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WENCESLAUS HOLLAR
Prague 1607 – 1677 London
Strasbourg
Cathedral
Pennington 892, only state
220 x 178 mm
Original
etching, 1645. The plate signed and dated.
A
fine, clear impression. Trimmed to or just
into the plate, the borderline complete.
A central horizontal drying crease. A couple
of minute embedded rust spots, some intrinsic?
plate stains. Part of a large watermark:
Eagle? in a Garland .
£1000
In
the years 1629-30 Hollar worked in Strasbourg,
mainly for the publisher Jacob van de Heyden,
and made his first etching of Strasbourg
Cathedral in the city in 1630.
That
plate, with the cathedral shown in isolation
and from a different angle, presumably remained
in Strasbourg with van de Heyden.
Fifteen
years later, when Hollar was resident in
Antwerp (during the English Civil War years)
he etched a second plate of Strasbourg cathedral,
the image offered here.
Based on a different drawing from the earlier
plate, here the cathedral is related to its
surroundings and the square is full of people
and market stalls.
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MICHAEL
RENTON
Middlesex 1934 – 2001 Winchester
Untypical
amongst contemporary wood engravers, Renton,
on discovering wood engraving through George
Mackley’s book, abandoned art school
at Harrow, in 1951, to take up a trade apprenticeship
with Slingers of Westminster, a long established
firm of commercial wood engravers.
Due
to an interruption for National Service,
1956-58, it was only in 1960 that Renton
established himself as an independent artist.
This early little landscape wood engraving,
with its echoes of Thomas Bewick and Samuel
Palmer, was probably engraved in the early
1950’s when Renton had only just been
introduced to the medium.
Landscape
with a Cottage and two Figures
36
x 84 mm (image)
36 x 99 mm (full width of the unevenly-shaped
block)
Original wood engraving, c1951 or later.
Signed
in pencil.
On thin japan, handling creases in the margins.
£250
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WILHELM
HEISE
Wiesbaden 1892 – 1965
Munich
Heise
initially was apprenticed to an electrical
business before taking up art classes and
training as a book binder. In 1918 he moved
to Munich, sharing a studio, and producing
his first book illustrations, influenced
by Expressionism. But in 1920, after painting
watch dials for export, his style was changed – by
the careful miniature detail this employment
required and as a response to the general
post-War artistic trend among German artists
towards Neue Sachlichkeit (New Objectivity).
He belonged to the ‘classical’ tendency
of this movement.
In
the early 1920’s he also took up lithography,
using the medium in an individual way, to
create white line designs by scoring into
the surface of the lithographic stones.
He
went on to produce a remarkable series of
images of night-time flower pieces in this
technique. The Nächtliche Blumenstüche were
published in Munich by Bavaria-Verlag in
1925. The lithographs combine surrealistic
naturalism with the whimsical.
Blühender
Spireen
Meadow Sweet
360 x 255 mm
Original white line lithograph, 1925.
Monogrammed
in the stone.
Signed in pencil and entitled.
On tissue-thin japan, a little cockled at the
edges, mainly in the margins.
Sold
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BRIAN
DENYER-BAKER R.E.
Born Storrington, Sussex 1949
Trained
at Brighton under Dick Cowern, and at the
Royal College of Art, Denyer-Baker worked
as a freelance designer and illustrator from
1961 to 1990.
From 1990 he has devoted himself full time
to etching and sculpting.
San
Giorgio Maggiore from the Grand Canal,
Venice
99 x 195 mm
Original
colour etching and soft-ground. An artist’s
proof. Signed in pencil, entitled and annotated
a/p. (The edition is 75.) On stout wove paper.
Sold
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