William Watts

Claremont, in Surrey, 18th century English country house engraving, 1782

1781

'Cadland Park in Hampshire, the Seat of Rob.t Drummond Esq' Engraved by William Watts (1752-1851) after George Barrett. From Watts's 'The Seats of the Nobility and Gentry, in a Col...

Westminster Abbey. Signed in pencil by the artist below the image. Rowland Langmaid was a marine painter and etcher who studied under William Lione...

Copper-line engraving by Mathys Pool (1676-1732) after Picart and Charles Le Brun (1619-1690). 1718. Depicts a ceiling design commissioned for the Hot...

'Dept. des Pyrenees Orientales', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. This area is well-known wine producing reg...

'Dept. du Jura', steel engraving with original outline hand-colouring., 1856, from Levasseur's 'Atlas National Illustre'. The Jura wines are very distinctive and unusual, such as V...

Signed in pencil below the image by the artist. Blind stamps of etching societies lower left just under the image. Frederick Farrell was a Scottish etcher specializing in architectu...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X Total edition in 10 states 125 printed Note: The scene depicts the Church of San Rocco on the right at the intersection of via Schiavoria and via di Ripetta. Guichard considers this image to be among the artist's most desirable. Condition: Exceptional, rich impressions, printing with extensive burr. Printed on a medium weight Japanese paper. Image/Plate size: 12 x 9 inches Sheet size: 15 7/8 x 11 inches Sir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. A figure in the last generation of the Etching Revival, Bone's early large and heavily-worked architectural subjects fetched extremely high prices before the Wall Street Crash of 1929 deflated the collectors' market. He was well known, if not notorious, for publishing large numbers of different states of etchings, encouraging collectors to buy several impressions. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum. Early life Muirhead Bone was born in Partick, Glasgow. His parents were journalist David Drummond Bone (1841–1911 and Elizabeth Millar Crawford (1847–1886). The Bone and his siblings attended the local Board school and were placed in apprenticeships from the age of fourteen. James Bone...

London: Laurie & Whittle, 1799 Engraving on buff wove paper, 10 3/4 x 15 3/4 inches (271 x 338 mm), uneven narrow to wide margins. Soft vertical fold at the center sheet (as issued)...

Robert Wilkinson, 1816. Copperplate engraving on buff wove paper with hand coloring in watercolor, 10 7/8 x 13 /4 inches (275 x 336 mm), full margins. In good condition with some sc...

An Interior View of the Porch of the Parish Church St. Alphage; An interior view of the porch of the parish church of St Alphage, London Wall: formerly the chapel of the priory of El...

London: Society of Antiqauries London, 1744. Engraving on buff wove paper with a large heraldic watermark with Strasbourg lily with a crown and shied and the letters LVG, 9 1/2 x 14 ...

After Giovanni Antonio Canal, called Canaletto Copper plate engraving with hand coloring on cream laid paper with the Arms of France watermark (a crown in shield topped by a fleur-de-lys and the letters GR), 22 3/4 x 15 3/4 inches (576 x 400 mm), wide to full margins. Multiple vertical and horizontal creases from folding and rolling; none appear to be particularly hard, there is however some associated cockeling. While there is some minor mat tone visible around the perimeter of the sheet, the extensive handcoloring remains extremely fresh and saturated in the intended areas. There are edge tears at each the right and left sheet edge (outside of the image area) due to an improper effort to mount the sheet to a mat. Otherwise in very good condition with all issues being consistent with age. The print is wrongly titled "The South East Prospect of Westminster Bridge...