Highlights
from the recent catalogue
The Romantic Eye
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.
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 :

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 fourth selection from this
catalogue |
|
|
|
 |
|
JULES
DUPRÉ
Nantes 1811 – 1889 L’Isle-Adam
Dupré visited England in 1834, where he
came into contact with Constable, Turner, Crome &c
who had a great impact on his work. Dupré made
only nine prints, all commissioned lithographs,
produced 1835-39, after his paintings which had
achieved success at the Paris Salon.
Vue prise en Angleterre
Delteil 5 ii/iii 131
x 209 mm (image)
Lithograph,
1836, after Dupré’s
own painting exhibited at the Salon 1836. The
stone initialled. First published state, lettered,
as issued by L’Artiste, 1836.
A brilliant impression. On wove paper.
Sold
Return to top
^ |
|
|
|
 |
|
JACOB VAN RUISDAEL
Haarlem c1629 – 1682 Amsterdam
One
of the greatest Dutch landscape painters
of the 17th century, van Ruisdael made only
13 etchings, all before 1660. The culminating
four large powerful etchings, which include Cottage
on a Hill, are presumed to be his last
works in the medium and to date from the
1650’s,
perhaps a response to the journey he made in
1650-52 through the Rhine region and the country
around Cleves.
Cottage on a Hill
Hollstein 3 ii/ii 188
x 274 mm
Original
etching, c1650’s. The plate
signed. Second (final) state, with the sky
(possibly added by another hand, as Ruisdael
usually did not etch clouds). A strong, later
printing, the black spot in the lower margin
pale), on thin laid paper with an early 18th
century proprietory watermark. Trimmed just
outside the borderline and below the signature.
Slight defects at the top right.
Sold
Provenance:
Naudet (Lugt 1938)
David
Freedberg in Dutch Landscape Prints comments
on trees dominating the mid-17th century
landscape print. “The trees give the
impression of being possessed of the very forces
of their growth.” In Ruisdael’s
etchings of the 1650’s “amongst
the greatest of the century… Never before
had the life and forms of trees been represented
on so overwhelming a scale… Such spontaneous,
almost untidy handling of that instrument (the
etching needle) with its multitudinous zig-zags
and loops, conveys a sense of vitality that
could not even have been attained with the
pen.”
Return to top
^ |
|
|
|
 |
|
HEINRICH VOGELER
Bremen 1872 – 1942 Kazakhstan
Vogeler
joined the artists’ colony of Worpeswede
as a young man in 1894. There he learnt to etch,
buying his own press in 1895. The majority of
his etchings, and all the romantic fairy-tale
images, were made in his early Worpswede years,
before 1902.
The Larch Tree
Rief 19 ii c/e 245
x 212 mm
Original
etching, 1897. The plate initialled. Signed
in pencil. Edition of 100. Printed in green-black
ink on cream laid paper with crowned Strasburg
Lily watermark. Minor handling defects in
the margins.
Sold
Return to top
^ |
|
|
|
 |
|
RAYMOND TEAGUE COWERN R.A.,
R.E.
Birmingham 1913 – 1986 Whitehaven
Tall Trees, Mickleham
EH-L 34 185
x 163 mm
Original
etching, 1935. An early proof, signed in
pencil, dated and entitled. On wove paper.
Faintly mount-stained in the margins.
£500
Tree
studies were a predominant motif in Cowern’s
etchings 1933-36. Mickleham lies in the wooded
Mole valley, north of Dorking.
Return to top
^ |
|
|
|
 |
|
CHRISTOPHE. NATHE
Görlitz 1753 – 1806 Schadewald
An
early German Romantic, who anticipated Caspar
David Friedrich in his sentiment for Nature.
Nathe enjoyed long walks through the countryside.
Der
Waldbach The
Woodland Stream
Rümann 75 128
x 188 mm
Original
etching, 1805. The plate monogrammed and
dated. On wove.
£600
Return to top
^ |
|
|
|
 |
|
WILLIAM LEE-HANKEY R.E.
Chester 1869 – 1952 London
Lee-Hankey
took up etching in 1904 and early showed
an interest in printing colour editions too.
For aquatint he used a ‘textile’ ground,
impressing textured muslin or other material,
even textured paper, into a soft ground. Prints
from early in his etching production are scarce
today.
The First-Born
Hardie 17 323
x 252 mm
Original
colour etching and aquatint, on zinc with
a fine muslin ground, 1905. Signed in pencil
and numbered 33 of the edition of 55 in colour.
(There were also 20 monochrome impressions.)
On wove paper.
Sold
Return to top
^ |
|
|
|
 |
|
WILLIAM LEE-HANKEY R.E.
Chester 1869 – 1952 London
The Summer Moon
Hardie 21 302
x 252 mm
Original
etching and aquatint on zinc with a cartridge
paper ground, 1905. Signed in pencil. Annotated
at the foot with an alternative title Harvest
Moon.
Printed in green-black ink, with touches
of brown on the reflection of the moon. On
cream wove paper. Edition of 25 in monochrome,
and 75 in colour.
£1350
Return to top
^ |
|
|
|
 |
|
HENRY RUSHBURY
Harborne, Birmingham 1889 – 1968 Suffolk
Debtors’ Prison,
York
Wildman 73, Julia Rushbury 73 165
x 284 mm
Original
drypoint, 1933. The plate signed, dated and
entitled (in reverse). The impression signed
in pencil. Edition of 80. A rich impression
on stout japan. Small defects in the margins.
Sold
Exhibited
both at the R.A. and the R.E., 1933.
Return to top
^ |
|
|
Click
here to view the fourth selection from this
catalogue |
|
|
|
|
|
|
|