The
Home Page Selection
If
you require further information on any
print featured here, please contact
us.
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 :
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.
|
|
|
|
|
|
ALBRECHT DURER
Nuremberg
1471 – 1528 Nuremberg
Dürer represented scenes from the passion of Christ throughout his life,
beginning with the ‘Large’ woodcut Passion, commenced in 1497, completed in 1510.
The ‘Small’ woodcut Passion followed in 1511.
Meanwhile he began the Engraved Passion in 1507, which occupied him till 1512.
The
engraved Passion, intended for an upmarket
audience, is more intimate, the figures more
sculptural and the scenes more enclosed,
with only hints of any distant background.
In both the woodcut versions of Christ bearing
the cross, he is shown falling beneath the
weight while in the engraving he still stands
upright.
The
woodcuts are daytime scenes, the engraving,
innovatively, a night scene.
Christ
carrying the Cross
Bartsch 12, Hollstein
12 ii/ii
118 x 75 mm
Original
engraving, 1512, for the Engraved Passion.
The plate signed with the monogram and dated.
Second state with the ‘hanger’ on the monogram tablet.
A very good impression, trimmed to the platemark and remargined with thread margins.
A tear and repair affecting the tablet. A couple of patches verso strengthening past skimming, not affecting
the engraving itself recto.
Sold
St
Veronica is shown kneeling in front of Christ,
holding out her veil. Panovsky points out
that presenting this subject as a night scene
is iconographically unprecedented.
Return to top ^ |
|
|
|
|
|
CHARLES FRANÇOIS DAUBIGNY
Paris
1817 – 1878 Paris
Daubigny
was in the van of the French etching revival
and produced some of his masterpieces in
the medium for his two ‘Cahiers’ (portfolios) each of six etchings, made in 1850.
He
was particularly drawn to subjects with water,
and the landscape in the valley of the Oise
at Bezons featured in several plates of the
series.
Les
Cerfs au Bord de L’Eau
Deer by the Water (A souvenir of the
islands at Bezons)
Delteil 78 iv/vii
135 x 173 mm
Original
etching, with traces of rocker work, 1850.
One of the Cahier series. The plate signed.
A
proof of the very rare 4th state (of 7).
After the complete removal of all the original
aquatint and completely linear- etched anew.
With the number 12 in the top plate border.
Before the additions to the trees at the
right; before all addresses. On cream wove
paper. A little soiled in the margins.
Sold
Return to top ^ |
|
|
|
|
|
RAYMOND
TEAGUE COWERN
R.A.,
R.E., R.S.W.
Birmingham 1913 – 1986 Whitehaven
Cowern
was awarded the Prix de Rome in 1937 and
spent two years in Italy as Rome Scholar
in Engraving, returning to England in the
summer of 1939 before war was declared at
the beginning of September. Based at the
British School in Rome itself, Cowern travelled
quite widely while he was there and all seven
of the etchings he produced during this period
were of subjects outside of Rome.
The
hilltown of Anticoli Corrado appealed to
him particularly and inspired three plates.
About thirty-six miles from Rome, Anticoli
had first supplied models to Rome, before artists
began to visit the village itself and it developed
into an artists’ colony.
Job
Nixon, an earlier Prix de Rome scholar had
bought a little house there and lent it to
subsequent students. Cowern spent the winter
months of 1938-39 in the village.
Cowern
printed and exhibited only a few proofs in
the late 1930’s and early 1940’s.
He editioned the plates, in up to fifty impressions, in later years.
The Feast of Sant'Antonio in Anticoli
Corrado
EH-L 52
189 x 289 mm
Original
etching, 1939.
Signed in pencil, dated and entitled.
An early proof impression, printed on cream laid paper.
Sold
Return
to top ^ |
|
|
|
|
|
STANLEY
ANDERSON
R.A.,
R.E.
Bristol 1884 – 1966 Towersey, Oxfordshire
Anderson’s taking up the technique of copper line engraving roughly coincided
with the start of his great series recording and celebrating traditional crafts.
The meticulous clarity inherent in engraving allowed him to show all the tools
of the various crafts in great detail, and incidentally with great accuracy.
The craftspersons depicted in the series are specific portraits of Oxfordshire
practitioners.
The
Saddler
Anderson/Ashmolean 185
290 x 160 mm
Original
engraving, 1946.
The plate monogrammed on
the workbench and dated on the calendar.
Lettered with lines from Goldsmith’s “Deserted Village”
And,
all his prospects bright’ning to the last,
His Heaven
commences ere the world is passed.
Signed
in pencil. Edition of 65. Annotated as usual.
On laid paper watermarked OWP&ACL.
Sold
A
study of William Bowl in the front room of
his home in Witney Street, Burford, repairing
the lining of a horse collar. Anderson shows
Bowl’s tools in great
detail. He is sewing with waxed hemp threads and pushing his needle with a saddler’s ‘palm’.
On the bench beside the mallet are lumps of beeswax, used for brown stitching,
and blackwax, for working harness. The spike in the vice was used for stretching
donkey raw-hide thongs, seen lying over the vice, to soften them before greasing.
Behind the saddler are two pigskin saddles, which would each have taken about
a fortnight to make.
Anderson
wrote of his subject,
“…The saddler is a dear old craftsman of 82 who still rides to hounds with ageless
zest and has not missed a meet for 63 years”.
The
Heythrop Hunt calendar on the windowsill
alludes to this passion.
Return
to top ^ |
|
|
|
|
|
|
|
