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The Home Page Selection

PIETER SOUTMAN, Haarlem 1580 – 1667 Haarlem. Old Woman and a Boy with candles. Etching and engraving.  SUZANNE COOPER, 1916 – 1992 London. Back Gardens. Original wood engraving, c1935-39. CAMILLE PISSARRO, St Thomas, Danish Antilles 1830 – 1903 Paris. Mendiantes Beggars. Original colour etching, c1894.
WILLIAM LEE-HANKEY R.E., Chester 1869 – 1952 London. L’Habit noir (The black coat). Original etching and drypoint, 1912-13. Sir CHARLES HOLROYD R.E., Potternewton, Leeds 1861 – 1917 Weybridge. Venice from the Giudecca. Original etching, 1905-06.

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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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PIETER SOUTMAN, Haarlem 1580 – 1667 Haarlem. Old Woman and a Boy with candles. Etching and engraving.

PIETER SOUTMAN
Haarlem 1580 – 1667 Haarlem

A painter, etcher, engraver, draughtsman and publisher of prints mainly in Haarlem, Soutman spent a few years, around 1618, in Antwerp in Rubens’s workshop, either as a pupil or a collaborative assistant.

Rubens nocturne of the Old Woman and Boy with Candles, c1616-17 (now in the Mauritshuis) painted with dramatic chiaroscuro in the style of Caravaggio and Elsheimer, was a painting he felt to be significant and kept in his studio for the rest of his life.

Rubens was never an engraver, but it has been thought that he may have done the preliminary etching on the plate for the reverse copy of this painting, which he published, finished with the burin by Paulus Pontius, and certainly closely supervised its production, hand writing on a counterproof the Latin inscription.

Pieter Soutman’s engraving is a direct copy in reverse of the Rubens/Pontius print, and thus in the same direction as the original painting. Soutman repeated Rubens’ Latin ‘caption’ .

Old Woman and a Boy with candles
Ex Hollstein
245 x 193 mm (sheet)
Etching and engraving after Rubens; with Rubens’ name but before the addition of Soutman’s own name as engraver.
On laid paper with a watermark.
Trimmed to or just into the plate, with plate borders all round.
A small repaired tear in the blank area to the left of Ruben’s name.

£650

Ex collection Alexander Gibson Hunter of Ballskelly (Lugt 2306)

Ger Luijten found, via Jan Bloemendal, that Rubens’ inscription was a quotation from Ovid’s Ars Amatoria, in which the poet urged that youthful beauty be employed to the full where love is concerned, and conjuring the spectre of an old wrinkled woman at night, sorrowfully looking back over her life and reflecting on the chances of love she had denied.

In the catalogue Mirror of Everyday life Luijten translates it as

Who forbids the taking of light from a light that is set before you.
Even if thousands do so, naught is lost therefrom.

Earlier commentators, not knowing the source of the quotation and connotation, had connected it to the similar Dutch proverb

No harm comes to a candle if someone else uses its light”.

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SUZANNE COOPER, 1916 – 1992 London. Back Gardens. Original wood engraving, c1935-39.

 

SUZANNE COOPER
1916 – 1992 London

Suzanne Cooper grew up in Frinton, Essex and moved to London in 1935 to attend the Grosvenor School of Art. Through her student years, until the outbreak of the Second World War, she exhibited paintings and wood engravings at the Redfern Gallery, the Werther, Zwemmer and Wertheim Galleries and with the Society of Women Artists. In the War she was a volunteer nurse.

She married her childhood sweetheart in 1940 and thereafter stopped painting and wood engraving, though she continued with some occasional small scale pastels and ink and chalk drawings.

As overtook many women artists of her generation, she concentrated on family life. It was only after her death that eleven woodblocks for her wood engravings were found in a box in the cupboard under the stairs.

In 2018 the family had an edition of 45 printed from each of the eleven blocks, by Phil Abel of Hand & Eye Press.

Taught the technique by Ian MacNab, Suzanne Cooper’s lively stylish wood engravings are redolent of the Grosvenor School era.

Back Gardens
110 x 140 mm
Original wood engraving, c1935-39.
A numbered impression from the 2018 edition of 45.

£150

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CAMILLE PISSARRO, St Thomas, Danish Antilles 1830 – 1903 Paris. Mendiantes Beggars. Original colour etching, c1894.

CAMILLE PISSARRO
St Thomas, Danish Antilles 1830 – 1903 Paris

Pissarro arrived in Paris in 1855, the same year as Whistler, and within a few years had made friends with the group of artists who would come to be called The Impressionists. He would be the only one of the group to exhibit at every one of the eight Impressionist exhibitions.

He had made a few etchings prior to 1879, but it was Degas, in that year, who revived his interest in printmaking, which thereafter became an important part of Pissarro’s oeuvre.

His printmaking was principally in black and white. It was seeing Mary Cassatt’s colour etchings in 1891 that inspired Pissarro to make his own five colour etchings. All are rare.

For their 1891 exhibition at the Galerie Durand-Ruel, the Société des Peintres-Graveurs had decided to allow only French-born artists to exhibit; which excluded both Pissarro and the American Mary Cassatt. She suggested to Pissarro that they themselves also exhibit independently at the Galerie Durand-Ruel. She exhibited her suite of ten colour etchings at this exhibition.

Pissarro probably first tried adding ‘colour plates’ to one or two of his existing ‘monochrome plates’ for a colour edition in about 1894, when he had acquired his own intaglio press, while his other three colour etchings, all c1894-95, were designed from the outset to only be printed in colour. The main composition was etched on a ‘key’ plate and printed in black ink. Localized colour was added sequentially from up to three further plates printed respectively in red, yellow and blue inks.

In 1930 the Pissarro family arranged what was essentially the first formal edition of Pissarro’s five colour etchings, printed for them by Alfred Porcaboeuf and supervised by Jean Cailac. A total of from twelve to seventeen impressions were printed of each subject; eleven of these formed the numbered edition, one the bon à tirer proof, authorised and signed by Jean Cailac, retained for his personal collection preceded by up to five trial proofs. After the edition was printed the plates were cancelled and presented to the Bibliotèque Nationale.

Mendiantes harvey-leeBeggars
D.110 ii/ii
201 x 153 mm
Original colour etching, c1894.
The 1930 Bon à tirer à onze épreuves proof, annotated in pencil by Cailac twice (the repetition faint, at the lower sheet edge).
Stamped with the artist’s initials C.P. (Lugt 613e).
Printed from multiple plates in black, red, yellow and blue on old laid paper watermarked POITOU...
Slight cockling at the corners.

£7000

Ex collection Jean Cailac. The 1930 printing is the only formal edition and was printed in a total of 17 impressions, including 5 trial proofs.

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WILLIAM LEE-HANKEY R.E., Chester 1869 – 1952 London. L’Habit noir (The black coat). Original etching and drypoint, 1912-13.

WILLIAM LEE-HANKEY R.E.
Chester 1869 – 1952 London

L’Habit noir harvey-lee(The black coat)
Hardie 103, published state
203 x 162 mm (rectangular plate);
150 x 153 mm (circular image)
Original etching and drypoint, 1912-13.
An etched roundel on a rectangular plate.
Signed in pencil and stamped with the artist’s blind monogram stamp .
Edition of only 25.
On wove.

£350

 

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Sir CHARLES HOLROYD R.E., Potternewton, Leeds 1861 – 1917 Weybridge. Venice from the Giudecca. Original etching, 1905-06.

Sir CHARLES HOLROYD R.E.
Potternewton, Leeds 1861 – 1917 Weybridge

Venice from the Giudecca
Dodgson 200 (Holroyd Opus 205)
101 x 215 mm
Original etching, 1905-06.
Signed in pencil.
Entitled in pencil.
On cream laid paper watermarked O.W.P&A.C.L.

£250

Exhibited at the R.E. 1906.

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