Sanders of OxfordANTIQUARIAN PRINTS & MAPS

Etchings 17th to 21st Century

A mini-catalogue of

1. Carolus II D.G Magna Britannia Fra et Hibernia Rex etc natus a 1630 EtchingWenceslaus Hollar after Anthony van Dyck 1649 Image 248 x 176 mm, Plate 251 x 185 mm, Sheet 255 x 188 mm Unmounted

Inscription below title reads: Hanc Maiestatis suæ Effi giem ab Antonio van Dycke Equite sic. prius depictam Aqua forti æri insculpsit., Humillimus Cliens Wenceslaus Hollar, Boh: Anno 1649.

A fantastic impression of Hollar’s half length portrait of Charles II as a child. Charles is depicted in a wide collar, a plain sleeveless doublet, and a chain-mail patterned scarf. His right hand rests on a cain, whilst his left grips a hat. The hilt of a sword emanates from his side. In the window on the left, the facade of the Banqueting Hall from St. James’s Park can be seen. The rest of the view is obscured by the cascade of drapery behind the King.

Wenceslaus Hollar (1607 - 1677) left his native Prague in 1627. He spent several years travelling and working in Germany before his patron, the Earl of Arundel brought him to London in 1636. During the civil wars, Hollar fought on the Royalist side, after which he spent the years 1644-52 in Antwerp. Hollar’s views of London form an important record of the city before the Great Fire of 1666. He was prolifi c and engraved a wide range of subjects, producing nearly 2,800 prints, numerous watercolours and many drawings .

New Hollstein 1064.V (Hollar) , Pennington, 1442 iv/vii, O’Donoghue 4. Condition: Trimmed just outside of platemark. Light staining to the top left hand side of the image. The print was at one point fi xed to an album page. [31250] £400

2. Mercatoris Hanauiensis Vxor [Merchants Wife of Hannover] 3. Mulier ex Ducatu Wirttembergensi [Woman from the Duchy of Württemberg] 4. Mulier Moguntiana [Woman from Mainz]5. Virgo Nuptialis Argentinensis [Strasbourg Bride]EtchingWenceslaus Hollar c. 1645 Image 80 x 57 mm, Plate 91 x 58 mm, Sheet 148 x 88 mm unmounted

These prints derive from an obscure series of Wenceslaus Hollar’s entitled the ‘Aula Veneris’. The ‘Aula Veneris’, or the ‘Halls of Venus’, a miniature series of costume prints which is thought to have formed an adjunct to Hollar’s ‘Theatrum Mulierum’, published in London, 1643. Evidence suggests that nine issues of the Theatrum, and four issues of the Aula were circulated in dates ranging from 1643 until 1816. These particular etchings however are amongst the earliest states, and would have been printed in approximately 1645.

Though both the motive for the composition, and the details of the publication are unclear, it is supposed that Hollar was inspired by the second edition of Jost Amman’s ‘Gynaeceum, siue Theatrum Mulierum’, which was reissued in Baden-Württemberg in 1639. Amman’s preface to this edition stated that his woodcuts of regional dress were meant to provide those that could not travel with a view of regional costume and a tacit indication of foreign character. Hollar’s augmentation of Amman’s title suggests that he had a similar rational in mind when he published the first 48 plates of his ‘Theatrum.’ Richard Pennington writes that the plates of the ‘Aula Veneris’ were intended for a Pars Secunda in England, but were then carried by Hollar to Antwerp when he fled the country, and were subsequently distributed to a contintental audience. This theory is given credence by the fact that 37 of the Aula etchings have had a German sub-title added to them. Whatever the context, Hollar’s etchings provide a masterful view of contemporary fashion completed by one of the centuries finest printmakers.

Signed within design at lower left ‘W. Hollar delvis.’ and lettered below image with the Latinate title.Pennington, 1848 i/i.

Condition: Light foxing and surface dirt to sheets. [31430] [31431] [31436] [31423]£70 Each

6. Veduta interna del Colosseo. [The Colosseum, Interior] EtchingFrancesco Piranesi 1788 Image 460 x 680 mm, Plate 490 x 715 mm, Sheet 540 x 755 mm unmountedA beautiful rich impression of this print from Vedute di Roma. One of only two plates from this series, engraved by Francesco Piranesi, the other being the Pantheon interior.

Francesco Piranesi (c.1756-1810) was an Italian engraver, etcher and architect who mainly worked in Paris. He was the eldest son of the famous etcher Giovanni Battista Piranesi (1720-1778), under whom he studied printmaking and architecture. By 1775, Piranesi was both producing his own work and assisting with his father’s. Upon the death of Giovanni Piranesi three years later, he inherited his father’s publishing house and was responsible for producing most of the later editions of his prints. In 1798, Piranesi moved to Paris, where he was later employed by Napolean, to engrave classical sculpture and vase collections within France and French-occupied Italy. He also collaborated with the French artist Louis-Jean Desprez (c.1743-1804) on a series of Italian views which were sold at Piranesi’s shop in Rome. Although the 1783 advertisement for the series promised forty-eight views, the series was not completed before Desprez left Rome to become Director of Scenic Decorations at the Stockholm Opera. Piranesi died in Paris from syphilis in 1810.

Hind 137 i/iii[30826] £1,200

7. Veduta della Colonna Antonina, o sia Piazza Colonna. EtchingLuigi Rossini Rome, 1824-26 Image 555 x 445 mm, Plate 570 x 455 mm unmountedFrom Le Antichita dei Contorni di Roma published 1824 -1826.

Luigi Rossini (1790-1857) was an Italian painter and etcher. Born in Ravenna, he studied art and architecture at the Academy of Bologna with Antonio Giuseppe Basoli and Giovanni Antonio Antolini. He graduated in 1813. Similarly to Giovanni Battista Piranesi, Rossini is best known for etchings of classical Roman architecture including the Pantheon, the Colosseum, the Appian Way, the Temple of Peace, and the Golden House of Nero. Rossini was also influenced by more rural settings, and produced etchings of the landscape surrounding Rome. His first series of views were published in 1814. He began his Roman antiquities series in 1819, completing 101 large folio plates which were published in Rome in 1825.[31344] £875

8. [Portrait of Victoria, the Princess Royal] Etching on india paperAlbert, Prince Consort after Queen Victoria Dec. 27 1842. Image 115 x 110 mm, Sheet 241 x 196 mm mountedSigned and dated in plate.

An etching by Albert, Prince Consort of his daughter Victoria, Princess Royal at the age of two, standing under an arch of holly and ivy, taken from an ink sketch by her mother, Queen Victoria.

Throughout their marriage Queen Victoria (1819-1901) and Prince Albert (1819-1861) shared a passion for art. Having both received painting and drawing lessons as children, they took up etching in 1840. In her Journal, the Queen wrote on 28 August 1840 ‘We spent a delightful, peaceful morning singing after breakfast and etching together, our first attempt’. On 1 March 1843 she recorded that ‘Landseer again gave us a lesson in etching, making us try various new points and showing us the great advantage of changing points for different stages of the work, in which we have hitherto been very deficient’. On January 9th 1845 she wrote that she ‘did not go out but wrote [...] and etched like yesterday’. Prince Albert is known to have executed forty etchings, many of which were after paintings by the couple’s etching tutor Edwin Landseer.

Scott-Elliot 83Condition: Excellent impression. Small light scuff to centre of image.[31504] £975

9. The Lake of Zug EtchingJohn Ruskin after Joseph Mallord William Turner c.1856 Image 125 x 197 mm, Sheet 300 x 436 mm unmountedProof etching printed in sepia

Plate 87 from Volume V of John Ruskin’s Modern Painters (1888 edition).

Etching after the watercolour The Lake of Zug (1843) by Joseph Mallord William Turner (now in the Metropolitan Museum of Art). In a later state of this print, mezzotint was added by Thomas Lupton.

John Ruskin (1819-1900) was an English art collector, art and social critic and watercolourist. Between 1870 and 1878 he was Slade Professor of Art at Oxford University. In 1871 he established the Ruskin School of Drawing and Fine Art. Ruskin is best known as one of the earliest supporters and defenders of the Pre-Raphaelite Movement. He was a major patron of both Rossetti and Millais. Influenced by the watercolour collection of his father, particularly the works of J.M.W. Turner, Ruskin’s own work was concerned with landscape and natural phenomena.

Condition: Foxing around edges of sheet, not affecting image. [31505] £130

10. The Desolation of Egypt Etching with drypoint on chine colléWilliam Holman Hunt 1857 Image 37 x 104 mm, Plate 48 x 115 mm, Sheet 267 x 363 mm unmountedSigned and numbered within plate.

Plate 21 from The Etching Club’s Etchings for the Art-Union of London by the Etching Club (London: Art Union of London, 1857). The Etching Club was a printmakers’ society founded in London in 1838. Limited to twelve members at a time, contributors included Charles West Cope, Richard Redgrave, Samuel Palmer and John Everett Millais. The club published numerous collections of their etchings including Etched thoughts of the Etching Club (1844), and illustrated editions of Shakespeare and John Milton.

Throughout his artistic career, William Holman Hunt (1827-1910) was fascinated by the landscape of Egypt and the Middle East. In keeping with the Pre-Raphaelite principle of truth to nature, Hunt believed that he could not depict Biblical themes authentically and accurately without visiting their settings himself. During a two year expedition between 1854 and 1856, Hunt visited Giza with the artist Thomas Seddon. Camped near the Sphinx, Hunt struggled with bad weather, difficulties with models, and the effects of tourism on the area, all of which, he claimed, affected his work. This etching of the moonlit landscape surrounding the Sphinx at Giza, shows the artist as a silhouetted figure, lit by the lamp in his tent.

Bronkhurst App.B3, Hunt 378-9

Condition: Foxing and discolouration to edges of sheet.

[31503] £225

11. The Plea of the Midsummer Fairies EtchingMichael Frederick Halliday London, Published October 1st, 1858, by E. Gambart & Co. 25, Berners Street, Oxford Street. Image 97 x 111 mm, Plate 125 x 136 mm mountedFrom Thomas Hood’s Passages of the Poems of Thomas Hood, Illustrated by the Junior Etching Club, in Thirty-Four Plates (Only edition published in 1858).

Michael Frederick Halliday (1822–1869) was an English painter, engraver, and from 1839 until his death, a clerk in the House of Lords. He fi rst exhibited at the Royal Academy in 1853, with Moel Shabod from the Capel Curig Road. In 1856 he exhibited The Measure for the Wedding Ring, which was later engraved. He exhibited in 1857 The Sale of a Heart; in 1858 The Blind Basket-maker with his First Child; in 1864 A Bird in the Hand; and in 1866 Roma vivente e Roma morta. Halliday was one of the earliest members of the Pre-Raphaelite school of painting; and for a time shared a studio with William Holman Hunt. His Plea of the Midsummer Fairies pre-dates the publication of Dante Gabriel Rossetti’s designs for Christina Rossetti’s Goblin Market (1862), which bear remarkable similarity in style.

Ernest Gambart (1814 - 1902) was a Belgian-born publisher and dealer who dominated the London art-world in the middle of the nineteenth century. Gambart began his career as a Paris printseller at the age of 19. He soon became known to the well-established Goupil print publishers; and in 1840 was appointed by them as a London representative. In 1842, Gambart set up on his own in partnership with Junin. He became a British citizen in 1846; and from 1848 began dealing in paintings as the proprietor of the French Gallery. He moved to Nice in 1870 where he became Spanish Consul-General. His business successors were Pilgeram and Lefevre.

[29441] £200

12. Quai des Chartrons, Bordeaux EtchingMaxime Lalanne 1873 Image & Plate 90 x 150 mm mountedSigned, inscribed and dated within plate.

François Antoine Maxime Lalanne (1827 - 1886) was a French etcher and painter at the forefront of the French etching revival in the second half of the nineteenth century. In the 1876 edition of Etching and Etchers, Philip Gilbert Hamerton wrote that ‘No one ever etched so gracefully as Maxime Lalanne [...] there has never been an etcher equal to him in a certain delicate elegance, from the earliest times till now’. When Lalanne published his Treatise on Etching in 1866, the art critic Charles Blanc wrote ‘If there is any one living who can write about Etching, it must certainly be you, as you possess all the secrets of the art, and are versed in all its refinements, its resources, and its effects’. This etching was originally produced for a charity exhibition in Bordeaux in 1874, where proceeds were donated to the poor of the city.

Musées de France catalogue 1043

Condition: An excellent impression.

[31465] £285

13. The Beguiling of Merlin. EtchingAdoloph Lalauze after Sir Edward Burne-Jones Imp. A. Salmon. [1877] Image 255 x 150 mmn Plate 285 x 170 mm Sheet 445 x 305 mm framedPage 80 from Volume X of L’Art (1877).

Inscription below image reads: The Beguiling of Merlin (Grosvenor Gallery).

A depiction of Merlin lying helpless in a hawthorn bush whilst Nimue, on the left, reads from a book and beguiles him with enchantment. The etching is after the Burne-Jones oil painting of the same name, now in the Lady Lever Art Gallery, Liverpool. The writer Oscar Wilde described the work as being ‘full of magic’.

Adolphe Lalauze (1838 - 1906) was a French nineteenth century etcher and illustrator. He first gained employment as a recording controller and then studied art in Paris under Gaucherel. Early on he concentrated upon original etching, with many of his works commissioned by Cadart in Paris. Lalauze specialised in figure and genre scenes, particularly those depicting women and children.

Around 1880, Lalauze gained recognition as a fine illustrative artist. He illustrated such works as Paul et Virginie, Physiologie de gout, La Diable amoureux, Don Quichotte, The Vicar of Wakefield, Manon Lescaut and Gulliver’s Travels.

Lalauze first exhibited at the Paris Salon in 1872. He received medals from the Exposition Universale in 1876, 1878 and 1889 and was awarded the Chevalier de la Legion d’honneur from the French government. He was also the father of the painter, Alphonse Lalauze, and the etching teacher of Felix Buhot.

Edward Burne-Jones (1833 - 1898) was an English painter, best known for his association with the later phase of the Pre-Raphaelite movement. His interest in Arthurian Legends, is seen in this print. The intensity and close relationship between the two figures has been interpreted as a reflection of Burne-Jones’ infatuation with one of his admirers, Mary Zambaco (a member of the Ionides family who were important patrons of contemporary art in nineteeth century London). They remained close during the early 1870s.

Alfred Salmon was a copper-plate printer active c.1863 - 1894. Born in 1825, he was trained by Chardonaîné at Rue Hautefeuille. He set up on his own when he took over Rémond’s business in 1863. Between 1890 and 1894 he was in partnership with Adolphe Ardail (1835-1911), trading as Salmon & Ardail. In 1894 the premises at 187 Rue St Jacques were taken over by Salmon’s son-in-law, and in 1895 by his grandson Alfred Louis Porcabeuf (b.1867).

Inventaire du Fonds Français 44

Condition: Discolouration to edges of sheet. Marks in lower right corner, and diagonal crease to upper right corner of sheet, not affecting image.

[31519] £400

14. Croquet Etching & DrypointJames Jacques Joseph Tissot 1878 Image & Plate 304 x 182 mm framedSigned and dated within the plate.Published in an edition of 100.

James Tissot ( 1836 - 1902) was a French painter who moved from Paris to London in 1871. His etchings are amongst the finest of the nineteenth century, using the contrast of light and dark to great effect. His output was small and like his paintings depicted the social life of the upper middle-class in and around London. He served on the council of the Royal Society of Painter Etchers.

Wentworth 37 i/i, Beraldi 29, Tissot 33Condition: An excellent impression in perfect condition. [31464] £3,400

15. [Stonehenge] EtchingSir David Young Cameron c. 1928 Image and Plate 126 x 202 mm mountedSigned ‘D. Y. Cameron’ within the plate and below in pencil.

Sir David Young Cameron (1865-1945) was one of the biggest figures of the Etching Revival. He was born in Glasgow on June 28, 1865 and studied at the local School of Art in the evenings. In 1885, he entered the Royal Institution in Edinburgh as a full time student. He lived in Glasgow until 1898, when he moved to Kippen, Sterlingshire.Cameron worked extensively in Scotland and occasionally in England and on the Continent. He was member of the Glasgow School and elected to the Royal Society of Painter-Etchers and Engravers in 1898, to the Royal Scottish Academy in 1919, and to the Royal Academy in 1920. Cameron was knighted in 1924 and in 1933 appointed King’s Painter and Limner in Scotland.

[10365] £350

16. The Shipyard Etching & DrypointStanley Angus 1929 Image & Plate 320 x 426 mm, Sheet 363 x 473 mm unmountedSigned, inscribed and dated in pencil.

Stanley Angus (fl 1928-38) was a Scottish etcher who predominantly worked in London. Angus produced a number of etchings and drypoints of the Scottish landscape and castles. He exhibited at the Royal Academy and the Fine Art Society. This striking work of a shipyard showing a busy industrial scene populated with fi gures in motion, is a break from his normal practise which traditionally depicted open, weather-beaten landscape.

Condition: Small tears, scuffi ng and discolouration to edges of sheet, not affecting image.

[11247] £175

17. Winches Etching and aquatintJoseph Winkelman 2012 Image & Plate 43 x 51 mm, Sheet 116 x 134 mm unmountedSigned and inscribed in pencil.

From and edition of 150.

Joseph Winkelman (b.1941) has specialised in intaglio printmaking since 1975, after completing the Oxford University Certificate course in Fine Art at the Ruskin School of Drawing. As an active member of the Royal Society of Painter-Printmakers, he served as President from 1989 to 1995, and was recently artist in residence at St John’s College, Oxford. His current interests are imagery based on the natural and man-made environment.

[29730] £90