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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeSeptember 2014

The Home Page Selection

PAUL NASH, Kensington 1889 – 1946 Boscombe, Hants. The Mine Crater, Hill 60, Ypres Salient. This lithograph has been sold WILLIAM THOMAS WOOD V.P.R.W.S., Ipswich 1877 – 1958 Burnham, West Sussex. Searchlights over London 1915. This lithograph has been sold KERR EBY, Tokyo 1889 – 1946 Norwalk, Connecticut. Dawn, the 75s follow up. This drypoint is for sale, priced £1850
ERICH BÜTTNER, Berlin 1889 – 1936 Freiberg im Breisgau. Über Paris, Over Paris. This lithograph has been sold WILLIAM LIONEL WYLLIE R.A., R.E., London 1851 – 1931 London. Admiral Beatty’s Battle Cruisers at Jutland. This etching and drypoint has been sold JEAN-JACQUES BERNE-BELLECOUR, Saint-Germain-en-Laye 1874 – 1939. Une Panne dans les Lignes. This chiaroscuro woodcut has been sold LUDOVIC-RODO (Pissarro), Paris 1878 – 1952. Munitionnette. This original hand-coloured woodcut has been sold

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When a print has been sold it will be marked as Sold.

A growing archive of previous selections from previous Home pages is featured in the
Home Page Selection Archive

 


See also :

The Current Selection:

Old Masters
From the Catalogue
Modern British Prints
Modern Continental Prints
Prints by Women
Prints under £250

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PAUL NASH, Kensington 1889 – 1946 Boscombe, Hants. The Mine Crater, Hill 60, Ypres Salient. This lithograph has been sold

 

PAUL NASH
Kensington 1889 – 1946 Boscombe, Hants

Nash volunteered in 1914, initially enlisting in the Artists’ Rifles. After officer training and a period as a map-reading instructor, he was gazetted to the 3rd Hampshires and sent to the St Eloi front in the Ypres salient in February 1917. A fall, which fractured a rib, meant he missed the attack on Hill 60, a prelude to Paschendaele, and was sent home to recover. A successful exhibition in London of the drawings based on his sketches at the front, led to his being seconded from the army and returning to France in November 1917 as an official war artist, when he experienced the later stages of the battle of Paschendaele, and recorded the crater damage to Hill 60. This must have been poignant work, for most of his division and fellow officers had been killed in the attack on the hill.

The Mine Crater, Hill 60, Ypres Salient
Postan 1
352 x 455 mm (image; the stone is larger)
Lithograph, 1917. Edition of 25.
Signed in pencil, dated Dec.1917 and numbered 19/25.
On cream laid paper watermarked ANTIQUE DE LUXE. An abrasion touched in, and a minute mark in the sky. A few creases in the margins (hidden by the mount).

Sold

Hill 60 was the largest of three mounds of spoil from the diggings of 19th century railway construction and was marked on maps of the day as a Hill, with an indication of its height above sea level in metres, so that on British military maps it read as Hill 60.

In preparation for the June 7th assault in 1917, the hill had been extensively tunnelled and a caterpillar mine and seventeen other mines laid by Australian troops. The resulting explosion killed 687 German soldiers and created a huge crater, 60 feet deep and 260 feet wide.

William Orpen, who travelled out to France as an official war artist in April 1917, describes a similar lifeless landscape in a letter sent on the 15th April

… all and everything white with mud, and one feels the horrors the water in the shell holes is covering – and not a living soul anywhere near, a truly terrible peace in the new and terribly modern desert …

And Harold Macmillan’s abiding memory, fifty years later in his memoirs also was the emptiness

One can look for miles and see no human being…but in those miles of country lurk…thousands of men, planning against each other perpetually some new device of death.

After the war Hill 60 was given to the British Government and is owned by the Commonwealth War Graves Commission.

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WILLIAM THOMAS WOOD V.P.R.W.S., Ipswich 1877 – 1958 Burnham, West Sussex. Searchlights over London 1915. This lithograph has been sold

 

WILLIAM THOMAS WOOD V.P.R.W.S.
Ipswich 1877 – 1958 Burnham, West Sussex

Primarily a landscape and flower painter in oil and watercolour, Wood trained at the Regent Street Polytechnic and in Italy. He was a regular exhibitor at the Royal Academy and with the Leicester Galleries. Much of his career was spent in London.

In 1918 he was appointed an official war artist to the Balkans and as a result was commissioned after the War to illustrate A.J. Mann’s book The Salonika Front, published by A & C Black, 1920.

Searchlights over London 1915
400 x 542 mm
Lithograph, 1915.
The stone monogrammed. Signed in pencil and dated.
On cream laid paper watermarked Antique de luxe.
Faintly time-toned within the mount opening recto, overall time-staining verso from the original backboard.

Sold

A view of the Embankment , with Cleopatra's Needle, St Pauls and the Old Shot tower just visible.

The first Zeppelin air raid on London took place on the 31st May, 1915. Zeppelins flew high at 11,000 feet, to avoid anti-aircraft guns, and turned off their engines to drift silently over their targets. In defence against these terrifying surprise attacks on the civilian population searchlight units, previously only at the coast, were deployed in the city. Street lights were dimmed and the searchlights blinded the Zeppelin pilots. The searchlight units became adept at catching Zeppelins in their lights so that they could be destroyed and by the Autumn of 1916 the use of Zeppelins ceased, though they were replaced by action with bombers.

The drama of searchlights over London at night was a theme that attracted a number of artists.

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KERR EBY, Tokyo 1889 – 1946 Norwalk, Connecticut. Dawn, the 75s follow up. This drypoint is for sale, priced £1850

 

KERR EBY
Tokyo 1889 – 1946 Norwalk, Connecticut

Eby was the son of Canadian missionaries. Born in Japan, he was three when his family returned to Canada, and he grew up in Vancouver, Kingston, Toronto and Bracebridge. After working as a printer’s 'devil' for a Bracebridge newspaper, still in his teens Eby left for New York where he attended evening classes at the Pratt Institute of Art and later at the Art Students League. His early years were difficult and he returned to Canada at intervals before finding employment as an illustrator for New York magazines in the years prior to the United States entering the First World War. Eby was a friend of the American Impressionists Childe Hassam and John Henry Twachtman, and spent summers with them in the artists’ colony at Cos Cob in Connecticut.

When America entered the War on Aril 6th 1917 Eby unsuccessfully applied to be a war artist, but in time was assigned as a sergeant to the 40th Engineers Artillery Brigade Camouflage Division. He saw action in France in 1918, camouflaging big guns at Château-Thierry and Bellau Wood, and in the battles of Saint-Mihiel and Meuse-Argonne.

His drawings done while at the Western Front inspired the series of etchings and lithographs he began at the end of the war after his return to America. They established his reputation as a leading American printmaker.

The lasting impact of his first-hand experience of the horror, brutality and futility of the war would lead him to publish his book War in 1936, issued by Yale University Press. An essay on his abhorrence of war preceded illustrations of his wartime drawings and the related etchings.

Dawn, the 75s follow up
Giardina 28
225 x 328 mm
Drypoint, 1919.
Signed in pencil. An edition of 75 to 90, printed by the artist. On thin wove.

£1850

The first of Eby’s war prints.
Moving artillery through a bomb ravaged French village.
The ‘75’s were the French Army’s main artillery guns during World War I. When the United States entered the war, space on transport ships was limited and manpower had priority over heavy equipment, so American troops often used French heavy equipment, including the 75mm field gun.

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ERICH BÜTTNER, Berlin 1889 – 1936 Freiberg im Breisgau. Über Paris, Over Paris. This lithograph has been sold

 

 

ERICH BÜTTNER
Berlin 1889 – 1936 Freiberg im Breisgau

Painter, graphic artist and illustrator, Büttner joined the Berlin Secession in 1908 while he was still a student of Emil Orlik at the Berlin University of Arts, which he attended from 1906 to 1911. Büttner contributed twenty-one lithographs to Kriegszeit Künstlerflugblätter.

Über ParisEHL Over Paris
Söhn 14308-4
350 x 250 mm (image); 482 x 320 mm (sheet)
L ithograph, 1914. Signed and dated in the stone.
With the title printed below and a further six lines of text about the publication.
Issued in Kriegszeit Künstlerflugblätter Issue No.8, 14 October 1914.
On thin brittle deep cream wove paper. Time stained and other small defects at the three open edges of the sheet.

Sold

A German Taube and other war planes flying over Paris.

The Italian painter Giorgio de Chirico was in Paris when the war started and recalls in his Memoires (pp68-69, pub. Margaret Crossland, London 1971)

we remained in Paris amidst the great tension of the first days of fighting; the Germans were advancing on the capital. Every evening towards sunset, isolated German aeroplanes flew over Paris, scattering manifestos and streamers inciting people to surrender. But as I was going back home one morning about 11 o’clock I heard a shot. At first I thought it was the cannon fired at midday and took out my watch to see the time; but then I saw many people running to a place nearby; I joined the crowd. An aeroplane had dropped a small bomb which had fallen on the pavement…I heard people in the crowd cursing the Boches; there were bloodstains on the ground.

Büttner’s Über Paris image is on the back page of a complete issue of Kriegszeit Künstlerflugblätter No.8 (Söhn 14308 - 1-4) The title page has Strassenkampf (Street Battle) by Rudolf Grossman (1882-1941), etcher and lithographer, a frequent visitor to Paris, where he taught Sonia Delaunay printmaking techniques.
Page 2: Indien und Franz-Afrika (India & French Africa) by August Gaul.
Page 3: Was ich sah (What I Saw) by Helmuth Stockman.

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WILLIAM LIONEL WYLLIE R.A., R.E., London 1851 – 1931 London. Admiral Beatty’s Battle Cruisers at Jutland. This etching and drypoint has been sold

 

 

WILLIAM LIONEL WYLLIE R.A., R.E.
London 1851 – 1931 London (on a visit)

Precise information about Wylie’s activities 1914 to 1918 is unavailable, though he painted and etched throughout the period producing images of sea, air and land battles, exhibiting twenty-two paintings at the Royal Academy. He also had two one-man shows in 1917 at Robert Dunthorne’s gallery in London (“The Sure Shield of Britain” and “The Battle of Bourlon Wood, 30 Nov. 1917”). Dunthorne also published Wyllie’s etchings, and several were shown at the annual shows of the Royal Society of Painter-Etchers.

As an artist Wyllie had already developed connections with the Navy and merchant shipping when he lived on the Medway. After he settled in Portsmouth, moving into The Tower House at the very entrance to Portsmouth Harbour in 1907, he was close to one of Britain’s most important naval bases, with views of the shipping lanes from his windows.

Though aged sixty at the outbreak of the war he was granted special licences on various occasions to go to sea aboard different types of naval vessels and to visit the battlefields in France. His own first-hand observation was enlarged with eye-witness accounts and drawings from serving officers, including Rowland Langmaid, a naval lieutenant who studied painting and etching with Wyllie, and Wyllie’s own sons. All five served in the war, two losing their lives. Harold Wyllie served with the Royal Flying Corps and while in the air kept a sketchpad on his knee to jot down the action around and below him, which would provide the basis for some of his father’s pictures of aerial battles and trench warfare.

Admiral Beatty’s Battle Cruisers at Jutland
(with HMS Lion leading, 31 May 1916)
324 x 604 mm
Etching and drypoint.
Signed in pencil.
Published by Robert Dunthorne, 17th June 1918.
On cream wove paper. Stained and marked in the margins. Some cockling inside the platemark , two abrasions (touched in) and a few other small marks within the image.

Sold

Towards the end of the first day of the two-day battle.

Lettered at the foot of the plate with the names of the following ships of the British 1st and 2nd Battlecruiser Squadrons. Defence ; Warrior ; Lion ; Princess Royal ; Barham ; Tiger ; Valiant ; Warsprite ; New Zealand ; Malaya

Admiral David Beatty commanded the 1st Battle Cruiser Squadron in the Battle of Jutland.

The Lion was his flagship and Wyllie shows it with its ‘Q’ turret on fire. The British had intercepted German naval messages and knew an attack was planned. Beatty’s scouting squadron, based in Rosyth in the Firth of Forth, in the vangard encountered the German advance cruiser squadron in the engagement with which the Battle of Jutland commenced. Lack of full intelligence on both sides (The British Grand Fleet, had left their base at Scapa Flow almost at the same time as the German High Seas Fleet left Wilhelmshaven) meant that both Fleets were unaware that they were effectively on a collision course.

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JEAN-JACQUES BERNE-BELLECOUR, Saint-Germain-en-Laye 1874 – 1939. Une Panne dans les Lignes. This chiaroscuro woodcut has been sold

 

 

Designer JEAN-JACQUES BERNE-BELLECOUR
Saint-Germain-en-Laye 1874 – 1939

A military painter, Berne-Bellecour was the son of a military painter, trained by his father, Gérome and the military painter Édouard Détaille.

Une Panne dans les LignesEHL Breakdown
127 x 184 mm
Two-colour ‘chiaroscuro’ woodcut, c1918.
The artist’s name in the ‘black’ key block.
Printed within a decorative border, and with text beneath.

One of the Visions de Guerre leaves from the book La Guerre racontée par nos généraux, published 1919. On cream wove. Time-stained at the sheet edges.

Sold

A Renault F1 tank having come to grief on the difficult terrain, undergoing emergency repositioning of its track, under the protection of its own gun.

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LUDOVIC-RODO (Pissarro), Paris 1878 – 1952. Munitionnette. This original hand-coloured woodcut has been sold

 

 

LUDOVIC-RODO (Pissarro)
Paris 1878 – 1952

The fourth son of the Impressionist painter Camille Pissarro, Ludovic-Rodolphe Pissarro was known as Rodo and signed his work Ludovic-Rodo.

A painter and woodcut artist, his first wood engravings were published when he was only sixteen, in 1894. Four years later he moved into a studio in Montmartre, with his brother Georges and he got to know artists such as Vlaminck and Dufy. With them he exhibited in the first Fauve exhibition in 1905. With the outbreak of the First World War, Ludovic-Rodo joined his brother Lucien Pissarro in London and remained in England for the duration of the war, returning to Paris in 1919.

He was an amused observer of war-time characters. The two prints offered here would seem to belong to a series – perhaps of women’s war efforts on the Home Front, but these are the only two I have traced.

Munitionnette
176 x 93 mm
Hand-coloured woodcut, c1918.
The block signed with initials and entitled.
Signed in pencil and annotated, in French, 3rd state no.4. On thin cream wove paper.

Sold

As more and more men were needed at the front, women took over in munitions factories. It is estimated that in the later stages of the war 80% of shells were produced by a female workforce of nearly a million.

The term Munitionnette probably had its origin in the earlier term Suffragette, many of whom suspended their political activities to support the war effort and may well have ended up in factories. To accommodate to the practicalities of work there was a change in dress, skirt lengths were shortened and women even took to wearing trousers.

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