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PIERRE AUGUSTE RENOIR
Limoges 1841 – 1919 Cagnes
La
Dance à la Campagne (Dancing in the
Country)
Delteil 2, Stella 2, only state 220 x 136 mm
Original
soft-ground etching, c1890. Stamped
with Renoir’s signature (Lugt 2137a). From
the only issue, an edition of 525 printed
by Louis Fort c1906-10 for Vollard, but not
published by Vollard till c1916.
On wove paper. A small ink smudge at the bottom
left edge of the plate.
Sold
Renoir did not take up printmaking until c1890
and most of his prints did not get published
until Renoir’s later years, when the
dealer Ambrose Vollard had editions printed.
La Dance à la Campagne was probably Renoir’s
first finished plate, preceded by a preliminary
plate in the manner of a sketch for the subject.
One of Renoir’s most engaging prints, Dancing
in the Country is based on his 1883 painting Dancing
at Bougival and a related drawing from
1883.
Bougival is on the Seine, in the countryside
outside Paris, near to La Grenouillère,
another subject painted by Renoir.
The models are Suzanne Valadon (see her etching
below) and Renoir’s brother, Edmond,
or (opinions differ) Renoir’s journalist
friend Paul Lhote.
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JACQUES CALLOT
Nancy 1592 – 1635
View
of the Pont Neuf, Paris
Lieure 668 ii/v 167 x 341 mm
Original
etching, c1629. Second state (of five), with
the signature. Before
the address of Israel, the publisher, and
before reduction of the plate margin at the
foot.
A good impression with narrow margins. Traces
of vertical fold lines, a circular small ink
stain, one pinprick hole and other small defects.
£1850
One
of two companion panoramic river views of
Paris (the other shows the Louvre), which
both include the Tour de Nestle (which would
be destroyed in 1663) as a strong vertical
element in the composition.
The etching is full of incident, with much ‘traffic’ on
the bridge.
Built in 1604 and extended in 1614 as the Place
Dauphine, with the equestrian statue of
Henri IV, the Pont Neuf became the favourite
promenade for Parisians.
In the foreground Callot has included scenes
of laundry and cooking. Horses are being washed
and watered, and a bucket of water is being
drawn up to the top of the Tour de Nestle,
where wet washing is being hung out to dry.
Beyond the Pont Neuf is a view of the Ile de
la Cité, with the flèche of the
Sainte Chapelle and the towers of Notre Dame
visible above the roofline.
Callot visited Paris a number of times around
1629 in connection with his commissions to
record Richelieu’s successful sieges of the Ile
de la Ré and La Rochelle.
He lodged with his publisher Henriet Israel,
in a building overlooking the Seine. Callot
made the preparatory drawing (now in the British
Museum) in Paris and etched the plate after
his return to Nancy. The plate was only published
later, when Israel added his address to the
plate.
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SUZANNE VALADON
Bessines, Haut Vienne 1865 – 1938 Paris
Grand’Mère
et Enfant
Roger-Marx 12, Petrides 14 307
x 222 mm
Original
soft-ground etching, 1908. The plate signed
and dated in reverse. The impression signed
in pencil. Printed
for Suzanne Valadon by Daragnes in 1932.
The only issue, edition of 75.
On MKF Rives watermarked wove paper.
£1500
Suzanne
Valadon is exceptional among successful women
artists of the period in not coming from
the upper or middle classes.
A circus acrobat by the age of fifteen, an
accident a year later changed the direction
of her life, when she took up modelling for
artists instead
(see the Renoir etching above) and developed
an interest in painting and print-making herself.
It was another Impressionist painter, Degas,
who taught her soft-ground etching in 1895
(she had already essayed a woodcut in 1891).
In 1904 she took up hard ground etching, and
in 1908 drypoint. After 1910 she concentrated
on painting.
The majority of her early prints are intimate
studies of nudes or children. They were not
issued till 1932, when the plates were steel-faced
for the only edition. Valladon’s own illegitimate
son, the future painter Maurice Utrillo, as
a small child was looked after by his grandmother.
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OSCAR DROEGE
Hamburg 1898 – 1982 Hamburg
Moorland,
Evening
240 x 395 mm
Original
colour woodcut. Signed in pencil and numbered.
Edition
of 75. On textured japan laid paper. The
colours vibrant.
Sold
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