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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeJanuary-February 2022

The Home Page Selection

REMBRANDT HARMENZS. VAN RIJN, Leiden 1606 – 1669 Amsterdam. The Ringball Player or The Kolf Player. Original etching, 1654. VLADIMIR ALEKSEEVICH VOROBYOV, Born Kremenets, Ukraine 1950. The Artist’s family in Winter. Original colour etching, 1991.
VIRGIL SOLIS, Nuremberg 1514 – 1562 Nuremberg. The Four Temperaments. c1560. VIRGIL SOLIS, Nuremberg 1514 – 1562 Nuremberg. The Four Temperaments. c1560. VIRGIL SOLIS, Nuremberg 1514 – 1562 Nuremberg. The Four Temperaments. c1560. VIRGIL SOLIS, Nuremberg 1514 – 1562 Nuremberg. The Four Temperaments. c1560.
WINIFRED AUSTEN R.E., Ramsgate 1876 – 1964 Orford or Bickley, Norfolk. Days of Leisure. Original drypoint, c1939. ELIZABETH PIPER A.R.E. Stroud 1868 – 1956 Stanmore? The Thames. Original etching, c1900.

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REMBRANDT HARMENZS. VAN RIJN, Leiden 1606 – 1669 Amsterdam. The Ringball Player or The Kolf Player. Original etching, 1654.

REMBRANDT HARMENZS. VAN RIJN
Leiden 1606 – 1669 Amsterdam

The Ringball Player or The Kolf Player
New Hollstein 282 ii/ii;
96 x 145 mm
Original etching, 1654.
The plate signed and dated.
An impression probably from the end of the 18th century.
On thin soft laid paper, typical of early Basan, trimmed to narrow or thread margins.
A little time-toned.

£6500

This plate is variously known as The Golf Player, The Kolf Player and more recently, The Ringball Player; all games where a ball is hit with a stick with a curved end.

The game was a very popular pastime in the Netherlands in the 17th century. Around 1625 Avercamp did a number of paintings with kolf being played on ice but until Rembrandt’s etching I can find no depiction of the ‘pub’ version, it often being played in alleys outside Dutch ale houses.

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VIRGIL SOLIS, Nuremberg 1514 – 1562 Nuremberg. The Four Temperaments. c1560.

 

VIRGIL SOLIS
Nuremberg 1514 – 1562 Nuremberg

Solis ran a print workshop in Nuremberg from at least 1534, which produced over 2000 single sheet prints. Without making direct copies, Solis often borrowed motifs and compositional details from other artists such as Dürer, Beham, Pencz and others. However, though popular in Medieval times, The Four Temperaments was an uncommon theme with Renaissance artists, who tended to focus on the single figure of Melancholy.

Solis has directly adapted two of Pencz’s female personifications, those of Grammar and Dialectica, from Pencz’s set of The Seven Liberal Arts, for his own Sanguinuse and Colericus images respectively and Flegmaticus and Melancolicus have similarities which recall Pencz.

The Four Temperaments
Hollstein 431-434; Bartsch 178
81 x 53 mm
The set of four.
The plates each signed with the monogram, titled, numbered and captioned.
On laid paper, two with part of a watermark.
With margins.

£500

Three of the four ex collection: Raphael Sander (1844-1915), most of whose collection ended up in the Kestner Museum in Hanover.

Ancient physiology considered that the human body contained four kinds of fluids, or humours, which determined an individual’s temperament according to their relative preponderance; and that the organs that secreted them were subject to planetary influences; thus man’s character was ‘in his stars’.

Each of the temperaments was associated allegorically with the animals who were thought to exhibit the same nature, and also each was equated to one of the four ‘elements’ – air, fire, water and earth.

Solis symbolises the Sanguine personality (where blood is the dominant humour) as a female figure seated in the clouds, holding a lute, accompanied by a peacock and horse.

His Choleric image (bile predominant) holding a torch and a heart shot through with an arrow, sits amid flames, accompanied by a lion and eagle.

The Phlegmatic figure holds a rattle and spit and has an owl perched on her shoulder. She sits on waves, or perhaps on the back of the ass.

Melancholy sits on a wall and has her feet on the earth. She holds dividers and is accompanied by a deer and a swan.

Solis’ choice of animals is personal, rather than traditional.

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VLADIMIR ALEKSEEVICH VOROBYOV, Born Kremenets, Ukraine 1950. The Artist’s family in Winter. Original colour etching, 1991.

VLADIMIR ALEKSEEVICH VOROBYOV
Born Kremenets, Ukraine 1950

Vorobyov studied graphic art in Moscow, graduating in 1982. He has won several awards, the latest in 2021, a gold medal from VTOO ‘for a great contribution to the development of contemporary fine arts in the Russian Federation’.


The Artist’s family in Winter
410 x 280 mm
Original colour etching, 1991.
Signed (in Russian) in pencil, dated, entitled, annotated ‘colour etching’ and numbered 25/80.
Also with the artist’s blindstamp in the lower margin.
On stiff cream wove.

£200

Although the phrase is American in origin, perhaps the bowl of cherries on the window sill is partly symbolic, intended to bring to mind the saying which suggests life is highly enjoyable. Or it is a happy coincidence?

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WINIFRED AUSTEN R.E., Ramsgate 1876 – 1964 Bickley, Norfolk. Days of Leisure. Original drypoint, c1939.

WINIFRED AUSTEN R.E.
Ramsgate 1876 – 1964 Bickley, Norfolk

An illustrator and renowned etcher of animals and birds, Austen was trained by the wild animal painter Cuthbert Edmund Swan at the London County Council School of Arts & Crafts.

She first exhibited at the Royal Academy in 1899 and continued to do so until 1961. Her first published etching dates from 1908.

In 1917 she married an American aviation inspector, who after the War briefly acted as an artistic and literary agent, before his early death in 1923.

Austen was both a Fellow of the R.E. and of the Royal Zoological Society. Her work was included in the Art competition in the 1948 Olympics.

Days of Leisure
218 x 322 mm
Original drypoint, c1939.
The plate signed with the monogram.
Signed in pencil and entitled.
On wove paper watermarked with the initials of the American branch of her London publisher, H C Dickins (A.C.& H.W.D. Inc. New York).
Faintly mount stained.

£450

An impression was exhibited at the Royal Academy in 1939.

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ELIZABETH PIPER A.R.E. Stroud 1868 – 1956 Stanmore? The Thames. Original etching, c1900.

ELIZABETH PIPER A.R.E.
Stroud 1868 – 1956 Stanmore?

A painter and etcher, Piper was elected an Associate of the R.E. as early as 1892.

She exhibited at the Royal Academy a number of times 1897 onwards, from a London address and regularly almost every year at the R.E. from 1892 through to at least 1910, almost exclusively with architectural subjects. Of independent means, by 1920 she had virtually stopped exhibiting at the R.E., though she continued to be a member.

(The Thames) ?
91 x 211 mm
Original etching, c1900.
Signed in pencil.
Printed with brown-black ink, with plate tone, on cream laid paper with part of an O.W.P&A.O.L watermark.

£150

In 1897 Piper exhibited A lowering evening, London, in a ‘Black & White’ room at the R.A

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