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SEBALD
BEHAM
Nuremberg
1500 – 1550 Frankfurt
Beham
was one of the ‘German Small Masters’, so-called because of the small scale of the engravings for which they were noted.
Though influenced by Dürer, Beham is not specifically recorded as a pupil, and little is known of his earliest years and training in Nuremberg.
By 1525 he had his own workshop. That year, Beham, along with his brother and a fellow engraver Georg Pencz, was temporarily exiled from Nuremberg, still a Catholic city, when he was brought to trial for his Protestant beliefs. About 1531-32 Beham settled permanently in Frankfurt, perhaps chosen as his place of residence because of the important book fair held there annually.
Job
in conversation with his Friends
Paulie 17,
Bartsch 16, Hollstein 17 i/ii
70 x 103 mm
Original
engraving, 1547. The plate signed with the
monogram and dated.
A fine impression of
the first state, before the grass was added
to the broken archway.
Trimmed close, generally
just outside the borderline; the top left
corner clipped very slightly. One tiny surface
defect.
£1500
The
many ordeals suffered by Job as he was tested
by God, are listed fairly briefly in the
first two chapters of the Book of Job, while
the following 29 chapters are given over
to his philosophical discussions with his
friends Eliphaz, Bildad and Zophar, Job’s ‘comforters’.
Beham’s single plate of the story of Job focuses on this central theme, leading to Job’s
overcoming adversity and being divinely blessed and rewarded. The plate is lettered
in Latin with part of verse 7 of the final chapter, 42, of the Book of Job
for
ye have not spoken of me the thing that is
right, as my servant Job hath.
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CAMILLE PISSARRO
St Thomas, Danish Antilles 1830 – 1903 Paris
Pissarro
began a series of plates of Rouen in 1883
and the subject predominated through 1884-85
and was reprised several times in 1886. Many
of Pissarro’s etchings were done for his own pleasure and that of friends, and only printed in a few artist’s proofs in Pissarro’s lifetime.
Formal editions were published a few years after his death.
Place
de la République à Rouen (avec tramway)
Delteil 65 ii/ii
150 x 173 mm
Original
etching and drypoint, 1886.
Stamped in blue
ink with the monogram initials with a superimposed
flower (Lugt 613d).
From the only edition,
issued in 1907.
One of the 30 impressions
printed on Arches laid paper (there were
also 10 on japan).
Numbered 20 in pencil
and entitled.
Sold
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ENGELBERT LAP
Graz, Austria 1886 – 1970 Innsbruck
Lap
trained in a military school and from 1907
served as a lieutenant in the Tyrolean Kaiserjäger, serving in the First World War.
In 1923, settled in Innsbruck, he retired from the army to dedicate himself to art, first as a watercolour painter and then focussing on colour woodcut.
Tyrolean
Farmhouse
129 x 199 mm
Original colour woodcut.
Signed in pencil.
Printed on japan.
Sold
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ROBERT FULTON LOGAN
Lauder, Manitoba 1889 – 1959 Boston, Massachusetts
Born
on a farm near Lauder, after lessons in Winnipeg
with Frank Armington, Logan left Canada at
the age of sixteen to study art in the U.S.
at the Museum of Fine Arts in Boston, going
on to the Art Institute of Chicago.
The First
World War, in which he served in the American
Navy, brought Logan to Europe and at the
end of the War he was appointed director
of the Bellevue Art Training Centre in Paris
set up by the American Military authorities
for their service personnel.
He also taught
at the Louvre. Logan remained in Paris for
two decades, exhibiting there regularly.
He would return to the United States in 1934,
where, until his retirement in 1954, Logan
was in charge of the Department of Art at
Connecticut College. In his final years,
until his death, Logan was Head of the Art
Department at the Sacred Heart College in
Newton, Massachusetts, his wife’s home town.
Le
Pont-Neuf, Paris
265 x 348 mm
Original etching. Signed in pencil.
Edition of 75.
Numbered in pencil 60/75.
Printed in brown-black ink on cream Arches
laid paper.
Sold
The
Pont Neuf, built as a ‘new’ bridge in 1578-1607, is now the oldest bridge in Paris.
Its
picturesque possibilities have attracted
artists since the 17th century, when both
Jacques Callot and Stefano della Bella etched
it. And at the beginning of the Etching Revival
in the 19th century, Meryon made it the subject
of one of his ground-breaking Eaux-Fortes
sur Paris. Like Meryon, Logan chose
a low viewpoint. From the embankment, quite
close to the bridge, he shows a steam-powered
river tug, or "remorqueur
de péniches",
with its funnel lowered to go through one
of the arches.
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