Sir David Young Cameron ( 1865-1945) Scottish Etching ? Perth Bridge ? on the River Tay 1889. Titled and signed within the plate lower right Plate aperture 7 1/8 x 10 3/8 " ( 18.2 x 26.3cm) Ref. National Gallery Scotland, ?Cameron was encouraged to take up etching in 1887 by the collector and amateur etcher George Stevenson, who had seen a couple of the young artist?s drawings in a shop window. Stevenson introduced him to the etching technique, financed him, presented him to dealers, and published Cameron?s first series of etchings, including the ?Clyde Set? in 1889. This print, showing Perth Bridge on the River Tay, was published in the influental periodical 'The Portfolio' in 1889. Cameron skilfully constructed an atmospheric perspective by creating a tonal transition from deeply etched dark areas in the foreground, to a light background with outlines of distant hills hardly touched by acid.?
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Moon Butterflies, edition 11/75 etching, with hand finished 24 carat gold leaf on Somerset paper 96 x 96cm Footnote: Guy discovered his passion for print making during his time in Paris studying at the École Nationale Supérieure Des Beaux-Arts in 2010, when he became particularly fascinated with the traditional etching process. Guy then graduated from Central Saint Martins School of Art in 2011. “Norfolk is my home, where I go to find inspiration. Growing up here, I have an affinity with and fascination for animals, for their quirks, strengths, and fragility. I have tried to capture these characteristics in this collection of Insects in small format original etchings that render them accessible to the viewer. I use gold leaf, itself a delicate medium, to highlight the natural beauty, iridescence and fragility of the insect and animal world”
Smoke Fox giclee print on hannemulle etching paper, Artist’s Proof 80x85cm, unframed Footnote: Maria Pavledis is an artist and printmaker who works with the dreamlike world of fairy tale and narrative, drawing upon the relationships between animals, humans and nature, including the darker and uncanny elements. Starting from a very strong commitment to drawing, she develop images using a mixture of traditional and non -traditional methods, including etching, drypoint, monoprint, projection installation, and more particularly, smoke drawing. The unusual smoke drawing method is developed from a process used in etching called ‘smoking the plate’ where the copper plate is blackened with a lighted wax taper before the image is drawn on. Maria always took great pleasure in creating rhythms and patterns on the plate with the smoke, and started to experiment with smoke on paper and from that began working on larger scale drawings. The work in this show creates an iconic animal presence which connects the viewer with a sense of reverie. Maria studied painting at Norwich School of Art and did an MA in printmaking at Camberwell College of Art.
Structural Memories II, 2008 numbered 20/50 etching 38x38cm Footnote: This edition was created for the 2008 Summer Exhibition at the Royal Academy and represents signature elements of Grimshaw design. While President of the Royal Academy Sir Nicholas Grimshaw made a few etchings each year for the Summer Exhibition. Ordinarily he does not sell his work but some have been given as gifts or donated to charity. Grimshaw graduated from the Architectural Association with honours and has had his own practice ever since. He was elected a Royal Academician in 1994 and was President of the RA from 2004 to 2011. He received the RIBA Gold Medal in 2019. GRIMSHAW, now a global practice, is known for buildings such as the Eden Project and London’s Waterloo Station and the Excel Centre.
Marcelle Hanselaar (b.1945) Dutch ''La Petite Mort'' Signed, inscribed and dated 2005, numbered 10/30, etching with aquatint, together with a figurative pen and ink study by * Connor and a further signed and inscribed work by Sam Mogelonsky, ''For Rorschach'', 2007, 23.5cm by 28cm, 34cm by 24cm & 28.5cm by 20cm respectively (3) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
John Clerk of Eldin (Scottish, 1728-1812), "The Hill of Arthur's Seat and Town of Edinburgh from Loch End", etching, monogrammed and dated 1774 in the plate, framed. Plate 146mm by 380mm. Note: Clerk was a prominent Scottish Enlightenment amateur artist. He was the brother-in-law of Robert Adam and his wealth afforded him the opportunity to travel around Scotland drawing and was subsequently successfully encouraged to take up etching by Paul Sandby. Another example of the subject etching was used as the cover illustration for Bertram, Geoffrey, "The Etchings of John Clerk of Eldin" pub. 2012
Edward Hill Lacey (1892-1967) ''The Drypointer'' (1930) Signed and inscribed in pencil to margin, etching and aquatint, together with a further signed, inscribed and dated drypoint example by the artist ''The Black Lace Shawl'' (1927), 26cm by 19.5cm and 26cm by 18.5cm respectively (2) (unframed) See illustration Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business
Reginald Green - "The Boatyard (Rye, Sussex)", signed and inscribed in pencil, with inscription on a label verso, etching, 10 x 22.3cms (plate size), in glazed black painted softwood frame; and an early 20th Century needlework picture of flowers, in white painted acanthus decorated frame, 68 x 70cms high.
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