John William Hill Figurative Prints

SALVADOR DALI (1904-1989) THE BELOVED FEEDS AMONG THE LILIES, 1971 Board for the series "The Song of Songs hymns" Aquatint and dry point on wove paper...

Chelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

This artwork titled "Arch of Septimius, Rome" 1923, is a color etching and aquatint on wove paper by noted Austrian artist Luigi Kasimir, 1881-1962. It is hand signed in pencil by t...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. Hockney stated: “The old woman who wants the child. In one tr...

William Walcot. R.E., R.I.B.A. San Marco. Etching with drypoint and aquatint. Dickins 66, Harvey-Lee 91. 3 7/8 x 5 7/8 (sheet 9 1/4 x 12 1/8). Venice set, # 2. Edition 415. A rich impression printed on cream wove paper. Fold in the margin, well outside the image; otherwise good condition. Signed in pencil. Housed in a 16 x 20-inch archival mat. Soon after Walcot's arrival in England, the Fine Art Society sponsored a trip sent to Italy. This scene is one of four small drypoints that resulted from the artist’s stay in Venice. When he was seventeen, he began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...

New York: Dodd, Mead, 1884. Etching with aquatint on cream laid paper, 7 3/4 x 10 3/4 inches (196 x 272 mm), full margins. Light age tone, some very minor cockeling and a 1.5 inch v...

Etching with drypoint and aquatint on light cream wove paper, 5 1/2 x 5 inches (140 x 122 mm), full margins. Signed in pencil in the lower margin. One of a total of 400 signed impres...

Ludgate Hill. 1921. Etching, aquatint, and drypoint. Dickins 69. 5 5/8 x 5 1/8 (sheet 13 5/8 x 9 3/4). A fine proof with plate tone, printed on 'J Wha[tman] cream wove paper. Edition of 275 for the UK and 125 for the US. Signed in pencil. Ludgate Hill is a street that runs west from St. Paul's Churchyard to Ludgate Circus (built in 1864), and from there becomes Fleet Street. The Ludgate Hill railway station, between Water Lane and New Bridge Street, is a station of the London, Chatham, and Dover Railway. It was closed before World War II and the railway bridge and viaduct between Holborn Viaduct and Blackfriars stations was demolished in 1990 to enable the construction of the City Thameslink railway station in a tunnel. This also involved the regrading of the slope of Ludgate Hill at the junction. About halfway up Ludgate Hill is St Martin, Ludgate church. This was physically joined to the Ludgate. When he was seventeen, William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel...

Aquatint with hand coloring in watercolor on watermarked, laid Arches paper, 8 1/16 x 5 9/16 inches (206 x 142 mm), full margins. Signed, titled, dated, and numbered 22/40 in pencil,...

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 10 x 12 inches (254 x 306 mm), the full sheet. ...

London: J. Taylor, 1820. Etching with aquatint and engraving with hand coloring in watercolor on cream wove paper with a gilded edge, 11 1/2 x 14 3/4 inches (290 x 374 mm), full mar...

Etching with aquatint on cream laid paper with a partial Arches watermark, 5 3/8 x 4 inches (135 x 100 mm), full margins. Signed illegibly in pencil in the lower right margin.