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A serendipity of prints priced under £250

HENDRICK HONDIUS, Duffel 1573 – 1650 The Hague. Quentin Matsys. This engraving, after Wierix, is for sale, priced £185 JOHN CONEY, Ratcliffe Highway, London 1786 – 1833 Camberwell, London. Remains of St Mary’s Abbey, York. This original etching is for sale, priced £100 MAXIM LALANNE, Bordeaux 1827 – 1886 Nogent-sur-Marne. Avenue de St Cloud. This original etching, 1871, is for sale, priced £200
MARY G COWLAND, Blackboys, Uckfield 1902 - 1978 Eastbourne, E Sussex. Geraniums. This original woodcut, 1923, is for sale, priced £100 OSCAR NERLINGER, Born Schwann, Wurtemburg 1893 – 1969 East Berlin. Constructivist Composition. This original linocut, 1923, is for sale, priced £200 JOAN LOCK A.R.C.A., Melton Mowbray 1922 - 2015 Normanby le Wold, Lincolnshire. The Letter. This original etching, 1943, is for sale, priced £150

These links: Prints Under £250 (1) and Prints Under £250 (2) will allow you to view the featured prints from the two previous selections of Prints Under £250

Other prints priced under £250 appear elsewhere throughout the website .

 

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The Current Selections:

From a Recent Catalogue
Old Master Prints
Modern British Prints
Modern Continental Prints
Prints by Women

Selections from the Home Page

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all this month's selection. Images are not at very high resolution.

If you require further information on any print featured here, please contact us. When a print has been sold it will be marked as Sold.




HENDRICK HONDIUS, Duffel 1573 – 1650 The Hague. Quentin Matsys. This engraving, after Wierix, is for sale, priced £185

HENDRICK HONDIUS
Duffel 1573 – 1650 The Hague

The publication of written biographies of artists gave impetus to engraved portraits of artists. The Italian painter Georgio Vasari’s VITE (Lives of the most excellent Painters, Sculptors, and Architects) was first published in 1550. A second enlarged edition appeared in 1568. Karel van Mander’s HET SCHILDERBOECK (Book of Painters) commencing with biographies of artists from the Low Countries and Germany was first issued in 1604.

Such written texts soon suggested complementary visual representation. The publisher Hieronymous Cock in Antwerp probably began commissioning engravings of northern artists around 1550, though his series of about twenty portraits was not issued till 1572, by his widow.

Cock’s series of plates of northern artists’ portraits, in which he was assisted by a number of different engravers, was re-issued over the following century by a succession of subsequent publishers and prompted Hendrick Hondius to issue his own parallel PICTORUM ALIQUOT CELEBRIUM PRAECIPUAE GERMANIAE INFERIORIS EFFIGES (Portraits of celebrated Artists of the Low Countries) about 1610.

In addition to re-engraving Cock’s twenty portraits, Hondius originated new plates of 16th century and contemporary artists. Hondius’ series, issued as single sheets from about 1610, ultimately comprised 68 portraits, thirty three engraved by Hondius himself.

Quentin Matsys
New-Hollstein (Hondius) 89
202 x 122 mm
Re-engraving, after Wierix. With Hondius’ monogram and address.
Trimmed to the platemark. On unwatermarked laid paper. A few thin spots verso.
An ink numeral in the lower right corner.

£185

Quentin Matsys (1464/65 – 1530) was born in Louvain but as an artist is associated with Antwerp, where he entered the Guild as a Master in 1491 and was soon the foremost painter of his day.
Though particularly known for allegorical genre scenes of bankers, money-lenders and tax collectors, Matsys was also an innovative portrait painter. He was the first to adopt the book-lined study, conventionally used in representations of St Jerome, to form an appropriate setting for secular Humanist sitters such as Erasmus.

The background to this posthumous portrait of Matsys makes reference to the popular tradition that he was the son of a blacksmith who abandoned the forge when he fell in love with a painter’s daughter, who would only marry an artist.

In 1519 Massys built himself a house, with a frescoed façade, in Antwerp which was visited by Dürer in 1520, though he failed to find his fellow artist at home.

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JOHN CONEY, Ratcliffe Highway, London 1786 – 1833 Camberwell, London. Remains of St Mary’s Abbey, York. This original etching is for sale, priced £100

JOHN CONEY
Ratcliffe Highway, London 1786 – 1833 Camberwell, London

Though apprenticed to an architect, Coney did not take up the profession but concentrated instead on drawing and etching historical gothic architecture, selling his first drawings at the age of fifteen.

About 1816 Coney was commissioned by the publisher Joseph Harding to etch both exterior and interior views of the ‘Cathedrals & Abbey Churches of England’ to illustrate a new edition of Dugdale’s Monasticon, “A grand subscription project, issued in eight enormous and prodigiously expensive volumes, 1817-1830” (BM website on Harding).

Coney’s Obituary in the Gentleman’s Magazine comments that the plates occupied a great portion of his time and are executed with consummate skill. It also describes him as the English Piranesi.

Remains of St Mary’s Abbey, York
264 x 365 mm (plate); 198 x 311 mm (image)
Original etching, for Joseph Harding’s edition of Monasticon.
A fine proof impression, on laid india paper, before all letters. With pencil annotations of the title and artist’s name.

Sold

The surviving ruins date from a rebuilding programme begun in 1271 and carried out in little more than twenty years.

St Mary’s was the largest and richest Benedictine establishment in the north of England and one of the largest landholders in Yorkshire. At its Dissolution it had fifty monks.

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MAXIM LALANNE, Bordeaux 1827 – 1886 Nogent-sur-Marne. Avenue de St Cloud. This original etching, 1871, is for sale, priced £200

MAXIM LALANNE
Bordeaux 1827 – 1886 Nogent-sur-Marne

An important contributor to the French Etching Revival, Lalanne was involved with the Société des Aquafortistes from its founding in 1862 by the publisher and dealer Alfred Cadart.
Cadart continued to issue Lalanne’s plates through the 1870’s. In 1871 Cadart published fourteen plates in which Lalanne recorded the fortifications and the devastated landscape of Paris during the four months in 1870-71 that the city was besieged during the Franco-Prussian War. Both Lalanne and Cadart served in the National Guard during the siege.

Lalanne inscribed one of the series of plates "A notre excellent capitaine et ami Cadart".

Avenue de St Cloud (Bois de Boulogne)
Siège de Paris

Béraldi 76
160 x 235 mm (plate); 127 x 211 mm (image)
Original etching, 1871.
The plate signed. An artist’s proof before letters.
Inscribed with the title in pencil in the lower plate border and signed by Lalanne.
On old laid paper watermarked with the year of its manufacture, 1833.

£200

The Prussian artillery bombarded Paris from the high ground of the Chateau de St Cloud, which they had occupied. The nearby Bois de Boulogne suffered considerable damage.

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MARY G COWLAND, Blackboys, Uckfield 1902 - 1978 Eastbourne, E Sussex. Geraniums. This original woodcut, 1923, is for sale, priced £100

MARY GERTRUDE COWLAND
Blackboys, Uckfield 1902 - 1978 Eastbourne, E Sussex

An East Sussex painter, exhibiting 1926-35, her marriage in 1937, to William Chambers, probably curtailed her exhibiting thereafter.

Geraniums
150 x 100 mm
Original ‘ japoniste ’ colour woodcut, 1923.
Signed in pencil, dated and numbered. (No.6 of an unspecified edition.)
Printed in water-based inks on japan.

Sold

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OSCAR NERLINGER, Born Schwann, Wurtemburg 1893 – 1969 East Berlin. Constructivist Composition. This original linocut, 1923, is for sale, priced £200

OSCAR NERLINGER
Born Schwann, Wurtemburg 1893 – 1969 East Berlin

A painter, graphic artist, experimental photographer and animated film maker in Berlin, Nerlinger belonged to the Der Sturm group.
Der Sturm (The Assault) was both an art gallery and an art periodical. Established by Herwath Walden in 1910, it was a major focus and publicist of contemporary art in Berlin c1910-30.

This linocut by Nerlinger, published by Der Sturm, shows the influence of Russian constructivism. When in the early 1920’s the Soviet government began to curtail artistic freedom of expression several of the Russian avant-garde, such as Kandinsky, Lissitsky and Gabo had settled in Germany.
In conjunction with the Dutch neo-plasticist artists (Theo van Doesburg, cofounder of De Stijl was also in Germany, teaching in Weimar) they had a huge influence on the direction of western European art & design.

Constructivist Composition
194 x 155 mm
Original linocut, 1923.
Issued in Der Sturm, with the text line beneath and text verso.
On brittle wove paper, time-stained and with related defects at the extreme sheet edges.

£200

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JOAN LOCK A.R.C.A., Melton Mowbray 1922 - 2015 Normanby le Wold, Lincolnshire. The Letter. This original etching, 1943, is for sale, priced £150

JOAN LOCK A.R.C.A.
Melton Mowbray 1922 - 2015 Normanby le Wold, Lincolnshire

Joan Lock was an etching student of Robert Austin at the Royal College of Art when it was evacuated to Ambleside, in the Lake District, during the Second World War. She taught for many years at Grimsby School of Art. She married fellow artist Peter Hancocks in 1946.

Sadly Joan Lock passed away recently, at the age of 93.

The Letter
229 x 186 mm
Original etching, 1943.
A dedicated proof
To G S Sandilands from Joan Lock, 1943.
On cream wove paper.

£150

George Somerville Sandilands (1889-1961), a painter and etcher, was appointed Registrar of the Royal College of Art in 1939.

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