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The Home Page Selection

JULIUS GOLTZIUS, Born probably at Antwerp c1555. (Spring) View of a Town, in the foreground a Castle. Engraving c1580-90. MAURICE DELCOURT. Paris 1877 – 1917 Killed in action, Battle of Verdun. La Pause – croquis. Original colour aquatint, 1900.
Sir HUBERT VON HERKOMER R.A. R.E., Waal, Bavaria 1849 – 1914 Budleigh Salterton. Old Shepherd. Original “Spongotype”, 1891. HORACE ASCHER BRODZKY, Melbourne, Australia 1885 – 1969 London. Labourers. Original linocut, 1919. LUCA CARLEVARIS, Udine 1663 – 1730 Venice. Palazzo Vendramino alla Giudecca. Original etching, c1700.

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Old Masters
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Modern Continental Prints
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Prints under £250

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JULIUS GOLTZIUS, Born probably at Antwerp c1555. (Spring) View of a Town, in the foreground a Castle. Engraving c1580-90.

JULIUS GOLTZIUS, Born probably at Antwerp c1555. Autumn. Engraving c1580-90.

JULIUS GOLTZIUS, Born probably at Antwerp c1555. Autumn. Engraving c1580-90.

JULIUS GOLTZIUS, Born probably at Antwerp c1555. Autumn. Engraving c1580-90.

 

JULIUS GOLTZIUS
Born probably at Antwerp c1555

Julius Goltzius was an engraver who worked for Plantin, and after 1601, having bought some of the late Hieronymous Cock’s plates, set up independently as a publisher.

He was the son of Hubert Goltzius, author, antiquarian and numismatist. Hubert was the great uncle of the better known Hendrik Goltzius.

(Spring)
View of a Town, in the foreground a Castle

Hollstein 32
118 x 175 mm (sheet)
Engraving c1580-90’s, after Jacob Savery (1566-1603).
The plate ‘signed’ with both artists’ names and the publisher’s initials HVL (H V Luyck).
Thread margin or trimmed to the plate.
On laid paper without watermark.
Ex collections Thomas Graf (Lugt 1092b) ‘Unidentified Beehive collector’ possibly Zeidler of Nuremberg, or more probably Moran of Berlin (Lugt 2732)
Rare.

Also

  • Summer
  • Autumn
  • Winter

Engravings, presumably also by Julius Goltzius after Savery, a matched series of three, seeming to complete the set of the Four Seasons, but unrecorded. Images are the same size as Spring.

Narrow margins, with the collector’s mark of Baron de Triqueti (Lugt 1304) recto in the lower margin of each. Remains of backing at the right edge verso. A couple of marginal stains on Autumn and Winter.

£4000

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MAURICE DELCOURT. Paris 1877 – 1917 Killed in action, Battle of Verdun. La Pause – croquis. Original colour aquatint, 1900.

MAURICE DELCOURT
Paris 1877 – 1917 Killed in action, Battle of Verdun

According to Fritz Lugt (L.743) Delcourt was not affiliated to any group of artists, nor exhibited at any Salons; though Phillip Dennis Cate lists him as an exhibitor at the 1908 Salon of the Société de la Gravure en Couleurs, at the Georges Petit Gallery and he also appears in the archives of the gallery of Berthe Weill, the first woman dealer in avant-garde art in Paris (and Picasso’s first dealer).

A painter and illustrator, Delcourt was not a prolific printmaker. He is most associated with colour woodcut, though he also produced lithographs. He seems to have worked very rarely in intaglio, perhaps at most a couple of times. He issued his prints in very small numbers and sold them himself, directly to collectors. This, in conjunction with his early death in WW1 (he was awarded the Croix de Guerre for bravery), has resulted in his being little known. I can find no other references to this specific etching.

La Pause – croquisshim Taking a break - sketch
244 x 154 mm
Original colour aquatint, 1900.
Signed in pencil, dated and numbered 2/10 immediately below the subject, and signed again and annotated at the foot of the sheet, Epreuve No.2, tire à 10.
8

£1850

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Sir HUBERT VON HERKOMER R.A. R.E., Waal, Bavaria 1849 – 1914 Budleigh Salterton. Old Shepherd. Original “Spongotype”, 1891.

Sir HUBERT VON HERKOMER R.A. R.E.
Waal, Bavaria 1849 – 1914 Budleigh Salterton

Herkomer’s family settled in Southampton in 1857 where, within a few years, Hubert attended the Southampton School of Art, before spending some study time at Munich. Returned to England by 1866 he enrolled at the South Kensington Schools. He first exhibited at the Royal Academy in 1869, the same year he took up work as an illustrator for The Graphic.

Herkomer first visited Bushey in 1873, but it was only in 1884 that he established his art school there, which he continued to run until he retired in 1909, though in parallel, from 1885 to 1894, he was Slade Professor of Art at Oxford University.

The series of lectures which he gave in this capacity on Etching and Mezzotint Engraving, 1891-92, was published in 1892 by Macmillan, illustrated with his own prints.

Old Shepherd
160 x 127 mm
Original “Spongotype”, 1891.
The plate signed and dated.
A proof, on thin wove paper, aside from the book edition.
Together with the ‘Herkomergravure’ steel faced copper plate from which it was printed.

£500

Herkomer devised what he initially called the spongotype process to be able to print multiple impressions of monotypes. In his lectures he describes the origins and the technique.

I know of no method of drawing in pencil or colour that can approach the beauty of these printed blacks. The artistic mystery that can be given, the finesse, the depth of tone and the variety of texture, make this manner an almost intoxicating delight to the painter, - and it is only possible in the hands of a painter. But he must be rapid, for the ink dries in a few hours, so as to be beyond control.
I exhibited such a monotype in the Royal Academy this year (it represented an old shepherd with clasped hands), and I was greatly amused to see how it puzzled the etchers, engravers, and draughtsmen who visited that much-neglected room in which black and white works are hung.
Not one that I spoke to had the remotest idea how it was done.
I learned the process (if it can be so called) from that clever painter, Mr W M Chase, of New York, and he, I believe, learnt it from Munich artists. It has been practised by many early engravers, but only in modern times by painters. …
Now it seemed a pity that such rapid artistic work should be limited to one print only, and I started with my assistant, Mr H T Cox, to invent a method for multiplying impressions from the work done on the plate and he completed the invention.
I have patented the process merely in order to prevent anyone else from securing a monopoly of its use, but give it freely for all to improve and use.
Mix in equal parts graphite with German printing black and oil and cover the copper with this by means of a lithographic roller. Then do your wiping away of forms …
Take equal parts of bath-stone scraped to powder, bronze powder and asphaltum (also in powder); soak the two first in turpentine, and when quite dry mix them with the asphaltum, and place the whole in a little bag of fine muslin.
When your drawing is done, dust it over with this mixture, through the bag, until the whole plate is covered. Then brush it off very carefully and gently with a soft camel-hair brush, and you will see your work again, but filled in different degrees with the powder.
Let this dry for three days, and then send it to an ordinary electrotyper and tell him to deposit copper upon that surface, but with the strict injunction not to touch the face of the work; for the plate is perfectly ready for him to commence his depositing, the plate having been made into a proper matrix. …
This process, eminently suited for original work, opens up endless possibilities to the painter …

£500

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HORACE ASCHER BRODZKY, Melbourne, Australia 1885 – 1969 London. Labourers. Original linocut, 1919.

HORACE ASCHER BRODZKY
Melbourne, Australia 1885 – 1969 London

A painter and graphic artist, Brodzky attended the National Gallery School in Melbourne between 1901 and 1905 before travelling that year to San Francisco and New York. In 1908 he moved to London, studying at the City & Guilds Art School in 1911. The same year he visited Rome, Naples and Sicily with the American poet John Gould Fletcher; one of the resulting paintings was exhibited at the 1912 Venice Biennale, the first work by an Australian-born artist to be shown there.

Brodzky exhibited in London from 1911, joining The London Group in 1914. During this period he associated with the Vorticists, Mark Gertler and David Bomberg and became a close friend of Henri Gaudier-Brzeska. He took up printmaking, pioneering the linocut.

After Brzeska’s death in 1915, Brodzky returned to New York, working as a painter, printmaker, in theatre design and as an art journalist. In 1920 Egmont Arens published a Portfolio of Linocuts.

Brodzky would return to London permanently in 1923. He exhibited in the first exhibition of linocuts at the Redfern, organised by Claude Flight in 1929.

During the 1930’s, post the financial crash, his success dwindled but interest in his prints returned towards the end of his life, and editions were re-printed; the pencil signature is at the left below the image in the reprints, rather than at the right as in the earlier impressions (and here).

Labourers
172 x 215 mm
Original linocut, 1919.
The block initialled.
Signed in pencil, dated, and, lower in the margin, entitled.
On cream watermarked paper.
Narrow margin at the left.

£500

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LUCA CARLEVARIS, Udine 1663 – 1730 Venice. Palazzo Vendramino alla Giudecca. Original etching, c1700.

LUCA CARLEVARIS
Udine 1663 – 1730 Venice

Carlevaris, a painter and engraver, worked principally in Venice, but visited Rome early in his career, where he was influenced by the Dutch painter Vanvitelli (Caspar van Wittel), the pioneer of the veduta genre in Rome, which Carlevaris took up on his return to Venice, and would in his turn influence Canaletto and Guardi.

Carlevaris painted cityscapes, imaginary landscapes with ruins and etched over a hundred folio-sized vedute of Venice. The set of 144 were published in 1703.

Palazzo Vendramino alla Giudecca
Carlevaris 101
210 x 295 mm
Original etching, c1700.
On cream laid paper watermarked with a flower and initials Vd.
Deckle edges to three sides of the folio sheet.

£400

Formerly a 15th century aristocratic residence, this Palazzo Vendramin is now part of the Hotel Cipriani.

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