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REMBRANDT HARMENSZ VAN RIJN
Leyden 1606 – 1669 Amsterdam
When Rembrandt settled in Amsterdam in 1631 he lived and worked until early 1636, in the house of the art dealer Hendrick van Uylenburgh in the Anthonisbreestraat, the same street where he would buy his own
house in 1637.
When he had married Uylenburgh’s cousin Saskia in 1634 they remained with him till they moved for a year to rent accomodation in the fashionable Nieuwe Doelenstraat before moving back to the Breestraat, into their own house.
The portrait of Menassah ben Israel was therefore etched either in Breestraat before the move, or in Nieuwe Doelenstraat.
The Breestraat area was becoming a centre for Portuguese Jews who had fled the Inquisition. Menasseh ben Israel bridged the Jewish and Christian
worlds and was a close friend of Rembrandt and a neighbour on the Breestraat.
Rembrandt etched his portrait in 1636 and in 1655 etched four small plates as illustrations for Menasseh ben Israel’s book Piedra Gloriosa.
Samuel Menasseh ben Israel
New Hollstein 156 iii/v, Bartsch 269, Hind 146 ii/iii, Usticke 269 iii/iv
149 x 103 mm
Original etching, 1636.
The plate signed and dated.
A later 17th century impression with the accidental marks at the foot of the plate.
(The plate would be mezzotinted in the 18th century and has since been lost.)
Sold
Ex collection the Australian artist Sir Lionel Lindsay, who purchased it from Colnaghi, his London dealer. It was acquired by the Nelson Gallery in Melbourne in 1970 from Lindsay’s son.
(With an unidentified collector’s stamp verso, illustrated left, coincidentally with the initials LAL in an oval, and presumably Lindsay’s stamp. However no collector’s stamp is recorded, to my knowledge, for Lindsay.)
Manoel Dias Soeiro (1604-1657), better known by his Hebrew name, Menasseh ben Israel,
was a rabbi, scholar, philosopher, diplomat and printer, founding the first Hebrew press
in Amsterdam in 1626.
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WALTER RICHARD SICKERT
Munich 1869 – 1942 Bathampton
Sickert first met Degas in 1883 and the French artist sparked Sickert’s interest in the subject of theatre and music hall interiors.
Sickert painted the gallery of the Old Bedford music hall in Camden Town (Walker Art Gallery collection, Liverpool) in the mid-1890’s before it was pulled down and rebuilt in 1898 (he would also paint the interior of the New Bedford). Between about 1906 and 1915 he etched a larger and smaller plate of each.
The earliest was the small plate of The Old Bedford, which has been variously dated to 1894, 1899, 1906, 1908 and 1910. It is closely related to the Walker oil.
It reverses the painting and focuses on the gallery and adjoining mirror, cutting the composition immediately above the heads of the audience. (click thumbnail below main image (left) for an enlargement.)
This plate was formerly editioned at Rowlandson House, which Sickert had established as an etching school in 1909-10. Fifty impressions were printed on tan wove paper and numbered in black ink. Unnumbered impressions on cream laid paper, as here, are also known.
The Old Bedford (small plate)
Troyen 47, Bromberg 135, only state
113 x 86 mm
Etching, c1906-10.
Signed in pencil.
On cream laid paper.
Sold
The Old Bedford was one of Sickert’s favourite haunts.
William Rothenstein (in Man & Memories) described how Sickert, when in London, would go there nightly “to watch the light effects on stage and boxes, on pit and gallery, making tiny studies on scraps of paper with enduring patience and with such fruitful results”.
The Old Bedford, Walter Richard Sickert, Walker Art Gallery
Following the example of Édouard Manet (1832 – 1883) and Edgar Degas (1834 – 1917)
and their paintings of Parisian cafés and theatres, Sickert painted the more raucous nightlife
of London’s music halls throughout his career. He was a regular visitor at the Bedford Music Hall
in Camden Town, the subject of this painting. Sickert may have intended it as a sequel to
his earlier picture of the child performer Little Dot Hetherington on the stage of the Bedford,
in which she is shown pointing to this spot while singing the popular song, “The Boy I Love
is up in the Gallery”.
As well as recording vividly the atmosphere and setting of a late 19th century performance,
this is a brilliant exercise in lighting and composition. Sickert exploits the contrast between the
shadowy auditorium and the reflected glare of the stage, and creates tricks of space and
perspective by means of the giant mirror on the left.
See also the Walker Art Gallery website.
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RACHEL ANN LE BAS
R.E.
Born Camberley 1923
Landscape painter and etcher, Ann Le Bas grew up in Winsford, Somerset.
She trained in London with Middleton Todd and Henry Wilkinson, etchers both, and etching has played an important part in her career.
After graduation she returned to Winsford and has lived on Exmoor ever since, but travelled much in Europe.
She has always worked freelance and exhibited widely.
Ann Le Bas was elected an Associate of the Royal Society of Painter-Etchers & Engravers in 1960 and a Fellow in 1969.
It was under her curatorship of the Society’s Diploma Prints that the collection was moved to the Ashmolean Museum.
Provençal Farmstead
231 x 351 mm
Original etching and aquatint, c1960’s.
Signed in pencil, entitled and numbered 37/75.
On cream wove paper.
£165
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PETER ILSTED
Falster 1861 – 1933 Copenhagen
A genre painter of quiet domestic sunlit interiors, Ilsted had taken up etching in 1882, when he started to collect Rembrandt etchings, but after he developed a passion for mezzotints, very much in vogue in the early 20th century, his printmaking focussed, from 1909, entirely on that medium.
He visited England, the ‘home’ of the 18th century mezzotint, in 1912, to study the medium. He also built up a collection of English mezzotints.
Ilsted’s mezzotints are generally taken from his own earlier paintings and he printed them himself.
Mother and Child
Olufsen & Svenson 28
483 x 430 mm
Colour mezzotint, 1914.
Edition of 75.
Signed in pencil and numbered 75/5.
On thick japan.
Sold
Based on Ilsted’s 1898 painting of this subject.
Probably a study of the artist’s wife, Ingebord née Petersen, whom he married in 1892, and their son Jens.
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