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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeNovember 2014

The Home Page Selection

Count HENDRIK GOUDT, The Hague 1580/85 – 1648 Utrecht. The Mocking of Ceres. This original engraving has been sold LIONEL LINDSAY, Victoria, Australia 1874 – 1961 Sydney. The Demon. This original wood engraving is for sale. JOHN SLOAN, Pennsylvania 1871 – 1951 New Hampshire. Sixth Avenue, Greenwich Village. This original etching has been sold RAYMOND TEAGUE COWERN, Birmingham 1913 – 1986 Whitehaven. The Feast of Sant’Antonio in Anticoli Corrado. This original etching is Sold

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When a print has been sold it will be marked as Sold.

A growing archive of previous selections from previous Home pages is featured in the
Home Page Selection Archive

 


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The Current Selection:

Old Masters
From the Catalogue
Modern British Prints
Modern Continental Prints
Prints by Women
Prints under £250

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Count HENDRIK GOUDT, The Hague 1580/85 – 1648 Utrecht. The Mocking of Ceres. This original engraving has been sold

 

Count HENDRIK GOUDT
The Hague (?) 1580/85 – 1648 Utrecht

after ADAM ELSHEIMER
Frankfurt am Main 1578 – 1610
Rome

Little is known of Goudt’s earliest days or training but in about 1604 he went to Rome, where he lodged for a period with the German painter Adam Elsheimer and acquired a number of Elsheimer’s paintings. He engraved two of these in Rome, including The Mocking of Ceres, and the other five when he had returned to the Netherlands, after Elsheimer’s early death, and settled in Utrecht in 1611. These seven are Goudt’s only known engravings but in their rich black tenebrist effects were very influential on other printmakers, whereas Elsheimer’s own few (six) original etchings had much less impact.

Elsheimer worked slowly; only about forty paintings are known, all small and painted on copper. His night scenes are highly original, using multiple sources of light but keeping many shadows; his poetic landscapes innovative; and his choice of subject imaginative. He selected themes from mythology or religion that were rarely expressed or had never been painted before.

The Mocking of Ceres
Hollstein 5, Ackley (Printmaking in the age of Rembrandt) 45
290 + 22 (312) x 235 mm (sheet)
Engraving, 1610.

A brilliant impression, the dense crosshatching printing as velvety tone.
Watermark: fleur-lys over an escutcheon.
Trimmed to or fractionally within the image. A repaired tear, and related glue stain, lower left.
The lower border, with the verses, artists’ names, and dedication to Cardinal Scipio Borghese, a leading Roman art collector, joined; the join totally unobtrusive recto, only visible verso.

Sold

The story is from Ovid’s Metamorphoses and concerns an episode in Ceres’ (goddess of the earth and fertility) search for her daughter, Proserpine, abducted by Pluto, god of the underworld.
Ceres carried a torch lit from the fires of Mt Aetna. Feeling thirsty she begged a drink of an old peasant, Metanira, whose small son, Stellio, made fun of her greedy gulping.
Ceres’ torch is laid aside on the cart wheel; Metanira holds a lighted candle; a strip of light is visible inside Metanira’s cottage from behind the door; a couple beyond, milking a cow, are lit by a burning brand on the ground; and in the night sky there is a full moon.
Subsequently the angered goddess would throw the remains of her drink at the boy, turning him into a lizard.

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LIONEL LINDSAY, Victoria, Australia 1874 – 1961 Sydney. The Demon. This original wood engraving is for sale.

 

LIONEL LINDSAY
Creswick, Victoria, Australia 1874 – 1961 Sydney

Lionel was one of five brothers who all grew up to be practising artists in Australia.

On an early visit to London in 1910 Lindsay chanced on a set of engraving burins which he bought, and introduced himself to the technique of engraving on boxwood.

The example of Thomas Bewick’s work inspired him to select birds as the main theme of his own wood engravings, though created with a different approach. Lindsay described his method -

My interest lies entirely in liberating qualities contained by no other medium... I place my principal subject, carefully drawing a precise outline. I blacken the intervening space and start by establishing my largest lights ... I prove as I go, building up my design...bit by bit... my chief care is to establish a true graver cut, keep its drawing quality and to preserve the intervening blacks.

The Demon
131 x 158 mm
Original wood engraving, 1925.
Signed in pencil, entitled and numbered 64.
From the edition of 100. On japan.

£2500

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JOHN SLOAN, Pennsylvania 1871 – 1951 New Hampshire. Sixth Avenue, Greenwich Village. This original etching has been sold

 

JOHN SLOAN
Lock Haven, Pennsylvania 1871 – 1951 Hanover, New Hampshire

Sloan was a member of the group of eight artists who became known as the Ashcan School for having introduced urban realism into American painting.

A painter, illustrator, teacher and self-taught etcher, Sloan moved to New York with his wife in 1904, settling first in Chelsea and from 1912 in Greenwich Village, whose busy streets provided the subjects for many of Sloan’s etchings. He avidly observed the scene from his studio windows.

Though an active Socialist he denied propaganda in his art work

I saw the everyday life of the people, and on the whole I picked out bits of joy in human life for my subject matter.

Sixth Avenue, Greenwich Village
Morse 207 viii/viii
125 x 175 mm
Original etching, 1923.
The plate signed and dated.
Signed in pencil, entitled and annotated 100 proofs (though only 75 were actually printed) in pencil in the lower border by the printer, Ernest Roth.
Printed on antique laid paper.

Sold

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RAYMOND TEAGUE COWERN, Birmingham 1913 – 1986 Whitehaven. The Feast of Sant’Antonio in Anticoli Corrado. This original etching is Sold

 

 

RAYMOND TEAGUE COWERN R.A., R.E., R.S.W.
Birmingham 1913 – 1986 Whitehaven

Cowern was awarded the Prix de Rome in 1937 and spent two years in Italy as Rome Scholar in Engraving, returning to England in the summer of 1939 before war was declared at the beginning of September.

Based at the British School in Rome itself, Cowern travelled quite widely while he was there and all seven of the etchings he produced during this period were of subjects outside of Rome.

The hilltown of Anticoli Corrado appealed to him particularly and inspired three plates. About thirty-six miles from Rome, Anticoli had first supplied models to Rome, before artists began to visit the village itself and it developed into an artists’ colony.

Job Nixon, an earlier Prix de Rome scholar had bought a little house there and lent it to subsequent students. Cowern spent the winter months of 1938-39 in the village. Cowern printed and exhibited only a few proofs in the late 1930’s and early 1940’s. He editioned the plates, in up to fifty impressions, in later years.

Anticoli above the Waterfall
EH-L 53
190 x 162 mm
Original etching, 1939.
Signed in pencil, entitled and numbered 28 from the edition of 50. On stout wove.

£500

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