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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeFrom The Romantic Eye Catalogue (2)

Highlights from the recent catalogue
The Romantic Eye

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or scroll down to view this selection from The Romantic Eye catalogue.
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If you require further information on any print featured here, please contact us.

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.


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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.

Some of these prints - and others from the catalogue, have since been sold. These are marked as Sold.

Click here to view the third selection from this catalogue

JAN GERRITZ. VAN BRONCHORST, Fallen remains of Ancient Roman columns.

Utrecht c1603 – 1661 Amsterdam                         
Utrecht c1586-1667 Utrecht

Van Poelenburg belonged to the first generation of Dutch artists to work in Rome and paint landscapes of the ancient remains. He returned to Utrecht in 1626-27 and possibly at this time taught van Bronckhorst the art of oil painting. Both artists, perhaps coincidentally, visited England in 1637.

Fallen remains of Ancient Roman columns
Hollstein 22 i/ii                 197 x 251 mm

Etching. The first plate, forming the title, to a series of nine views of Roman Ruins after Poelenburg. First state, before reduction of the plate. A fine impression, the guide lines for the script still clear. Trimmed to the plate. A cockling/printing related curved crease. Watermark: Crowned Strasburg Lily. 


Ex collection: Petersen? (Lugt 2064)

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Mozzano di Mestre 1720 – 1778 Rome

Ara Antica
Robison 18 i/iv                     242 x 348 mm

Original etching, 1747. A fine early impression printed 1747-1748. On laid paper with an ornamental letter Z watermark (Robison 47), typical of the Venetian paper used for printing the 3rd to 5th issues of the First Edition of Piranesi’s Prima Parte…. A few accidental ink spots at the very edge of the plate. One tiny pinprick hole. A little soiled in the right margin. An unidentified collector’s mark verso.  


A new etching added as plate 7 in the third issue (1747) of the First Edition of Prima Parte di Architetture e Prospettive inventate ed incise da Gio. Batta Piranesi, architetto Veneziano.

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EDWARD BOUVERIE HOYTON, Thermae of Caracalla

Lewisham 1900 – 1988 Newlyn

Bouverie Hoyton was awarded the Prix de Rome in 1926 and was in Rome till 1929. His etchings produced throughout this period were published in London by the Fine Art Society.

Thermae of Caracalla
252 x 340 mm

Original etching, 1928. The plate initialled and the impression signed in pencil in the blank lower plate border. Edition of 75. On cream laid paper watermarked with a bull’s head and star. Trace of a soft diagonal fold.


The monumental ruins of the Baths of Caracalla in Rome.

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Genoa 1609 – 1664 Mantua

Castiglione’s mysterious and atmospheric etchings exploit a vein of melancholy inspired by the remnants of ancient Rome and further enhanced by orientalist, literary and musical allusions.

Allegory of Transience
Bartsch 27 iv/v                  179 x 260 mm

Original etching, 1655. The plate signed and dated. Penultimate state after the inscription at the foot removed, before the retouch. Trimmed to thread margins. Trace of a central vertical fold, a couple of small ink blemishes. Couple of thin patches verso. Watermark: Circle with Initials DML within. 


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GEORGE HAYTER, Self-Portrait

London 1792 – 1871 London

This Byronic youthful self-portrait was etched at Woburn Abbey. As a young artist Hayter made etchings to entertain the patrician households where he was invited to carry out portrait commissions. (Hayter was later appointed portrait and history painter to Queen Victoria and knighted.)

135 x 122 mm

Original etching, 1822, after a painted self-portrait. On chine appliqué on wove. From the only edition, issued in 1874 (most of Hayter’s etchings were unpublished in his lifetime). 


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London 1775 – 1851 Chelsea

Turner conceived his Liber Studiorum in 1807 as a demonstration of his prowess in pastoral, marine, mountainous, architectural and historical landscape painting, and in emulation of Claude’s Liber Veritatis which had been published in England in the 1770’s with plates by the mezzotint engraver Richard Earlom. For most of his plates Turner etched the outline and employed professionals to complete them in mezzotint. A series of hundred subjects was proposed, to be published in Parts. The first Part was issued in 1807. Lack of success led Turner to abandon the project twelve years on, having issued seventy-one subjects. Turner’s relationship with his engravers was sometimes tumultuous and for later plates occasionally he was obliged, or chose, to engrave the entire plate himself. Only ten subjects were entirely carried out by his own hand, the Interior of a Church was the last of these.

Interior of a Church
Finburg 70 v/v                215 x 304 mm

Original soft-ground etching and mezzotint, 1819, drawn, engraved and published by Turner himself, for the final Part, Part XIV, of the Liber Studiorum. Final state, a rich, early impression, printed in brown ink on laid paper without watermark. A couple of small surface defects.


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After JOHN CONSTABLE R.A., The Artist’s Home at East Bergholt, Evening

East Bergholt 1776 – 1837 Hampstead

Having established his reputation in the 1820’s Constable, like Turner, decided to publish a series of mezzotints to demonstrate his personal vision of landscape. Comprising twenty-two subjects, they were published in Parts periodically, 1830-32, as the plates were completed, and collectively in 1834 with the title English Landscape Scenery and a letterpress commentary by Constable. (And Bohn would re-print all the plates posthumously in 1855.)

Constable’s fresh approach to nature, immediacy of atmospheric effect and directness of execution had made his paintings much admired by the French Romantics. He was the star of the Paris Salon in 1824.
Mezzotint lent itself to vivid translation of the painterly effects in Constable’s oil sketches specially produced for the series to show the “chiaroscuro of Nature”, the natural drama of changing light effects. Constable worked in close collaboration with his chosen engraver, David Lucas (1892 – 1881), through a series of progress proofs and touched proofs for each plate until he was entirely satisfied with the result.

The Artist’s Home at East Bergholt, Evening
Shirley 27, progress proof                  139 x 186 (image); 232 239 mm (plate)

Mezzotint, 1831, engraved by David Lucas. A progress proof, before considerable lightening in the foreground and the sky. Before all letters. A fine impression on laid paper with wide margins. A short printing crease in the blank lower plate border, pale foxing.


“This spot saw the day spring of my life, Hours of Joy, and years of Happiness. This place first tinged my boyish fancy with a love of art. This place was the origin of my fame.”

The house built by Constable’s father two years before John Constable was born, with an artist sketching in the foreground.

The plate was designed as the frontispiece to English Landscape Scenery.

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East Bergholt 1776 – 1837 Hampstead

Vignette, Hampstead Heath. Labourer returning
Shirley 1 progress proof e/f                       91 x 154 mm (image); 166 x 229 mm (plate)

Mezzotint, 1829, by David Lucas. Penultimate progress proof, before the silhouette of the dome of St. Pauls and the two poplars on the distant horizon at the left. Before all letters. A brilliant impression on laid paper with large margins. Minor handling and paper defects in the wide plate borders. 


According to Lucas the figure was the artist William Collins “who happened to be sketching on the heath at the time” and later acquired a pickaxe becoming the ‘labourer returning’ of the title. A pencil drawing of 1820 shows a similar pose.

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    Click here to view the third selection from this catalogue