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.
Some
of these prints - and others from the catalogue,
have since been sold. These are marked
as Sold.
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catalogue |
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HESSEL
GERRITS after DAVID
VINCKBOONS
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.
Sold
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
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.
Sold
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FERDINAND SCHMUTZER
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.
Sold
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WILLIAM LIONEL WYLLIE R.A.,
R.E.
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.
£2350
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Professor DAVID CARPANINI
P.P.R.E.
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.
Sold
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.
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.
£120
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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CHRISTOPHER RICHARD WYNNE
NEVINSON
London 1889 – 1946
Swin
(Swim?) Barges*
Guichard Listing 76 176
x 139 mm
Original
drypoint, c1927. Signed in pencil. On cream
paper.
Sold
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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MARTIN LEWIS
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) .
Sold
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 |
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