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Sebra Prints

(Dafydd Davies)
402 Burke Road
South Camberwell VIC 3124
daf@sebraprints.com.au
Phone: 03 9809 0222
Mobile: 0410 520 100
Website: www.sebraprints.com.au
Fine 18th, 19th and early 20th century decorative, architectural, marine, sporting, natural history and historical prints. Art Deco graphics. Early Australian prints and printmakers. Photographs. Maps.

Items for Sale

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Circa: 1818
Price: $450
'Connoisseurs examining a collection of George Morlands' Etching with original hand-colouring. A reduced version of Gillray's 1807 etching published by John Miller in 1818. The etching depicts William Baillie (1723-1810), art dealer and printmaker, George Baker (1747-1811), art collector, Mr Mitchell (floruit 1807), banker, Mortimer (floruit 1796-1807), picture dealer and restorer, Caleb Whitefoord (1734-1810), diplomat. James Gillray (1756-1815)was a famous English caricaturist.In this etching he satirizes art lovers. The five men are examining a collection of paintings by George Morland (1763-1804). The 'connoisseurs' lack of real taste is epitomised by the foremost figure, Captain Baillie, an engraver, who peers through his glasses the wrong way round. Similarly, Mortimer, a picture dealer and restorer standing to the far right, puffs and spits with grossly protruding lips at a painting of an enormous boar. Size: 240mm by 195mm (image)
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Circa: 1851
Price: $1,850
George French Angas (1822-1886) Tinted lithograph with hand-colouring. Pl No 4 from Angas' 'Six views of the gold field at Ophir. In April 1851 the first payable gold in NSW and Australia was discovered at Ophir. GAngas was an English explorer, naturalist and painter. He is reknown for his watercolours and lithographs of South Australia and the Goldfields. Size: 250mm by 320mm (image only) Framed.
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Circa: 1817
Price: $1,200
'Cigne Noir du Cap de Diemen' Copper-line engraving by Peree after Jean Piron (1767/1771-1796) From Jacques-Julien Houtou de La Billardière’s (1755-1834) 'Atlas du Voyage a la recherche de la Perouse', published in Paris, 1817 edition. One mark in front of swan, a couple of small marks in background. Size: 450mm by 310mm (platemark)
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Circa: 1889
Price: $350
'Chenopis Atrata (Wagl) - Black Swan' Chromolithograph by Gracius Joseph Broinowski (1837-1913). Broinowski was a Polish artist and ornithologist who arrived in Victoria c1857. From 1887 - 1891 he published 'The Birds of Australia' which contained about 300 chromolithographs. Size: 255mm by 355mm (sheet) A couple of small foxing spots outside image area. More Broinowski chromolithographs available, please ask.
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Circa: 1889
Price: $140
'Dromaius Novae Hollandiae (GR Grey) The Emu' Chromolithograph by Gracius Joseph Broinowski (1837-1913). Broinowski was a Polish artist and ornithologist who arrived in Victoria c1857. From 1887 - 1891 he published 'The Birds of Australia' which contained about 300 chromolithographs. Accompanied by original descriptive text. Size: 355mm by 255mm (sheet) More Broinowski chromolithographs available, please ask.
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Circa: 1770
Price: $750
'Charles I King of Great Britain & c' Copper-line engraving by Sir Robert Strange (1725-92). A fine full length portrait of King Charles 1st in his Coronation robes. In the background is a pillar and draped curtain, with his Crown and Orb propped carelessly (significantly) against the base of the pillar. The painting was in the Royal Collection until it was transported abroad by King James II when he fled to France in 1688. James gave it to Cardinal Phillip Howard and at Howard’s death it came into the possession of a James Edgar, secretary to the Old Pretender. The Scottish engraver Sir Robert Strange (1721-92), was an ardent Jacobite, and was advised to leave England after refusing to engrave a portrait of George III. He joined the Jacobite court in exile, and bought the painting when Edgar died in Rome. Size: 540mm by 360mm (platemark) Two small repaired tears in margins.
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Circa: 1862
Price: $380
'The Match Between the All-England Eleven and Twenty Two of the New South Wales Cricketeers, Played in the Domain at Sydney'. Wood-engraving with later hand-colouring from the 'Illustrated London News', 1862. Framed with acid free mount. Size: 410mm by 520mm (frame)
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Circa: 1841
Price: $1,450
Tinted lithograph by Louis Haghe after David Roberts. Please note this lithograph is in it's original state, with no modern hand-colouring. Roberts (1796-1864) traveled throughout Egypt and the Holy Land in the late 1830s producing watercolours and drawings of the architecture and landscape. When he returned to London Louis Haghe (1829-1898) made tinted lithographs from the watercolours which were published by the best printers of the day. Size: 420mm by 605mm (sheet). Acid free mount.
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Circa: 1857
Price: $195
Chromolithograph with some added original hand-colouring. Published by Louis Van Houtte. Louis Van Houtte was the founder, publisher and part-editor the " Flore des serres et des jardins de l’Europe". He was also the propietor of the largest nursery of its time on the continent. The periodicial appeared monthly for almost 40 years and was published by his own printing office in the middle of his gardens, the Horto van Houtteano. The work is notable for the craftmanship of the Belgian lithographers Severeyns, Stroobant and De Pannemaker, who had mastered the art of colour-printing from stone. With original text description in French. Size: 170mm by 248mm (sheet)
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Circa: 1842
Price: $280
'Le Contre-Amiral Dumont D'Urville' Lithograph by P Daniel, from 'Le Charivari', text on the reverse as issued. Published in Paris in 1842, the year of Dumont D'Urville's death. Size: 335mm by 245mm (sheet) Faint horizontal and vertical fold as issued.
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Circa: 1925
Price: $480
Ella Dwyer (Australian 1887-1979) Limited edition aquatint printed in green ink. Signed, titled and editioned (7/50) in pencil by the artist. Circa 1925. Ella Dwyer was an early 20th century Australian intaglio printmaker. She was born in Hobart and worked in NSW. Her works are held in the National Gallery in Canberra. Size: 155mm by 250mm (platemark)
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Circa: 1867
Price: $1,950
Tinted lithograph by Eugene Von Guerard (1812-1901) Size: 325mm by 530mm(image only) From Von Guerard's 'Australian Landscapes, A Series of 24 Tinted Lithographs', published in Melbourne in 1867. By the early 1860s von Guerard was recognized as the foremost landscape artist in the colonies, touring Southeast Australia and New Zealand in pursuit of the sublime and the picturesque. Good condition, full sheet, blind stamp of Hamel and Ferguson. Acid free mount.
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Circa: 1927
Price: $165
Pochoir from 'Les Creations Parisiennes' with descriptions of each model below in French. Designs by Jean Patou. 'Jean Patou Model No 516. An ideal Two-piece Sporting Garment; Red Kasha Skirt and White and Red Jersey Sweater.' 'Jean Patou Model No 517. Amusing and very original in cut this Robe isi n Green Kasha of two shades; Skirt is in form.' Size: 270mm by 180mm (sheet)
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Circa: 1832
Price: $95
Charles Motte (1785-1836) after Jean-Baptiste Meunier (1786-1858) 'Rhinocéros d'Asie' (Asian rhinoceros) Lithograph with original hand-colouring from Oeuvres complètes de Buffon, published in Paris in 1832. Size: 100mm by 160mm (image only)
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Circa: 1920
Price: $850
Etching signed in pencil by the artist. Size: 207mm by 308mm (platemark) Marples was a painter, etcher, writer on ornithology, and principal of Huddersfield, Hull and Liverpool School of Art. He specialized in etchings of fish and birds.
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Circa: 1870
Price: $2,400
'Mantled Kingfisher (Dacelo tyro)', Lithograph with original hand-colouring by John Gould and H.C. Richter. From John Gould's 'Birds of Asia' published 1850-1883. John Gould (1804 – 1881) was an English ornithologist and bird artist. He published a number of monographs on birds, illustrated by plates that he produced with the assistance of his wife, Elizabeth Gould and several other artists including Edward Lear, Henry Constantine Richter, Joseph Wolf and William Matthew Hart. Modern blackwood frame. Size: 710mm by 545mm (frame)
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Circa: 1931
Price: $95
After P Mahler French chromolithograph, published in 1931. Signed by artist in the plate. Printed title lower right of sheet. Plate number top right. From a French series of illustrations of sporting dogs. Accompanied by descriptive text in French. Size: 195mm by 280mm (sheet)
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Circa: 1925
Price: $1,100
Etching with aquatint. Signed, editioned (1/15) and titled in pencil below the image. Size: 350mm by 455mm (platemark) James Flett was an early 20th Australian printmaker from Melbourne. Two small light scratch marks across bottom right hand-corner.
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Circa: 1851
Price: $450
James Gillray (1756-1815) The subject of this Gillray satire is Sarah Sophia Banks (1744 – 1818) who was an English collector of antiquarian items and sister of the naturalist Joseph Banks. She collected coins and medals and ephemera which is now historically valuable like broadsheets, newspaper clippings, visiting cards, engravings, advertisements, and playbills. Joseph Banks lived with his sister until 1779, and she lived with him and his wife until her death. Her collections were given to the British Museum and British Library. Originally published in 1804, this impression is from Henry Bohn's folio of Gillray's etchings - note the plate is numbered top right and the reverse also has another Gillray etching on it. Size: 255mm by 385mm (platemark)
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Circa: 1922
Price: $640
John Shirlow (1869-1936) Signed and editioned in pencil below the image. Signed and dated 1922 in the plate. Shirlow was a Melbourne printmaker who specialized in views of Melbourne. His works are in several State Galleries. A couple of foxing spots. Size: 220mm by 150m (platemark) Acid free mount.
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Circa: 1925
Price: $480
John William Ashton (1881-1963) Etching signed in pencil. Circa 1925. Ashton arrived in Adelaide in 1884. He became a prolific painter of picturesque works. Some toning in margins, outside the platemark. Size: 220mm by 123mm (platemark)
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Circa: 1830
Price: $480
Lithograph by Delpech after Antoine Maurin. Signed in the image. Jean François de Galaup, comte de La Pérouse (1741–1788?) was a French Navy officer and explorer whose expedition vanished in Oceania. Size: 510mm by 340mm (sheet)
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Circa: 1924
Price: $135
'Lady Franklin Museum near Hobart, Tasmania' Collotype after Thomas Hardy Wilson (1881-1955) Tipped-in collotype from Hardy Wilson's 'Old Colonial Architecture in New South Wales and Tasmania'. The Lady Franklin Museum is a classical temple built by Lady Franklin in 1842. Wife of Lt-Governor Franklin, Lady Franklin was shocked at Tasmania's lack of cultural institutions, and colonists' indifference. She built the temple as a museum, and left 400 acres in trust to ensure the continuance of what she hoped would become the focus of the colony's cultural aspirations. Since 1949 it has been the home of the Art Society of Tasmania. William Hardy Wilson was an Australian architect, artist and author. Determined to make Australians as aware of their early colonial heritage, Wilson made drawings of colonial buildings in New South Wales and Tasmania: he 'looked at buildings with a painter's eye as much as an architect's', even noting the plants in their gardens. In 1924, his 'Old Colonial Architecture in New South Wales and Tasmania' was published containing 50 collotypes after his drawings. Size: 270mm by 250mm (image)
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Circa: 1945
Price: $780
Sir Lionel Lindsay (Australian 1874-1961) Limited edition etching, signed in pencil. Editioned ‘200’ in pencil. Size: 250mm by 175mm (platemark) Ref: Mendelssohn No 545. Acid free mount.
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Circa: 1813
Price: $380
'Dryandra Longifolia - Long-Leaved Dryandra' Copper-line engraving with original hand-colouring by Francis Sansom after Sydenham Edwards (1768 – 1819). Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Francis Sansom was a leading London botanical engraver. Sydenham Teast Edwards (1768 – 1819) was a natural history illustrator. He was the first full-time artist to work for Curtis's Botanical Magazine. He served as that magazine's principal artist for 27 years. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Folds as issued. One light foxing spot on left on edge of platemark. Size: 190mm by 235mm (platemark)
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Circa: 1820
Price: $1,250
'Veduta del Tempio della Fortuna Virile' Etching with engraving by Luigi Rossini (1790-1857). Size: 400mm by 545mm (platemark) Rossini was an architect, painter and watercolourist. Born in Ravenna, as a young man he went to Bologna where he studied art and architecture at the academy and won the prize of the Regno Italico for Architecture. He arrived in Rome around the end of 1813 and beginning of 1814, but after meeting with repeated failures in his attempts to gain architectural commissions decided to follow in the footsteps of Piranesi and began work on a series of views of Rome. Rossini published his Le Antichita Romane between 1819 and 1823 in the later neoclassical period of the 19th century, 101 plates depicting views of ancient Rome. Rossini took his initial inspiration from the famous views of Giovanni Battista Piranesi, published in works such as Vedute di Roma. Like Piranesi's work, Rossini’s prints frequently served as Grand Tour souvenirs, and provided influential source material for European architects and designers interested in classical motifs. Framed in Italian antique style moulding.
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Circa: 1813
Price: $165
'Dryandra Floribunda - Many-Flowered Dryandra' Copper-line engraving with original hand-colouring by Francis Sansom after Sydenham Edwards (1768 – 1819). Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Francis Sansom was a leading London botanical engraver. Sydenham Teast Edwards (1768 – 1819) was a natural history illustrator. He was the first full-time artist to work for Curtis's Botanical Magazine. He served as that magazine's principal artist for 27 years. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. Size: 220mm by 140mm (sheet)
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Circa: 1851
Price: $950
'Government House from the Domain (Sydney)' Tinted lithograph by Conrad Martens (1801-1878). Depicts Government House and Macquarie Fort from the Domain near the north end of the Botanic Garden. Conrad Martens was an English-born landscape painter active in Australia from 1835. In 1832 he joined the ship Hyacinth as a topographic artist. In Montevideo near the end of 1833 he met Robert FitzRoy, captain of HMS Beagle, who engaged him as a draughtsman to replace the ship's artist Augustus Earle who had fallen ill. In this way he joined the second voyage of HMS Beagle and soon struck up a lifelong friendship with Charles Darwin who was taking part in the expedition as a self-financing gentleman naturalist and companion to the captain. They sailed south to Patagonia, reaching Port Desire on 23 December 1833. Martens left the Beagle at Valparaiso in the second half of 1834 and took passage to Sydney via Tahiti, arriving in 1835. Martens achieved instant success in Sydney as the most proficient and prolific landscape artist in the colony. In 1837 some of Martens' Australian watercolours were exhibited at the Royal Society in London. In the 1840s he turned to lithographs. Size: 150mm by 260mm (image only)
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Circa: 1915
Price: $980
Etching. Signed in pencil below the image. Size: 200mm by 200mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.
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Circa: 1914
Price: $680
Etching. Signed in pencil below the image. Signed and dated in the plate. The number '319' inscribed in pencil in lower margin. Size: 135mm by 175mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.
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Circa: 1915
Price: $980
Etching. Signed in pencil below the image. The number '48' inscribed in pencil in lower margin. Size: 200mm by 300mm (platemark) Menpes was an artist and engraver, author, printmaker and illustrator. He was born in Port Adelaide, South Australia. Menpes moved to London in 1875 and became a member of the Royal Society of Painter-Etchers and Engravers (RE)in 1881. Menpes traveled widely and executed many etchings of where he traveled.
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Circa: 1951
Price: $1,800
Colour linocut from multiple blocks. Editioned 3/28,titled, signed and dated '51' in pencil below the image. Size: 340mm by 150mm (image) Griffin was born in Melbourne and studied at the National Gallery School 1919-22. Griffin was appointed official war artist in 1941 to Malaya. Faint mark from a previous mount.
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Circa: 1850
Price: $95
Steel-engraving by C Barth after François Gérard (1770-1837) depicting Napoleon in his coronation robes. Size: 100mm by 75mm (image) 235mm by 145mm (sheet)
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Circa: 1890
Price: $450
Carbon print by W & D Downey. Oscar Fingal O'Flahertie Wills Wilde (1854 –1900) was an Irish writer and poet. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. Today he is remembered for his epigrams, his only novel (The Picture of Dorian Gray), his plays (esp The Importance of Being Earnest), and the circumstances of his imprisonment and early death. W(illiam) & D(aniel) Downey, was one of the most prestigious photography studios in Victorian London. From 1890-1894 the publisher Cassell & Co. issued a five volume collection of Downey portraits titled; "Cabinet Portrait Gallery". These volumes were comprised of portraits of eminent persons in all fields. The photographs were issued as carbon prints, a time consuming photographic process that, because it contains no silver, is not prone to fading. Each photo was mounted separately to a page with a simple title and the Downey name and studio address printed below, and bound into a volume. Size: 140mm by 95mm (photograph) 240mm by 190mm (sheet)
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Circa: 1897
Price: $240
Photogravure after Ernest Prater (1864-1950) Size: 370mm by 540mm (sheet) Fold out page from the 'Black and White' of January 1897. Prater was a noted English artist and book illustrator. Vertical crease at centre as issued.
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Circa: 1818
Price: $120
'Blandfordia Nobilis - Showy Blandfordia' Copper-line engraving with original hand-colouring by Weddell. Australian native botanical engraving from Curtis’ Botanical Magazine. William Curtis (1746-1799) was a trained pharmacist, in London, who maintained a large garden and devoted himself to the study of its flora. He began publishing the Curtis Botanical Magazine in 1787. Accompanied by original text describing features of the plant, when it was introduced and by whom, and whose collection it comes from. A couple of very faint foxing spots. Size: 240mm by 150mm (sheet)
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Circa: 1902
Price: $520
Spy (Sir Leslie Ward) - Heads of the Law Vanity Fair Supplement chromolithograph published 1902. Size: 410mm by 550mm (sheet) Group portrait of 10 British justices at the bench.
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Circa: 1892
Price: $450
'Sammy' Vanity Fair chromolithograph by Stuff. Vanity Fair portrait of the Australian cricketeer Samuel Moses James Woods (1867-1931) Born Glenfield Sydney, he was a Test and first-class cricketer. He is one of only five cricketers to have represented both Australia and England at Test cricket. Size: 390mm by 265mm (sheet)
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Circa: 1775
Price: $2,800
Giuseppe Agostino Vasi (1710 - 1782) Etching with engraving. Dedicated to Pius VI, the engraving depicts the interior view and investiture of the Pope within the church of St Peter's in the Vatican, Rome. In the title area, there is a key to various monuments etc numbered in the engraving. The Papal Coat of Arms are in the centre of the title area. Vasi was an Italian engraver and architect, best known for his vedute. He was born in Corleone, Sicily and later moved to Rome. From 1746 to 1761 he published a series of ten volumes including 240 engravings of vedute of Rome. His pupils include Giovanni Battista Piranesi. Size: 720mm by 980mm (platemark)
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Circa: 1929
Price: $950
Signed and titled by the artist below the image. Size: 145mm by 190mm (platemark) Satirical scene of Dr Sigmund Freud pointing the way to a spirit figure representing "scandal". Will Dyson was an influential Australian satirical artist. Slight acid stain from a previous mount and a couple of very small spots.
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Circa: 1767
Price: $480
Copper-line engraving with original hand-colouring of a Greek vase-painting. From d’Hancarville’s famous work on Sir William Hamilton's collection of antique vases – Antiquites Etrusques, Grecques et Romaines, tirees du Cabinet de M. William Hamilton…. . Published in 1767. Sir William Hamilton (1730-1803) was the British ambassador to the Court of the Two Sicilys. Living in Naples, he was in a perfect position to acquire the Greek, Roman, and Etruscan vases being unearthed around Naples. He was quick to understand the importance of the vases to the study of ancient art and history. His first collection of vases was sold to the British Museum in 1772. 172mm by 182mm (platemark) 495mm by 360mm (sheet)
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Circa: 1767
Price: $480
Copper-line engraving with original hand-colouring of a Greek vase-painting. From d’Hancarville’s famous work on Sir William Hamilton's collection of antique vases – Antiquites Etrusques, Grecques et Romaines, tirees du Cabinet de M. William Hamilton…. . Published in 1767. Sir William Hamilton (1730-1803) was the British ambassador to the Court of the Two Sicilys. Living in Naples, he was in a perfect position to acquire the Greek, Roman, and Etruscan vases being unearthed around Naples. He was quick to understand the importance of the vases to the study of ancient art and history. His first collection of vases was sold to the British Museum in 1772. 185mm by 155mm (platemark) 495mm by 360mm (sheet)
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Circa: 1858
Price: $140
'Entrepot des Vins de Paris' Wood-engraving by Ed Riou, from 'Le monde Illustre' of 1858. Text on the reverse. Four illustrations titled - La cave, La sole, Le dépôtoir and La cave aux esprits. Light crease bottom right hand corner of sheet, not affecting the image. Size: 260mm by 365mm (sheet)