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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
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
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 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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