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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeFrom The Romantic Eye Catalogue (1)

Highlights from the recent catalogue
The Romantic Eye

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Link to Main Entry HENRI FANTIN LATOUR, Inspiration. This original lithograph is now sold
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Click on a thumbnail (above) to link directly with the entry for that print,
or scroll down to view this selection from The Romantic Eye catalogue.
Images are not at very high resolution. If you require further information on any print featured here, please contact us.
Some of these prints - and others from the catalogue,
have since been sold, and are marked " Sold ".

Click here to view a selection of prints from the subsequent " Graphic Alchemy " catalogue,
and check the current selection for selected prints from the most recent catalogue.


See also :

The Romantic Eye

For further information about The 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 a selection of images from this catalogue. Click here to view the second selection from this catalogue

JULES de BRUYCKER, Porte St. Denis, Paris

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.


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D. Y. CAMERON R.A., R.E., R.S.A., Joannis Darius

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.


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., St. Botolph’s Bridge, No.2

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.


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, Porta Bassano a Padova

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.


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RON McBURNIE, Eurydice

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)

Romantic series                  460 x 765 mm

Original etching and roulette, 1997. Signed in pencil, dated, entitled and numbered. Edition of 30. On stout wove.


“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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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.


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, Inspiration. This original lithograph is now sold

Grenoble 1836 – 1904 Bure

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.  


Ex collection: R.A. Winkler (ex Lugt)

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AEGIDIUS SADELER after JACOPO LIGOZZI, Dante and Virgil entering the Underworld

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.


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., “Book I”

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.  


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CHARLES WEST COPE R.A., Milton’s Dream of his deceased Wife

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.


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    Click here to view the second selection from this catalogue