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A Small Selection of Modern Continental Prints currently in stock

CHARLES MERYON, L’Abside de Notre Dame. This Original etching is for sale:  £5000 MARIUS ALEXANDER JACQUES BAUER, Procession with Elephants. This Original etching is sold. EMIL NOLDE, Saul and David. This Original etching is for sale:  £600
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650 JACQUES VILLON, after Manet’s Déjeuner sur l’Herbe. This Colour aquatint has been sold PABLO PICASSO, To the City of Cordova. This Original lift-ground aquatint is for sale: £2250

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previous series of Modern Continental Prints

 


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If you require further information on any print featured here, please contact us. Some of these prints have since been sold and are marked as Sold.




CHARLES MERYON, L’Abside de Notre Dame. This Original etching is for sale:  £5000

CHARLES MERYON
Paris 1821 – 1868 Sainte-Maurice (Seine)

Meryon etched the first of his series of twenty-two L’Eaux-fortes sur Paris (Etchings of Paris) in 1850, but perhaps only conceived of a whole series in 1852, when he etched a title piece.

The majority of the plates were carried out as Haussmann, elected prefect for the Seine in 1853, was instigating the wide boulevards that changed the face of Paris.

Philippe Burty, author of the first catalogue of Meryon’s etchings, admired (in an interview in the Gazette des Beaux Art, 1863) how Meryon had expressed “with a clarity that is peculiarly French, the intimate and supreme poetry of old Paris, which has only survived for our generation to demolish and disfigure without compassion”.

L’Abside de Notre Dame - Apse of Notre Dame
Burty 52; Delteil-Wright 38 iv/viii;
Schneiderman 45 iv/ix
163 x 298 mm

Original etching, 1854. Fourth state, the first edition. The plate signed, dated and inscribed in cursive script. Printed and issued by Meryon himself. On cream laid paper with large margins.

Sold

Provenance:
C. W. Dowdeswell (Lugt 690)
Henri Petiet (Ex Lugt)

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MARIUS ALEXANDER JACQUES BAUER, Procession with Elephants. This Original etching is sold.

MARIUS ALEXANDER JACQUES BAUER
The Hague 1867 – 1932 Amsterdam

Painter and etcher, Marius Bauer was a member of the Pulchri Studio (“For the study of the beauty”) in The Hague.

In 1888 his patron and future dealer, E.J. van Wisselingh, had paid for Bauer to undertake a trip to Constantinople. The many drawings he produced there, and on his future extensive travels in the Near and Far East, served as the source for his Orientalist paintings and etchings on which his reputation in The Netherlands was established.

Procession with Elephants
Van Wisselingh 113
181 x 130 mm

Original etching, 1899.
Signed in pencil and numbered 38, from the edition of 100. Printed in dark brown ink, with plate tone, on laid paper.

Sold

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EMIL NOLDE, Saul and David. This Original etching is for sale:  £600

EMIL NOLDE
North Schleswig 1867 – 1956 Seebüll

During the three years following his recovery from a serious illness in the summer of 1909, Emil Nolde became pre-occupied with painting biblical subjects, and in 1910-11 he made a parallel series of etchings.

Nolde and his wife had visited the Netherlands in April 1910 where they admired a painting of Saul & David (then fully attributed to Rembrandt) in the Mauritshaus.

“We were especially taken with … Saul & David where the tears of melancholy of the unhappy king…burden his cheeks, and , which is so spiritually and inconceivably wonderfully painted, as only Rembrandt could do it.”

Saul and David
Schiefler 152 ii/ii;
Ackley 60 (Boston exhibition catalogue)
302 x 251 mm

Original etching with tonal effects*, 1911.
Signed in pencil. Annotated II (second state – no known first state is extant) and numbered 12, of the unrecorded edition size.
Printed on Van Gelder Zonen watermarked laid paper.

£6000

Not a theme much tackled by printmakers. The previous most celebrated image of David playing the harp to Saul is Lucas van Leyden’s engraving of 1508. The relatively little-known Christoffel Bockstorffer etched the subject in 1531.

Ackley comments of Nolde’s rendition “one of the richest and most complex in psychological overtones of Nolde’s narrative or anecdotal prints”.

* “My innovation in the area of etching probably consists in my having, to the best of my ability, exploited every possibility that the corrosive action of acid offers” (Nolde interviewed in 1949).

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NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650
NELE VAN DE VELDE, Ein Tag bei Kirchner auf der Staffelalp. This series of ten woodcuts is for sale: £650

NELE VAN DE VELDE
1897 - 1965

Nele was the eldest of the five children of the Belgian painter and architect Henry van de Velde (1863-1957) and very close to him. Together they discovered the art of the Die Brücke German Expressionist artist Ernst Ludwig Kirchner (1880-1938) in 1916. They met him the following year when Kirchner, invalided out of the army, went to Switzerland to recuperate, and Henry van de Velde’s work took him to Switzerland and he and his family moved to Davos. There was an instant rapport, which led to Nele learning woodcut with Kirchner.

A regular correspondence developed (later published) and Nele sent Kirchner examples of her woodcuts, with amusing inscriptions, including scenes of the Staffelalp, where Kirchner had a little summer cottage, outside of Davos, in the mountains (for which he had hand-carved all the furniture and necessities). In 1920 Nele and her mother spent some time with him there.

A friend of Kirchner’s, to whom he had shown Nele’s woodcuts of the Staffelalp visit, suggested they would make a good book; an idea Kirchner supported. He recommended that the captions, kept brief, were printed together with the woodblocks. And it was published accordingly. The final caption signs off like the end of an illustrated letter telling the story of the day’s visit. The woodcuts include descriptions of the difficulties of the outward journey through the snowy landscape, arriving at the cottage, the warm welcome received from Kirchner and the cold return trip back home to Davos again.

Ein Tag bei Kirchner auf der Staffelalp
A day’s visit to Ernst Ludwig Kirchner in the Staffelalp

350 x 260 mm (sheet);
140 x 125 mm and smaller (images)

Ten woodcuts, 1920. Each image captioned below. Printed on both sides of once stitched, folded, cream laid paper, a single image to each leaf. Lacking the first woodcut of setting out and the title page.

Sold

Accompanied by a sheet of green-grey paper, probably once part of a paper cover around sketches of Berlin life by Kirchner. One side stamped with Kirchner’s initials printed from a small lino block; the other inscribed and signed in ink by Kirchner with a list of 21 Skizzen von E L Kirchner.

List of the Nele van de Velde woodcuts, in published order

  • Nele zu klein, Wegweiser zu hoch, musste klettern und lesen, Weg zur Staffelalp. (Nele too small. Road sign too high, had to climb pole to read ‘To the Staffelalp’)
  • Durch hohen Schnee und verschneite Tannen. (Through mountainous snow and snow-laden fir trees)
  • …………die Alp! (……The Alp)
  • Vor Kirchners Hütte (In front of Kirchner’s cottage)
  • Unerwartet und stürmisch. (Unexpected and ardent )
  • Benommen und stumm. (Dazed and silent)
  • und nach reichlichen Genüssen aller Art, Kirchner winkt ab!! (And after abundant treats of all kinds, Kirchner waves goodbye!)
  • Beraught! Nele findet den Weg nur auf den Händen über Schneedämme hinweg. (Euphoric! Nele finds the way back only by climbing over snowbanks!)
  • Durch die Waldfurien verfolgt. (Pursued by the furies of the wood)
  • sinkt Nele erschöpft kurz vor dem Ziel. Die Nacht war hart und kühl, nüchtern kam sie nach Haus! Mit vielen Grüssen Ihre Nele van de Velde. (Short of her destination, Nele sinks down exhausted. The night was harsh and cold, sobering her return home.)
    With best regards, Yours, Nele van de Velde.

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JACQUES VILLON, after Manet’s Déjeuner sur l’Herbe. This Colour aquatint has been sold

JACQUES VILLON
Damville 1875 – 1963 Puteaux

after
EDOUARD MANET

Paris 1832 – 1883 Paris

Villon, as an original printmaker, used colour aquatint for his early plates, in the ethos of the Belle Epoque, begun in 1899, though he abandoned the technique for monochrome drypoint when he took up the Cubist aesthetic. But in 1921 the Paris art-dealer Bernheim-Jeune commissioned the first of what became a series of colour aquatints reproducing modern masterpieces, which Villon produced, parallel with his own original work, throughout the 1920’s.

Manet’s Déjeuner sur l’Herbe
Ginestet-Pouillon 668
499 x 630 mm

Colour aquatint, 1929, after Manet’s painting.
Signed in pencil by Villon, and numbered.
Edition of 200. On Arches watermarked wove paper.

Sold

Manet’s painting was exhibited at the Salon des Refusés in 1863 and caused a scandal. The public were outraged at a nude being introduced into a scene of a contemporary outdoor picnic lunch. Nudes abounded at the official Salon, but as classical goddesses or allegorical personifications, not in ‘real life’ situations.

Ironically, Manet’s composition was inspired by Italian old master precedents. He spent much time in the Louvre studying the old masters, including obviously Giorgione’s Concert Champêtre. Furthermore Manet posed his three principal figures, modelled by Victorine Meurent, Manet’s brother Eugène and Ferdinand Leenhoff, his future brother-in-law, in imitation of the three river gods in Marcantonio Raimondi’s engraving of Raphael’s Judgement of Paris.

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PABLO PICASSO, To the City of Cordova. This Original lift-ground aquatint is for sale: £2250

PABLO PICASSO
Malaga 1881 – 1973 Mougins

Interest in the Cordoban poet Luis de Góngora y Argote (1561-1627) had been revived in the late 1920’s at the 300th anniversary of his death. His deliberately illogical choice of metaphors especially chimed with the Surrealists. A French translation of a selection of twenty of his love sonnets and other poems was published in 1928.

Góngora was a friend of El Greco, and his portrait was painted by Velasquez. In 1947 Picasso made a lithograph of Góngora’s head after this painting, and an aquatint version the following year for inclusion in the Vingt Poèmes de Góngora.

For the portfolio, Picasso etched, in cursive script, copies of nineteen of the poems, in the French translation, each accompanied by an etched or aquatinted image of a single head, all a variety of female faces, except for the portrait of the poet himself.

To the City of Cordova
Bloch 509;
Goeppert & Cramer 51
Sonnet 17 of Vingt Poèmes de Góngora

Original lift-ground aquatint, 1947.
One of the 25 hors commerce impressions, numbered in pencil in Roman numerals II/XXV.
(The edition was of 250, numbered 1-250.)
All the impressions were issued unsigned, as loose sheets in a portfolio.
On wove paper. Mount stained in the margins.

£2250

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