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ALBRECHT DÜRER
Nuremberg 1471 – 1528 Nuremberg
Whereas Dürer’s woodcuts were aimed at a more popular market and are mainly Biblical in subject,
his engravings on copper were directed at a more sophisticated audience and many of them have classical
or secular themes, or such associations even when with a religious content.
St George on Horseback
Bartsch 54, Boon & Scheller 56
109 x 84
Original engraving, 1505-08.
The plate monogrammed and dated.
A fine impression with thread margins, trimmed to or just outside the platemark.
Sold
With a faint blue unidentified collector’s mark in the top right corner, possibly that of the sculptor Ernst-Théophile Delvaulx (Lugt.2667).
The date on this engraving shows a correction from 1505 to 1508. Evidently, it was almost completed
and dated before the artist's sudden departure for Venice in 1505 to escape the plague in Nuremberg,
and completed and the date amended, after his return.
The engraving is one of a number of works depicting horses that Dürer made in the first years of the sixteenth century.
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MANUEL ROBBE
Paris 1872 – 1936 Nesles-la-Vallée
As an artist an epitome of La Belle Epoque, Robbe trained at the Académie Julian and the Académie des Beaux Arts in Paris.
He was a dedicated printmaker, at first in colour lithography but after 1895, when he discovered aquatint,
he devoted himself to that process. He used pure aquatint in the sugar technique, working with a brush directly onto the copper
for a painterly result. His plates were printed à la poupée, whereby all the colours are applied to the plate in a single inking.
From its founding in 1905 he exhibited regularly at the Société de la Gravure Originale en Couleurs at the Georges Petit Gallery in Paris.
Un nouveu Morceau de Musique
 A new Piece of Music
415 x 287 mm
Original colour aquatint, 1903.
Signed in pencil and numbered 58/65.
Printed à la poupée on Arches cream laid paper.
A printing crease in the top margin.
£1850
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HELENE LADSTÄTTER
Died Vienna 1970
Probably a member of the Verein für bildenden künstlerinnen österreichs (Association of Austrian Women Artists)
Helene Ladstätter is known to have exhibited at Colnaghi’s in 1939 with William Giles, Yoshijiro Urushibara
and Englebert Lap; all colour woodcut artists.
In 1924 she was the co-subject of an article in The Studio magazine, Two Austrian Engravers: Emma Bormann and Helene Ladstätter.
Herbst Autumn
328 x 380 mm
Original colour woodcut.
Signed in pencil and entitled.
Edge-mounted and light stained in the narrow margins.
Sold
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FRANK SHORT
Wollaston near Stourbridge, Worcs 1857
– 1945 Ditchling, Sussex
Entrance to the Mersey
Hardie 250
103 x 254 mm
Original etching, 1890.
The plate signed with the ‘shield’ and entitled.
Signed in pencil.
Also initialled in pencil as the Pattern proof for the printer of the edition (the edition would be 50).
On Japanese paper with laid lines.
Sold
A view from Waterloo Sands at low tide.
The small silhouettes of figures at the water’s edge ‘prefigure’ Antony Gormley’s sculptures Another Place.
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SEYMOUR HADEN
Chelsea 1818 – 1910 Arlesford
Iffley Mill (The Thames near Oxford)
Schneiderman 135 iv/v ; Harrington 146
137 x 213 mm
Original etching, 1870.
Signed in pencil.
Fourth (completed) state, with the foreground reeds added in the 3rd state
and the etched inscription already added in the 2nd state, Etching Club, removed.
A rich impression printed in warm dark brown ink, with plate tone, on fine laid paper.
Impressions from this plate are rare.
£750
In the second state, when the foreground was given caught fish, a pot and a book
beside the seated figure of a fisherman, with his dog, seated leaning against a punt,
his rod reaching to the top of the plate,
the inscription Seymour Haden 1879 Etching Club was also added.
But it was another of Haden’s plates that the Etching Club ‘rejected’ and it not issued
in either of their post-1870 publications.
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