A
Selection of Prints by Modern
British Artists
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British Artists 01, will allow
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WILLIAM
STRANG R.A.,
R.E.
Dumbarton 1859 -1921 Bournemouth
The
first of a number of Scots artists who were
amongst the principal exponents of Modern
British etching . D.Y. Cameron (see below)
, Muirhead Bone and James McBey (see below)
were born successively in the following three
decades after Strang’s birth.
Strang
settled in London when he was only seventeen
and his training and career were all south
of the border.
In
his younger years he was a noted serial self-portraitist.
The etchings having a wide variety of poses,
or setting, or are distinguished by the wearing
of a specific hat. His unique lithographic
self-portrait was probably prompted by or
made at the invitation of Joseph Pennell,
himself a keen lithographer, for his book
on lithography and lithographers. Pennell
commented in his book
“Mr Strang’s lithographs so far
have been few, but those few have as marked
a character as his etchings. They are mainly
portraits, simple and dignified, with a touch
of severity that has its charm. The one now
given, an admirable example of his methods,
is an excellent portrait of himself, so sincere
and straight-forward a study that we can only
hope Mr Strang will be induced to continue
his experiments in a medium which he evidently
finds so congenial.”
Self-Portrait
Campbell Dodgson 13
170 x 150 mm
Original
lithograph c1898. Printed by Thomas Way,
for publication in Joseph Pennell’s Lithography & Lithographers, 1898.
On
cream van Gelder Zonen watermarked laid paper.
Sold
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DAVID
YOUNG CAMERON R.A.,
R.S.A., R.E.
Glasgow 1865 – 1945 Perth
Cameron
first studied art in evening classes at Glasgow
School of Art, before becoming a full time
student at the Royal Institute in Edinburgh
in 1885. It was in Edinburgh in 1887 that
he was taught to etch by a friend of Seymour
Haden’s. His early architectural plates
were inspired by Meryon and Whistler. Charles
Meryon’s, Le Stryge, immortalising
a stone carving of a devil on Notre Dame,
from his series of Eaux-fortes sur Paris,
is brought to mind by Cameron’s Chimera
of Amiens.
The
Chimera of Amiens
Rinder 415 iv/vii
244
x 183 mm
Original
drypoint, 1920. Signed in pencil.
Proof in
the 4th state of 7; the subject defined by
an oval.
Before various additions of shadows
to the distant buildings.
A fine impression,
printed in brown-black ink on antique laid
paper.
Sold
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JAMES McBEY
Newburgh, Aberdeen 1883 – 1959 Tangiers
As
a young bank clerk McBey studied painting
in evening classes at Grays Art School in
Aberdeen and aged seventeen taught himself
to etch from the manual written by the French
etcher Maxime Lalanne. He built his own press
from a mangle and published his first etching
in 1902. McBey left both the Bank’s
employ and Aberdeen in 1910 to work as a
freelance artist. His etchings record the
travels he made in the years before the outbreak
of the First World War, his first journey
being to Holland in the summer and early
autumn of 1910.
The Amstel (Oudekirk, Sept. 1910)
Martin Hardie 81
98 x 178 mm
Original
etching, 1910.
Signed in ink. Edition of
40. Numbered XXXII.
Printed with platetone
on Whatman watermarked laid paper. A little
time-toned.
£850
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ETHELBERT
WHITE S.W.E.
Isleworth 1891 – 1972
A
conscientious objector White worked on the
land in the First World War. In 1920 he and
his wife bought a gypsy caravan and lived
a bohemian existence travelling and finding
motifs in the English countryside.
The Cow Man
Chapman 9
103 x 115 mm
Original wood engraving, 1922.
Signed
in pencil, entitled and numbered 12/50.
On
japan.
£685
An
impression was exhibited at the Society of
Wood Engravers annual exhibition in 1922.
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ENID B. MITCHELL
A
Birmingham painter and linocut artist living
in Handsworth, Mrs Mitchell exhibited between
1920 and 1930 with the Birmingham Royal Society
of Artists, and at the annual British Lino-cut
Exhibitions organised by Claude Flight, of
the Grosvenor School, at the Redfern Gallery
in London.
Pottery
98 x 105 mm (border); 139 x 120 mm (sheet)
Original
colour linocut, c1930.
Signed in pencil in
the lower margin, beneath the borderline, and
entitled and numbered 13/25, in the upper margin
above the borderline.
Printed on japan, trimmed
at the left edge of the sheet close to the
image.
Sold
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ERIK SMITH R.E.
Birmingham 1914 – 1972 Princes Risborough?
Smith
attended the Royal College of Art 1937-39,
until interrupted by the outbreak of World
War II. He returned after the War to complete
his course, 1945-47.
This
etching, looking out from a studio window
over rooftops, was probably etched during
Smith’s earlier stint at the R.C.A.
From a Studio Window
185 x 276 mm
Original
etching, the plate signed with the artist’s
monogram. An unsigned proof, on antique laid
paper.
£200
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HOWARD HODGKIN
London 1932 - 2017
India
holds an important place in Hodgkin’s
art. He had started to collect Indian miniatures
by 1950, though it was not till 1964 that
he went to the subcontinent in person. Annual
visits followed thereafter.
Indian
View C
Heenk 13
580 x 776 mm (image and sheet)
Colour screenprint, 1971.
Signed
in pencil, dated and numbered 58/75 at the
foot of the outer image border.
Printed
by Chris Prater, with the assistance of Christopher
Betambeau, at the Kelpra Studio, London and
stamped verso with their studio rubber stamp
(initial K) and the work number 7845.
Published
by Waddington, 1971.
Printed to the edges of the sheet. Small printing
defects.
Sold
From
Hodgin’s early set of “Indian Views”, a series of twelve recollections of exterior scenes in India glimpsed through the small windows of a moving train.
“ … memory
is the principal subject of all my pictures.
I’m …(creating) a feeling ”.
Hodgkin
prepared the series by first making miniature
collages, then worked in collaboration with
Chris Prater to translate them into prints.
For
this early series he exploited the potential
of hard-edged shapes, with flat solid areas
of printed colour (the blue ‘mountain’ subtly
variegated with a second blue) resonating against
each other.
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