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DÜRER
Nuremburg 1471 – 1528 Nuremburg
Dürer issued three major prints between 1495 and 1498 featuring
the Madonna with an ‘animal’.
Two were engravings, The Virgin with the Dragonfly and
The Madonna with the Monkey; and the third the woodcut
of The Holy Family with three Hares, generally accepted as one
of Dürer’s earliest ‘new’ style large scale woodcuts, influenced by
his first visit to Italy c1494-5.
The Holy Family are separated from the landscape beyond,
in a walled enclosure, which recalls the medieval hortus conclusus,
the enclosed garden, symbolic of Mary’s virginity and associated
with the Garden of Eden.
A white rabbit at the feet of the Virgin is another symbol of her purity.
An unusual piece of iconography is the infant Christ on her knee,
engrossed in reading a book.
The Holy Family with three Hares
396 x 284 mm
Woodcut, c1496-97.
The block monogrammed.
A clear, bright, later impression, probably printed c1580.
With various cracks and a few wormholes in the block not printing.
The gaps in the borderline generally inked in.
Generally good condition.
Trimmed to the borderline.
One very small skinned patch verso.
The top left blank corner a little rubbed recto.
£2250
From the collection of the Australian etcher, Lionel Lindsay.
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FRANZ XAVER HOCH
Freiburg 1869 – 1916 Châtas, France
Having trained in Karlsruhe Hoch settled in Munich.
He was a landscape painter and printmaker, particularly of colour lithographs.
The Black Forest and The Eifel provided frequent motifs.
Hoch’s career was cut short as he was killed in the First World War.
Eifeldorf Village in The Eifel
Original colour lithograph, 1903.
The ‘brown’ stone signed and dated.
Issued by the Gesellschaft für verviefältigende Kunst, Vienna, 1903.
On smooth pale-green-tinted wove paper.
Sold
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FREDERICK LANDSEER GRIGGS A.R.E.
Hitchin 1876 – 1938 Chipping Campden
Griggs’ first exhibition, of etchings, drawings and watercolours,
took place in 1915 at the XXI Gallery and received critical acclaim.
The following year, 1916, he was elected an Associate of the R.E.
and a Fellow in 1918.
He was elected an Associate of the Royal Academy in 1922 and
an Academician ten years later.
Meppershall Chapel
Comstock 15 iii/iii
130 x 117 mm
Original etching, 1915.
Third final state, with brightening of the light.
Signed in pencil.
One of thirty impressions printed in this state.
(There were 28 or 29 impressions in the two preceding trial states.)
On thin buff laid paper.
Slight cockling within the image.
A couple
of small thin patches in the margins and made up paper loss in the lower
right margin corner.
Sold
One of Griggs’ rarer, early, intensely romantic plates.
A view of the existing remains of the desecrated chapel of St Thomas à Becket
near Meppershall in Bedfordshire, which in Grigg’s day was used as a barn.
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MARCELLIN DESBOUTIN
Cérilly 1823 – 1902 Nice
Desboutin ‘etched’ the portraits of many of his friends who included
the leading painters, printmakers and writers of the day,
habitués of the ‘Impressionist’ cafés Guerbois and La Nouvelle Athènes.
Desboutin worked only in drypoint, attacking the plate directly with
the needle. He disliked etching with acid.
Desboutin was one of the 43 listed members of the newly constituted
Société des Peintres-Graveurs Français for the 1891 exhibition.
Le Comte Ludovic Napoléon Lepic
Clément-Janin 163 vii/vii
192 x 149 mm
Original drypoint, 1876.
Signed in pencil.
Final state, the plate reduced at the left, removing the easel, and at the foot.
Sold
Lepic (1839-1889) had been a fellow student of Bazille, Monet and Renoir
at Gleyre’s studio, and was a friend of Desboutin and Degas, a regular at
the Café Guerbois.
He exhibited in the ‘Impressionist’ exhibitions of 1874 and 1876.
Lepic was a member of the Société des Aquafortistes and had one etching
published by the Society. He also contributed three etchings
to L’Illustration Nouvelle in 1871, 1875 and 1876.
Cadart also published separately a series of etchings of dogs by the artist.
A painter and an etcher, Lepic developed what he called eau-forte mobile,
inking the plate creatively in the manner of monotype, which influenced
Whistler in his own printing of his Venice etchings.
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