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PIETER VAN SCHUPPEN
Antwerp 1627 – 1702 Paris
Trained as a painter in Antwerp, where he joined the Guild
of St Luke in 1651, van Schuppen settled in Paris in 1655
and became a pupil of Nanteuil.
He extended his study of the history of printmaking in drawings
copied after a variety of prints from different schools.
He enjoyed a successful reputation as a portraitist and his
engraving of Seiglères was particularly admired.
He was made a member of the French Academy in 1663.
Joachim de Seiglères
Hollstein 130
492 x 419 mm
Engraving, 1674, after the pastel by Alexandre du Buisson,
abbé of the Monastery of Saint-Victor, Paris.
With the publisher’s address of Guillaume Courtial.
On strong laid paper.
Trimmed slightly into the image.
Unobtrusive
supported small tear and trace of a horizontal fold.
Sold
Ex collection Fürst zu Liechtenstein (Prince of Liechtenstein) (cf Lugt 4398)
A superb life-size head of Joachim de Seiglères de Boisfranc,
Treasurer to ‘Monsieur’ (Philippe de France) brother of Louis XIV.
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JAMES McNEILL WHISTLER R.A.
Lowell, Massachusetts 1834 – 1903 London
The publication of his hitherto unpublished Thames Set etchings
in 1871 renewed Whistler’s interest in the technique.
While in the early 1870’s he largely concentrated on paintings of the
Thames in a series of Nocturnes, Whistler began further etchings of
the Thames and its shipping in 1875; Katharine Lochnan surmises
without necessarily any intention to publish them and few impressions
were printed.
The plate of The Two Ships, known in very few impressions,
may have been bought by Dowdeswells from the sale of the contents
of Whistler’s house in 1879 after he was declared bankrupt.
The following year they issued the only edition.
The Two Ships
Glasgow 143 v/v
208 x 132 mm
Original etching, 1875.
The plate signed with the butterfly ‘monogram’.
Published state.
Printed by Goulding and issued by Dowdeswells in 1880.
Numbered in pencil No.3 or 8 or 1 (? – not clear).
Ostensibly an edition of 30,
of which some impressions were numbered, this quantity was probably
not printed as Glasgow know of only 17 impressions in all five states.
A good impression on antique laid paper watermarked with Britannia.
A pressure break along the left platemark, supported verso.
Very slight
foxing at the left edge.
£12000
A scene in St Katherine’s Dock, London
Impressions were exhibited in Berlin and New York in 1881.
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LEONARD R. SQUIRRELL R.E., R.W.S.
Ipswich 1893 – 1979 Witnesham, Suffolk
Squirrell, painter, etcher and poster designer, began attending
Ipswich School of Art at the age of fifteen, studying there from 1908-1916
and 1918-1920. During that time he was awarded a British Institute
Scholarship in Engraving in 1915. In 1921 he went to the Slade.
In 1929 he would take over from Charles Baskett as teacher of etching
at Ipswich School of Art, a post he held till 1940; and in 1939 Squirrell took
on the annual London Almanac etchings on William Monk’s death,
continuing until 1966.
Squirrell exhibited at the Royal Academy every year between 1913 and 1960,
as well as at the R.W.S., R.E. and the Ipswich Society of Artists and
various commercial galleries.
Bamburgh Castle
192 x 335 mm
Original drypoint, 1932.
Signed in pencil.
Edition of 50.
Printed in brown-black on cream wove watermarked Holland.
A little time-stained.
Two tiny flaws in the sky.
£200
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CARL THIEMANN
Karlsbad 1881 – 1966 Herbertshausen
Enrolled as a student at the Academy in Prague, in 1905, after he met
fellow student Walter Klemm, who introduced him to the technique,
Thiemann became an enthusiast for the colour woodcut.
In 1907 they set up a studio together to make colour woodcuts and the
following year moved together to the artists’ colony at Dachau.
Klemm spent only five years there, but Thiemann married and settled.
Winter in Amsterdam
Merx 156 F
415 x 550 mm
Original colour woodcut, 1910.
The block monogrammed and dated.
Signed in pencil.
On japan.
Sold
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JAN VAN DE VELDE II
Rotterdam 1593 – 1641 Enkhuysen
A draughtsman, painter, printmaker and publisher,
van de Velde learnt engraving from Jacob Matham in Haarlem,
where he joined the Guild of St Luke in 1614.
Later, he settled in Enkhuysen (1636).
Van de Velde created a number of original ‘black prints’
influenced by Goudt.
In the Four Times of Day, with their engraved inscriptions,
he came particularly close to the manner of Goudt, who had probably
been taught calligraphy by van de Velde’s father, as had no doubt
van de Velde himself.
The four prints of the different times of day are, aside from
literary references in the inscriptions, pure landscape depictions;
Dawn and Night perhaps the first engravings of night scenes where
the light on the landscape itself is the subject, without an ostensible
biblical or mythological theme.
Nox  Night
Hollstein 74 ii/ii
132 x 222 mm
Original etching with engraving, c1622.
Second state, with the title and inscription.
With thread margins.
Watermark: Strasbourg Lily.
Sold
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