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ADRIAEN VAN OSTADE
Haarlem 1610 – 1685 Haarlem
Ostade was very successful in his lifetime; a member of the civic guard and in 1662-3, Deacon of the Haarlem painter’s
Guild of St Luke. It is generally argued because of this, that the etching of ‘The Painter in his Workshop’ is not,
as one might like to suppose, a self-portrait, but a painter in humbler circumstances.
An Ostade oil on panel, 1663, now in the Sempergalerie, Dresden, shows a very similar figure of a painter at work
at his easel by a leaded window.
The Painter
Hollstein 32, Godefroy 32 xii/xii
235 x 172 mm
Etching, c1663.
Final state, with the verse referencing Apelles, the greatest painter of antiquity (probably added by another hand),
and Ostade’s name in the lower border. The plate with the late retouching. On cream laid paper, probably 18th century, with narrow margins. Occasional slight discolouration.
£1000
The painter is shown with two young apprentices grinding his colours and the workshop is full of the usual accoutrements of an artist’s studio, including casts. A lute hangs on the wall.
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LOUIS SENÉ
Geneva 1747 – 1804 Paris
Monsieur de Voltaire
324 x 247 mm
Original engraving.
The plate signed and titled Mr D Volterre.
On laid paper, trimmed to or just inside the platemark.
Unobtrusive traces of fold lines and handling creases.
£950
Francois-Marie Arouet (1694-1778), known by his nom de plume Voltaire, having offended both the French court and Frederick Great
(whose repeated invitations to Prussia he finally accepted, being made Prussian Chamberlain 1750-1753),
finally settled in Switzerland in 1755. Then aged sixty-five, he resided for the remaining two decades of his life
near Geneva, where the Swiss painter Sené engraved his portrait in this rare print.
Volterre made a return visit to Paris in 1778, to put on his last tragedy Irène. The excitement and unexpectedly
warm welcome brought on an illness and Volterre died there.
By coincidence Louis Sené similarly met his end on a visit to Paris, where he exhibited for the only time in 1804.
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LUCIEN PISSARRO
Paris 1863 – 1944 Hewood, Somerset
The eldest son of the Impressionist painter Camille Pissarro, Lucien trained as a painter and etcher with his father.
He exhibited at the last of the six ‘Impressionist’ exhibitions, in 1886.
Wood engraving he learnt from Auguste Lepère.
Lucien settled in London in 1890, where he is perhaps best known for his wood engravings for his Eragny private press.
Le Cocher The Cabman
80 x 103 mm
Original etching with aquatint.
Signed with the artist’s monogram stamp (Lugt 1756b).
Edition of 20.
Numbered in pencil 14/20.
On cream Arches laid paper.
£750
A rare etching by Pissarro.
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SALLY McLAREN
Born London 1936
Sally McLaren studied at the Ruskin School of Art in Oxford, at the Central in London and with S W Hayter in Paris.
She was elected an Associate of the R.E. in 1962 and a Fellow in 1973.
She taught at Goldsmiths’ and was a Fellow of the Printmakers’ Council of Great Britain.
On her website she writes
Landscape in all its facets preoccupies me. The air, the elements, the geological make up.
the life that springs in landscape, the spirit of it, … the effects of wind and rain and sun, and the marks left by man from past to present…
Stubble Fields
173 x 224 mm
Original colour etching and aquatint, 1985.
Signed in pencil, dated, entitled and numbered 46/110.
A Print Collectors’ Club presentation print for 1985.
On stout cream wove.
£200
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KIYOSHI HASEGAWA
Yokohama 1891 – 1980 France
A painter and a printmaker, Hasegawa came to Europe via a stop-over in the United States, after the First World War.
He settled in Pairs in 1919.
In Japan he had already experimented with oil painting and engraving on copper, as well as woodcut.
Hasegawa got to know Raoul Dufy in 1921 and through him joined the group Peintres-Graveurs indépendants.
He devised his own method of mezzotint, a tonal engraving technique out of fashion since the 18th century.
Rather than using the conventional rocker, he instead individually engraved and etched close vertical, horizontal and diagonal parallel lines.
He exhibited mezzotints from 1924 and was influential in reviving the technique as an artist’s medium in France.
Site Provençal Provençal View
198 x 280 mm
Original mezzotint, 1924-25.
Signed in pencil.
The first numbered impression of the edition of 25.
On cream Rives wove paper watermarked MBM.
Time-toned.
£4500
The village of Grasse.
One of Hasegawa’s earliest mezzotints.
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