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DAVID YOUNG CAMERON R.A., R.S.A.
Glasgow 1865 – 1945 Perth
Cameron was taught to etch in Edinburgh in 1885 by a friend of Seymour Haden’s. His early plates, mainly fine architectural studies, were inspired by Meryon and Whistler.
In his first decade as an etcher Cameron travelled in England, Italy, France and Belgium, reflected in single plates and in thematic sets. Venice from the Lido was one of the North Italian Set, which comprised twenty-six subjects in all, etched 1894-96, and published by W. B. Paterson in 1986.
Venice from the Lido
Rinder 220
No.17 in the North Italian Set
176 x 352 mm
Original etching, 1896. Signed in pencil.
Edition of about 25.
Printed in brown-black ink, with plate tone, on laid paper
watermarked with rampant lions in shields with initials and a date (1827).
Sold
A pencil annotation on the reverse states it is a duplicate from the Fogg Collection.
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After PIETER BRUEGHEL the Elder
Brueghel, near Breda c1525 – 1569 Brussels
For nearly a decade after his return in 1555 from a prolonged Italian trip, Brueghel was primarily active as a designed of prints for the publisher Hieronymous Cock, the most important publisher in Europe of his day.
Armed Four-Master putting to Sea
Van Bastelaer 102
223 x 289 mm
Engraving by Frans Huys (1522-62). With Brueghel’s name and Huy’s monogram in the plate. As first published, by Cock, and with the typical watermark of a Gothic P. Before the address of Theodore Galle to whom the plate passed later.
Narrow margins, even narrower at the foot. A repaired break in the platemark at the lower right (outside of and not affecting the engraved work), other minor repairs and small defects.
Sold
Brueghel’s series of ten different types of ship comprises some of the earliest and finest marine prints produced.
None of Brueghel’s drawings for the series have survived.
The ship portrayed here is probably Portuguese.
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Dame LAURA KNIGHT R.A., R.E.
Long Eaton, Nottingham 1877 – 1970
St John’s Wood, London
Laura Knight took up etching in 1922, at the height of the etching boom, because she had broken her wrist and while recuperating could not hold a painting palette. She was most active as an etcher in the years 1923, 1925 and 1926.
At the Folies Bergères
Bolling & Withington 7 iii?/iii
226 x 175 mm
Original drypoint (& aquatint?), 1923. Signed in pencil.
A trial proof before the edition of 55.
Annotated in pencil at the foot of the sheet with the title and TRIAL. Print 7. 3rd printing. aquatint.
Time-stained in the margins of the sheet.
Sold
In her autobiography Oil Paint and Grease Paint, published 1936, Laura Knight wrote of a visit to Paris
We went to the Folies Bergères whenever possible. I never did so much work in any theatre in such a short time, and the audience was so strongly marked in character in comparison with that of any English Theatre. I painted several pictures and did two or three etchings from the notes. It was hateful leaving Paris when the time came for us to go.
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JEFF CLARKE R.E.
Born Brighton 1935
Jeff Clarke trained in the 1950’s at Brighton College of Art under Dick Cowern, himself one of the last generation of traditional etching students at the Royal College of Art before the outbreak of the Second World War.
Jeff too has worked as a monochrome etcher until recently, when he has begun to experiment with colour and different matrices.
The white Jug
303 x 245 mm
Original colour etching, 2014.
Artist’s proof, signed in pencil.
Sold
Still life in the artist’s Oxford garden.
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