|
|
REINDER HOMAN
Born Smilde, Netherlands 1950
Elm (no.1)
450 x 498 mm
Original
etching, 2003. Edition
of 50.
Signed
in pencil, dated and numbered.
On white wove.
Sold
Represented
in all the major Netherlands museum collections,
Homan’s etchings celebrate
the quiet joys
of nature and the landscape, and particularly
of trees, in Friesland, in the north-west of
the Netherlands,
where the artist has his studio.
Return to top ^ |
|
|
ALAN REYNOLDS
Born Newmarket 1926
Homage
to Debussy
300 x 320 mm
Original
aquatint, 1967.
Signed
in pencil, dated and entitled. Edition of
25. Numbered 1/25. Dedicated
to Andrew Freeth from Alan 18/3/68.
On
thick cream textured wove paper.
Sold
Reynolds
was a colleague of Andrew Freeth at St. Martins
in the 1960’s. A neo-romantic landscape
painter in the 1950’s,
Reynolds abandoned the figurative and turned
to pure abstraction in the 1960’s,
influenced by the work of Klee, Mondrian and
Mirò. His quest for equilibrium
would end ultimately in three-dimensional constructed
white reliefs exploiting the play of light
and shadow. The etchings from the later 1960’s
when he was teaching at St Martins display
an engaging, playful, lyrical abstraction.
Return to top ^ |
|
|
Antonio
Canale called Il
CANALETTO
Venice 1697 – 1768 Venice
Landscape
with a Woman at a Well
Bromberg 29 iiA/iii
136 x 207 mm
Original
etching. The plate initialled.
An
early second state (of three), with little
wear, the initials clear. Fine impression, in
good condition. On cream laid paper.
£6500
A
rococo capriccio landscape from Canaletto’s
earlier period, 1730-41
Return
to top ^ |
|
|
HUBERT
ANDREW FREETH R.A.,
R.E., P.R.W.S.
Birmingham 1912 – 1986 Northwood, Middlesex
Irishman
147 x 124 mm
Original
etching, 1936.
An
early proof, printed by the artist in 1936
on W King Alton Mill watermarked laid paper.
With Freeth’s initials and the title in
pencil added later by Freeth’s wife, Roseen.
Sold
Freeth
was a student at Birmingham School of Art
from 1929, though he did not take up etching
until 1931. When he began to exhibit at the
Royal Academy, in 1935, it was as an etcher.
The same year, now also a part-time teacher
at Birmingham School of Art, he made a series
of Black Country studies, his first important
etchings, on the strength of which he
was awarded the Prix-de-Rome in Engraving,
for 1936-37; an unusual achievement direct
from a provincial art school.
Figure
composition, and at that date the largely
unfashionable genre of portrait etching,
dominated his printmaking in Rome, where
his tenure was extended a further two years.
He returned to England in 1939.
After
the outbreak of War he was posted with the
Intelligence Corps in the Middle East as
an official war artist. His wartime etchings
included a dozen or so portraits of seamen,
the crew of a minesweeper. In 1943 he was
lent to the RAF.
After
the War, though the market for black and
white etchings had largely disappeared, Freeth
none-the-less continued to etch, though he
turned increasingly to aquatint, either to
supplement the etched line, or used alone,
for its tonal potential; a trend noticeable
in the work of other post-War etchers, especially
among Freeth’s colleagues and
students at St Martin’s , where he taught
in the Post-War years.
Return
to top ^ |