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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeFrom The Romantic Eye Catalogue (4)

Highlights from the recent catalogue
The Romantic Eye

HESSEL GERRITS after DAVID VINCKBOONS, Autumn (with a view of Maersen castle). This print has been sold. JOHANN JACOB DORNER the Elder, Man reading a Book to a young Woman
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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

HESSEL GERRITS after DAVID VINCKBOONS, Autumn (with a view of Maersen castle)

Alkmaar 1581 – 1632 Amsterdam
Malines 1576 – c1632 Amsterdam

Autumn (with a view of Maersen castle)
Hollstein 19 i/ii                  190 x 245 mm  (plate)

Etching for the series of the Four Seasons, with views of castles in the vicinity of Amsterdam. A fine impression in the first state, with Gerrits’ address. Before the publisher’s address of C.J. Visscher.

Generally in very good condition. Trace of a central printing crease only apparent in the margins. A minute pinprick hole in the lower left border related to a tiny bobble verso in the paper. A little off-set ink in the top margin and just affecting the image. Margins of 40 mm all round. Watermark: Pot.


In each plate a couple, the respective owners? of the named estate, enjoy the prospect in some way.

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JOHANN JACOB DORNER the Elder, Man reading a Book to a young Woman

Ehrenstetten 1741 – 1813 Munich

Man reading a Book to a young Woman
Maillinger I, 1223                66 x 81 mm

Original etching, 1774. The plate signed and dated. Thread margins on three sides, trimmed just into the plate but above the borderline at the top. Narrow strip of paper adhering in the bottom margin. Edge mounted at the top.


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Vienna 1870 – 1928 Vienna

The Kiss
Weixlgärtner 76 i/ii             147 x 90 mm

Original hard and soft-ground etching, 1904. Signed in pencil. Narrow margins. Unobtrusive corner printing crease. Remains of backing paper on the reverse.


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WILLIAM LIONEL WYLLIE R.A., R.E., The Pool of London, Tower Bridge raised

London 1851 – 1931 London

Wyllie’s first etching, commissioned in 1883 by Robert Dunthorne after Wyllie’s oil painting, which had just been bought from the Summer Exhibition at the Royal Academy by the Chantrey Bequest, Toil, Glitter, Grime and Wealth on a flowing Tide, celebrated shipping in the industrial Thames. The art critic Harry Barnett wrote in the Magazine of Art in 1889 “ Mr Wyllie …[depicts] the Thames as it is, with all its grime and much of its wonder, all its business and something of its pathos, and suggestions (always right and often vivid) of its contrasts of hurry and rest, its minglings of dignity and degradation, its material embodiment of British … prosperity, and its enormous testimonies to the dark romance of these coal-and-iron times. ”

Thames shipping, bridges and docks and London as a busy active port, continued to be reiterated themes in Wyllie’s later original etchings and atmospheric drypoints.

The Pool of London, Tower Bridge raised
251 x 344 mm

Original drypoint, c1910-20. Signed in pencil. On wove paper. Very faint mount-staining in the margins of the sheet. 


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Professor DAVID CARPANINI P.P.R.E., The Gelly Hill

Born Abergwynfi 1946

Though most of his adult life has been spent in England, with frequent visits to Italy, Carpanini’s etchings are largely devoted to the mining villages and landscape of South Wales. He exhibits regularly in Swansea and elsewhere in Wales, though also in London at the R.A., R.E. etc. These images speak to anyone who has grown up in an industrial town, whether in England or Wales.

The Gelly Hill
93 x 93 mm

Original etching and aquatint, c1986. An artist’s proof, signed in pencil, entitled and annotated A/P. (The edition was 40; and is sold out). On strong wove paper.


A street in Abergwynfi, a village near Port Talbot in West Glamorgan, Carpanini’s home town.

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Professor DAVID CARPANINI P.P.R.E., Jersey Road

Born Abergwynfi 1946

Jersey Road
98 x 96 mm

Original etching and aquatint, c1986. Signed in pencil, entitled and numbered 26/35. On stout cream wove paper. 


A street in Blaengwynfi. Blaengwynfi and Abergwynfi are effectively the same place, to either side of a river and the A4107 road from the Rhondda valley to Port Talbot.

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London 1889 – 1946

Swin (Swim?) Barges*
Guichard Listing 76                    176 x 139 mm

Original drypoint, c1927. Signed in pencil. On cream paper.


Most of Nevinson’s London drypoints focus on the industrial Thames, its bridges and shipping.

*The title of this drypoint is problematic. ‘Swin barge’, as given by Guichard, is not a recognised term, but there are ‘swim’ barges.

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Martyn Lewis, Derricks at Night

Castlemaine, Australia 1881 - 1962 New York

Lewis’s father was a gold-mining engineer who emigrated to Australia from Pembrokeshire. After youthful travels in the Australian outback Martin Lewis briefly enrolled at the Art Society’s School in Sydney before permanently emigrating to the United States in 1900. By 1909 he was settled in New York. Largely self-taught he worked as a commercial artist for more than a decade. He made a number of etchings of New York City and its waterways before he went to Japan in 1920. Back in New York in 1922 he did not return to printmaking till 1925. He first exhibited etchings in 1928 in New York and in London. The following year his one-man show at Kennedy included impressions from fifty-five plates and was both a critical and financial success. Lewis gave up commercial work completely. Sadly the Depression cut short this success. He died virtually forgotten though today Lewis is enthusiastically collected and his etchings command high prices. Light and atmospheric effects in N.Y. City, determined by night or weather conditions, informed his best plates.

Derricks at Night
McCarron 62 ii/ii                     200 x 302 mm

Original drypoint, 1927-29. Signed in pencil. A fine impression, printed by the artist. With rich burr, on cream wove paper. One of 53 impressions in the second state (104 in all, including 3 trial proofs) .


This plate is exceptional in Lewis’s oeuvre in being extensively reworked in a second state while completing printing of the projected edition of 100 for the Kennedy 1929 exhibition.

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    This is the final selection from this catalogue