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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeNovember-December 2017

The Home Page Selection

SAMUEL PALMER, London 1805 – 1881 Redhill. Opening the Fold. Etching, 1880. This etching is for sale, priced £1500 WALTHER KLEMM, Karlovy, Bohemia 1883 – 1957 Weimar. Junge Hunde (Young Hounds). Original colour woodcut, 1907. This woodcut is for sale, priced £250 ERNEST STEPHEN LUMSDEN, London 1883 – 1948 Edinburgh. The Acolyte. Original drypoint and etching, 1920. DIANA DREW, 1912 – 1976. Foxtrot. Original colour linocut.

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The Current Selection:

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

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SAMUEL PALMER, London 1805 – 1881 Redhill. Opening the Fold. Etching, 1880. This etching is for sale, priced £1500


Newington, south London 1805 – 1881 Redhill, near Reigate

Though his friend Calvert had made Blake-inspired engravings in Shoreham, and Palmer was greatly influenced by William Blake’s small wood engravings for Dr Thornton’s School edition of the Pastorals of Virgil, it was only in 1850, at the suggestion of his friend Charles West Cope, that he joined the Etching Club and took up etching.

He became an enthusiast for the technique, even though over the next thirty years he only finished thirteen plates.

Opening the Fold or Early Morning
Alexander 13 vi/viii, Lister 13 viii/x
151 x 214 (bevelled plate); 117 x 176 mm (image); 215 x 319 mm (sheet)
Etching, 1880.
The plate signed.
With two lines of verse (lines 25 & 26) engraved in the lower plate border by A H Palmer for the standard small paper edition of An English Version of the Eclogues of Virgil by Samuel Palmer, with Illustrations by the Author, published for him by Seeley & Company, 1884, printed on cream wove paper.


Opening the Fold illustrates the Eighth Eclogue (lines 23-8) which Palmer translated as

Scarce with her rosy fingers had the dawn
From glimmering heaven the veil of night withdrawn,
And folded flocks were loose to browse anew
O’er mountain thyme or trefoil wet with dew,
When leaning sad an olive stem beside,
These, his last numbers, hapless Damon plied.

There is a very close watercolour of this subject, in the same direction, which suggests that the etching came first.

In 1872 Palmer had sent his own English verse translation of Virgil’s Eclogues (at which he had worked for years) to Hamerton, who advised on publishing only if Palmer accompanied the text with etchings. Palmer worked on designs for these in drawings and watercolours throughout the last decade of his life.

Only Opening the Fold was finished and independently published in his lifetime (by the Fine Art Society in 1880).

Palmer had begun work on another four uniformly smaller plates. His son, A H Palmer, completed these, and with Opening the Fold (and the addition of heliogravure facsimiles of some of the other preliminary drawings), had his father’s illustrated translation published by Seeley & Company in various editions in 1883 and 1884.

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WALTHER KLEMM, Karlovy, Bohemia 1883 – 1957 Weimar. Junge Hunde (Young Hounds). Original colour woodcut, 1907. This woodcut is for sale, priced £250

Karlovy, Bohemia 1883 – 1957 Weimar

Klemm studied in Vienna. He made his first colour woodcut in about 1903 and he exhibited with the Vienna Secession from 1904. Colour woodcut was a technique of printmaking particulrly associated with the Vienna Secession.

That year he moved to Prague and established a studio with Carl Thiemann. In 1908 they both moved to the Dachau art colony.

Klemm joined the Berlin Secession in 1910 and was also a member of the national Deutschen Künstlerbunde.

In 1913 Klemm was appointed Professor of Graphics at the Art School in Weimar, where he spent the rest of his career.

Junge Hunde Puppies
247 x 301 mm
Original colour woodcut, 1907.
The ‘ochre’ block monogrammed and dated.
Issued by the Gesellschaft für bildenden Kunst, Vienna, 1908.
With their text lines at the foot of the sheet.
n cream wove.


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ERNEST STEPHEN LUMSDEN, London 1883 – 1948 Edinburgh. The Acolyte. Original drypoint and etching, 1920.

London 1883 – 1948 Edinburgh

After graduating from University College, Reading in 1904, where he studied art with Morley Fletcher, Lumsden taught himself to etch in 1905 from manuals and experiment.

In 1909 he joined the staff of Edinburgh School of Art, at the invitation of Fletcher who had recently been appointed its Principal.

Though he was elected an Associate of the R.E. in 1909 and a Fellow in 1915 and did not resign until 1931, ten years after he founded the Society of Artist Printmakers, Lumsden had had issues with the hanging policies of the R.E. who hung from a constant bottom line. Lumsden preferred to hang from a top line and to arrange the prints more spread out in and in appropriate groupings.

The Acolyte
Lumsden 189 ii/ii
350 x 230 mm
Original drypoint and etching, 1920.
The plate signed and dated.
Signed in pencil and numbered 25.
From the edition of 45.
On japan.


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DIANA DREW, 1912 – 1976. Foxtrot. Original colour linocut.

Burnley 1912 – 1979 Kendal

Diana Drew was only a young teenager when she began attending the Grosvenor School of Modern Art, probably before 1929, where she was a student of Iain Macnab and Claude Flight.

Her exhibit in the First Exhibition of British Lino-Cuts, organised by Flight at the Redfern Gallery, London 4-27 July 1929, was amongst examples specifically singled out by the critic of The Spectator as of interest, particularly bearing in mind her young age.

The daughter of a wealthy manufacturer, John Drew, in Burnley, Diana never married. Little is known of her further career. She died at the family home in Westmoreland.

Her sister Pamela also attended the Grosvenor School.

175 x 120 mm
Original colour linocut, printed from three blocks in two shades of crimson and grey, on pink-tinted tissue-thin japan.


An interesting combination of linocut and chiaroscuro woodcut techniques.

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