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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeFrom The Romantic Eye Catalogue (3)

Highlights from the recent catalogue
The Romantic Eye

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or scroll down to view this selection from The Romantic Eye catalogue.
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If you require further information on any print featured here, please contact us.

Click here to view a selection of prints from the subsequent "Graphic Alchemy" catalogue,
and check the current selection for selected prints from the most recent catalogue.


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The Romantic Eye

For further information about The Romantic Eye, please view the dedicated page within the Catalogues section. Printed copies of the Catalogue, published in summer 2010, are still available, priced £10.

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

Click here to view the fourth selection from this catalogue

JULES DUPRE, Vue prise en Angleterre

Nantes 1811 – 1889 L’Isle-Adam

Dupré visited England in 1834, where he came into contact with Constable, Turner, Crome &c who had a great impact on his work. Dupré made only nine prints, all commissioned lithographs, produced 1835-39, after his paintings which had achieved success at the Paris Salon.

Vue prise en Angleterre
Delteil 5 ii/iii                 131 x 209 mm (image)

Lithograph, 1836, after Dupré’s own painting exhibited at the Salon 1836. The stone initialled. First published state, lettered, as issued by L’Artiste, 1836. A brilliant impression. On wove paper.


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JACOB VAN RUISDAEL, Cottage on a Hill

Haarlem c1629 – 1682 Amsterdam

One of the greatest Dutch landscape painters of the 17th century, van Ruisdael made only 13 etchings, all before 1660. The culminating four large powerful etchings, which include Cottage on a Hill, are presumed to be his last works in the medium and to date from the 1650’s, perhaps a response to the journey he made in 1650-52 through the Rhine region and the country around Cleves.

Cottage on a Hill
Hollstein 3 ii/ii                                188 x 274 mm

Original etching, c1650’s. The plate signed. Second (final) state, with the sky (possibly added by another hand, as Ruisdael usually did not etch clouds). A strong, later printing, the black spot in the lower margin pale), on thin laid paper with an early 18th century proprietory watermark. Trimmed just outside the borderline and below the signature. Slight defects at the top right.


Provenance: Naudet (Lugt 1938)

David Freedberg in Dutch Landscape Prints comments on trees dominating the mid-17th century landscape print. “The trees give the impression of being possessed of the very forces of their growth.” In Ruisdael’s etchings of the 1650’s “amongst the greatest of the century… Never before had the life and forms of trees been represented on so overwhelming a scale… Such spontaneous, almost untidy handling of that instrument (the etching needle) with its multitudinous zig-zags and loops, conveys a sense of vitality that could not even have been attained with the pen.”

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Bremen 1872 – 1942 Kazakhstan

Vogeler joined the artists’ colony of Worpeswede as a young man in 1894. There he learnt to etch, buying his own press in 1895. The majority of his etchings, and all the romantic fairy-tale images, were made in his early Worpswede years, before 1902.

The Larch Tree
Rief 19 ii c/e                       245 x 212 mm

Original etching, 1897. The plate initialled. Signed in pencil. Edition of 100. Printed in green-black ink on cream laid paper with crowned Strasburg Lily watermark. Minor handling defects in the margins.


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Birmingham 1913 – 1986 Whitehaven

Tall Trees, Mickleham
EH-L 34              185 x 163 mm

Original etching, 1935. An early proof, signed in pencil, dated and entitled. On wove paper. Faintly mount-stained in the margins.


Tree studies were a predominant motif in Cowern’s etchings 1933-36. Mickleham lies in the wooded Mole valley, north of Dorking.

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CHRISTOPHE. NATHE, Der Waldbach The Woodland Stream

Görlitz 1753 – 1806 Schadewald

An early German Romantic, who anticipated Caspar David Friedrich in his sentiment for Nature. Nathe enjoyed long walks through the countryside.

Der Waldbach        The Woodland Stream
Rümann 75        128 x 188 mm

Original etching, 1805. The plate monogrammed and dated. On wove. 


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Chester 1869 – 1952 London

Lee-Hankey took up etching in 1904 and early showed an interest in printing colour editions too. For aquatint he used a ‘textile’ ground, impressing textured muslin or other material, even textured paper, into a soft ground. Prints from early in his etching production are scarce today.

The First-Born
Hardie 17                              323 x 252 mm

Original colour etching and aquatint, on zinc with a fine muslin ground, 1905. Signed in pencil and numbered 33 of the edition of 55 in colour. (There were also 20 monochrome impressions.) On wove paper.


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Chester 1869 – 1952 London

The Summer Moon
Hardie 21                                 302 x 252 mm

Original etching and aquatint on zinc with a cartridge paper ground, 1905. Signed in pencil. Annotated at the foot with an alternative title Harvest Moon. Printed in green-black ink, with touches of brown on the reflection of the moon. On cream wove paper. Edition of 25 in monochrome, and 75 in colour.  


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HENRY RUSHBURY, Debtors’ Prison, York

Harborne, Birmingham 1889 – 1968 Suffolk

Debtors’ Prison, York
Wildman 73, Julia Rushbury 73                165 x 284 mm

Original drypoint, 1933. The plate signed, dated and entitled (in reverse). The impression signed in pencil. Edition of 80. A rich impression on stout japan. Small defects in the margins.


Exhibited both at the R.A. and the R.E., 1933.

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    Click here to view the fourth selection from this catalogue