631 items found
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A plan of the cities of London and Westminster, and borough of Southwark,
£6,500 the set of 24 sheetsA plan of the cities of London and Westminster, and borough of Southwark,
The idea to do a new survey had come from the engraver George Vertue, but he and John Rocque could not come to an agreement. Rocque, began the painstaking project in 1737 in partnership with another engraver, John Pine, to survey the central area of London and Westminster, which eventually took 9 years. The completed map measured 6 ½ feet by 13 and comprised of 24 separate sheets. It encompassed an area of 10,000 acres and drawn at a scale of 200ft to the 1inch.£6,500 the set of 24 sheets -
Harlots Progress, after William Hogarth
£1,800 the set of sixHarlots Progress, after William Hogarth
A Harlot's Progress is a series of six engravings after William Hogarth. It shows the story of an innocent young woman, Moll Hackabout, who arrives in London from the country and becomes a prostitute.£1,800 the set of six -
London from the south side of the Thames 1861
£1,800London from the south side of the Thames 1861
Impressive panoramic view centring on St Pauls Catherdral.£1,800 -
Le Souverain, original poster published circa 1895,
£1,650Le Souverain, original poster published circa 1895,
Original poster' published by Camis of Paris. Framed£1,650 -
La Saintongeoise. Original poster published c1901
£1,650La Saintongeoise. Original poster published c1901
Large scale poster, published by P. Vercasson of Paris. Framed£1,650 -
Verve, ‘The Last Works of Henri Matisse’,
£1,500Verve, ‘The Last Works of Henri Matisse’,
'Decoration - Masques' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£1,500 -
A bird’s eye view of the West End of London 1889,
£1,400 -
Verve, ‘The Last Works of Henri Matisse’,
£1,400Verve, ‘The Last Works of Henri Matisse’,
'La piscine' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£1,400 -
Verve, ‘The Last Works of Henri Matisse’,
£1,400Verve, ‘The Last Works of Henri Matisse’,
'La piscine' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£1,400 -
Verve, ‘The Last Works of Henri Matisse’,
£1,400Verve, ‘The Last Works of Henri Matisse’,
'Decoration - Fruits' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'.£1,400 -
Verve, ‘The Last Works of Henri Matisse’,
£1,200Verve, ‘The Last Works of Henri Matisse’,
'Apollon' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£1,200 -
Verve, ‘The Last Works of Henri Matisse’,
£1,200Verve, ‘The Last Works of Henri Matisse’,
'La Gerbe' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£1,200 -
Henri Matisse, Nus Bleu 1952
£1,200 eachHenri Matisse, Nus Bleu 1952
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£1,200 each -
Henri Matisse, Nus Bleu 1952
£1,200 eachHenri Matisse, Nus Bleu 1952
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£1,200 each -
A set of four English prints
£920 the set of four -
Verve, ‘The Last Works of Henri Matisse’,
£900Verve, ‘The Last Works of Henri Matisse’,
'Baigneuse dans les Roseaux' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£900 -
Verve, ‘The Last Works of Henri Matisse’,
£900Verve, ‘The Last Works of Henri Matisse’,
'Coquelicots' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£900 -
Verve, ‘The Last Works of Henri Matisse’,
£900Verve, ‘The Last Works of Henri Matisse’,
'La Negresse' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£900 -
Verve, ‘The Last Works of Henri Matisse’,
£900Verve, ‘The Last Works of Henri Matisse’,
'Acanthes' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£900 -
Verve, ‘The Last Works of Henri Matisse’,
£900Verve, ‘The Last Works of Henri Matisse’,
'Femmes et Singes' from Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse', float mounted in a limed oak frame.£900 -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Henri Matisse, ‘The Last Works of Henri Matisse’
£900 eachHenri Matisse, ‘The Last Works of Henri Matisse’
From Verve Vol. IX No. 35/36 published by Tériade under the title 'The Last Works of Henri Matisse'£900 each -
Roman antiquities, Giovanni Battista Piranesi published c1807
£900 eachRoman antiquities, Giovanni Battista Piranesi published c1807
Born in Mogliano close to Venice, Piranesi, although trained as an architect became famous as an engraver, and archaeologist. Moving in 1740 to Rome, a lack of architectural commissions led him to develop etching skills and collaborating with pupils of the French Academy in Rome he produced a series of views of the city. These early works, Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna were produced during the era of the Grand Tour; when noblemen in the 18th century, completed their education with a period of European travel. This so-called Grand Tour could last from a few months to many years. At this time most ancient monuments in Rome were abandoned in fields and gardens. Piranesi's precise observational skills allowed him to preserve them in some way with his engravings. A third of the monuments in Piranesi's engravings have now disappeared, and many had the stucco and surfacing stolen. With the publication in 1756 of Le Antichità Romane there was immediate international success and Piranesi was elected a member of the Society of Antiquaries in London in 1757. The etchings, with their combination of technical skill, historical accuracy and artistic vision, Robert Adam observed, "he alone might be said to breath the Antient Air."£900 each -
Roman antiquities, Giovanni Battista Piranesi published c1807
£900 eachRoman antiquities, Giovanni Battista Piranesi published c1807
Born in Mogliano close to Venice, Piranesi, although trained as an architect became famous as an engraver, and archaeologist. Moving in 1740 to Rome, a lack of architectural commissions led him to develop etching skills and collaborating with pupils of the French Academy in Rome he produced a series of views of the city. These early works, Prima parte di Architettura e Prospettive (1743), followed in 1745 by Varie Vedute di Roma Antica e Moderna were produced during the era of the Grand Tour; when noblemen in the 18th century, completed their education with a period of European travel. This so-called Grand Tour could last from a few months to many years. At this time most ancient monuments in Rome were abandoned in fields and gardens. Piranesi's precise observational skills allowed him to preserve them in some way with his engravings. A third of the monuments in Piranesi's engravings have now disappeared, and many had the stucco and surfacing stolen. With the publication in 1756 of Le Antichità Romane there was immediate international success and Piranesi was elected a member of the Society of Antiquaries in London in 1757. The etchings, with their combination of technical skill, historical accuracy and artistic vision, Robert Adam observed, "he alone might be said to breath the Antient Air."£900 each -
Rare example of a reversed engraving on glass, depicting Caroline of Brunswick, made c1821
£900Rare example of a reversed engraving on glass, depicting Caroline of Brunswick, made c1821
Reverse glass printing is a process whereby a print is transferred to a sheet of glass, varnished and coloured to resemble an oil painting.
The Prince of Wales, son of King George III was introduced to his potential bride, Caroline of Brunswick out of need for money as he was in great debt. Caroline famously, short, fat, ugly and never changed her undergarments, and rarely washed. Her body odour was overwhelming.
Caroline was very popular with the London public whilst King George was not. Every day when attending the House of Lords her coach was escorted by the cheering mob. George IV’s Coronation was to be the 29th April 1821 but Caroline was told that she would not be taking part in it. Undaunted Caroline arrived at the door of Westminster Abbey on the day demanding to be admitted, but the doors were slammed in her face.
She died 19 days after her frustrated attempt to get into the Abbey and was buried in Brunswick, and on her coffin was inscribed… ‘CAROLINE THE INJURED QUEEN OF ENGLAND’.
£900 -
Randalls Mill by John Clevely,
£900 -
The Four Stages of Cruelty after William Hogarth. A set of four copper-engraved prints
£900 the set of fourThe Four Stages of Cruelty after William Hogarth. A set of four copper-engraved prints
The social epidemic of wanton cruelty.
Framed with gold slip
£900 the set of four -
Little Boy Blue pantomime poster,
£3,900£850 -
Dick Whittington pantomime poster,
£3,900£850Dick Whittington pantomime poster,
A framed pantomime poster featuring Dick Whittington poster,£3,900£850 -
England and France, after William Hogarth published c1805
£750 the setEngland and France, after William Hogarth published c1805
William Hogarth produced these prints to boost public morale when an invasion from France seemed probable.
Hogarth depicts the weak and emaciated army ready to invade England. The alehouse sign reading 'Meagre Soup at the Royal Comb' points this up. There is also an officer roasting four frogs on his sword. A further soldier carries a banner which reads 'Vengeance with the good beer and good beef of England'. There is also a portly monk (obviously the church folk won't be hungry), and he carries plans for a monastery to be built at Blackfriars.
In contrast he believed the English to be always well fed and always merry, despite the evidence of widespread poverty. Here a recruitment officer is shown measuring up a volunteer. The man has to stand on tiptoe to reach the required height. A round of beef and some porter is on the table in front of some revellers, one of whom is drawing a pastiche of the French King, who is uttering the words "You take my fine ships you bede pirate you bede Teef me send my grand armies and hang you all Morbleu."
£750 the set -
Prudence and Justice after Joshua Reynolds
£720 the pairPrudence and Justice after Joshua Reynolds
Engraved by Georg Sigmund Facius and Johann Gottlieb Facius for published John Boydell.£720 the pair -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Snakes by Albertus Seba (1665-1736)
£680 eachSnakes by Albertus Seba (1665-1736)
Published to illustrate Seba's 'cabinet of curiosities' Framed£680 each -
Bacon’s large print map of London,
£650Bacon’s large print map of London,
A large print map of London and suburbs published by G. W Bacon & Co. ltd.£650 -
Feria de la primavera Jerez 1953
£640Feria de la primavera Jerez 1953
Original poster as published in 1953. Originally folded. Framed£640 -
A pair of floral, reverse painted mezzotints
£600 the pair -
Views of Rome by Luigi Rossini
£600 each -
Views of Rome by Luigi Rossini
£600 each -
A New and Accurate Plan of London, Westminster and Borough… London
£580A New and Accurate Plan of London, Westminster and Borough… London
Robert Sayer (1725–1794) was a leading publisher and seller of prints, maps and maritime charts in 18th century Britain.£580 -
Black Hill, by Gordon House
£575 eachBlack Hill, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Studio, by Gordon House
£575 eachBlack Hill, Studio, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Pages, by Gordon House
£575 eachBlack Hill, Pages, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Bench, by Gordon House
£575 eachBlack Hill, Bench, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Rostra, by Gordon House
£575 eachBlack Hill, Rostra, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Black Hill, Work Shop, by Gordon House
£575 eachBlack Hill, Work Shop, by Gordon House
Gordon House was a graphic designer and abstract painter. He went to art school in Luton, then later, won a scholarship to St. Albans. During the 1950’s he spent much time in Letchworth, Welwyn and working for Imperial Chemical Industries (ICI) becoming aware of a modernist style of graphics through the design of European pharmaceutical packaging. This style was new to British eyes at the time and he went on to design the graphics for many galleries during the 1960’s. Mixing in new circles he collaborated with leading artists like Peter Blake and Richard Hamilton. He was responsible for the white on white emboss of the band’s name across the record sleeve on the Beatles White album against the wishes of Hamilton, who wanted to leave the sleeves totally blank, save for the stamp of a unique issue number. The Tate Gallery holds more than 100 of his prints and his work is also represented in many important public collections including the Arts Council, the British Council, the Victoria & Albert Museum and the M.O.M.A. in New York.£575 each -
Lord Leighton, Wedded,
£495 -
17th century copper-engravings of Classical Sculptures
£480 each17th century copper-engravings of Classical Sculptures
These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black. Showing Marsyas.£480 each -
17th century copper-engravings of Classical Sculptures
£480 each17th century copper-engravings of Classical Sculptures
These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.£480 each -
17th century copper-engravings of Classical Sculptures
£480 each17th century copper-engravings of Classical Sculptures
These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.£480 each -
17th century copper-engravings of Classical Sculptures
£480 each17th century copper-engravings of Classical Sculptures
These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.£480 each -
17th century copper-engravings of Classical Sculptures
£480 each17th century copper-engravings of Classical Sculptures
These prints are from a series showing the antique marble statues from the collection of Vincenzo Giustiniana, published by Joachim von Sandrart. These statues were on display in the 'Galleria Giustiniana del Marchese Vincenzo Giustiniani'. Sandrart assembled a team of mostly Dutch and French artists to produce the engravings for the Galleria, including Theodor Matham, Michael Natalis, Renier Persin, Cornelis Bloemaert, Claude Mellan, and Francois Perrier. The work was published in Rome circa 1636. Galleria served as a record of the antiquities and statues of the famous Giustiniani art collection. The Giustiniani brothers were exceedingly wealthy and descendants of the Genoese dynasty and became noted collectors of art. At the time of Vincenzo's death in 1637 he had amassed 600 paintings and 1800 ancient sculptures. Original copper-engraving, mounted and framed in black.£480 each -
Elm number nine 2019
£480Elm number nine 2019
This drawing is one of a series of drawings that represented each of trees of ‘Nine Elms’ in Vauxhall, created to celebrate the planting of two new elms in 2018.£480 -
A pair of English prints
£480 the pairA pair of English prints
each engraving depicting elevation drawings of three entranceways, double mounted in a hand-made reeded frame,£480 the pair -
Tower Bridge by Roland Langmaid RA
£450Tower Bridge by Roland Langmaid RA
A highly accomplished engraver, painter in oils and watercolours Roland Langmaid joined the Royal Navy in 1910 and went to sea at the beginning of the World War I serving at the Dardenelles in HMS “Agamemnon” where he made official sketches for landings. After the war Langmaid studied at the Royal Academy Schools and the Royal College of Art.£450 -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
George Braque lithograph published for Verve, vol. VIII No 31/32
£450 eachGeorge Braque lithograph published for Verve, vol. VIII No 31/32
Original lithograph, published 1955 for Verve, vol. VIII No 31/32, The Intimate Sketchbooks of G. Braque. Gilt framed.£450 each -
One of a series of plans and drawings referred to in the third report from the select committee upon the improvement of the Port of London
£450One of a series of plans and drawings referred to in the third report from the select committee upon the improvement of the Port of London
A framed print showing Plate XXI - "Copy of a design by Sir Christopher Wren, for re-building the City of London after the Great Fire in 1666, from an original in the library of All-Soul's College, Oxford"
£450 -
Alexander Calder lithograph of Card Players
£420Alexander Calder lithograph of Card Players
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£420 -
Alexander Calder lithograph from the Crags and Critters series
£420Alexander Calder lithograph from the Crags and Critters series
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£420 -
A framed handbill for Vauxhall Gardens Centenary Jubilee,
£420A framed handbill for Vauxhall Gardens Centenary Jubilee,
Centenary Jubilee at Vauxhall Gardens, 3 Nights More.£420 -
A framed handbill for Vauxhall Gardens Centenary Jubilee, in 1833
£400A framed handbill for Vauxhall Gardens Centenary Jubilee, in 1833
Centenary Jubilee at Vauxhall Gardens, Grand Fetes and 3 Mr. Simpsons all for one shilling.£400 -
Alexander Calder lithograph of a Card Player
£380Alexander Calder lithograph of a Card Player
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380 -
Alexander Calder lithograph from the Crags and Critters series
£380Alexander Calder lithograph from the Crags and Critters series
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380 -
Alexander Calder lithograph from the Crags and Critters series,
£380Alexander Calder lithograph from the Crags and Critters series,
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380 -
Alexander Calder lithograph from the Crags and Critters series
£380Alexander Calder lithograph from the Crags and Critters series
Published for 'Derrière le Miroir' in 1975. Framed In October 1945, the French art dealer Aimé Maeght opened his art gallery at 13 Rue de Téhéran in Paris. His magazine 'Derrière le Miroir' was created in October 1946 (n°1) and published without interruption until 1982 (n°253). Its original articles and illustrations by the gallery artists were famous at the time. The magazine covered only the artists exhibited by Maeght gallery either through personal or group exhibitions.£380
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