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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeMay 2013

The Home Page Selection

Reinder Homan, Elm (No.1). This etching is SOLD. Alan Reynolds, Homage to Debussy, c1967. Antonio Canale, Canaletto, Landscape with a Woman, c1730-41. This etching is for sale Hubert Andrew Freeth, Irishman, c1936. This etching has been SOLD

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When a print has been sold it will be marked as Sold.

A growing archive of previous selections from previous Home pages is featured in the
Home Page Selection Archive

 


See also :

The Current Selection:

Old Masters
From the Catalogue
Modern British Prints
Modern Continental Prints
Prints by Women
Prints under £250

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all the selected prints from the current Home Page. Images are not at very high resolution.




Reinder Homan, Elm (No.1). This etching is SOLD.

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.

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Alan Reynolds, Homage to Debussy, c1967.

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.

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Antonio Canale, Canaletto, Landscape with a Woman, c1730-41. This etching is for sale

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

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Hubert Andrew Freeth, Irishman, c1936. This etching has been SOLD

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.

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