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MATTHIJS
van PLATTENBERG
or Maatthieu Plattemontagne
Antwerp 1607 – 1660 Paris
The
Jetty
Robert-Dumesnil 2 i/iii, Hollstein 2 i/iii
159 x 141 mm
Original
etching, the plate with the artist’s
name.
First state, with the publisher Jean Morin’s
address.
Before the lines etched later in the blank
corners.
Trimmed to or just outside the platemark.
An unobtrusive diagonal fold only noticeable
verso.
A small paper defect at the right edge, slight
vertical drying? crease.
An unknown collector’s signature on the
reverse (ex Lugt)
£450
The
second plate of a series of six circular
Marines and Landscapes.
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ADRIAEN
van OSTADE
Haarlem 1610 – 1685 Haarlem
A
painter and etcher of peasant life, it is
unusual for Ostade to focus almost exclusively,
as in this etching, on the qualities and
atmosphere of an interior space and to relegate
the human presence to the background.
Interior
of a Barn
Bartsch 23, Hollstein 23 x/x
156 x 190 mm
Original
etching, 1647. The plate signed and dated.
Final state. A good later impression, on laid
paper, trimmed to the plate. Generally good
condition. Glue on the verso at the four corners,
and remains of former hinges with a small related
defect in the top left corner.
£850
Ex
collection: Naudet. Inscribed by him with
the acquisition date of 1809 in ink verso (Lugt
1937).
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ZARINA
Hashmi
Born Aligarh, India 1937
Generally
known just by her first name, Zarina graduated from Aligarh Islamic University with a science degree, but in a change of direction she moved to Europe for art training and subsequently to the US.A.
In 1964-67 she worked at Stanley Hayter’s famous Atelier 17 in Paris. When Hayter moved back to France in the 1950’s and re-established his Atelier 17 in Paris, he began to experiment using inks of varying viscosity and different colours, applied with rollers of varying hardness, to plates of varying levels, thus achieving a simultaneous multi-colour technique with increased possibilities for experimentation and innovation. Techniques which also interested the British artist Andrew Freeth as a teacher at the St Martin’s School of Art in London (his own etching remained traditional). Zarina obviously came into contact with Freeth at this period, when he acquired a few of her 1966 prints , one being dedicated by Zarina to Freeth.
Flight
IV
298 x 385 mm
Original
colour aquatint, 1966.
An unsigned proof and colour variant.
Sold
Ex
collection Andrew Freeth
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GRAHAM
SUTHERLAND
London 1903 – 1980 Trottiscliffe, Kent
The
Sluice Gate
Walker 14, Man 15, Tassi 10, Cooke 16 iv/iv
138 x 135 mm
Etching,
1924. Signed in pencil.
Published state, after the burnishing at the
top left, new hatching on the tree,
fractional reduction of the plate, and new,
second signature accompanied by the date in
Roman numerals.
Edition of about 62.
On laid paper,one tiny defect in the sky.
£3500
One
of the artist’s earliest pastorals
but etched with an eye on Rembrandt.
Sutherland was open to many influences and
in 1973 made reference to his early student
work
including “pastiches of Rembrandt, Dürer
and Whistler”.
His discovery of Palmer determined the character
of his plates from 1925-28.
By 1929 he would start moving in a different
direction and with the exception of a commission
in 1938,
he effectively stopped etching in 1931.
This etching is included in the Palmer’s
Legacy exhibition.
More information on Sutherland is included
in the exhibition text.
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