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School of Raimondi after RAPHAEL
Urbino 1483 – 1520 Rome
Psyche carrying the flask of beauty from Persephone up to Olympus for Venus
Bartsch (Anonymous Engravers - School of Raimondi) 5
Illustrated Bartsch .041 ii/iii
294 x 215 mm
Engraving, suggested by Daniel Crumpacker to be by Marco Dente da Ravenna (1493-1527).
Ultimately after a pendentive fresco in Raphael’s Loggia of Cupid & Psyche in the Villa Farnesina, Rome, via the painting by Leonardo da Pistoia, Raphael copyist, who added the landscape beneath.
Second state, with the address of the publisher Antonio Lafreri (1512-77).
The first state was without this address and there are later states with the addresses of Paolo Graziani (dated 1582) and Pietro de’ Nobili.
Trimmed to the plate.
Watermark: fleur-de-lys in a circle with star above.
£500
Bringing some of Persephone’s beauty to Venus was the fourth of Psyche’s trials imposed by Venus in jealous retribution for Cupid falling in love with her.
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HONORE DAUMIER R.E.
Marseilles 1808 – 1879 Valmondois
Between 1833 and 1875 Daumier contributed over 3,900 lithographs to the daily newspaper, Le Charivari, in which page 3 was always an original lithographic or wood engraved image.
Lithographic stones were delivered weekly to Daumier. He usually numbered the stones for reference but not consistently and at a later date, after publication, the images and titles on the stones were erased and the stones cleaned for re-use.
Having got into trouble for his early political cartoons, in later years Daumier focussed his satires on social commentary – the Comédie humaine.
La Visite à l’Atelier
- Quel coloris ! – Quel dessin ! – C’est du Van Dyke ! – C’est du Rubens ! – C’est merveilleux ! – C’est épatan ! …
(L’Artiste se félicite d’avoir consulté des personnes ayant autant de gout, et huit jours après son tableau est refusé par le jury d’admission.)
After receiving such praise with comparison to Rubens and van Dyke, the artist’s painting was refused by the Salon a week later.
Delteil 2953 ii/ii
No.37 in the series Croquis Parisiens
273 x 360 mm (sheet);
195 x 255 mm (image)
Original lithograph, 1857.
Signed with initials in the stone.
Second state, with letters and plate number, for publication in Le Charivari (May 22 1857) but an impression issued separately sur blanc.
(Passeron suggests that only about 50 impressions were printed for separate issue.)
On wove.
(Those in Charivari were printed on thin newsprint, with text on the reverse of the sheet. )
£350
Ex collection André Bloc (Lugt 68a), whose important collection of over 2000 Daumier lithographs was sold on his death in 1947.
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BRIAN DENYER-BAKER A.R.C.A.
Born Storrington, Sussex 1940
Venice and his native Sussex are among Denyer-Baker’s favourite themes.
The Piazzetta, Venice
139 x 198 mm
Original colour soft-ground etching and aquatint.
Signed in pencil, entitled and numbered 15/75.
£175
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NORMAN WILKINSON C.B.E.
Cambridge 1878 – 1971 Isle of Wight
Marine painter and etcher, illustrator and poster designer, Wilkinson trained at Portsmouth and Southsea Schools of Art, as well as in Paris.
His career began as an illustrator for the London Illustrated News in 1898.
In 1912 he had a painting of Plymouth in the smoking room of the SS Titanic.
During the First World War he worked on dazzleships camouflage
and in 1919 was made Hon. Marine Painter to the Royal Yacht Squadron.
Fishing Trawlers
225 x 300 mm
Original etching and drypoint.
Signed in pencil.
£150
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SUE SCULLARD S.W.E.
Born (and working in) Kent 1958
An illustrator, as a student at the Royal College of Art Sue Scullard was introduced to wood engraving by Yvonne Skargon. She was enthralled by the medium’s potential for line, pattern and texture.
She has exhibited annually with the Society of Wood Engravers for thirty years.
Woodland with Wild Garlic
151 x 101 mm
Original wood engraving, 2014.
Signed in pencil, dated, entitled and numbered 25/150.
£85
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THOMAS BLAKELEY MACKENZIE
Bradford 1887 – 1944 Trewetha, Cornwall
Mackenzie attended Bradford School of Art and then the Slade. In the 1920’s he worked primarily as an illustrator, in watercolours, but also made a few etchings and wood engravings.
He exhibited once with the breakaway English Wood Engraving Society in their inaugural exhibition in 1925.
Sadly he later aspired to a painting career in France, but failed to find success and was forced to return to England.
Ingleboro
102 x 128 mm
Original wood engraving, c1925.
Signed in pencil.
£185
An impression was exhibited at the English Wood Engraving Society, 1925, when the edition was specified as 50.
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