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SIMON WYNOUTS FRISIUS (Simon de Vries)
c1580 Harlingen – 1628 The Hague
An engraver and etcher, painter, draughtsman, calligrapher and businessman, Frisius was based in Paris 1598-99 and from 1614 settled in The Hague.
Landscapes with
The Story of the Good Samaritan
(as narrated in the gospel of St. Luke, 10, verses 30-34)
Hollstein (Frisius) 108 – 111,
New Hollstein (Frisius 12)
180 x 228 mm (plate); 254 x 340 mm (sheet)
The set of four engravings, c1600-1620,
after Hendrik Hondius (Duffel 1573 – 1650 The Hague) and published by him.
Each lettered in the lower border with the artist’s and engraver’s names, the plate number and the biblical verse.
Each sheet with a Baton of Basel? watermark.
Fine impressions in good condition, with margins.
Sewing holes at the extremity of the left margin.
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The four landscapes respectively show:
The man wounded by the thieves
The priest passing the man
The Samaritan finding the man (illustrated)
The Samaritan arriving at the Inn
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JULIUS IBBETSON
Leeds 1759 – 1817 Masham
A landscape painter, watercolourist, etcher, illustrator and poet, Julius Caesar Ibbetson settled in the Lake District 1799-1804, before moving permanently to Masham in the North Riding of Yorkshire.
It was from Masham, in 1816, that he published by subscription, his two series of outline etchings, intended as drawing ‘books’ for amateurs.
Etchings of Figures in eight plates by Julius Ibbetson,
inscribed by permission to Benjamin West, Esq.
President of the Royal Academy
150 x 225 mm (plate); 336 x 502 mm (sheet)
The set of eight, 1816.
All except one, signed and dated in the plates.
Printed on folio sheets of wove paper.
With the original entitled
paper wrapper, which on the inside lists the subscribers to both
series of Ibbetson’s ‘drawing book’ etchings.
£300
The Hurdy-Gurdy player illustrated
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CAMILLE PISSARRO
St Thomas, Danish Antilles 1830 – 1903 Paris
In 1884 Pissarro settled in Eragny, a small village less than twenty miles north-west of Paris, in the valley of the Oise.
Eglise et Ferme d’Eragny
Church and Farm, Eragny
Delteil 96 vi/vi
153 x 242 mm
Original etching, c1890.
A posthumous impression printed c1923
by Porcaboeuf for the artist’s son Rodo Pissarro.
Stamped with the initials C.P. (Lugt 613e) and numbered in pencil No.7.
Probably an edition of 18; preceded by only 7 lifetime proofs.
Printed on blueish laid paper.
One tiny repaired hole in the sky and
a paper fault in the lower margin.
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REMBRANDT HARMENSZ VAN RIJN
Leyden 1606 – 1669 Amsterdam
Rembrandt’s etchings of nudes were mainly carried out at two
different periods, one early, c1631 and the other late, c1658;
the model in some of the early ones being Saskia and in the later
ones, Hendricke Stoffels, his common law wife in later years
after he was widowed.
Reclining Nude sleeping
or Naked sleeping Woman
New Hollstein 308 vi/vi, Bartsch 205, Hind 299, Usticke iii/v
81 × 159 mm
Original etching, 1658.
The plate signed and dated.
A good later, reworked impression, as issued by H L Basan, probably
before 1800.
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.
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One of Rembrandt’s most beautiful and understated works.
This etching temporarily acquired the alternative title of
‘Negress lying down’ when catalogued by Bartsch in the early
19th century; previously it was generically referred to as
‘Naked sleeping Woman’.
The dark and rich tones that engulf the figure inspired the title given
to the print in the eighteenth century.
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MUIRHEAD BONE
Glasgow 1876 - 1953 Oxford
Oxfordshire
Campbell Dodgson 198 ii/iv
151 x 229 mm
Original drypoint, 1906.
Signed in pencil.
Second of the four published states, still with the tiny space in the bare
trees on the horizon.
Edition of 28 thus (44 in all plus 5 trial proofs).
Printed in brown-black with burr, on cream japan with chain lines.
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Exhibited at the Society of Twelve, 1906. .
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HANS FIGURA
Nagy Kikinda 1898 – 1978 Vienna
Tower Bridge
223 x 312 mm
Original colour aquatint.
Signed in pencil and numbered 13/250.
On japan.
An unobtrusive diagonal printing crease.
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