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You are hereHarvey-LeeHomeHarvey-LeeMonthly Selection Harvey-LeeModern British Prints Harvey-Lee Archive 02

A Selection of Prints by Modern British Artists

William Strang, Self-Portrait. Original lithograph. David Young Cameron, The Chimera of Amiens. Original drypoint. James McBey, The Amstel. This Original etching is for sale:  £850 Ethelbert White , The Cow Man. This Original wood engraving is for sale: £685
Enid B. Mitchell, Pottery. This original linocut is for sale: £350 Erik Smith, From a Studio Window. This Original etching is for sale: £200 Howard Hodgkin, Indian View C.  This Colour screenprint is sold

This link: Modern British Artists 01, will allow you to view the selected prints from the
previous selection of Modern British Artists


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The Current Selections:

From a Recent Catalogue
Old Master Prints
Modern Continental Prints
Prints by Women
Prints under £250

Selections from the Home Page

Click on a thumbnail (left) to link directly with the entry for that print, or scroll down to view all this month's selection. Images are not at very high resolution.

If you require further information on any print featured here, please contact us. Some of these prints have since been sold and are marked as Sold.

William Strang, Self-Portrait. Original lithograph.

Dumbarton 1859 -1921 Bournemouth

The first of a number of Scots artists who were amongst the principal exponents of Modern British etching . D.Y. Cameron (see below) , Muirhead Bone and James McBey (see below) were born successively in the following three decades after Strang’s birth.

Strang settled in London when he was only seventeen and his training and career were all south of the border.

In his younger years he was a noted serial self-portraitist. The etchings having a wide variety of poses, or setting, or are distinguished by the wearing of a specific hat. His unique lithographic self-portrait was probably prompted by or made at the invitation of Joseph Pennell, himself a keen lithographer, for his book on lithography and lithographers. Pennell commented in his book “Mr Strang’s lithographs so far have been few, but those few have as marked a character as his etchings. They are mainly portraits, simple and dignified, with a touch of severity that has its charm. The one now given, an admirable example of his methods, is an excellent portrait of himself, so sincere and straight-forward a study that we can only hope Mr Strang will be induced to continue his experiments in a medium which he evidently finds so congenial.”

Campbell Dodgson 13   
170 x 150 mm

Original lithograph c1898. Printed by Thomas Way, for publication in Joseph Pennell’s Lithography & Lithographers, 1898.
On cream van Gelder Zonen watermarked laid paper.


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David Young Cameron, The Chimera of Amiens. Original drypoint.

Glasgow 1865 – 1945 Perth

Cameron first studied art in evening classes at Glasgow School of Art, before becoming a full time student at the Royal Institute in Edinburgh in 1885. It was in Edinburgh in 1887 that he was taught to etch by a friend of Seymour Haden’s. His early architectural plates were inspired by Meryon and Whistler. Charles Meryon’s, Le Stryge, immortalising a stone carving of a devil on Notre Dame, from his series of Eaux-fortes sur Paris, is brought to mind by Cameron’s Chimera of Amiens.

The Chimera of Amiens
Rinder 415 iv/vii
244 x 183 mm

Original drypoint, 1920. Signed in pencil.
Proof in the 4th state of 7; the subject defined by an oval. Before various additions of shadows to the distant buildings. A fine impression, printed in brown-black ink on antique laid paper.


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James McBey, The Amstel. This Original etching is for sale:  £850

Newburgh, Aberdeen 1883 – 1959 Tangiers

As a young bank clerk McBey studied painting in evening classes at Grays Art School in Aberdeen and aged seventeen taught himself to etch from the manual written by the French etcher Maxime Lalanne. He built his own press from a mangle and published his first etching in 1902. McBey left both the Bank’s employ and Aberdeen in 1910 to work as a freelance artist. His etchings record the travels he made in the years before the outbreak of the First World War, his first journey being to Holland in the summer and early autumn of 1910.

The Amstel (Oudekirk, Sept. 1910)
Martin Hardie 81
98 x 178 mm

Original etching, 1910.
Signed in ink. Edition of 40. Numbered XXXII.
Printed with platetone on Whatman watermarked laid paper. A little time-toned.


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Ethelbert White , The Cow Man. This Original wood engraving is for sale: £685

Isleworth 1891 – 1972

A conscientious objector White worked on the land in the First World War. In 1920 he and his wife bought a gypsy caravan and lived a bohemian existence travelling and finding motifs in the English countryside.

The Cow Man
Chapman 9
103 x 115 mm

Original wood engraving, 1922.
Signed in pencil, entitled and numbered 12/50.
On japan.


An impression was exhibited at the Society of Wood Engravers annual exhibition in 1922.

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Enid B. Mitchell, Pottery. This original linocut is for sale: £350


A Birmingham painter and linocut artist living in Handsworth, Mrs Mitchell exhibited between 1920 and 1930 with the Birmingham Royal Society of Artists, and at the annual British Lino-cut Exhibitions organised by Claude Flight, of the Grosvenor School, at the Redfern Gallery in London.

98 x 105 mm (border); 139 x 120 mm (sheet)

Original colour linocut, c1930.
Signed in pencil in the lower margin, beneath the borderline, and entitled and numbered 13/25, in the upper margin above the borderline.
Printed on japan, trimmed at the left edge of the sheet close to the image.


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Erik Smith, From a Studio Window. This Original etching is for sale: £200

Birmingham 1914 – 1972 Princes Risborough?

Smith attended the Royal College of Art 1937-39, until interrupted by the outbreak of World War II. He returned after the War to complete his course, 1945-47.

This etching, looking out from a studio window over rooftops, was probably etched during Smith’s earlier stint at the R.C.A.

From a Studio Window
185 x 276 mm

Original etching, the plate signed with the artist’s monogram. An unsigned proof, on antique laid paper.


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Howard Hodgkin, Indian View C.  This Colour screenprint is sold


London 1932 - 2017

India holds an important place in Hodgkin’s art. He had started to collect Indian miniatures by 1950, though it was not till 1964 that he went to the subcontinent in person. Annual visits followed thereafter.

Indian View C
Heenk 13
580 x 776 mm (image and sheet)
Colour screenprint, 1971.

Signed in pencil, dated and numbered 58/75 at the foot of the outer image border.

Printed by Chris Prater, with the assistance of Christopher Betambeau, at the Kelpra Studio, London and stamped verso with their studio rubber stamp (initial K) and the work number 7845.
Published by Waddington, 1971.
Printed to the edges of the sheet. Small printing defects.


From Hodgin’s early set of “Indian Views”, a series of twelve recollections of exterior scenes in India glimpsed through the small windows of a moving train.

“ … memory is the principal subject of all my pictures. I’m …(creating) a feeling ”.

Hodgkin prepared the series by first making miniature collages, then worked in collaboration with Chris Prater to translate them into prints.

For this early series he exploited the potential of hard-edged shapes, with flat solid areas of printed colour (the blue ‘mountain’ subtly variegated with a second blue) resonating against each other.

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