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Attributed to MARCANTONIO RAIMONDI or Circle of RAIMONDI, (Argini? 1470/82 – 1527/34 Bologna).  Pièta, with the bare Arm. Engraving, unsigned, after a Raphael drawing, c1515-20. GERALD LESLESLIE BROCKHURST R.A., R.E., Edgbaston, Birmingham 1890 – 1978 New Jersey, U.S.A. Viba. Original etching, 1929.
JOHN BUCKLAND WRIGHT A.R.E., S.W.E. Dunedin, New Zealand 1897 – 1954 London. The Model (Composition No.8 The Model 2), ADOLPHE VALETTE, St Etienne 1876 – 1942 Blacé. (Little Mai), Original etching with drypoint. HANS SCHÖNWALD. (Evening). Original etching, signed in pencil.

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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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Attributed to MARCANTONIO RAIMONDI or Circle of RAIMONDI, (Argini? 1470/82 – 1527/34 Bologna).  Pièta, with the bare Arm. Engraving, unsigned, after a Raphael drawing, c1515-20.

 

Attributed to MARCANTONIO RAIMONDI
or Circle of RAIMONDI
(Argini? 1470/82 – 1527/34 Bologna)

Pièta, with the bare Arm
Bartsch (Raimondi) 34; Passavant 14
314 x 222 mm
Engraving, unsigned, after a Raphael drawing, c1515-20.
Trimmed to the plate.
A narrow strip of grey wash? in the sky.
Rare.

£1000

There are two ‘Raimondi’ versions of this scarce plate, both of uncertain attribution. Bartsch considers the Pièta, with the bare Arm as a very fine work by Raimondi (Passavant thinks it is a fine work by Barthel Beham). The second plate, The Virgin lamenting the dead Christ, by another hand, and with the plate ‘signed’ with a blank tablet (one of the ways that Raimondi signed his plates) differs in several ways, the details of Christ’s head, the landscape, the addition of a tree where the first has only a stump; and the Virgin no longer has a ‘bare’ right arm. It is encased in a sleeve. Both derive from the same Raphael drawing.

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GERALD LESLESLIE BROCKHURST R.A., R.E., Edgbaston, Birmingham 1890 – 1978 New Jersey, U.S.A. Viba. Original etching, 1929.

GERALD LESLESLIE BROCKHURST R.A., R.E.
Edgbaston, Birmingham 1890 – 1978 New Jersey, U.S.A.

Already heralded for his drawing skills at the age of twelve, as a new Botticelli, the etchings of women that Brockhurst exhibited at the Royal Academy between 1923 and 1933 established his reputation.

Viba
Wright 63 viii/viii
213 x 170 mm
Original etching, 1929.
The plate signed and dated (in reverse).
Published state, signed in pencil.
Edition of 111.
On cream wove paper.

£850

Exhibited at the R.E. 1929 Brockhurst had already etched the head and shoulders of Mrs Ross (wife of a composer?) in 1922; a print selected as one of the Presentation Prints for the R.E.’s Print Collector’s Club for 1922.

The 1929 portrait is by Brockhurst at the height of his etching prowess, influenced by Renaissance portraiture in composition stunningly expressed in his own closely needled rich tonality.

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JOHN BUCKLAND WRIGHT A.R.E., S.W.E. Dunedin, New Zealand 1897 – 1954 London. The Model (Composition No.8 The Model 2),

JOHN BUCKLAND WRIGHT A.R.E., S.W.E.
Dunedin, New Zealand 1897 – 1954 London

After War service with an ambulance unit attached to the French army, Buckland Wright read history at Oxford and studied architecture at the University of London, before deciding in 1924 to become an artist. He moved to Belgium, and self-taught took up wood engraving. He was elected to the Xylographes Belges in 1926 and the following year was a founder member of the Société de la Gravure Belge.

In 1929 he settled in Paris, where he also took up copper line engraving. 1933/34 he worked at Atelier 17, there meeting Brancusi, Hecht, Miro, Picasso, Matisse, Anthony Gross and others, and contributed to both Atelier 17 portfolios Solidarité and Fraternité.

With the outbreak of WWII he and his wife settled in England, where he worked in camouflage and as a censor. After the War, he became a principal illustrator for the Golden Cockerel Press and taught at Camberwell and the Slade.

The Model (Composition No.8 The Model 2)
CBW L109
187 x 109 mm
Original wood engraving, 1935.
Signed in pencil, dated, entitled and numbered 11/30
(though only 11 impressions were printed) .
On tissue-thin japan.

£1200

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ADOLPHE VALETTE, St Etienne 1876 – 1942 Blacé. (Little Mai), Original etching with drypoint.

ADOLPHE VALETTE
St Etienne 1876 – 1942 Blacé

Enrolled in the regional School for industrial arts in 1891, Valette came first in the engraving class in 1893. Two years later he moved to Lyon, attending the Drawing School and in 1900 went to the school of Fine and Decorative Arts in Bordeaux, while working as a professional draughtsman.

Valette first exhibited in 1903, in Bordeaux. The following year saw his arrival in London to study briefly at the Birkbeck Institute before moving to Manchester, where he would spend most of his career.

In Manchester, while working for a printing company during the day, he attended evening classes at the art school, and in 1906 was asked to join the staff. At first teaching drawing, he would also teach the Etching Class, which began in about 1909, and also began teaching other courses.

L S Lowry trained with him when he joined the school in 1915. In 1912 Valette co-founded the Manchester Society of Modern Artists, and exhibited with them regularly. He also exhibited at the annual Salons at the Walker Art Gallery, Liverpool and established his reputation with impressionist paintings of Manchester.

Even after he returned to France, in 1928, he continued to exhibit in Manchester.

(Little Mai)
140 x 108 mm
Original etching with drypoint and monotype wiping of the plate.
Printed in sanguine on cream wove.

£500

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HANS SCHÖNWALD. (Evening). Original etching, signed in pencil.

HANS SCHÖNWALD

A landscape painter and etcher active in the early decades of the 20th century.

(Evening)
160 x 253 mm
Original etching, signed in pencil.
Printed in blue-black on peach tinted chine appliqué to achieve a beautiful sunset glow.

£450

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