right and numbered 4/25 lower left, and signed in the plate, pub.1957, framed, 13.5 x 18.5cm. *Appleby & Arnold Catalogue Raisonne No.188.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "En Promenade", drypoint etching, signed in pencil lower centre and numbered 34/100 lower left, signed and dated 1931 in the plate, pub.1931-32, framed, 22.5 x 31.2cm. *Appleby & Arnold Catalogue Raisonne No.159.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Below Stairs", drypoint etching, signed in ink lower right and numbered 95/100 lower left, signed and dated July 1931 in the plate, pub.1930-31, framed, 29.2 x 21cm. *Appleby & Arnold Catalogue Raisonne No.143.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "A Jersey Shore", drypoint etching, signed in ink lower left and inscribed "A", signed and dated Nov 1929 in the plate, edition of one hundred, pub.1930-31, framed, 20.3 x 29cm. *Appleby & Arnold Catalogue Raisonne No.146.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Returning to the Stable", drypoint etching, signed in pencil lower left and signed in the plate, edition of one hundred, pub.1920, framed, 24 x 31cm. *Appleby & Arnold Catalogue Raisonne No.64.

Edmund Blampied RBA, RE (Jersey, 1886-1966), "Galloping", drypoint etching, signed in in lower centre and numbered in ink 47/100 lower left, pub. 1932-33, framed, 24 x 31cm. *Catalogue Raisonee Appleby & Arnold, No.165.

VLAMINCK MAURICE DE: (1876-1958) French Painter, one of the principal figures of the Fauve movement. A good A.L.S., `Vlaminck', one page, 4to, on his « La Tourilière Rueil-la-Galière, Eure & Loire » printed stationery, n.d. [Juillet 1928], to Monsieur Guiot, in French. Vlaminck refers to the engravings sold to his correspondent, stating `Par le même courrier je vous fais parvenir les deux paquets gravures signées. L´une : Le carrefour à Sotteville-Les-Rouen. L´autre : La place du marché à la Ferté. Vous serez aimable de me faire parvenir le montant convenu par chèque barré´ («By the same shipment I send you the two signed engraving packages. One of them containing: The Crossroads at Sotteville-Les-Rouen. The other one containing: The Market Square in La Ferté. You will be kind enough to send me the agreed amount by crossed cheque ») Very small tear to the left edge, otherwise G to VG Marcel Guiot was a French Editor and Art Dealer, owner of a well-known gallery at 4 rue Volney in Paris.The engravings mentioned in the present letter are `La Ferté-Alais, Place du Marché´ (1928), and `Le Carrefour de Sotteville-Les-Rouen´ (1928), both being drypoint etchings.

William Palmer Robins(1882-2001)"The Stour near Manningtree",Signed and dated 1922 in the plate, signed with pencil in the margin,Drypoint, (2nd state,) 55 impressions,21.5 x 34cm plate-size; in frame, 43 x 57.5 external.

DESERT MONUMENTS, ARIZONA (SEEBER 335)Etching and drypoint, circa 1925, on wove paper, signed and titled in pencil, with good margins, unframed.Plate 9 13/16 x 11 3/4 inches; 249 x 298 mm.Sheet 13 1/4 x 15 1/4 inches; 337 x 387 mm.

COMPANY FOR SUPPERLithograph, 1948, on wove paper, signed in pencil, from the edition of 250, published by the Associated American Artists, New York, with good margins, unframed; Together with Armin Landeck (1905-1984). CORBIN'S SILO (KRAEFT 64), drypoint, 1937, on wove paper, signed, dated and inscribed Ed. 100 in pencil, with full margins, unframed; and Grace Albee (1890-1985). The BOYER PLACE, wood engraving, 1946, on tissue-thin Japan paper, signed and titled in pencil, published by The Print Club of Albany, New York, with full(?) margins, unframed. Largest image 9 9/16 x 13 1/2 inches; 243 x 343 mm.Largest sheet 11 1/4 x 15 3/8 inches; 286 x 391 mm.

Salvador Dalí (1904-1989)God, Time, Space and the Pope, from After 50 Years of Surrealism (Field 74-8I; M&L 667)Drypoint with etching and pochoir printed in colours, 1974, signed in pencil, numbered from the edition of 195, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 654 x 500mm (25 3/4 x 19 5/8in) With the Dali Trade authentication inscription and signature in pencil verso

Salvador Dalí (1904-1989) Esto es, Esto no es, from Les Caprices de Goya de Dalí (Field 77-3; M&L 911)Drypoint on heliogravure with pochoir, 1977, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal, published by Berggruen/Editions Graphiques Internationales, Paris, on BFK Rives paper, with full margins, sheet 447 x 312mm (17 5/8 x 12 1/4in)With the Dali Trade authentication inscription and signature in pencil verso 

Salvador Dalí (1904-1989)From Much Ado About Shakespeare (Field 71-1; M&L 391, 392, 395, 396, 401, 402, and 404b)Seven etchings with drypoint and hand-colouring, 1971, each signed in pencil, numbered from the edition of 250, printed by Ateliers Rigal, published by Editions Graphiques Internationales, each on Japan paper, with full margins, each sheet 420 x 300mm (16 1/2 x 11 3/4in) and similar (7)

Salvador Dalí (1904-1989)Alexandre le regarda, from Roi, je t'attends á Babylone (Field 73-8E; M&L 598)Drypoint, 1973, signed in pencil, numbered from the edition of 150,  printed by Ateliers Rigal, Paris, published by Albert Skira, Geneva, on parchment, with full margins, sheet 620 x 445mm (24 1/4 x 14 1/2in)

Salvador Dalí (1904-1989)Los incas peludos del atardecer, from Les Caprices de Goya de Dalí (Field 77-3-13; M&L 915)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)With the Dalí Trade authentication inscription and signature in pencil verso (9/27/21) 

Salvador Dalí (1904-1989)Al que sodomizan, from Les Caprices de Goya de Dalí (Field 77-3-54; M&L 874)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)  

Salvador Dalí (1904-1989)De hibernación, from Les Caprices de Goya de Dalí (Field 77-3-42; M&L 887)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)With the Dalí Trade authentication inscription and signature in pencil verso (5/19/22)

Salvador Dalí (1904-1989)The Old Man and the Sea (Field 74-4-2; M&L 739a) Etching with drypoint, 1974, signed in pencil, numbered from the edition of 350, printed by Leblanc, Paris, published by Manus Press, Stuttgart, with the publisher's blindstamp, on Arches paper, with margins, sheet 554 x 380mm (21 7/8 x 15in) With the Dali Trade authentication inscription and signature in pencil verso.

Salvador Dalí (1904-1989)Si no amanece nos quedamos, from Les Caprices de Goya de Dalí (Field 77-3-10; M&L 918)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)

Salvador Dalí (1904-1989)Como las gambas, from Les Caprices de Goya de Dalí (Field 77-3-38; M&L 891)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)With the Dalí Trade authentication inscription and signature in pencil verso (5/19/22) 

Salvador Dalí (1904-1989)Lonte de rodillas, from Les Caprices de Goya de Dalí (Field 77-3-35; M&L 894a)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on BFK Rives paper, with full margins, sheet 448 x 312mm (17 5/8 x 12 1/4in)

Salvador Dalí (1904-1989)Piensa en el Angelus de Millet, from Les Caprices de Goya de Dalí (Field 77-3-40; M&L 889)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in) 

Salvador Dalí (1904-1989) Blanchefleur, from Le Décameron (Field 72-8; M&L 559) Drypoint etching printed in colours, 1972, signed in pencil, numbered from the edition of 124,  printed by Ateliers Rigal, co-published by Broutta/Fabbri/TransWorld/Börjeson, on Arches paper, with full margins, sheet 445 x 315mm (17 1/2 x 12 3/8in) With the Dali Trade authentication inscription and signature in pencil verso (11/24/23)    

Salvador Dalí (1904-1989)C’est très loin dans l'espace, from Roi, je t'attends á Babylone (Field 73-8H; M&L 593)Drypoint, 1973, signed in pencil, numbered from the edition of 150,  printed by Ateliers Rigal, Paris, published by Albert Skira, Geneva, on parchment, with full margins, sheet 615 x 438mm (24 1/4 x 17 1/4in)

Salvador Dalí (1904-1989)Cuerda hipnagógica de Lulio estringido, from Les Caprices de Goya de Dalí (Field 77-3-50; M&L 879)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in) 

Salvador Dalí (1904-1989) Los buzos del Futuro, plate 70 from Les Caprices de Goya de Dalí (Field 77-3; M&L 917)Drypoint on heliogravure with pochoir, 1977, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal, published by Berggruen/Editions Graphiques Internationales, Paris, on BFK Rives paper, with full margins, sheet 444 x 314mm (17 1/2 x 12 3/8in)With the Dali Trade authentication inscription and signature in pencil verso (5/19/22)

Salvador Dalí (1904-1989)Des Rois pendus aux arbes, from Roi, je t'attends á Babylone (Field 73-8B; M&L 600)Drypoint, 1973, signed in pencil, numbered from the edition of 150,  printed by Ateliers Rigal, Paris, published by Albert Skira, Geneva, on parchment, with full margins, sheet 615 x 440mm (24 1/4 x 17 1/4in)

Salvador Dalí (1904-1989)Raimundo Lulio lo sabia hacer, from Les Caprices de Goya de Dalí (Field 77-3-34; M&L 876)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)

Salvador Dalí (1904-1989)Eres cañones = a seis plumas, from Les Caprices de Goya de Dalí (Field 77-3-61; M&L 867)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)With the Dalí Trade authentication inscription and signature in pencil verso (5/19/22)

Salvador Dalí (1904-1989)Se quebro el cantero, from Les Caprices de Goya de Dalí (Field 77-3-56; M&L 872)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in)With the Dalí Trade authentication inscription and signature in pencil verso (9/27/21)

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 the deluxe edition F of 35 in roman numerals, printed by Atelier Rigal, Paris, published by Transworld Art, New York, with their blindstamp, on Japan paper, with full margins, sheet 670 x 515mm (26 3/8 x 20 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (8/29/24)

Salvador Dalí (1904-1989)Pirueta de plátano, from Les Caprices de Goya de Dalí (Field 77-3-1; M&L 927)Drypoint on heliogravure with pochoir in colours, 1977, signed in pencil, numbered from the edition of 200 in pencil, printed by Ateliers Rigal, published by Berggruen/ Editions Graphiques Internationales, Paris, on wove paper, with full margins, sheet 445 x 313mm (17 1/2 x 12 3/8in) 

Salvador Dalí (1904-1989)Le Bureaucrate (Field 69-2; M&L 343a)Drypoint, 1969, signed in pencil, numbered from the edition of 120, printed by André François Petit, Paris, on Arches paper, with full margins, sheet 565 x 380mm (22 1/4 x 15in)

Salvador Dalí (1904-1989) Melancolia sordida, plate 69 from Les Caprices de Goya de Dalí (Field 77-3; M&L 916)Drypoint on heliogravure with pochoir, 1977, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal, published by Berggruen/Editions Graphiques Internationales, Paris, on BFK Rives paper, with full margins, sheet 447 x 312mm (17 5/8 x 12 1/4in)With the Dali Trade authentication inscription and signature in pencil verso (5/19/22)

Harold Frank Collinson (Local Artist, 1886 - 1955), by and after, Kirke White's Birthplace, Nottingham, signed in pencil, drypoint etching, 19.5cm x 14.5cm, W. A. Lewitt, Art Dealer, of Nottingham label to verso, others Trip To Jerusalem Inn, 20cm x 14cm; The Rivers Curve, 26cm x 18cm, (3) Collinson was the etching master at Nottingham Municipal School of Art. He left Nottingham in 1940 to live in the United States and died in New York in 1955. His work can be found in the Metropolitan Museum of Art, New York.

John Falconar Slater (British, 1857 - 1937) : The Castle (Newcastle), 1921, drypoint etching, signed in pencil, 23 cm x 25 cm, framed.

§ Salvador Dali (Spanish, 1904-1989)'Le Cavalier Triomphant' 1973, from the 'Apocalypse' series,signed and numbered 20/197 in pencil to the margin, also signed by the publisher Joseph Foret of Paris,colour lithograph and drypoint on Arches cream wove paper, printed by Mourlot and Leblanc-Lallier, Paris, the image 77cm x 56cm

Power O'Malley (Irish Artist; 1877-1946) - The Road to the Sea, signed and titled by the artist in pencil, etching, 28 x 41.5cm; Robert Craig-Wallace (1886-1969) - The River Clyde, West of Scotland, signed and numbered 7/75 by the artist in pencil, etching, 25.7 x 36.4cm, exterior border of margin rebacked; Miriam Macgregor (b. 1935) - eleven wood engravings, signed and numbered 5/100 by the artist in pencil, the largest 14.5 x 18cm; Kevin Greenfield, 20th century - Study of a Dandelion and Snail, signed in pencil, drypoint etching, 19.2 x 14cm; further prints, early 20th c and later, including architecture, landscapes, natural history, etc., mixed methods and various sizes, (folio; approx. 30) Mixed condition, mostly good.

Elyse Ashe Lord (British, 1900-1971) - 'The Dance', signed limited edition hand-coloured drypoint etching 3/50, sheet dimensions: 25 x 15 cm, framed

Elyse Ashe Lord (British, 1900-1971) - 'K'o Ssu', signed limited edition hand-coloured drypoint etching, plate dimensions: 28 x 32 cm, framed