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STEFANO DELLA BELLA
Florence 1610 – 1664 Florence
Della Bella was the son of a sculptor. He learnt etching
with Remigio Cantagallina.
First employed by the Medici, he spent much time in Rome from 1633
and in 1639 moved to Paris, in the train of his patron the Florentine
ambassador to Louis XIII; and stayed to work for French publishers.
In the political climate of anti-Italian sentiments in the Fronde,
della Bella returned to Florence.
Procession of the Feast of Corpus Christi
De Vesme 73 iii/viii
332 x 476 mm
Original etching, c1648.
The plate signed.
Before any publisher’s address.
Trimmed to the borderlines on two sides, to the plate at the foot
and just into the image at the top.
Edge mounted.
£600
The Holy Sacrament, covered by a canopy, is carried in procession,
followed by the young King Louis XIV and his mother Anne of Austria,
towards the large pavilion with the altar.
Crowds kneel in front of tapestries designed by Raphael.
A demonstration staged by the queen and Mazarin to show
the young king’s piety, probably that described by Madame de Motteville
in her memoirs as having taken place on 12 June 1648
in the first court of the Palais Royale, where a temporary altar had been set up.
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EVA RENEE NELE
Born Berlin 1932
The daughter of Arnold Bode, founder of the Documenta in Kassel, the city
where she grew up, Nele is known as a sculptor in metal, and goldsmith,
and would seem to be only very occasionally a printmaker.
From 1950 to 1955 she studied at the Berlin Academy under the sculptor
Hans Uhlman, then at the Central School of Arts & Crafts in London,
and finally at the printmaking Studio Lacourièrè in Pars.
She had her first solo exhibition in 1956 at the Stedelijk Museum in Amsterdam.
In 1957 she became a member for a few years of the newly founded Situationist International,
an organization of avant-garde artists, intellectuals and political theorists.
Its aim was to bridge the gap between art and life.
Nele’s work seeks to explore man’s inner soul.
Fear, existential crisis and death are themes central to her sculpture.
As a jewellery designer, she is an honorary member of the Goldsmiths’ Company in London.
(Figures in a desolate landscape)
170 x 293 mm
Original etching, c1956.
An artist’s proof, signed in pencil.
Printed on watermarked Auvergne laid paper with deckle edges on three sides.
£150
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BRIAN HOLGATE SOWERBY R.E.
Grimsby 1920 – 1993 Norwich
Sowerby was a printmaker and taught part-time at Norwich School of Art.
Quince
176 x 252 mm
Original mezzotint.
Signed in pencil and entitled.
On cream wove.
£100
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WILLIAM HOGARTH
London 1697 – 1764 London
The Laughing Audience or
The Pleased Audience
Paulson 130 iv/iv
188 x 172 mm
Original etching, 1733.
Etched as the subscription ticket to
A Rake’s Progress and Southwark Fair.
Final state, 1735, the plate reduced at the foot to remove the ‘receipt’
below the image (the very top of the first line of that lettering still just
remaining).
On watermarked cream laid paper.
One worm hole.
Faintly mount stained in the margins.
Sold
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FREDERICK HALPERN
Vienna 1909 – c1999 Melbourne, Australia
An artist and writer, Halpern studied painting and printmaking in
Vienna and Paris.
He travelled extensively to find his subjects and in the early 1950’s
settled in Australia.
The Castel Sant’ Angelo, Rome
233 x 169 mm
Original colour soft-ground etching and aquatint, c1930.
Signed in pencil and numbered 3/25.
On stout cream wove paper.
£200
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MORTIMER MENPES
Port Adelaide, Australia 1855 – 1938 Pangbourne, Berks
Menpes settled in London in 1875. He met Whistler in 1880 and they
were friends until 1887; he was entrusted to print the impressions of Whistler’s
Venice Set.
Menpes printed all his own plates, always signing ‘imp’ after his name in indication.
His early plates were etched and he turned to drypoint in later years.
Dutch Eel Schuyts
Morgan 144; The Grey River No.10
107 x 148
Original etching and drypoint, 1889.
The plate signed.
The impression signed in pencil.
One of the series of twelve subjects issued as The Grey River, first published
as a portfolio by Seeley & Co 1889, in an edition of 230.
Printed in brown ink on watermarked antique laid paper.
£200
Impressions exhibited at the R.E. 1890 and at Dowdeswells 1898
A subject Menpes would return to.
He painted a watercolour, in reverse, as an illustration entitled Dutch barges
near the Tower, for his 1906 book ‘The Thames’ and
in 1913 etched a larger version, Dutch boats on the Thames, in the same direction
as the earlier plate.
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