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JAN VAN DER VLIET
Born Delft or Leiden c1610.
Active 1628 – 1637 in Leiden
Van der Vliet was an etcher, engraver, draughtsman and painter,
probably an early pupil or assistant of Rembrandt in Leiden.
Many of van der Vliet’s ninety etchings are engraved after Rembrandt’s
beggars.
He produced two independent series, The Five Senses, and eighteen
Trades & Arts.
He also worked in Delft.
Bricklayers
Hollstein, Dutuit 35
207 x 163 mm
Original etching, 1635.
Trimmed to the platemark.
Two minute rust spots in the image, small defects verso.
£400
Ex collections François Dubois (Lugt 985) and Jean Cantacuzene (Lugt 4030)
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EDMOND AMAN-JEAN
Chevry-Cossigney (Seine et Marne) 1860 – 1936
Aman-Jean was a fellow student at the Beaux Arts of Seurat
and Ernst Laurent. All three were inspired by the 1879
‘Impressionist Exhibition’ to leave academic training.
While Aman-Jean’s early paintings are pointillist in style
he moved towards symbolism on meeting Puvis de Chavannes,
whom he assisted in mural painting in 1883.
He also developed close friendships with the symbolist poets
Mallarmé and Verlaine and exhibited at the first two of the six
annual Salons of the Rose+Croix 1892 and 1893.
He had taken up lithography about 1900.
Aman-Jean married in 1892 and his wife, also a painter,
was frequently his model.
Women languidly dreaming, with a sense of mystery and silence,
portrayed in delicate colours, highlighted perhaps by a flower,
were a recurring theme.
Sous les Fleurs
Beneath the flowers
350 x 272 mm
Original two-colour lithograph, 1897, monogrammed with initials
in the stone.
Issued in the January 1898 issue of L’Estampe Moderne.
With the publisher’s blindstamp of a woman’s head in profile, in the
lower margin.
Printed on cream wove paper.
£400
L’Estampe Moderne, which was published in Paris in twenty-four parts,
1897-1899, each part with four original lithographs, had a leaning towards
the works of Art Nouveau painters.
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ERIC DESMAZIERES
Born Rabat 1948
The son of a French diplomat Desmazières first trained in Political Studies,
though on graduation in 1971 he changed direction and enrolled in evening classes
in printmaking for the next couple of years, before becoming a dedicated full time,
much appreciated and much exhibited, etcher.
He particularly enjoys “the pleasure of drawing, the direct use of one’s hand to create
an image; cultivating such a pleasure is a way of attempting to remember the passing of time.”
His images are often inspired by past masters and over the years have developed into
a fantastical but believable world of intricate interior spaces and imaginative city perspectives.
His earlier work, more concerned with the natural world, relishes the textures of some of
nature’s oddities.
Les Tulipes
Fitch Fevrel 74
298 x 208 mm
Original etching, 1983.
Signed in pencil, dated and numbered 122/150.
A Société des Peintres-Graveurs presentation print,
with their blindstamp (Lugt 1195a).
On wove.
£750
The quality of the etched line gives the close-up flowers a soft focus,
in contrast to the sharpness of the distant houses below.
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EDMUND BLAMPIED R.E
Ville Brée, Jersey 1886 – 1966 St Aubin
Though mainly produced in London, Blampied’s
etchings generally had Jersey subjects recollected
from his childhood.
The Centenarian
Appleby 144
262 x 260 mm
Drypoint, 1930-31.
Signed in ink.
An artist’s proof, lettered J in ink.
(The published edition was 100.)
On cream laid paper, mount-stained.
£1350
Illustrated in Fine Prints of the Year, 1931.
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