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REMBRANDT Harmensz. Van Rijn
Leiden 1606 – 1669 Amsterdam
Canal with a large Boat and Bridge
Bartsch 236, Hind 239, New Hollstein 236 ii/ii
88 x 112 mm
Original etching and drypoint, 1650.
The plate signed and dated.
Second (final) state, the horizon redrawn immediately to the left of the church tower.
Scarce.
On thin laid paper, with thread or narrow margins.
A central vertical repaired tear.
An accidental crayon line top left.
Time stained.
£5000
One of a small group of landscapes in which Rembrandt combined typically Dutch elements with imaginary distant mountainous scenery. It is also one of his few landscapes to include no figures,
though human presence is suggested by the moored boat.
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JOHANN ELIAS HAID
Augsburg 1739 – 1809 Augsburg
The son and pupil of Johann Jakob Haid, Johann Elias came from a family of generations artists and engravers. He attended the Keizerlijke Academie in Augsburg, of which in later life, 1789-1808, he would be appointed Director. On the death of his father in 1767 he took over his publishing house, trading as J J Haid & Sohn.
Haid travelled widely in Europe and received commissions from throughout Germany and Switzerland.
D. Benjamin Franklin, et vita inter Americanos acta et magnis electricitatus periculus clarus
Le Blanc 332,26
224 x 139 mm
Mezzotint , 1780, after the Augustin de St-Aubin engraving of Charles Nicolas Cochin’s 1777 drawing.
The plate signed, dated, and entitled in Latin on the engraved plinth,
referencing both Franklin’s American political importance
(a Founding Father, he had helped draft the American Declaration of Independence in 1776; and earlier had investigated and experimented with ‘dangerous’ electricity).
On laid paper, with narrow margins, reset into a wider wove sheet, small abrasions.
Sold
The second of two mezzotint portraits of Franklin by Haid, both similarly entitled (the title is Haid’s own). The first, 1778, after the British artist Benjamin Wilson, showed him wearing a wig, rather than the hat.
As American Ambassador to France, Franklin wore a fur hat to express his American identity, often in conjunction with spectacles and a homespun brown suit, to stand out from the fashionably dressed French court of Louis XVI and keep attention on the American cause.
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CAMILLE PISSARRO
St Thomas, Danish Antilles 1830 – 1903 Paris
Champ de Choux  Field of Cabbages
Delteil 29 only state
248 x 168 mm
Original soft-ground etching, c1880.
Signed with the stamped initials (Lugt 613e).
The ‘bon à tirer’ pattern proof for the only edition, 1922/23 (an edition limited to 6 impressions).
Annotated in pencil in the lower margin “6 epr sur ce papier et de ce format”. “Eclairer très légèrement le Cie". “B à t”.
(6 proofs on this paper. Lighten the sky fractionally. Good to go ahead and print).
On laid paper with part of an (Arches?) watermark.
Sold
A rare print; only nine impressions in all, two lifetime proofs, and the seven (6 + this proof) in 1922/23, after which the plate was destroyed.
Pissarro etched and aquatinted a second, equally scarce, closely related plate, which introduced in the foreground the figure of a woman bending over to reach the much more elaborated cabbages, Femme dans un Potager, (Woman in a vegetable garden).
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RODERIC WESTWOOD BARRETT S.W.E.
Colchester 1920 – 2000 Colchester
Barratt studied at the Central School of Art & Design for four years from the age of sixteen, until he was called up in 1940, though he was granted full exemption as a conscientious objector.
At the Central he was taught wood engraving by John Farleigh and in his second year there he engraved a series of illustrations to accompany William Cobbett’s Rural Rides, a project set by Farleigh.
During the War he had a variety of jobs from farm labouring to school teaching, but in 1947 Farleigh offered him the post of part-time instructor in drawing and design at the Central, where he remained till 1968, when he was appointed a tutor in painting at the Royal Academy Schools.
Barrett’s post-War wood engravings engaged with Modernism and his work produced in the 1950’s is unique in character. Some of his engravings, such as Ass and Man he developed into paintings and Barrett abandoned wood engraving around 1955-56, though he continued as a member of the Society of Wood Engravers (elected 1952) until the mid-1960’s.
As a painter he was a member of the Colchester Arts Society and succeeded Cedric Morris as its President.
Ass and Man
184 x 169 mm
Original wood engraving, 1951.
Signed in pencil, entitled and numbered 3/10.
Printed on yellow paper, faded within the previous mount opening.
Laid down with related defects in the margins.
£450
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JAMES McNEILL WHISTLER
Lowell, Massachusetts 1834 – 1903 London
In 1859, though still based in Paris, Whistler spent several months in London, staying in Wapping, to etch the Thames in the East End docklands, inspired by Meryon’s Eaux-fortes sur Paris, etched 1850-54.
Whistler had arrived in Paris from America in 1855. Whistler settled in London in 1860.
Though he exhibited individual impressions from the date of their being etched, Whistler’s Thames Set was not published till 1871.
Thames Warehouses
Glasgow 46 4c/5; Kennedy 38 ii/ii
75 x 203 mm (pl)
Original etching, 1859.
Signed and dated in the plate.
Published state.
One of the Sixteen Etchings of Scenes on the Thames and other subjects, (The Thames Set), issued by Ellis & Green 1871. The proposed edition was 100, but Glasgow have only located 63 impressions from this plate in total.
On De Erven de Blauw watermarked laid paper, typical of many impressions from The French Set, and other Whistler proofs printed 1870-71.
Narrow margins, very pale mount stain in the margins and a single fox mark at the lower platemark.
£3500
Exhibited
- at the R.A. 1860
- at E. Thomas, Old Bond Streeet, 1861
- at the International Exhibition, London 1862.
A stretch of the London docks backing onto Wapping High Street.
The first of Whistler’s Thames plates to be etched, though on the title page to the French Set it is listed as number 13.
Whistler told the Pennells that he overcame the problem of etching wide views of the Thames, such as this, by moving back and forth across the river in barges.
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