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CHARLES HAZELWOOD SHANNON R.A.
Quarrington, Lincolnshire 1863 - 1937 Kew
While a student of wood engraving at Lambeth, 1881-1885, Shannon met his life-long companion Charles Ricketts. The 'two Charles' raised the fin de siecle cult of the exquisite to an aesthetic way of life. They moved in the literary circles of Wilde, Yeats and George Bernard Shaw and the artistic milieu of Burne-Jones, Watts, Whistler and in France, Puvis de Chavannes.
In 1889 they founded the occasional periodical The Dial, which ran till 1897 and was illustrated with their original wood engravings and those of their friends, such as Sturge Moore and Lucien Pissarro, and with Shannon's lithographs.
In 1896 they launched the Vale Press from their home, one of the most significant private presses of the day.
Shannon had taken up lithography in 1888. His work in the medium falls into two main periods, 1889-97 and 1904-1909. The work of the earlier period, as here, has a delicate silvery quality. Many of his lithographs, both portraits and bathing scenes, would form the basis of later paintings. His first one-man show as a painter was in 1907.
A leading English exponent of lithography, on which his reputation was established in the 1890's, Shannon was one of the British representatives at the International Exhibition of the centenary of Lithography held in Paris in 1895.
Sea & Breeze
Ricketts 25
220 x 237 mm
Original lithograph, 1894.
Signed in pencil.
One of a total of 55 impressions.
On laid paper.
£500
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DAVID THOMAS ROBERTSON
Darlington 1879 - 1952 Sunderland
Of Scots parentage, Robertson moved to Sunderland as a child and remained in the town all his life. A painter and watercolour artist he was largely self-taught but was a close friend and possibly a pupil of John Atkinson. Apart from an exhibition in Sunderland in 1922 Robertson exhibited almost exclusively in the exhibitions of the Artists of the Northern Counties at the Laing Art Gallery in Newcastle. His work is represented in the local museums.
(A Salmon River)
188 x325 mm
Original drypoint.
Signed in pencil.
On cream laid paper.
£250
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CLAUDE GELLEE, le Lorrain, known as CLAUDE LORRAIN or simply CLAUDE
Chamagne, Duchy of Lorrain 1600 - 1682 Rome
At the age of twelve Claude was taken into the household of the Roman painter Agostino Tassi as a pastry cook but became Tassi's studio assistant. In 1625 he returned to Lorrain and worked with the court painter Claude Deruet. Contact with Jacques Callot, a friend of Deruet's, perhaps instigated Claude's interest in etching, which he took up after his return to Rome in 1627.
His etchings, like his paintings, are poetic classical interpretations of the landscape of the Roman Campagna.
Claude's outstanding reputation was established in the 1630's. He came to be particularly admired by both English artists and Grand tourists.
Considering the influence his paintings exerted on later British artists and on 18th century English garden design, it is apposite that twenty-four of his twenty-seven etching plates were brought to England in the early 19th century and reprinted for the editions of Two Hundred Etchings published by McCreedy and Schulz 1816-1826.
Mercury & Argos
Manocci 42 iii/iii
155 x 215 mm
Original etching, 1662.
Final state, the plate reworked.
Trimmed to the borderline on three sides and below the lettering at the foot, and partially edge-mounted to the original support sheet, as issued in an edition of Two Hundred Etchings.
£250
Mercury & Argus are figures from the Ancient Greek story of Jupiter & Io, which is recorded in Ovid's Metamorphoses.
Io was seduced by Jupiter, who later turned her into a white heifer to hide his infidelity from his wife, Juno. Not deceived Juno asked for the heifer as a present and put Argos , who had a hundred eyes, to watch over her. Unable to bear Io's suffering Jupiter sent his son Mercury to slay Argos. Mercury charmed Argos to sleep with his pipe playing to carry this out. When Juno was presented with the head of Argos she placed his eyes in the tails of her peacocks.
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THEODORE ROUSSEL
A.R.E.
Lorient, Brittany 1847 - 1926 St Leonards on Sea
A year in Italy, recuperating after an illness which had prevented him enrolling in his intended military career, developed in Roussel a vocation for art. After his return to France, Roussel served in the Franco-Prussian War but on his discharge in 1872 he began to study the old masters and exhibitors at the Paris Salon. He came to England in 1877 to study 18th and early 19th century English painting and decided to stay. He married an English girl and they settled in Chelsea.
An exhibition of his paintings of Chelsea in 1885 attracted Whistler's attention and the two artists became friends. Roussel who had had no formal art training admired Whistler's work and he was persuaded by Whistler to take up etching seriously. Roussel had briefly experimented with the medium in Paris.
In imitation of Whistler, Roussell sometimes trimmed off the margins of his prints, leaving just a small 'tab' for his signature.
The Port of Fowey
Hausberg 98
139 x 168 mm (image)
Original etching, 1911.
Trimmed to the plate and signed in pencil on the tab.
On antique laid paper.
Pale stains in the top two corners.
£650
Provenance: Agnes Ethel Mackay, niece of Roussell's second wife on whose death she took over as house keeper and studio assistant.
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CHARLES MERYON
Paris 1821 - 1868 Asylum of Saint Maurice, Seine
The son of an English physician and French dancer, Meryon served with the French Navy in the 1840's before deciding to take up art. Discovering he was colour blind, he devoted himself to etching, becoming a pupil of Bléry and studying the Dutch 17th century masters of etching. He was particularly inspired by the views of Paris etched by Zeeman.
Meryon was alone among the pioneers of the French Etching Revival in treating the contemporary Parisian urban scene. When Baudelaire saw Meryon's Eaux-fortes sur Paris at the Paris Salon of 1859 he called for French painters to follow this initiative.
Bain-froid Chevrier
Chevrier's cold baths establishment on the Seine
Delteil 44 vi/vi, Wright 44
130 x 145 mm
Original etching, 1864.
The plate signed with the monogram.
As reprinted 1907 for the frontispiece to the Delteil catalogue.
On cream wove paper.
£500
The plate had been commissioned by the painter, photographer and art collector, Jean Louis Henri le Secq des Tournelles, and was originally printed in an edition of 50 + 12 proofs..
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