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JACQUES CALLOT
Nancy, Lorraine 1592 – 1635 Nancy
Callot, who trained in Rome before working for the Medici in Florence, returned permanently to his native Lorraine in 1621.
Portrait of Charles Delorme
Lieure 662 ii/ii
187 x 114 mm
Original etching, 1630.
The plate ‘signed’ and dated in the lettering at the foot.
A fine impression, trimmed on the platemark.
An unobtrusive small repair at the centre right edge.
£750
Ex collection:
- Karl Ferdinand Friedrich von Nagler (Lugt 2529)
- Thence by bequest to the Berlin Print Room (Lugt 1606)
- Sold therefrom as a duplicate (Lugt 2482)
Delorme was an eminent medical practitioner, physician to Louis XIII and the French court.
He is ‘framed’ in a landscape full of symbols in praise of the doctor’s character and reputation.
The elm trees make a visual play on his name which translates as “of the elm” (orme is French for elm tree).
Callot etched only a few portraits.
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Sir WILLIAM RUSSELL FLINT R.A., P.R.W.S., R.E.
Edinburgh 1880 – 1969 London
Flint was apprenticed as a boy in Edinburgh to a firm of lithographers, and attended evening classes in art. Aged about twenty he moved to London and worked as an illustrator, studying in his spare time at Heatherley’s School of Art.
A visit to Florence inspired him briefly to try etching in 1912-13 at Hammersmith Art School but he would note later “Acid is disagreeable stuff, and it turned me away from etching”. In the following years he devoted himself to watercolour painting with growing virtuosity.
It was only as the Etching Boom was failing, in 1928, that Flint resumed original printmaking, working in drypoint and thus avoiding acid.
He printed his own editions, and like Whistler and McBey sort out, when possible, interesting old paper, inscribing the sheets with details and date of manufacture.
Clatter and Whirl, Granada
Wright 57 iv/iv
213 x 356 mm
Original drypoint, 1931.
Signed in brown ink and numbered in Roman numerals LXXV.
Published state, edition of 75.
Printed in brown-black ink on antique laid paper, inscribed by Flint at the lower edge of the sheet Paper: Bourgogne 1749.
An unobtrusive repaired tear in the bottom left corner.
Faintly mount-stained in the margins.
£650
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JAROMIR STRETTI-ZAMPONI
Plasy 1882 – 1959 Prague
The son of the physician to the Metternich Family, and the brother of a professional artist,
Jaromir Stretti-Zamponi was trained in bank mortgaging, and self-taught as a painter and printmaker.
He spent the years 1912-13 working in Paris and after his return to Prague was, like his brother, a founding member of Hollar, the Society of Czech Graphic Artists, affiliated to the society from 1915-1949.
(A District of Prague under Snow)
218 x 262 mm
Original colour soft-ground etching with aquatint.
Signed in pencil.
On laid paper.
£250
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CERI RICHARDS
Dunvant, Swansea 1903 – 1971 London
Richards initially took drawing classes in relation to his engineering apprenticeship, before attending Cardiff School of Art full time in 1919. Three years later he went on to the Royal College of Art in London.
In the 1930’s Richards progressed through abstraction and Surrealism in collages and paintings. Surrealism “helped me be aware of the mystery, even the ‘unreality’ of ordinary things”.
Until the late 1940’s Richards had made few prints. Encouraged by Caroline Lucas and Frances Byng Stamper at the Miller’s Press, and the Redfern Gallery, where they organised their exhibitions, he found his metier in colour lithography.
He exhibited three prints in the first exhibition of the London Society of Painter-Printers (established by the ‘Millers’) in 1948 at the Redfern Gallery.
Music and poetry inspired much of his work and his use of visual imagery has analogous correspondences.
The play of light and shadow in an interior, as in Shadow in a Room, was also the subject of several of Richard’s paintings of the time.
Shadow in a Room
Sanesi 18
343 x 535 mm
Original colour lithograph, 1950.
Signed in pencil and dated.
Published by the Redfern Gallery in an edition of only 30.
On Lana wove paper.
Unobtrusive all-over foxing, most noticeable in the margins and on the reverse.
Sold
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JOHN SELL COTMAN
Norwich 1782 – 1842 London
Cotman began his career in London but returned to Norwich in 1806 and joined the Norwich Society of Artists, becoming President in 1811, at the period he published his first etchings. In the same period Cotman experimented with the painterly technique of soft-ground etching, though there was no edition of these plates till 1838.
Brandsby Tower
Popham 366
251 x 187 mm
Original soft-ground etching, c1812.
The plate signed.
Also entitled and numbered XXX, as issued by Bohn for publication in 1838.
On stout wove paper.
£150
For three consecutive summers, 1803-1805, Cotman had stayed with the Cholmeley family at Brandsby Hall in Yorkshire.
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