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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeJune-July 2017

The Home Page Selection

WILLIAM STRANG R.A., R.E., Dumbarton 1859 – 1921 Bournemouth. Rudyard Kipling. Original etching, 1898. £850 SIDNEY DENNANT MOSS, Ipswich 1884 – 1946. Loos. Four companion original ‘landscape’ lithographs, 1916.£500 for the four, £135 each ALBRECHT DÜRER, Nuremberg 1471 – 1528 Nuremberg. The Circumcision. Woodcut c1505. £3000 OTTO MEULLER, Liebau, Silesia 1874 – 1930 Breslau. Drei Akte in Landschaft, klein. £8000

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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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WILLIAM STRANG R.A., R.E., Dumbarton 1859 – 1921 Bournemouth. Rudyard Kipling. Original etching, 1898. £850

 

WILLIAM STRANG R.A., R.E.
Dumbarton 1859 – 1921 Bournemouth

In the 1890’s Strang was moving in literary circles in London, and himself writing poetry.

He was an admirer of Kipling, whom he etched more than once, and also etched illustrations to Kipling’s Thirty Short Stories, published in 1901.

Rudyard Kipling, No.2
Strang 441 (345)
352 x 251 mm
Original etching, 1898.
Signed in pencil by William Strang.
Edition of 80 (of which William Strang signed only 60 impressions).
Printed by David Strang, and additionally pencil signed by him as printer.
On laid paper watermarked O.P.W&A.C.I.

£850

Kipling (1865-1936) declined both a knighthood and the Poet Laureateship. He was the first English writer to be awarded the Nobel prize for Literature (1907).

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SIDNEY DENNANT MOSS, Ipswich 1884 – 1946. Loos. Four companion original ‘landscape’ lithographs, 1916.£500 for the four, £135 each
Loos. 1916. “Tower Bridge” - Ruined colliery and cottages.
SIDNEY DENNANT MOSS, Ipswich 1884 – 1946. Loos. Four companion original ‘landscape’ lithographs, 1916.£500 for the four, £135 each
Loos. 1916. Casualties near the ruined church.
SIDNEY DENNANT MOSS, Ipswich 1884 – 1946. Loos. Four companion original ‘landscape’ lithographs, 1916.£500 for the four, £135 each
Loos. 1916. Ruined cottages.
SIDNEY DENNANT MOSS, Ipswich 1884 – 1946. Loos. Four companion original ‘landscape’ lithographs, 1916.£500 for the four, £135 each
Loos. Cemetery. Stretcher bearers and a crucifix.

SIDNEY DENNANT MOSS
Ipswich 1884 – 1946

A painter of landscapes and town scenes, Moss exhibited from 1912.

In the First World War Moss served as a private with the 95th Company Labour Corps, the 6th Battalion London Regiment (Royal Army Medical Corps) and the 84th Field Ambulance Territorial Force in France and Salonika.

This group of four lithographs are from a series of at least six images of Loos; the Army Medical Services Museum has the group, described as ‘six lithographs of the Battle of Loos’.

The main battle took place in the Autumn of 1915 across front lines running through the coalmining district around the town of Lens in the industrial heart of the Pas-de-Calais, in an otherwise rather flat landscape broken by slagheaps and the Vimy Ridge. The medical facilities included 16 advanced medical stations, as well as 13 casualty clearing stations. Over 61,000 British casualties were sustained in the Battle of Loos.

The mining village of Loos-en-Goelle was captured by British forces on 25 September 1915. Moss presumably was based in an advanced dressing station in the village itself, as two of the six images include the initials ‘A.D.S.’. The village was destroyed in the 1915 action, and Moss records the ruined buildings and mine head.

The lithographs are printed on uniform sheets of cream laid paper measuring 416 x 318 mm

Loos
Each image approximately 250 x 325 mm

Four companion original ‘landscape’ lithographs, 1916.
The stones signed and dated LOOS 1916.

£500 for the four together
(or £135 each)

The ruined colliery cottages in Loos were dominated by the 150 feet tall iron framework of the pit winding gear, and the long Loos Crassier (slagheap) with the railway running up to the pit head. Nicknamed by the British “Tower Bridge”, the double pithead gear towers, also known as ‘Crystal Palace’, were a landmark in the area which, before the attack, could be seen from the British front line.

 

 

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ALBRECHT DÜRER, Nuremberg 1471 – 1528 Nuremberg. The Circumcision. Woodcut c1505. £3000

 

ALBRECHT DÜRER
Nuremberg 1471 – 1528 Nuremberg

The Circumcision
Illustrated Bartsch 86 d/h; Hollstein 198
295 x 210 mm (borderline; 325 x 237 mm)
Woodcut c1505, cut for The Life of the Virgin cycle.
Impression printed post the 1511 edition, ‘after’ text (the reverse blank, with no text).
Watermark: Crest of Wurtemberg (typical of Meder d impressions).
A short printing crease at the centre left, stains in the lower margin.
Margins all round of about 12 mm.

£3000

Ex collection: Christian Rhaban Rhul (Lugt 2159)

It is in the cuts of The Life of the Virgin cycle that Dürer creates interior settings with the greatest architectural detail. Though Renaissance architectural forms predominate, there are occasional Gothic details, such as the elegant ‘flamboyant’ decoration over the doorway in The Circumcision.

Through the opening at the extreme right there is a hint of the town and outside world beyond.

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OTTO MEULLER, Liebau, Silesia 1874 – 1930 Breslau. Drei Akte in Landschaft, klein. £8000

 

OTTO MEULLER
Liebau, Silesia 1874 – 1930 Breslau

Mueller settled in Berlin in 1908 and in 1910 joined the German expressionist group Die Brücke, though his style was untypically lyrical; his principal theme was nudes in arcadian landscapes.

As a youth Mueller had been apprenticed to a lithographic press in Breslau, before moving to Dresden in 1894 to study painting, and as a printmaker, original lithography was his favoured technique.

Drei Akte in Landschaft, klein
Three Nudes in a Landscape
Karsch 64
215 x 270 mm
Original lithograph, 1912-1914.
Signed in pencil.
From an edition of about 50.
Printed on textured cream wove paper with a watermark of chimney pots and flowers.
Time stained verso.

£8000

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