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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeFrom Every Picture Tells a Story (1)

Highlights from the recent catalogue
Every Picture tells a Story

HANS BURGKMAIR the Elder, Augsburg 1473 – 1531 Augsburg. The young Weisskunig learning English from archers in the Netherlands. This original woodcut , 1514-16, is sold ADOLF VON MENZEL, Breslau 1815 – 1905 Berlin. Italienisch lernen. This original etching, 1889, is for sale, priced £250 JEAN EMILE LABOUREUR, Nantes 1887 – 1943 Morbihan. La Folle. This original colour etching, 1929, is for sale, priced £1250
Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000 Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000 Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000 Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000
ARCHIBLD STANDISH HARTRICK, Bangalore, Madras 1864 – 1950 London. Scrooge with Marley’s Ghost. This original two-colour lithograph is for sale, priced £100 NATHANIEL SPARKS R.E., Bristol 1880 – 1956 Somerton, Somerset. The Shadow and the Shade. This original etching is for sale, priced £150 EDWARD ARDIZZONE, Haiphong 1909 – 1979 Rodmersham Green, Kent. Street Corner. This original lithograph is for sale, priced £1650 BRUNO GORLATO, Born Padua 1940. In una sottile imprecise decisione. This original etching is for sale, priced £250

Click on a thumbnail (above) to link directly with the entry for that print,
or scroll down to view this selection from the Every Picture tells a Story catalogue.
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If you require further information on any print featured here, please contact us.

Click these links to view a selection of prints from other previous catalogues:
"Graphic Alchemy" and "The Romantic Eye"

Some of these prints – and others from the catalogue – may since have been sold.
These are marked as Sold.

 

See also :

Every Picture tells a Story | Elizabeth Harvey-Lee | Print Dealer

For further information about Every Picture tells a Sory, please view the dedicated page within the Catalogues section. Printed copies of the Catalogue, published in summer 2013, are still available, priced £12 (UK) and £16 (International orders).

This is the first of three pages devoted to a selection of images from this catalogue. Click here to view the next (second) selection from this catalogue




HANS BURGKMAIR the Elder, Augsburg 1473 – 1531 Augsburg. The young Weisskunig learning English from archers in the Netherlands. This original woodcut , 1514-16, is sold.

HANS BURGKMAIR the Elder
Augsburg 1473 – 1531 Augsburg

An important painter and the foremost designer of woodcuts in Augsburg in his day, Burgkmair trained with Schongauer and visited Italy in 1507. From c1508 to 1519 he worked as designer on various of Maximilian’s great woodcut projects.

The Holy Roman Emperor Maximilian I (1459 - 1519) recognized the potential of woodcut for self-promotion, propaganda and historically preserving his memory.
In pursuit of this end he commissioned several major projects: including the Triumphal Arch (195 blocks printed on 36 leaves), the Triumphal Procession (135 blocks) and Der Weisskunig (251 blocks of which 236 have survived), designed and carried out in the workshops of Dürer, Burgkmair and Altdorfer, c1510-1518.

The young Weisskunig learning English from archers in the Netherlands
Hollstein 460
220 x 193 mm
Woodcut , 1514-16, for Der Weisskunig.
The block signed with initials. From the edition published in 1775, and with the related page number, 228, in the lower margin; 9 mm margins all round.
On laid paper watermarked with a double-headed eagle. A little drily printed at the top.

Sold

Ex collection William Sharpe (Lugt 2650) and another unidentified collector, initial G (ex Lugt)(just showing through recto).

Der Weisskunig is the autobiography of Maximilian I, told in the manner of a novel, with the life of his parents, his own personal life and the political history of his reign, written at his dictation, illustrated by Burgkmair with the assistance of Schaufelein, Beck and Springinklee.

All the woodblocks were separately proofed 1514-16 but the text was not printed at this stage. In the second half of the 16th century Maximilian had the woodblock illustrations printed again, but still without the accompanying text. The blocks disappeared thereafter until they resurfaced in 1775, when the first full edition as an illustrated book with text was published.

All the characters in the book have cryptic names. Der Weisskunig, “the White King”, is the name Maximilian gave himself, both on account of the symbolism of purity associated with the colour white and the assonance with the German word Weisheit, “wisdom”.

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Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000 Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000
Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000 Workshop of JACQUES DE GHEYN II, Antwerp 1565 – 1629 The Hague. The Four Evangelists. This set of four engravings, c1595, is for sale, priced £3000

Workshop of JACQUES DE GHEYN II
Antwerp 1565 – 1629 The Hague

Trained first by his father and then apprenticed to Goltzius, de Gheyn’s first independent engravings to his own designs were produced in 1589. By 1592 he had started his own publishing firm in Amsterdam.
After his marriage in 1695 he worked increasingly as a print designer and publisher, and left the actual engraving to his apprentices, especially Zacharius Dolendo.

The Four Evangelists
Hollstein 20-23 ii/ii
197-201 x 153 mm (sheet)
The set of four engravings to the design of Jacques de Gheyn , c1595.
Each plate with de Gheyn’s name, also lettered with the name of the evangelist and the plate number.
Good later impressions (17th century) in the second state of three, St Matthew with the address of the publisher Claez Janz. Visscher. The head of Luke altered from that of a young man without a cap. The de Gheyn excudit removed from all four plates.
Matthew and Mark with narrow or thread margins, Luke trimmed to the platemark at the foot, John, trimmed to the plate at the top and to or fractionally within at the foot.
Generally very good condition. Slight stains on Mathew and John.

£3000

Each evangelist is accompanied by his attribute, originating from early church identification of the evangelists with the four winged beasts of the Apocalypse, and explained by the Gospels themselves.

Matthew is represented by a man, as his gospel opens with the tree of Christ’s ancestors; Mark, a lion, as his gospel begins with the “voice crying in the wilderness”, considered to be an allusion to the lion; Luke, the ox, traditionally a sacrificial animal, as Luke’s gospel opens with the sacrifice made by the priest Zacharius; John, the eagle, the bird that flies closest to heaven and therefore to God, as John had a direct vision of God.

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ADOLF VON MENZEL, Breslau 1815 – 1905 Berlin. Italienisch lernen. This original etching, 1889, is for sale, priced £250

ADOLF VON MENZEL
Breslau 1815 – 1905 Berlin

Three years after Menzel was born his father stopped teaching and set up a lithographic factory, which he moved to Berlin in 1830. On his death two years later the seventeen year old Menzel took over the family business for a while.
Though he studied briefly at the Berlin Academy of Art in 1833, drawing from plaster casts, Menzel was largely self-taught and quickly established a reputation as an illustrator, becoming eventually one of the most prominent German artists of the 19th century, raised to the German nobility, and made a member of Académie des Beaux Arts in Paris, and the Royal Academy in London.
Degas described him as “the greatest living master” and the French critic Duranty commented “Free, large and rapid in his drawing, no draftsman is as definitive as he”.

Italienisch lernen Elizabeth Harvey-Lee Learning Italian!
Bock 1155 v/v
254 x 295 mm
Original etching, 1889.
The plate signed and dated.
A good, later impression, the lettering of the publisher Verein für Original Radierung zu Berlin scarcely printing.

£250

A scene in an Italian tavern.

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JEAN EMILE LABOUREUR, Nantes 1887 – 1943 Morbihan. La Folle. This original colour etching, 1929, is for sale, priced £1250

JEAN EMILE LABOUREUR
Nantes 1887 – 1943 Morbihan

La Folle
Sylvain Laboureur 399 ii/ii
210 x 149 mm
Original colour etching with aquatint and rockerwork, 1929.
Second state, with additional work on the courtyard facades and roof.
Signed in pencil and numbered 23/69, though only 32 impressions were printed in 1929. (An edition of 9 had been printed in the 1st state and further fifteen impressions in the 2nd state were printed posthumously in 1989.)
Printed from two plates in black and sanguine on Rives watermarked wove paper.

£1250

An unexplained subject, somewhat of an oddity in Laboureur’s œuvre, though the same year he also engraved the equally unique and strange Le Travesti, a portrait of his elder son in fancy dress, wearing a crown and a tunic decorated as playing cards.

The architectural setting of La Folle is taken from a photo by Eugène Atget of a courtyard in the south-western Paris suburb of Vanves.

Atget (1857-1927) is noted for his documentary photos of Paris street scenes and though his work only gained wide attention some decades after his death, he was known by artists in the 1920’s and inspired the Surrealists among others.

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ARCHIBLD STANDISH HARTRICK, Bangalore, Madras 1864 – 1950 London. Scrooge with Marley’s Ghost. This original two-colour lithograph is for sale, priced £100

ARCHIBLD STANDISH HARTRICK
Bangalore, Madras 1864 – 1950 London

The son of an Indian Army captain, Hartrick was educated in Edinburgh and took a degree there before taking up painting, attending Legros’ classes at the Slade, 1884-85.
Like many Slade students he went on to Paris, where he studied at Julian’s and in Cormon’s studio, becoming friendly with his fellows Toulouse-Lautrec, van Gogh and Gauguin.
Back in London, from 1889 Hartrick worked as a black & white artist for the Daily Graphic.

After his marriage to the flower painter Lily Blatherwick, they moved to Tresham in Gloucestshire, but returned to London permanently in 1907, for Hartrick to teach at Camberwell. From 1914 he taught lithography at the Central School of Art in London.

As a printmaker, Hartrick was most interested in lithography. He was a founder member of the Senefelder Club in 1908.

Scrooge with Marley’s Ghost
260 x 180 mm
Original two-colour lithograph.
Signed in pencil and entitled Scrooge.
Printed in black and sanguine on cream laid paper.
A little foxed in the borders within the mount opening.

£100

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NATHANIEL SPARKS R.E., Bristol 1880 – 1956 Somerton, Somerset. The Shadow and the Shade. This original etching is for sale, priced £150

NATHANIEL SPARKS R.E.
Bristol 1880 – 1956 Somerton, Somerset

Though most of Sparks’ etchings are concerned with landscape, architecture or urban topography, and some portraits, between 1913 and 1929 he made ten plates of a mystic and symbolic character.

The Shadow and the Shade
153 x 90 mm
Original etching with drypoint and stipple, 1928.
Signed in pencil.
On thin wove. Slight cockling.

£150

Exhibited at the Royal Academy in 1928, when Queen Mary bought an impression.

The title of The Shadow and the Shade relates to the tradition of the early 7th century conversion of King Edwin of Northumbria to Christianity by St Paulinus, who in his arguments compared life to a sparrow passing through the king’s hall, coming in at one window from the darkness, fluttering for a few moments in the light and warmth of the hall and passing out of another window into the night.

In Sparks’ etching the figure, bathed in light, stands in a landscape of Christian symbols, in the shadow of the Cross against a dark sky lit by the star and the Dove .

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EDWARD ARDIZZONE, Haiphong 1909 – 1979 Rodmersham Green, Kent. Street Corner. This original lithograph is for sale, priced £1650

EDWARD ARDIZZONE
Haiphong 1909 – 1979 Rodmersham Green, Kent

Street Corner
Nicholas Ardizzone P 55
245 x 265 mm
Original lithograph, drawn on zinc, 1956.
Signed in pencil, entitled and numbered 18 from the edition of 30.
On wove. Faintly time-stained within the previous mount window.

£1650

Ardizzone made an etching and two lithographs of Soho prostitutes in 1956, at a time when their activity was provoking scandal that culminated in the passing of the Street Offences Act in 1958.

In the lithographs he exploited the tonal possibilities of the medium for rich and mysterious light effects in keeping with images of “ladies of the night”.

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BRUNO GORLATO, Born Padua 1940. In una sottile imprecise decisione. This original etching is for sale, priced £250

BRUNO GORLATO
Born Padua 1940

Gorlato trained both as a painter and architect in Venice and lives and works in his native city of Padua.

His prints, dreamlike ‘metaphysical fables’ (as one of his exhibitions was called), with imagery frequently drawn from chess, are inspired by the historical architecture, characters, events and literature of the Veneto. A reminder that in Italian cities, perhaps more than anywhere else in Europe, the past is palpably present.

In una sottile imprecise decisione
In a subtle inexact decision
163 x 141 mm
Original etching with aquatint, 2010.
An artist’s proof.
Signed in pencil, dated, entitled and annotated, as usual.
On cream wove.

£250

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    Click here to view the second selection from this catalogue