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You are hereHarvey-LeeHomeHarvey-LeeHome Page Selection Harvey-LeeSeptember-October 2016

The Home Page Selection

HIROSHI YOSHIDA, Kurume, Kyushu 1876 – 1950 Shimo-ochiai, Tokyo. Study of a Nude. This Colour woodcut, 1927, is for sale, priced £2000 JEAN JACQUES DE BOISSIEU, Lyon 1736 – 1810 Lyon. View of Aqua Pendente, on the road from Sienna to Rome. This Original etching, 1773.  is for sale, priced £400 ABRAHAM BLOEMAERT, Gorinchem 1564 – 1651 Utrecht. Juno. This Original etching, c1610, is sold. FRANCIS SYDNEY UNWIN, Stallbridge, Dorset 1885 – 1925 Mundesley-on-Sea, Norfolk. West Dean (near Seaford, Sussex) No.1. This Original brush lithograph, 1920, is sold

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

A growing archive of 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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HIROSHI YOSHIDA, Kurume, Kyushu 1876 – 1950 Shimo-ochiai, Tokyo. Study of a Nude. This Colour woodcut, 1927, is for sale, priced £2000

 

HIROSHI YOSHIDA
Kurume, Kyushu 1876 – 1950 Shimo-ochiai, Tokyo

Yoshida trained as a watercolour painter and only became involved in woodcut production when he was invited to join the Watanabe Print Workshop in 1920, the leading publisher and advocate for the shin hanga (new ukiyo-e print) movement.

After Watanabe’s workshop and all his blocks were destroyed in an earthquake in September 1923, Yoshida set up his own workshop, the Takamizawa Colour Wood-Cut Studio, in Tokyo in 1925. Though he hired a team of professional carvers and printers, Yoshida was intimately involved in all aspects of production. He personally designed and even helped cut the key blocks, chose the colours and supervised the printing, combining the traditional ukiyo-e collaborative system with the modernist sosaku hanga principle of artists’ original printmaking in the western tradition.

Study of a Nude
372 x 248 mm
Colour woodcut, 1927.
Signed in pencil by Yoshida and entitled by him in English.
With the important red jizuri (“printed by myself”) seal, only found on early impressions of the highest quality.
The blocks were cut by Mayeda.
With the original brown paper folder with the label of the Takamizawa Studio.

£2000

The female nude as a genre was unknown in traditional ukiyo-e prints. In the late 19th century, after Japan was opened up, western-type art schools were established and Japanese artists visited Europe and America. They developed western markets for their prints and adapted their work to foreign tastes.




 

JEAN JACQUES DE BOISSIEU, Lyon 1736 – 1810 Lyon. View of Aqua Pendente, on the road from Sienna to Rome. This Original etching, 1773.  is for sale, priced £400

 

JEAN JACQUES DE BOISSIEU
Lyon 1736 – 1810 Lyon

De Boissieu having overcome parental opposition was allowed to go to Paris in 1761 to pursue further art studies. In the following three years he frequented engravers and painters Wille, Vernet, Watelet and Greuze.

He was befriended by the Duke de la Rochefoucauld, who took him to Italy, where de Boissieu spent 1764—65 in Genoa, Naples and Rome. Poor in health and upset by the smell of turpentine, he largely concentrated on drawing and etching.

He had success in pre-Revolutionary France and during the Revolution the artist David safeguarded de Boissieu’s plates and livelihood officially “sous la protection de la Loi” (under the protection of the Law).

View of Aqua Pendente, on the road from Sienna to Rome
De Boissieu 70
260 x 350 mm
Original etching, 1773.
The plate initialled and dated, top left in the sky.
Lettered in French with the title and a dedication to the Duc de la Rochefoucauld.
A printing failure in the top right corner.
On chine appliqué, with related cockling defects.

£400

Ex collection: H Bauer (ex Lugt)

 

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ABRAHAM BLOEMAERT, Gorinchem 1564 – 1651 Utrecht. Juno. This Original etching, c1610, is sold.

 

ABRAHAM BLOEMAERT
Gorinchem 1564 – 1651 Utrecht

A noted Dutch Mannerist painter and draughtsman, Bloemaert settled in Utrecht in 1593 and in 1594 became deacon of the saddlemakers’ guild. At that date there was not a special guild (Guild of St Luke) for painters in the city, whose only guild option was to join the Zadelaarsgilde . In 1611, along with two other Utrecht artists, Bloemaert founded the Utrecht painters guild of Saint Luke and in 1618 was made deacon.

Though Bloemaert’s reputation was largely established through prints, he designed over 600, they were generally engraved by other hands, particularly by his four sons.

Only the etching Juno is carried out entirely by Bloemaert himself. The preparatory drawing, in reverse, is in the Albertina in Vienna.

Juno
Hollstein 4 i/ii
143 x 113 mm
Original etching, c1610.
The plate signed.
A fine impression in the rare first state, before the publisher Bolswert’s address.
Thread margins or trimmed to the plate.
Small restored losses at the top left and bottom left corner.
The top borderline touched with ink.

Sold

The classical goddess Juno, consort of Jupiter, was the protectress of women. She stands accompanied by her ‘attribute’, a peacock. Her chariot, drawn by peacocks is shown in the distant sky.

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FRANCIS SYDNEY UNWIN, Stallbridge, Dorset 1885 – 1925 Mundesley-on-Sea, Norfolk. West Dean (near Seaford, Sussex) No.1. This Original brush lithograph, 1920, is sold

 

FRANCIS SYDNEY UNWIN
Stallbridge, Dorset 1885 – 1925 Mundesley-on-Sea, Norfolk

After Winchester School of Art, Unwin attended the Slade 1902-05, a contemporary student of Ian Strang and Randolf Schwab.

He was largely self-taught as a printmaker. He etched seriously from 1911 but only took up lithography seven years later, in 1918, producing sixteen prints in the medium over the following five years, before his early death from tuberculosis. Unusually, he preferred pen and brush lithography to crayon lithography and these little-known works are amongst his most under-rated and individual achievements. The medium particularly suited his strong draughtsmanship.

West Dean (near Seaford, Sussex) No.1
Campbell Dodgson 72
245 x 355 mm
Original brush lithograph, 1920.
The stone signed.
Signed in pencil and numbered 2 from the edition of 15.
On japan.

Sold

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