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REMBRANDT HARMENSZ. VAN RIJN
Leyden 1606 – 1669 Amsterdam

Bald-headed man in profile to the right
(the artist’s father?)
Bartsch 292, Hind 23 iii/iii
70 x 57 mm

Original etching, 1630. The plate monogrammed and dated.

Third (final) state, with the plate reduced and the dark shaded background added.

A fine impression with inky edges to the plate. Thread margins. Good condition. Very slight foxing.
Watermark: part of a Fool’s Cap.

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Ex collection: the Earl of Aylsford (Lugt 58). A duplicate from the British Museum (Lugt 305)

The Earl put together a fine collection of Rembrandt etchings, many of which, including the impression offered here, were ultimately sold to the British Museum (Lugt 300).

At this early period in his etching career Rembrandt produced numerous small heads, the models being either his own face or those of the people close to him.
This image is among several usually considered to be studies of the artist’s father.

The plate has not survived and impressions are scarce.

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ADOLF ERBSLÖH
New York 1881 – 1947 Irschenhausen

Erbslöh was taken as a child to Germany. He trained in Karlsruhe before settling in Munich in 1904. There in 1909 he was co-founder, with Wassily Kandinsky, of the Neue Künstlervereinigung München. He was elected Chairman of the exhibiting committee. Their second exhibition included works from the wider Europe avant-garde, including paintings by Picasso and Braque.
However, Erbslöh rejected an abstract painting submitted by Kandinsky for the Association’s third exhibition (leading to Kandinsky’s resignation and his founding of Der Blaue Reiter).

Erbslöh’s own work confirms his attitude to abstraction. He approached both Fauvism and Cubism but he always remained committed to the figurative. He was a painter and printmaker of landscapes and nudes.

Aus Schwabing
Wille 205
236 x 282 mm

Original lithograph, 1923-24.
Signed in pencil.
A trial proof, annotated and dated 1923(4). Titled at the foot of the sheet. On thin wove.

£1000

Houses and woods below the Gohrenschlossen, near Munich.

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ISABEL DE BOHUN LOCKYER
1895 – 1980

A painter and linocut artist, Isabel de B. Lockyer (as she signed her prints) achieved some remarkably intense and vibrant colour prints, with interesting textures determined by the relative dryness of the inks.
She exhibited with the Society of Painter-Gravers in Colour, 1925-38.

She was working independently in linocut as early as Claude Flight, but in the tradition akin to woodcut. However, her later prints, from the 1930’s, show a response to Flight’s technical approach. Even if she did not actually attend Flight’s classes at the Grosvenor School, she was invited by him to exhibit in his annual exhibitions of British Linocuts in the 1930’s.

Near Vevey
188 x 231 mm

Original colour linocut, 1924.
Signed in pencil and dated, entitled and numbered 5 from the edition of only 10.
On japan paper.

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WILLIAM LEE-HANKEY R.E.
Chester 1869 – 1952 London

Already established as a watercolour painter, Lee-Hankey took up etching in 1904. He took an early interest in colour prints, often printing two editions from his plates, one in monochrome and one in colour. Lee-Hankey was a founder member of the Society of Graver-Printers in Colour, 1909-10, and the Society’s Secretary.

Some years later, with Nelson Dawson, he organised a School of Colour Printing in Hammersmith.

His early prints are in aquatint, while his later works are generally in drypoint. For aquatint, rather than the more usual resin ground, he experimented with ‘textile’ grounds, impressing textured muslin or other material, even heavily textured paper, into a soft ground.

Prints such as “The First-Born”, from early in his etching career, are scarce today.

The First-Born
Hardie 17
323 x 252 mm

Original colour etching and aquatint, 1905. On zinc with a fine muslin ground.

Signed in pencil and numbered 33 of the edition of 55 in colour. (There were also 20 monochrome impressions.)
Printed on wove paper.

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