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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeOctober 2021

The Home Page Selection

ALBRECHT ALTDORFER, Amberg ? c.1482/85 – 1538 Regensberg. Saint George and the Dragon. Woodcut, 1511. This print is for sale. THEODORE ROUSSEL, Lorent, Brittany 1847 – 1926 St Leoanards-on-Sea. Chelsea Children, Chelsea Embankment. Original etching, 1889. This print is for sale. JAMES ROBERT GRANVILLE EXLEY R.E., Great Horton, Bradford 1878 – 1967 Grassington. Spirit and Victory. Original etching, 1916-39. This print is for sale. MARCEL FRISCHMANN, Lodz, Poland 1900 – 1952 London. Rennbahn Racecourse. Original drypoint, c1930. This print is for sale.

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A growing archive of selections from previous Home pages is featured in the
Home Page Selection Archive

 


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The Current Selection:

Old Masters
From the Catalogue
Modern British Prints
Modern Continental Prints
Prints by Women
Prints under £250

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ALBRECHT ALTDORFER, Amberg ? c.1482/85 – 1538 Regensberg. Saint George and the Dragon. Woodcut, 1511. This print is for sale.

ALBRECHT ALTDORFER
Amberg ? c.1482/85 – 1538 Regensberg

Altdorfer spent most of his life in Regensburg, on the Danube in Bavaria.

A painter, printmaker and later the city architect, Altdorfer’s activity as a graphic artist was mainly c1506-25. He engraved and etched as well as designing woodcuts. About 1515 he and his workshop contributed designs to The Triumph of Maximilian, mainly blocks showing the baggage trains.

The Danube School is associated with landscape and Altdorfer made the first pure landscape prints. And landscape plays an important part as the background to other prints. In his painting of St George and the Dragon, which preceded the woodcut offered here, the small figures of the saint and dragon are almost subsumed into the forest setting. In the woodcut, the scene is set in a mountainous landscape. The Saint’s splendidly plumed helmet is worthy of the Emperor Maximilian.

Saint George and the Dragon
Hollstein 58
197 x 154 mm (sheet)
Woodcut, 1511.
The block dated and signed with the monogram.
A good but later and damaged impression.
The block lacking part of the cloud outline.
The impression trimmed to the borderline, gaps in the borderline inked in.
A supported tear with paper loss related to printing creases in the sky; another smaller supported tiny paper loss.

£750

George, to the early Church was the Christian Roman warrior saint and martyr symbolically triumphing over evil and paganism. By Medieval times, in the story as related in The Golden Legend, written in the 13th century, George is conflated with the classical hero Perseus who saves Andromeda.

In a town being terrorised by a dragon demanding daily sacrifice, victims are chosen by lot, which has fallen to Cleodolinda, the king’s daughter. Returning Cleodolinda safely to her father, George converts them to Christianity. Altdorfer shows Cleodolinda hiding among bushes.

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THEODORE ROUSSEL, Lorent, Brittany 1847 – 1926 St Leoanards-on-Sea. Chelsea Children, Chelsea Embankment. Original etching, 1889. This print is for sale.

THEODORE ROUSSEL
Lorent, Brittany 1847 – 1926 St Leonards-on-Sea

Roussel had first intended a military career but an illness at the critical moment for enrolment prevented this. He went to Italy to recuperate, and there developed his vocation to be an artist.

On his return to France he was called up to serve in the Franco-Prussian War, but on his discharge in 1872 he began independent studies of the old masters and contemporary French artists.

In 1877 he came to England to study British paintings and decided to stay. He married and settled in Chelsea. In 1885 his paintings of Chelsea attracted the attention of Whistler and they became close friends, and Whistler something of a mentor, as Roussel had had no formal art training. They often worked side by side. It was probably Whistler who encouraged Roussel to take up etching in 1887.

In his early etchings Roussel followed Whistler in trimming his prints to the plate, leaving a small paper tab at the foot to sign. His etchings recorded the scene and people around him.

Chelsea Children, Chelsea Embankment
Hausberg 32
189 x 133 mm
Original etching, 1889.
The plate signed.
Edition of c30.
Trimmed to the plate, by the artist, but the usual signature ‘tab’ lost.

£350

 

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JAMES ROBERT GRANVILLE EXLEY R.E., Great Horton, Bradford 1878 – 1967 Grassington. Spirit and Victory. Original etching, 1916-39. This print is for sale.

JAMES ROBERT GRANVILLE EXLEY R.E.
Great Horton, Bradford 1878 – 1967 Grassington

Elected an Associate of the R.E. in December 1905, Exley exhibited from 1906, at both the R.E and the R.A., where he had three etchings accepted for the Summer Show that year.

Following a year as Second Master and deputy Principal at the Ryland Memorial School of Art in West Bromwich, from 1909-1912 Exley was Principal of Cambridge and County School of Art, and then Head of Hull School of Art 1912-1919.

Birds and particularly fowl were a prominent theme in Exley’s work from student days, which he exploited both decoratively and symbolically. His etched Christmas Card for 1939 would show a spurred fighting cock with the motto Spirit and Victory, within a holly border.

Spirit and Victory
Austin* p.105
101 x 182 mm
Original etching, 1916-39.
The plate signed with the monogram, dated, entitled and with a Christmas greeting.
On cream laid paper.

£50

The plate was first used as a Christmas card in 1916, bearing only a greeting from Exley himself. In 1939 he changed the date and inserted his wife’s initials, on the line above, before his own.

* J.R.G. Exley 1878-1967 A Yorkshire Artist
by Celia Austin is the first book devoted to Exley’s etchings. Quarto paperback, 120 pages, over 150 illustrations, £10 + pp, it is available from the author at the dedicated email address Celia Austin.

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MARCEL FRISCHMANN, Lodz, Poland 1900 – 1952 London. Rennbahn Racecourse. Original drypoint, c1930. This print is for sale.

MARCEL FRISCHMANN
Lódz, Poland 1900 – 1952 New Barnet, London

Frischmann, aged four, moved with his family to Berlin, where he would first graduate as an engineer before enrolling at the Berlin Academy.

At the Academy he was taught by Hans Meid; Emil Orlik was a fellow student, as was Frischmann’s future wife, Margaret Kroch, a graphic artist and sculptor.

In the early 1920’s Frischmann contributed drawings to various Berlin publications before moving to Munich to join the staff of the satirical weekly Simplicissimus. When the magazine was taken over by the Nazis in 1933, the Jewish Frischmann and his wife fled, initially to Denmark, then to Brussels and finally in 1939 to Australia.

He served in the Australian Military Airforce from 1942. Perhaps in Australia, or after his arrival back in Europe in 1951, Frischmann anglicised his surname to Frishman.

The Frishmans settled in New Barnet at the Abbey Arts Centre, a base for several Australian artists after the War..

Rennbahn – Racetrack
183 x 173 mm
Original drypoint, c1930.
Signed in pencil and numbered 47/50.
Printed with platetone on cream laid paper watermarked Johann Wilhelm.
A small printing flaw at the top.

£385

Ex collection Loening (Lugt 4807) .

 

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