Highlights
from the recent catalogue
The Romantic Eye
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Romantic Eye, please view the dedicated
page within the Catalogues section.
Printed copies of the Catalogue, published
in summer 2010, are still available, priced
£10.
This
is the first of four pages devoted to
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JULES de BRUYCKER
Ghent 1870 – 1945 Ghent
Porte
St Denis, Paris
236 x 241 mm
Original
etching. First state. Signed in pencil, entitled
and annotated in French 1 état.
On japan. Laid down and front-mounted.
£600
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D. Y. CAMERON R.A., R.E.,
R.S.A.
Glasgow 1865 – 1945 Perth
Joannis Darius
Rinder 309 i/ii 323
x 165 mm
Original
etching with drypoint, 1900. The plate signed
and dated, and the impression signed in pencil.
Proof in the 1st state of two, before the
extending of the shadow of the central doorway
etc. Probably not more than thirty impressions
were printed, most of which went to America.
On japan, a couple of small surface defects.
Sold
The
late 15th century marble-inlaid, many windowed
façade of the Palazzo
Dario, on the Grand Canal, still with its
tall Venetian chimneys.
Cameron first visited Venice on his travels
in Italy in 1894. Several views of the city
are included in his North Italian Set, etched
1894-96 and published in an edition of about
25. Amongst these was a close up of the ground
floor of the Palazzo Dario (entitled The
Palace Doorway). In 1900 he either revisited Venice,
or his drawings from the original trip, and
etched seven new plates, including Joannis
Darius, which he exhibited at the Royal Society
of Painter-Etchers in 1901.
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FREDERICK LANDSEER GRIGGS
R.A., R.E.
Hitchin 1876 – 1938 Chipping Campden
St.
Botolph’s Bridge,
No.2
Comstock 56 iv/iv 253
x 200 mm
Original
etching, 1936-37. The plate initialled and
dated ’37 and the impression signed
in pencil. Final state, with the blank diagonal
corners of the octagonal subject of the first
edition, etched over to create a rectangular
image (carried out to please the American etcher
John Taylor Arms). A strong impression on cream
laid paper, with narrower margins on three
sides.
Sold
A
reprise of Griggs’ 1917 imaginary
bridge with its pilgrim chapel. The second
version is half as large again and the architecture
too is much more grandiose. Either the composition
is reversed or Griggs was imagining the bridge
from the opposite shore. St
Botolph’s
Bridge No.2 was Grigg’s last
published etching.
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BRUNO GORLATO
Born Padua 1940. Died Padua April 2021
Many
of Gorlato’s etchings, like dreams
and memories, incorporate concrete fragments
of reality, recognizable pieces of architecture,
peopled minutely with a cast from the past, in
strange conjunctions and incongruities of scale,
combined occasionally with contemporary intrusions
such as trains and bicycles and the more ancient
iconography of the chess board. A reminder that
in Italian cities the past is always palpably
present.
Gorlato studied art in Venice, that
most theatrical of cities. He lived and worked most of his life in
his native Padua, where he died in April 2021.
But the series of four small Gates are all
without people and emphasise the abstract patterns
of the compositions.
Porta Bassano a Padova
90 x 158 mm
Original
etching and aquatint, 1998.
Artist’s
proof.
Signed in pencil, dated, entitled and
annotated.
On stout cream wove paper.
Sold
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RON McBURNIE
Born Brisbane, Australia 1957
Trained
at Queensland College of Art 1975-78, Ron
McBurnie has taught printmaking and book
arts at the James Cook University School
of Creative Arts in Townsville, Queensland
since 1985, while focusing as an artist throughout
this period on creative etching. The individual
plates mainly fall into two ongoing series
categorised as Surburban or Romantic.
Though rooted in the regional Australian
landscape and reflective of suburban life
McBurnie’s
etchings also show his awareness and response
to the European printmaking heritage.
“In my etchings I record memory – they are a record of time and
place and I can recall my life by looking at these etchings. But I’m
not just talking about myself, but I’m trying to talk about something
universal, although in the etchings I may insert little symbols which will
be only intelligible to me.” (From a taped interview with
Prof. Sasha Grishin)
Eurydice
Romantic series 460
x 765 mm
Original
etching and roulette, 1997. Signed in pencil,
dated, entitled and numbered. Edition of
30. On stout wove.
Sold
“The Romantic etchings
began as a result of my growing interest
in the work produced by a small group of
British artists known as ‘The
Ancients’. I had just purchased an etching
entitled The Herdsman’s Cottage by
Samuel Palmer, the leader of the group. In
it I saw possibilities for bringing a sense
of wonder and mystery back into the landscape
where I lived.”
“The setting for this moonlit etching was the Palmetum, a unique garden
in Townsville where many different palm varieties are grown. By the silent
pool sits lonely Eurydice waiting forever for the return of Orpheus.” (The
artist’s commentary to Eurydice)
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FRANCIS SEYMOUR HADEN P.R.E.
Chelsea 1818 – 1910 Arlesford
Mytton Hall
Schneiderman 19 iii/v
NoXXIV
of Etudes à l’Eau-forte 121
x 263
Original
drypoint, 1859. The plate signed and dated.
A fine impression of the published state.
On thin japan laid paper. An unobtrusive repaired
tear at the bottom right just into the subject.
Sold
Haden stayed at Mytton Hall, a Tudor house
near Whalley in Lancashire, on his salmon fishing
trips to the River Ribble, which flowed nearby.
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HENRI FANTIN LATOUR
Grenoble 1836 – 1904 Bure
Inspiration
Hédiard 121 265
x 219 mm
Original
lithograph, 1895, the plate signed. Drawn
for L’Epreuve, Album d’Art.
One of 15 de-luxe proofs, stamped 5 on the
reverse, on chine vollant. The total
edition was 275. Printing (cockling) creases
in the margins.
Sold
Ex
collection: R.A. Winkler (ex Lugt)
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AEGIDIUS
SADELER after JACOPO
LIGOZZI
Antwerp c1570 – 1629 Prague
Verona
1547 – after 1632 Florence?
Dante and Virgil entering the Underworld
Hollstein 389 218
x 281 mm
Engraving.
Printed in brown-black ink on laid paper
with margins. Some manufacturing impurities,
a few related small printing defects. Trace
of a handling crease. A pinprick hole.
Sold
At
the opening of Dante’s
poem The Divine Comedy the poet is lost in
the Dark Wood and meets Virgil who leads
him to the entrance to Hell.
Subjects from the Divine
Comedy are infrequent
in printmaking. It is supposed that a publisher
was considering a new illustrated edition of La
Divina Commedia about 1587-88. Though
nothing ultimately transpired, three artists
working in Italy at this time, Ligozzi, Stradanus
and Zuccarro, all made competitive? drawings
of scenes from the poem. At least five wash
drawings by Ligozzi are known but not the specific
preparatory drawing for the Sadeler subject.
No other engravings from any of the related
drawings would seem to have been made.
The
circumstances of its being engraved are not
known. Furthermore the engraving is not signed
and it also appears in the Hollstein ‘German’ volumes
unaccountably as by the little known Hans Lachner
(active c1580-1600) who otherwise only engraved
eight illustrations to Genesis, as well as
by Sadeler in Hollstein ‘Dutch & Flemish’ printmakers’ oeuvres.
The treatment of the trees is similar to that
in Sadeler’s other landscape engravings.
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MÍLA FÜRSTOVÁ M.A.,
R.C.A.; R.W.A.
Born Pelhrimov, in the south of Bohemia (Czechoslovakia)
1975
Míla Fürstová is passionate
about hands-on printmaking. For the last seven
years she has been artist in residence at Cheltenham
Ladies’ College and has exhibited widely
in America, Czechoslovakia and England. Her romantic
dreamlike plates display a personal mythology.
“Book
I”
475 x 455 mm
Original
colour etching and aquatint, 2003. Artist’s
proof, signed in pencil, dated, and entitled.
On cream wove.
Sold
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CHARLES WEST COPE R.A.
Leeds 1811 – 1890
Milton’s
Dream of his deceased Wife
121 x 117 mm
Original
etching, 1850. Published state, the initials
and date in the lower plate border removed
and lettered with Cope’s name
and the plate number 24, as issued for Etchings
for the Art Union of London by the Etching
Club, 1857. On cream laid india paper
on stiff wove. Wide margins, stained at the
edges of the sheet.
Sold
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catalogue |
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