{"title":"Prints","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eBrowse a curated selection of original prints chosen for their character, craftsmanship, and visual appeal. From etchings to lithographs and linocuts, these works offer texture, detail, and an accessible way to collect distinctive art.\u003c\/p\u003e","products":[{"product_id":"signed-mezzotint-by-thomas-hamilton-crawford-the-sign-painter-after-meissonier","title":"Thomas Hamilton Crawford After Meissonier - \"The Sign Painter\"","description":"\u003cp data-start=\"125\" data-end=\"236\"\u003e\u003cstrong data-start=\"125\" data-end=\"174\"\u003eThomas Hamilton Crawford – \u003cem data-start=\"154\" data-end=\"172\"\u003eThe Sign Painter, \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-start=\"177\" data-end=\"236\"\u003eSigned Hand-Coloured Mezzotint after Meissonier, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"238\" data-end=\"649\"\u003eA fine early 20th-century hand-coloured mezzotint engraving by Thomas Hamilton Crawford (1860–1948), after the celebrated French painter Jean-Louis-Ernest Meissonier (1815–1891). Titled \u003cem data-start=\"432\" data-end=\"450\"\u003eThe Sign Painter\u003c\/em\u003e, the composition depicts a tradesman carefully lettering a shop sign while a second figure looks on, capturing a characterful moment of everyday working life with wit, warmth, and close observation.\u003c\/p\u003e\n\u003cp data-start=\"651\" data-end=\"1114\"\u003eThe subject is especially appealing for its sense of concentration and quiet humour. Meissonier’s small-scale genre scenes were admired for their precision and intimacy, and Crawford’s mezzotint translates those qualities into a richly tonal print with a soft, velvety surface. The subtle hand-colouring adds warmth and decorative charm, while the careful treatment of the figures and interior details preserves the narrative interest of the original composition.\u003c\/p\u003e\n\u003cp data-start=\"1116\" data-end=\"1579\"\u003eMezzotints after Meissonier were highly popular in the late 19th and early 20th centuries, valued for both their technical sophistication and their ability to capture the painterly character of the source image. Crawford was particularly well regarded as a reproductive engraver, and this example retains the crispness and atmosphere associated with good early impressions. The artist’s pencil signature in the lower margin adds further appeal for collectors.\u003c\/p\u003e\n\u003cp data-start=\"1581\" data-end=\"1915\"\u003ePresented in its original early 20th-century Boots frame, the piece carries additional period character and displays very well at a generous scale. A strong and decorative example of British mezzotint printmaking, ideal for collectors of genre prints, working-life subjects, and early 20th-century British graphic art.\u003c\/p\u003e\n\u003cp data-start=\"1917\" data-end=\"2552\"\u003e\u003cstrong data-start=\"1917\" data-end=\"1928\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1928\" data-end=\"1931\"\u003eArtist: Thomas Hamilton Crawford (Scottish, 1860–1948), after J. L. E. Meissonier\u003cbr data-start=\"2016\" data-end=\"2019\"\u003eTitle: \u003cem data-start=\"2030\" data-end=\"2048\"\u003eThe Sign Painter\u003c\/em\u003e\u003cbr data-start=\"2048\" data-end=\"2051\"\u003eMedium: Hand-coloured mezzotint engraving on paper\u003cbr data-start=\"2105\" data-end=\"2108\"\u003eSignature: Pencil signed lower right\u003cbr data-start=\"2148\" data-end=\"2151\"\u003eUnframed size: 42 × 32 cm\u003cbr data-start=\"2180\" data-end=\"2183\"\u003eFramed size: 69 × 56 cm\u003cbr data-start=\"2210\" data-end=\"2213\"\u003eDate: Early 20th century, c.1905–1920\u003cbr data-start=\"2254\" data-end=\"2257\"\u003eCondition: Vintage condition consistent with age. The mezzotint itself is clean and well preserved with strong presentation overall. There is gentle age toning to the mount and light wear to the original frame, as expected.\u003cbr data-start=\"2484\" data-end=\"2487\"\u003eFrame: Original vintage Boots frame, glazed and ready to hang\u003c\/p\u003e\n\u003cp data-start=\"2554\" data-end=\"2662\"\u003eThis is an authentic early 20th-century hand-pulled mezzotint, not a modern reproduction or later print.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563943682389,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/CrawfordMain.jpg?v=1774909368"},{"product_id":"large-coloured-mezzotint-throwing-a-kiss-sydney-e-wilson-after-greuze-1923","title":"Sydney E. Wilson after Greuze - \"Throwing a Kiss\" (1923)","description":"\u003cp data-start=\"125\" data-end=\"278\"\u003e\u003cstrong data-start=\"125\" data-end=\"217\"\u003eSydney Ernest Wilson after Jean-Baptiste Greuze – \u003cem data-start=\"177\" data-end=\"194\"\u003eThrowing a Kiss\u003c\/em\u003e (\u003cem data-start=\"196\" data-end=\"214\"\u003eLe Baiser Envoyé\u003c\/em\u003e), \u003c\/strong\u003e\u003cstrong data-start=\"220\" data-end=\"278\"\u003eColoured Mezzotint Engraving, Published c.1923, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"280\" data-end=\"664\"\u003eA coloured mezzotint engraving by Sydney Ernest Wilson (1869–1940), after the celebrated French painter Jean-Baptiste Greuze (1725–1805), depicting \u003cem data-start=\"436\" data-end=\"453\"\u003eThrowing a Kiss\u003c\/em\u003e (\u003cem data-start=\"455\" data-end=\"473\"\u003eLe Baiser Envoyé\u003c\/em\u003e). The composition shows a young woman in 18th-century dress, caught in an intimate and theatrical moment as she sends a kiss while holding a letter, framed by rich drapery and floral detail.\u003c\/p\u003e\n\u003cp data-start=\"666\" data-end=\"1153\"\u003eThe image is one of Greuze’s most recognisable and appealing subjects, combining sentiment, elegance, and carefully staged charm. It reflects the taste for refined and emotionally charged genre scenes that made his work so admired, while the costume, pose, and setting give the composition a strong decorative quality. Wilson’s interpretation preserves that appeal beautifully, translating the softness and painterly richness of the original into the velvety tonal language of mezzotint.\u003c\/p\u003e\n\u003cp data-start=\"1155\" data-end=\"1663\"\u003eSydney Ernest Wilson was a highly regarded British engraver, particularly known for his accomplished reproductive prints after Old Masters and 18th-century French pictures. His mezzotints are valued for their tonal depth and sensitivity to the original paintings, and this coloured example is especially attractive for the warmth and delicacy of its finish. Pencil signed in the margin and generous in scale, it has strong wall presence while retaining the intimacy and softness characteristic of the medium.\u003c\/p\u003e\n\u003cp data-start=\"1665\" data-end=\"1897\"\u003ePresented in a glazed frame with a period-style mount, this is a handsome and collectible early 20th-century print, well suited to collectors of decorative mezzotints, French Rococo subjects, and romantic figural prints.\u003c\/p\u003e\n\u003cp data-start=\"1899\" data-end=\"2504\"\u003e\u003cstrong data-start=\"1899\" data-end=\"1910\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1910\" data-end=\"1913\"\u003eArtist: Sydney Ernest Wilson (British, 1869–1940), after Jean-Baptiste Greuze (French, 1725–1805)\u003cbr data-start=\"2014\" data-end=\"2017\"\u003eTitle: \u003cem data-start=\"2028\" data-end=\"2045\"\u003eThrowing a Kiss\u003c\/em\u003e (\u003cem data-start=\"2047\" data-end=\"2065\"\u003eLe Baiser Envoyé\u003c\/em\u003e)\u003cbr data-start=\"2066\" data-end=\"2069\"\u003eMedium: Coloured mezzotint engraving on paper\u003cbr data-start=\"2118\" data-end=\"2121\"\u003eSignature: Pencil signed in the margin\u003cbr data-start=\"2163\" data-end=\"2166\"\u003eUnframed size: 42 × 34 cm\u003cbr data-start=\"2195\" data-end=\"2198\"\u003eFramed size: 63 × 55 cm\u003cbr data-start=\"2225\" data-end=\"2228\"\u003eDate: Published c.1923\u003cbr data-start=\"2254\" data-end=\"2257\"\u003eCondition: The mezzotint is in good overall vintage condition. The sheet shows light, even age toning with scattered foxing consistent with age. It remains well presented overall and displays attractively.\u003cbr data-start=\"2466\" data-end=\"2469\"\u003eFrame: Glazed and ready to hang\u003c\/p\u003e\n\u003cp data-start=\"2506\" data-end=\"2586\"\u003eThis is an original early 20th-century mezzotint, not a modern reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563943715157,"sku":null,"price":40.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/Wilson.jpg?v=1774912395"},{"product_id":"antique-18th-century-diderot-encyclopedie-engraving-art-decrire-writing-framed","title":"Diderot Encyclopédie - Art d'Ecrire","description":"\u003cp data-start=\"125\" data-end=\"267\"\u003e\u003cstrong data-start=\"125\" data-end=\"213\"\u003eDiderot \u0026amp; d’Alembert’s \u003cem data-start=\"150\" data-end=\"164\"\u003eEncyclopédie\u003c\/em\u003e — \u003cem data-start=\"167\" data-end=\"181\"\u003eArt d’Ecrire\u003c\/em\u003e (The Art of Writing), Plate 2, \u003c\/strong\u003e\u003cstrong data-start=\"216\" data-end=\"267\"\u003eOriginal 18th-Century Engraving, c.1763, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"269\" data-end=\"776\"\u003eAn original 18th-century copperplate engraving on laid paper from Charles Paillasson’s celebrated handwriting manual \u003cem data-start=\"394\" data-end=\"410\"\u003eL’Art d’Ecrire\u003c\/em\u003e, issued around 1763 as part of Diderot and d’Alembert’s \u003cem data-start=\"473\" data-end=\"551\"\u003eEncyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers\u003c\/em\u003e. The plate depicts a gentleman seated at his writing desk within an elegant interior, while the lower register illustrates quill pens, an inkwell and stand, a pounce box, and the correct hand positions for holding a quill.\u003c\/p\u003e\n\u003cp data-start=\"778\" data-end=\"1232\"\u003eThe composition follows the characteristic format used throughout the \u003cem data-start=\"848\" data-end=\"862\"\u003eEncyclopédie\u003c\/em\u003e plate volumes, combining a larger vignette of practice or setting above with carefully observed studies of tools and technique below. This union of clarity, elegance, and practical instruction is one of the defining qualities of the \u003cem data-start=\"1096\" data-end=\"1110\"\u003eEncyclopédie\u003c\/em\u003e’s engraved plates, which remain among the most visually compelling records of 18th-century intellectual and working life.\u003c\/p\u003e\n\u003cp data-start=\"1234\" data-end=\"1657\"\u003eThe engraving was produced under the direction of Jacques Renaud Benard (1731–1794), whose inscription “Benard direx.” appears in the plate. This indicates the supervision of his atelier rather than necessarily his own hand alone. Benard was one of the most prolific engravers associated with the \u003cem data-start=\"1539\" data-end=\"1553\"\u003eEncyclopédie\u003c\/em\u003e, contributing extensively to one of the most important publishing projects of the French Enlightenment.\u003c\/p\u003e\n\u003cp data-start=\"1659\" data-end=\"2145\"\u003eAs both a work of graphic art and a document of cultural history, the plate has particular appeal. Paillasson devoted his career to the art of writing and calligraphy, and this engraving reflects the period’s concern with refinement, education, and the dignified presentation of skilled practice. The subject makes it especially suitable for a study, library, or desk setting, while the quality of the engraving and its strong historical context give it enduring collector interest.\u003c\/p\u003e\n\u003cp data-start=\"2147\" data-end=\"2357\"\u003ePresented in a substantial glazed gilt frame with a deep green mount, this is a handsome and well-preserved example of an original \u003cem data-start=\"2278\" data-end=\"2292\"\u003eEncyclopédie\u003c\/em\u003e plate — decorative, historically significant, and ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2359\" data-end=\"3020\"\u003e\u003cstrong data-start=\"2359\" data-end=\"2370\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"2370\" data-end=\"2373\"\u003eTitle: \u003cem data-start=\"2384\" data-end=\"2398\"\u003eArt d’Ecrire\u003c\/em\u003e (The Art of Writing), Plate 2\u003cbr data-start=\"2428\" data-end=\"2431\"\u003eMedium: Copperplate engraving on laid paper\u003cbr data-start=\"2478\" data-end=\"2481\"\u003eEngraver: Atelier of Jacques Renaud Benard (French, 1731–1794), signed in plate \u003cem data-start=\"2565\" data-end=\"2580\"\u003eBenard direx.\u003c\/em\u003e\u003cbr data-start=\"2580\" data-end=\"2583\"\u003eAfter: Charles Paillasson (French, 1718–1789)\u003cbr data-start=\"2632\" data-end=\"2635\"\u003eDate: c.1763\u003cbr data-start=\"2651\" data-end=\"2654\"\u003ePlate size: 23 × 16 cm\u003cbr data-start=\"2680\" data-end=\"2683\"\u003eFramed size: 56.5 × 46 cm\u003cbr data-start=\"2712\" data-end=\"2715\"\u003eCondition: Good overall condition. Light age toning to the paper, consistent with an 18th-century work. No visible foxing, tears, or losses to the image area. The engraving remains crisp, with fine detail well preserved.\u003cbr data-start=\"2939\" data-end=\"2942\"\u003eFrame: Substantial glazed gilt frame with deep green mount. Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"3022\" data-end=\"3112\"\u003eThis is a genuine original 18th-century engraving, not a modern print or reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944042837,"sku":null,"price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/The_Art_of_Writing_Inner_Plate_IG.jpg?v=1774901085"},{"product_id":"west-end-park-glasgow-framed-print-kelvingrove-park-victorian-illustration","title":"West End Park (Kelvingrove Park), Glasgow","description":"\u003cp data-start=\"120\" data-end=\"219\"\u003e\u003cstrong data-start=\"120\" data-end=\"169\"\u003eWest End Park, Glasgow (Now Kelvingrove Park), \u003c\/strong\u003e\u003cstrong data-start=\"172\" data-end=\"219\"\u003eFramed Print After a Victorian Illustration\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"221\" data-end=\"593\"\u003eA handsome colour print depicting West End Park, Glasgow, now known as Kelvingrove Park, after a late 19th-century Victorian illustration. The scene captures the formal landscaping, fountain, and surrounding architecture with the balanced, descriptive character typical of period topographical views, offering both strong decorative appeal and historical interest.\u003c\/p\u003e\n\u003cp data-start=\"595\" data-end=\"967\"\u003eThe composition reflects the civic confidence of Victorian Glasgow, when illustrated views of public parks and urban improvements were produced to celebrate the city’s development and architectural ambition. Here, the orderly planting, open promenade, and carefully observed buildings combine to create a view that is both visually satisfying and rich in period character.\u003c\/p\u003e\n\u003cp data-start=\"969\" data-end=\"1463\"\u003eThis later print preserves the charm of the original design particularly well. The colour is clean and bright, and the original printed title label beneath the image — “The West End Park – Glasgow” — adds an extra layer of authenticity and visual interest. As a subject, Kelvingrove Park remains one of Glasgow’s best-known and most admired public spaces, making this an especially appealing piece for collectors of Scottish prints, Glasgow views, and historic urban landscapes.\u003c\/p\u003e\n\u003cp data-start=\"1465\" data-end=\"1716\"\u003ePresented mounted and glazed in a substantial modern gilt frame, the print has an elegant and well-finished appearance that suits both traditional and contemporary interiors. A highly decorative and well-presented historic Glasgow view, ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"1718\" data-end=\"2386\"\u003e\u003cstrong data-start=\"1718\" data-end=\"1729\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1729\" data-end=\"1732\"\u003eTitle: \u003cem data-start=\"1743\" data-end=\"1772\"\u003eThe West End Park – Glasgow\u003c\/em\u003e\u003cbr data-start=\"1772\" data-end=\"1775\"\u003eMedium: Colour print on paper\u003cbr data-start=\"1808\" data-end=\"1811\"\u003eSubject: West End Park, Glasgow (now Kelvingrove Park)\u003cbr data-start=\"1869\" data-end=\"1872\"\u003ePresentation: Mounted and glazed\u003cbr data-start=\"1908\" data-end=\"1911\"\u003eImage size: 26 × 35 cm\u003cbr data-start=\"1937\" data-end=\"1940\"\u003eFramed size: 50 × 58 cm\u003cbr data-start=\"1967\" data-end=\"1970\"\u003eDate: Late 20th century, after an original 1890s illustration\u003cbr data-start=\"2035\" data-end=\"2038\"\u003eCondition: Excellent overall condition. The print remains clean and bright, with no visible fading, foxing, or staining. The mount is fresh, and the glazing is clear. Overall presentation is of a high standard.\u003cbr data-start=\"2252\" data-end=\"2255\"\u003eFrame: Substantial modern gilt frame with hanging wire. Ready to hang.\u003cbr data-start=\"2329\" data-end=\"2332\"\u003eNotes: Original printed title label beneath image.\u003c\/p\u003e\n\u003cp data-start=\"2388\" data-end=\"2466\"\u003eThis is a genuine high-quality decorative print, professionally presented.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944108373,"sku":null,"price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/GlasgowWestParkPlate.jpg?v=1774900096"},{"product_id":"ken-lochhead-quality-street-north-berwick-hand-coloured-print-framed","title":"Ken Lochhead - Quality Street North Berwick","description":"\u003cp data-start=\"121\" data-end=\"227\"\u003e\u003cstrong data-start=\"121\" data-end=\"193\"\u003eKen Lochhead (Scottish, 1936–2006) – \u003cem data-start=\"160\" data-end=\"191\"\u003eQuality Street, North Berwick, \u003c\/em\u003e\u003c\/strong\u003e\u003cstrong data-start=\"196\" data-end=\"227\"\u003eHand-Coloured Print, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"229\" data-end=\"668\"\u003eA charming hand-coloured print after an original drawing by Ken Lochhead, depicting Quality Street, North Berwick. Known for his distinctive architectural views and affectionate depictions of Scottish towns, Lochhead had a gift for capturing local character through clear linework, balanced composition, and gently applied colour. This example is a particularly appealing view of one of East Lothian’s most picturesque streets.\u003c\/p\u003e\n\u003cp data-start=\"670\" data-end=\"1106\"\u003eThe print has a warm and inviting decorative quality. The neat arrangement of buildings, simple perspective, and carefully tinted surface give the composition both clarity and charm, while the hand-colouring lends a subtle individuality to the piece. Lochhead’s work is especially attractive for the way it combines topographical interest with a light, accessible style, making it easy to place in both traditional and modern interiors.\u003c\/p\u003e\n\u003cp data-start=\"1108\" data-end=\"1396\"\u003eQuality Street is one of North Berwick’s best-loved historic streets, and the subject gives the print a strong sense of place. For collectors of Scottish townscapes, North Berwick views, and architectural prints, this is a pleasing and characterful example of Lochhead’s work.\u003c\/p\u003e\n\u003cp data-start=\"1398\" data-end=\"1493\"\u003ePresented behind glass with a simple brown mount, the print displays well and is ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"1495\" data-end=\"1992\"\u003e\u003cstrong data-start=\"1495\" data-end=\"1506\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1506\" data-end=\"1509\"\u003eArtist: Ken Lochhead (Scottish, 1936–2006)\u003cbr data-start=\"1555\" data-end=\"1558\"\u003eTitle: \u003cem data-start=\"1569\" data-end=\"1600\"\u003eQuality Street, North Berwick\u003c\/em\u003e\u003cbr data-start=\"1600\" data-end=\"1603\"\u003eMedium: Hand-coloured print on paper, from an original drawing\u003cbr data-start=\"1669\" data-end=\"1672\"\u003eSignature: Printed signature in the image\u003cbr data-start=\"1717\" data-end=\"1720\"\u003eFramed picture size: 27 × 22 cm\u003cbr data-start=\"1755\" data-end=\"1758\"\u003eCondition: Good overall condition with clean colour and no obvious damage noted. Light, expected age-related handling wear, as shown in the photographs.\u003cbr data-start=\"1914\" data-end=\"1917\"\u003eFrame: Presented behind glass with a simple brown mount. Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"1994\" data-end=\"2075\"\u003eThis is an original hand-coloured print, not an original drawing or painting.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944272213,"sku":null,"price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/Ken_Lochead_Plate.jpg?v=1776034783"},{"product_id":"hanslip-fletcher-exeter-queen-street-old-market-sunday-times-print-1948-framed","title":"Hanslip Fletcher - Exeter, Queen Street Old Market (1948)","description":"\u003cp data-start=\"126\" data-end=\"265\"\u003e\u003cstrong data-start=\"126\" data-end=\"213\"\u003eHanslip Fletcher (1874–1955) – The Old Market \/ Higher Market, Queen Street, Exeter, \u003c\/strong\u003e\u003cstrong data-start=\"216\" data-end=\"265\"\u003eSunday Times Reproduction Print, 1948, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"267\" data-end=\"726\"\u003eA vintage Sunday Times reproduction print after a pen-and-ink architectural drawing by Hanslip Fletcher (1874–1955), depicting the imposing classical façade of Exeter’s Higher Market on Queen Street, also often referred to as the Old Market. Rendered in crisp monochrome line, the composition has a strong architectural clarity and decorative elegance, making it an appealing piece for collectors of British topography and historic print material.\u003c\/p\u003e\n\u003cp data-start=\"728\" data-end=\"1163\"\u003eThe subject is one of Exeter’s best-known civic buildings. With its grand Greek Doric portico and commanding street presence, the Higher Market has long been admired as a notable example of early 19th-century architecture. Fletcher’s image focuses on this stately frontage, capturing the rhythm of the columns and the dignified balance of the façade with the precision and confidence for which his architectural drawings are known.\u003c\/p\u003e\n\u003cp data-start=\"1165\" data-end=\"1605\"\u003eThis print was issued in 1948 and reproduces Fletcher’s earlier 1938 drawing of the building, giving the piece both topographical and documentary interest. It is a characterful mid-century reproduction that reflects the period’s appreciation for historic British architecture and printed illustration. The clean black-and-white presentation also makes it especially easy to place in both traditional and more contemporary interiors.\u003c\/p\u003e\n\u003cp data-start=\"1607\" data-end=\"1870\"\u003ePresented behind glass with a simple outlined border and no mount, the print has an understated, classic look that suits the subject well. A pleasing example for collectors of Exeter interest, architectural prints, and vintage newspaper reproductions.\u003c\/p\u003e\n\u003cp data-start=\"1872\" data-end=\"2584\"\u003e\u003cstrong data-start=\"1872\" data-end=\"1883\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1883\" data-end=\"1886\"\u003eArtist: Hanslip Fletcher (1874–1955) (after)\u003cbr data-start=\"1934\" data-end=\"1937\"\u003eTitle: \u003cem data-start=\"1948\" data-end=\"2002\"\u003eThe Old Market \/ Higher Market, Queen Street, Exeter\u003c\/em\u003e\u003cbr data-start=\"2002\" data-end=\"2005\"\u003eMedium: Reproduction print on paper after a pen-and-ink drawing\u003cbr data-start=\"2072\" data-end=\"2075\"\u003eSignature: Signed in plate lower right, “Hanslip Fletcher 1948”; printed with “Reproduced from The Sunday Times”\u003cbr data-start=\"2191\" data-end=\"2194\"\u003eDate: Printed 1948; after the original 1938 drawing\u003cbr data-start=\"2249\" data-end=\"2252\"\u003eFramed picture size: 38 × 29 cm\u003cbr data-start=\"2287\" data-end=\"2290\"\u003eCondition: Good overall condition with no foxing and only minimal toning to the paper.\u003cbr data-start=\"2380\" data-end=\"2383\" data-is-only-node=\"\"\u003eFrame: Presented behind glass with a simple outlined border and no mount. The reverse is inscribed in red: “Hanslip Fletcher reproduction \/ ‘The Old Market’ \/ Queen Street \/ EXETER.” Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2586\" data-end=\"2652\"\u003eThis is a vintage reproduction print, not an original drawing.\u003c\/p\u003e\n\u003cp data-start=\"2654\" data-end=\"2773\"\u003eCarefully packed and dispatched from the UK.\u003cbr data-start=\"2698\" data-end=\"2701\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944173909,"sku":null,"price":35.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/FletcherPlate.jpg?v=1774898436"},{"product_id":"t-mackenzie-signed-etching-punting-magdalen-college-oxford-framed","title":"T. Mackenzie - Magdalen College Oxford","description":"\u003cp data-start=\"104\" data-end=\"196\"\u003e\u003cstrong data-start=\"104\" data-end=\"158\"\u003eT. Mackenzie – “Punting”, Magdalen College, Oxford, \u003c\/strong\u003e\u003cstrong data-start=\"161\" data-end=\"196\"\u003eSigned Original Etching, Framed\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"198\" data-end=\"521\"\u003eA signed original etching by T. Mackenzie, depicting an elegant punting scene before Magdalen College, Oxford. This finely executed print captures one of Oxford’s most recognisable riverside views, with the college buildings rising beyond the water and figures in punts bringing movement and life to the foreground.\u003c\/p\u003e\n\u003cp data-start=\"523\" data-end=\"1014\"\u003eThe composition has a particularly appealing balance of architectural detail and atmospheric charm. Delicate etched lines and subtle tonal variation give the scene a refined, traditional character, while the subject itself evokes the long visual history of Oxford as a centre of learning, leisure, and historic beauty. The combination of water, architecture, and figures makes this an especially decorative topographical print, well suited to both classic and contemporary interiors.\u003c\/p\u003e\n\u003cp data-start=\"1016\" data-end=\"1394\"\u003eMagdalen College, founded in 1458, is one of Oxford’s most celebrated institutions, and its picturesque setting beside the River Cherwell has made it a favourite subject for artists and printmakers. In this example, Mackenzie presents the scene with clarity and restraint, allowing the beauty of the architecture and the gentle activity of the river to speak for themselves.\u003c\/p\u003e\n\u003cp data-start=\"1396\" data-end=\"1610\"\u003eSigned in pencil and presented in a glazed black wood frame, this is an attractive and ready-to-display work for collectors of Oxford views, British topographical prints, and early 20th-century etching.\u003c\/p\u003e\n\u003cp data-start=\"1612\" data-end=\"2157\"\u003e\u003cstrong data-start=\"1612\" data-end=\"1623\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1623\" data-end=\"1626\"\u003e\u003cstrong data-start=\"1626\" data-end=\"1637\"\u003eArtist:\u003c\/strong\u003e T. Mackenzie\u003cbr data-start=\"1650\" data-end=\"1653\"\u003e\u003cstrong data-start=\"1653\" data-end=\"1663\"\u003eTitle:\u003c\/strong\u003e \u003cem data-start=\"1664\" data-end=\"1673\"\u003ePunting\u003c\/em\u003e\u003cbr data-start=\"1673\" data-end=\"1676\"\u003e\u003cstrong data-start=\"1676\" data-end=\"1687\"\u003eMedium:\u003c\/strong\u003e Etching on paper\u003cbr data-start=\"1704\" data-end=\"1707\"\u003e\u003cstrong data-start=\"1707\" data-end=\"1721\" data-is-only-node=\"\"\u003eSignature:\u003c\/strong\u003e Signed in pencil lower right\u003cbr data-start=\"1750\" data-end=\"1753\"\u003e\u003cstrong data-start=\"1753\" data-end=\"1777\"\u003eUnframed sheet size:\u003c\/strong\u003e 28 × 22.5 cm\u003cbr data-start=\"1790\" data-end=\"1793\"\u003e\u003cstrong data-start=\"1793\" data-end=\"1809\"\u003eFramed size:\u003c\/strong\u003e 42.5 × 38 cm\u003cbr data-start=\"1822\" data-end=\"1825\"\u003e\u003cstrong data-start=\"1825\" data-end=\"1834\"\u003eDate:\u003c\/strong\u003e Early 20th century\u003cbr data-start=\"1853\" data-end=\"1856\"\u003e\u003cstrong data-start=\"1856\" data-end=\"1870\"\u003eCondition:\u003c\/strong\u003e Very good overall condition. The etching presents cleanly, with no notable condition issues apparent. The sheet appears well preserved, and the image retains a crisp, attractive impression with good clarity throughout.\u003cbr data-start=\"2089\" data-end=\"2092\"\u003e\u003cstrong data-start=\"2092\" data-end=\"2102\"\u003eFrame:\u003c\/strong\u003e Presented in a glazed black wood frame. Ready to hang.\u003c\/p\u003e\n\u003cp data-start=\"2159\" data-end=\"2211\"\u003eThis is an original etching, not a reproduction.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944370517,"sku":null,"price":75.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/OxfordPlate.jpg?v=1774895133"},{"product_id":"john-slezer-edinburgh-castle-print-1993-facsimile-southside-of-the-castle-framed","title":"John Slezer, Southside of the Castle","description":"\u003cp data-start=\"0\" data-end=\"100\"\u003e\u003cstrong data-start=\"0\" data-end=\"100\"\u003eJohn Slezer \u003cem data-start=\"14\" data-end=\"32\"\u003eTheatrum Scotiae\u003c\/em\u003e 1993 Facsimile Print – \u003cem data-start=\"56\" data-end=\"98\"\u003eThe Southside of the Castle of Edinburgh\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"102\" data-end=\"490\"\u003eA decorative 1993 facsimile print after Plate I from John Slezer’s \u003cem data-start=\"171\" data-end=\"189\"\u003eTheatrum Scotiae\u003c\/em\u003e, depicting the south side of Edinburgh Castle. This celebrated view presents the castle from the south with its original Latin and English titles, \u003cem data-start=\"345\" data-end=\"373\"\u003eFacies Arcis Edenburgeanae\u003c\/em\u003e \/ \u003cem data-start=\"376\" data-end=\"418\"\u003eThe Southside of the Castle of Edinburgh\u003c\/em\u003e, and draws on one of the best-known early printed images of the city.\u003c\/p\u003e\n\u003cp data-start=\"492\" data-end=\"1012\"\u003eSlezer occupies an important place in the history of Scottish topography, and \u003cem data-start=\"570\" data-end=\"588\"\u003eTheatrum Scotiae\u003c\/em\u003e remains one of the landmark illustrated surveys of late 17th-century Scotland. This example is not an original 1693 engraving, but a 1993 licensed facsimile, produced to mark the tercentenary of the publication. The print was issued in connection with the National Library of Scotland exhibition \u003cem data-start=\"899\" data-end=\"925\"\u003eScotland First Portrayed\u003c\/em\u003e, held that year to celebrate 300 years since the appearance of Slezer’s famous work.\u003c\/p\u003e\n\u003cp data-start=\"1014\" data-end=\"1504\"\u003eThat background gives the piece a dual appeal. On one level, it is a striking and historically resonant image of Edinburgh Castle, one of Scotland’s most recognisable landmarks. On another, it is a commemorative late 20th-century reproduction tied to an important exhibition and to the continuing legacy of Slezer’s publication. The result is a print that works equally well as a decorative Edinburgh view and as an object of interest within the broader history of Scottish printed imagery.\u003c\/p\u003e\n\u003cp data-start=\"1506\" data-end=\"1788\"\u003ePresented in a simple black frame with a cream mount, it displays cleanly and attractively. A handsome framed print for collectors of Edinburgh views, Scottish topography and architectural prints, and a characterful piece for both traditional and contemporary interiors.\u003c\/p\u003e\n\u003cp data-start=\"1790\" data-end=\"2214\"\u003e\u003cstrong\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1801\" data-end=\"1804\"\u003eMedium: Facsimile print on paper\u003cbr data-start=\"1836\" data-end=\"1839\"\u003eArtist: John Slezer\u003cbr data-start=\"1858\" data-end=\"1861\"\u003eTitle: \u003cem data-start=\"1868\" data-end=\"1910\"\u003eThe Southside of the Castle of Edinburgh\u003c\/em\u003e\u003cbr data-start=\"1910\" data-end=\"1913\"\u003eFramed Size: 44 × 32 cm\u003cbr data-start=\"1936\" data-end=\"1939\"\u003eDate: 1993\u003cbr data-start=\"1949\" data-end=\"1952\"\u003eCondition: Good overall condition with light, expected wear consistent with age and framing. The print presents cleanly and attractively overall, with no major issues noted\u003cbr data-start=\"2124\" data-end=\"2127\"\u003eFrame: Presented behind glass in a simple black frame with a cream mount. Ready to hang\u003c\/p\u003e\n\u003cp data-start=\"2216\" data-end=\"2300\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eThis is a 1993 licensed facsimile print, not an original 17th-century engraving.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53563944599893,"sku":null,"price":25.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/SouthsideoftheCastleMain.jpg?v=1774826780"},{"product_id":"after-charles-hunt-grand-stand-goodwood-coming-in-for-the-gold-cup-1838","title":"After Charles Hunt – Grand Stand, Goodwood (Coming in for the Gold Cup 1838)","description":"\u003cp data-start=\"38\" data-end=\"120\"\u003e\u003cstrong data-start=\"38\" data-end=\"120\"\u003eAfter Charles Hunt – \u003cem data-start=\"61\" data-end=\"118\"\u003eGrand Stand, Goodwood (Coming in for the Gold Cup 1838)\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"122\" data-end=\"543\"\u003eA striking large-scale colour print after Charles Hunt’s celebrated racing subject, depicting the excitement of the finish at Goodwood as the horses come in for the Gold Cup of 1838. The composition captures the energy and spectacle of one of Britain’s most iconic race meetings, with the charging horses in the foreground, dense crowds gathered around the course, and the grandstand rising prominently in the background.\u003c\/p\u003e\n\u003cp data-start=\"545\" data-end=\"864\"\u003eRich in period atmosphere, the print has strong decorative appeal, particularly for interiors with an interest in sporting art, equestrian subjects, or nineteenth-century British racing imagery. Its generous scale and handsome mahogany frame give it real wall presence, making it a particularly effective display piece.\u003c\/p\u003e\n\u003cp data-start=\"866\" data-end=\"1002\"\u003eThis is a later reproduction after the original nineteenth-century image, and is offered as an attractive and characterful framed print.\u003c\/p\u003e\n\u003cp data-start=\"1004\" data-end=\"1272\"\u003e\u003cstrong data-start=\"1004\" data-end=\"1015\"\u003eDetails\u003c\/strong\u003e\u003cbr data-start=\"1015\" data-end=\"1018\"\u003eMedium: Colour print\u003cbr data-start=\"1038\" data-end=\"1041\"\u003eArtist: After Charles Hunt\u003cbr data-start=\"1067\" data-end=\"1070\"\u003eTitle: \u003cem data-start=\"1077\" data-end=\"1134\"\u003eGrand Stand, Goodwood (Coming in for the Gold Cup 1838)\u003c\/em\u003e\u003cbr data-start=\"1134\" data-end=\"1137\"\u003eDate: Later reproduction (circa 1970) after the 1839 published original\u003cbr data-start=\"1195\" data-end=\"1198\" data-is-only-node=\"\"\u003eImage Size: 46 x 68 cm\u003cbr data-start=\"1220\" data-end=\"1223\"\u003eFramed Size: 90.5 x 74 cm\u003cbr data-start=\"1248\" data-end=\"1251\"\u003eFrame: Mahogany frame\u003c\/p\u003e\n\u003cp data-start=\"1274\" data-end=\"1597\"\u003e\u003cstrong data-start=\"1274\" data-end=\"1287\"\u003eCondition\u003c\/strong\u003e\u003cbr data-start=\"1287\" data-end=\"1290\"\u003eOverall in good condition. There is some slight buckling\/rippling to the lower edge of the print paper where it meets the mount. The mount also has two small areas of wear, one to the bottom edge and one to the left-hand side. These are not especially noticeable in display and are shown in the photographs.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":53687747739989,"sku":null,"price":145.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/HuntPlate.jpg?v=1776209454"},{"product_id":"michael-mcveigh-royal-highland-show-ingliston","title":"Michael McVeigh - Royal Highland Show, Ingliston","description":"\u003cp\u003e\u003cstrong\u003eMichael McVeigh - Royal Highland Show, Ingliston, 1987\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA wonderfully detailed colour lithograph by the Scottish artist Michael McVeigh (b.1957), depicting the heavy-horse section of the Royal Highland Show at Ingliston. Signed and titled within the image, dated 1987 and numbered 3\/26 from a small limited edition.\u003c\/p\u003e\n\u003cp\u003eThe bustling composition is filled with magnificent working horses, handlers, spectators, children and agricultural vehicles. McVeigh compresses the activity into a densely layered scene, with the monumental horses dominating the foreground while numerous smaller narrative details reward closer inspection. Particularly charming is the small black dog standing among the handlers near the centre of the composition.\u003c\/p\u003e\n\u003cp\u003eBorn in Dundee, McVeigh studied Drawing and Painting at Duncan of Jordanstone College of Art before settling in Edinburgh. He is particularly known for his highly individual depictions of Scottish life, including crowded streets, harbours, public gatherings, musicians and animals. His work combines close observation with deliberately distorted perspective, giving familiar subjects an imaginative and gently humorous character.\u003c\/p\u003e\n\u003cp\u003eThe Royal Highland Show has been held at Ingliston, near Edinburgh, since 1960 and remains one of Scotland’s most important agricultural events. McVeigh’s lithograph captures the distinctive mixture of livestock, machinery and human activity associated with the show, while retaining the warmth and eccentricity characteristic of his work.\u003c\/p\u003e\n\u003cp\u003ePrinted in a restrained palette of earthy browns, ochres, muted greens and soft reds, the composition has an atmospheric, almost remembered quality. The fine crayon-like lines and layered tonal textures are particularly well suited to the lithographic medium.\u003c\/p\u003e\n\u003cp\u003eAn impression of this composition is held in the collection of the City of Edinburgh Museums and Galleries.\u003c\/p\u003e\n\u003cp\u003ePresented under glass in a dark wooden frame with a wide cream mount.\u003c\/p\u003e\n\u003cp\u003eA substantial and highly engaging Scottish print, combining agricultural and social history with McVeigh’s distinctive narrative style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Michael McVeigh\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e Royal Highland Show, Ingliston\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e 1987\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Colour lithograph\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e 3\/26\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed and titled within the image\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 44.5cm x 64cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 71.5cm x 79cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. Some scattered age-related spotting and light discolouration are visible to the sheet and mount. Minor marks and wear to the wooden frame. Glazed and not examined out of the frame.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54399501336917,"sku":null,"price":195.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/McVeigh2Plate.jpg?v=1784337684"},{"product_id":"michael-mcveigh-i-am-getting-younger-everyday","title":"Michael McVeigh - I Am Getting Younger Everyday","description":"\u003cp\u003e\u003cstrong\u003eMichael McVeigh - I Am Getting Younger Everyday\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA richly detailed sepia etching by the Scottish artist Michael McVeigh (b.1957), depicting a group of traditional musicians gathered around a table in a Scottish pub. Signed and titled below in pencil and inscribed “PROOF” at the lower right.\u003c\/p\u003e\n\u003cp\u003eThree monumental figures dominate the composition: an accordion player, a mandolin player and a musician playing a tin whistle. A violin rests on the table beside a bottle of McEwan’s 80\/-, drinking glasses and a packet of cigarettes, while two further figures converse beneath a large McEwan’s sign in the background.\u003c\/p\u003e\n\u003cp\u003eThe gently humorous title, \u003cem\u003eI Am Getting Younger Everyday\u003c\/em\u003e, contrasts with the musicians’ solemn and introspective expressions. McVeigh presents the pub session not simply as entertainment, but as a place of companionship, memory and temporary rejuvenation. The unused violin is a particularly charming detail, suggesting a musical gathering already in progress, with players changing instruments or pausing between tunes.\u003c\/p\u003e\n\u003cp\u003eBorn in Dundee, McVeigh studied Drawing and Painting at Duncan of Jordanstone College of Art before settling in Edinburgh. He is particularly known for his highly individual depictions of Scottish life, including crowded streets, harbour communities, public gatherings, musicians and animals. His work combines close observation with deliberately distorted scale and perspective, giving familiar subjects an imaginative and gently dreamlike character.\u003c\/p\u003e\n\u003cp\u003eTraditional musicians and Scottish pub life were important subjects in McVeigh’s early work. The exaggerated scale of the figures, densely worked surfaces and mixture of humour and melancholy are especially characteristic of his distinctive narrative style.\u003c\/p\u003e\n\u003cp\u003ePrinted in warm brown ink, the etching has a softly aged and atmospheric appearance. Fine cross-hatching, areas of plate tone and loosely modelled textures create a scene that feels both closely observed and filtered through memory.\u003c\/p\u003e\n\u003cp\u003ePresented under glass in a dark wooden frame with a wide cream mount.\u003c\/p\u003e\n\u003cp\u003eA wonderfully characterful Scottish print, combining traditional music, pub culture and understated humour with McVeigh’s highly recognisable figurative style.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eArtist:\u003c\/strong\u003e Michael McVeigh\u003cbr\u003e\u003cstrong\u003eTitle:\u003c\/strong\u003e I Am Getting Younger Everyday\u003cbr\u003e\u003cstrong\u003eDate:\u003c\/strong\u003e Circa mid-1980s\u003cbr\u003e\u003cstrong\u003eMedium:\u003c\/strong\u003e Sepia etching\u003cbr\u003e\u003cstrong\u003eEdition:\u003c\/strong\u003e Proof impression, inscribed “PROOF”\u003cbr\u003e\u003cstrong\u003eSigned:\u003c\/strong\u003e Signed and titled below in pencil\u003cbr\u003e\u003cstrong\u003eImage size:\u003c\/strong\u003e 20.5cm x 41cm\u003cbr\u003e\u003cstrong\u003eFramed size:\u003c\/strong\u003e 37.5cm x 58.5cm\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition overall. Some light age-related toning and minor marks are visible to the sheet and cream mount. Minor surface wear and small marks to the dark wooden frame. Glazed and not examined out of the frame.\u003c\/p\u003e","brand":"63Arts Edinburgh","offers":[{"title":"Default Title","offer_id":54399565365589,"sku":null,"price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/files\/McVeigh1Plate.jpg?v=1784338380"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1038\/7170\/9525\/collections\/Bawden_Main.jpg?v=1784339095","url":"https:\/\/63arts.co.uk\/collections\/prints-1.oembed","provider":"63Arts Edinburgh","version":"1.0","type":"link"}