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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeePrints by Women Harvey-LeePrints by Women Archive 02

The Feminine Touch
A Selection of Prints
currently in stock by Women Artists

Geertruydt Roghman, Woman cooking. Bertha Evelyn Jaques  (Née Clausen), Toyo San   (Miss Chrysanthemum). This colour etching has been sold Suzanne Valadon, Marie au Tub s’épongeant. Original drypoint Margaret Kemp-Welch, Gannets. This original etching is for sale : £100
Beatrice Dean Darbyshire, Landscape at Balingup? This original etching has been sold Monica Poole, Teasels. This original wood engraving is for sale: £500 Annette Lewin, Guitar. This colour monotype is for sale: £185

This link: Prints by Women Artists 01, will allow you to view the selected prints from the
previous series of Prints by Women Artists


See also :

The Current Selections:

From a Recent Catalogue
Old Master Prints
Modern British Prints
Modern Continental Prints
Prints under £250

Selections from the Home Page

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all this month's selection. Images are not at very high resolution.

Other prints by women artists appear extensively throughout the website, many of which are still available for purchase.

If you require further information on any print featured here, please contact us. When a print has been sold it will be marked as Sold.

Geertruydt Roghman, Woman cooking.

Born Amsterdam 1625

Geertruydt Roghman came from a well-known family of artists but few facts are known about her life.

Her father, and presumably her teacher, was the engraver Hendrik Lambertz Roghman. Her mother was the sister of the painter and etcher Roelandt Savery. Geertruydt’s brother Roelant and sister Magdalena were also engravers. Geertruydt engraved 23 plates , mainly in conjunction with her brother or after his imaginary mountain landscape paintings, or other Dutch topographical drawings.

However, she also engraved a series of five original plates, amongst the earliest original (as opposed to interpretive) prints by a woman. They are equally exceptional in being on the theme of female occupations. Though domestic interiors with women at work were common in Dutch painting of the time, and as prints in illustrations for almanacs and popular books of poetry and proverbs, as independent plates the imagery is unusual.

The five subjects show women sewing, spinning, ruffling, cooking and cleaning plate. Each plate shows a strong interest in light effects, either slanting diagonal shafts of daylight, candlelight, firelight or ‘contre-jour’ – the figure seen against daylight coming in from a window. The compositions are simple but strong and effective, with well-rounded figures and beautifully observed still life details of domestic articles.

Woman cooking
Hollstein 4
205 x 162 mm

Original engraving, c1647. Only state.
Plate 3 of the series of five women’s occupations. The plate signed. A fine impression. Trimmed to or fractionally within the image on three sides and 6mm within the image at the top. The bottom right corner cut away, hence lacking the plate number (3). Otherwise good condition. Watermark: Fool’s Cap.


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Bertha Evelyn Jaques  (Née Clausen), Toyo San   (Miss Chrysanthemum). This colour etching has been sold  

Bertha Evelyn Jaques  (Née Clausen), Toyo San   (Miss Chrysanthemum). This colour etching has been sold

Detail showing 'monogram'

Covington, Ohio 1863 – 1941 Chicago

The wife of a Chicago surgeon, and already a painter, Bertha Jaques discovered etching at the Chicago World Columbian Exposition in 1893. Overwhelmed by the display of etchings by French artists she taught herself the technique with improvised tools fashioned by her husband from surgical implements, and had mastered it by 1897. Ultimately she etched over 400 plates and in 1910 she was instrumental in founding the Chicago Society of Etchers.

Jaques read about Helen Hyde (1868-1919)’s work in The International Studio magazine in 1898, before Hyde went to Japan, and wrote to her saying she did not believe in adding colour to etchings and asking for her comment. Hyde sent her two of her colour etchings and they became friends, though they met in person only four years later when Hyde, then resident in Japan, made a return visit to the United States, 1901-1902, and visited Jaques in Chicago.

Bertha sometimes printed etching plates for Helen Hyde and in the Japanese way of divided ‘labour’ may have etched plates to Hyde’s design. Such would appear to be the case with Toyo San.

Toyo San (Miss Chrysanthemum)
288 x 90 mm

Colour etching, 1901, in collaboration with Helen Hyde.

The plate signed with an (invented?) ‘Japanese’ monogram* and dated. The plate selectively wiped; the colour either à la poupée or hand-applied. Trimmed to narrow margins and mounted onto thin brown card, probably by the artist.


Japan is known as the Land of the Chrysanthemum.

*Bertha Jaques herself did not usually etch a signature in her plates. Helen Hyde’s plates are signed with her initials HH.

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Suzanne Valadon, Marie au Tub s’épongeant. Original drypoint

Bessines, Haut Vienne 1865 – 1938 Paris

Suzanne Valadon is an exception among women artists working at this period in Paris, in not coming from the professional middle and upper classes. She was the illegitimate daughter of a working class mother and began her career, aged fifteen, as a circus acrobat. After an accident she took instead to modelling for artists, who included Puvis de Chavannes, Lautrec, Renoir, and Degas among others, and developed an artistic inclination of her own. It was Degas who taught her soft-ground etching in 1895. She progressed to hard-ground etching in 1904 and to drypoint in 1908.

After 1910 she concentrated almost exclusively on painting and it was only in 1932, when she had established a reputation as an artist, that Valadon arranged to print editions from her etching plates, for which they were steel faced*.

She produced around thirty plates in total, generally intimate domestic scenes of women and children, based on studies of her family. A friend of Picasso in his ‘blue’ period, she absorbed elements of his style as well as that of the Impressionists for whom she had modelled.

Marie au Tub s’épongeant
Marie in the bath tub, sponging herself

Petrides 13
165 x 220 mm

Original drypoint, 1908.
The plate signed and dated (in reverse).

A superb rare early proof impression, rich in burr. Signed in pencil. Printed in sepia on laid paper. A printing crease in the lower margin, other small marginal defects.


A study of Marie-Lucienne, Valadon’s niece.

*Most of the plates responded well to this treatment, but that of Marie au Tub s’épongeant was adversely affected, gaining areas similar to foulbiting and losing most of the burr and all the velvety depth and richness of line that the plate reveals, as above, before steelfacing.

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Margaret Kemp-Welch, Gannets. This original etching is for sale : £100

Exhibiting from 1898. Died 1968 Throwleigh, Devon

A landscape and portrait painter, and landscape etcher, particularly in aquatint, Margaret Kemp-Welch was born in London c1880. She was a cousin of the painter Lucy Kemp-Welch. Margaret too first studied at Bushey School of Art, about 1891, under Hubert von Herkomer, before attending the Royal College of Art where Frank Short was Professor of Engraving.

She was elected an Associate of the Royal Society of Painter-Etchers in 1901 and was an active exhibitor with the Society into the 1930’s, showing over a 100 etchings. She also exhibited regularly at the Ridley Art Club* and occasionally at the Royal Academy.

She taught art at Clapham High School. After her retirement she moved to Devon in the 1940’s.

200 x 250 mm

Original etching. Signed in pencil.
On cream wovepaper.


*An exhibiting society, founded by students of the painter Matthew Ridley, that held shows at the Grafton Galleries from 1889 to c1919.

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Beatrice Dean Darbyshire, Landscape at Balingup? This original etching has been sold

Perth, Australia 1901 – 1988 Perth

Beatrice Darbyshire as a young girl attended Saturday morning classes, and again after boarding school, studied full-time with Henri van Raalte in Perth. In 1924, on van Rallte’s advice she travelled to England.

After one term at the Slade School of Art she joined the Engraving School of the Royal College of Art, where her tutors were Malcolm Osborne and Job Nixon.

After graduating in 1927 she returned to Perth, and had an etching press made to the same specifications as van Raalte’s press.

She exhibited regularly until 1939 but suddenly abandoned etching in 1940 to go in a totally different direction, joining the Women’s League of Health.

Her early work was rediscovered in 1979 and exhibited again in national museums.

Landscape at Balingup ?
175 x 243 mm

Original etching with aquatint, c1924-27.
A dedicated proof (To A.E. Dean). Signed in pencil. Printed on cream Milbourne watermarked wove paper.


The young Beatrice Darbyshire frequently went on visits to her aunt Jean Lukis at Netherton Farm, Balingup. The tall trees of the landscape around the Australian farmstead would inspire some of her best work at the Royal College of Art.

While a student at the R.C.A. two of her drypoints, In the Blackwood Country and The Cowshed, Balingup were chosen for the British Empire Exhibition at Wembley in 1924 and 1925 and both won medals.

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Monica Poole, Teasels. This original wood engraving is for sale: £500

Canterbury 1921 – 2003

“If I have a message, it is simply Look at this
(Monica Poole)

350 x 208

Original wood engraving. Signed in pencil, entitled and numbered 37/50.
On thin japan paper.


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Annette Lewin, Guitar. This colour monotype is for sale: £185

Born New York 1933

Annette Lewin moved first to Israel in 1960, where she worked as an illustrator of children’s books and for the health service, before settling in London. In 1973 she attended the Camden Institute, and subsequently with fellow printmaking students of Peter Freeth at the Institute, she founded Camden Printmakers. The members of the group are all interested in the Art for Hospitals movement and Annette Lewin works as a volunteer at the Royal Free in Hampstead placing art works in communal spaces.

180 x 152 mm

Colour monotype. Signed in pencil.

The unique impression, and numbered 1/1. Printed on stiff white wove paper.


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