We are pleased to announce our participation in the first-ever hybrid online/in-person IFPDA Fine Art Print Fair.
We invite you to explore the daily live Print Month events with printmakers, print curators, artists, and collectors. Please register online for access to the Zoom links.
The IFPDA Fine Art Print Fair is the world’s largest international art fair dedicated to printmaking from the 15th century to today. Follow the link to view our virtual booth hosted by Artsy.
In Full Cry, 1931
29 x 42 cm.
Signed, titled and numbered
Edition of 50
Michael Parkin FA, London
Private Collection, UK
Sally Hunter FA, UK
Osborne Samuel, London
Stephen Coppel, Linocuts of the Machine Age, Scolar Press, Aldershot in association with National Gallery of Australia, 1995, Cat No SA 13
Sybil Andrews Linocuts: A Complete Catalogue, Hana Leaper, published by Lund Humphries in association with Osborne Samuel, 2015, no. 15
Printed from 3 blocks in Chinese orange, spectrum red and Prussian blue
Bringing in the Boat, 1933
33.5 x 26 cm.
Signed, titled & numbered
Edition of 60
Private Collection, UK
Stephen Coppel, Linocuts of the Machine Age , published by Scolar Press, 1995, no. SA 24
Hana Leaper, Sybil Andrews Linocuts: A Complete Catalogue , published by Lund Humphries, no. 26
Printed from 3 blocks in venetian red, viridian & Chinese blue. Signed, titled & numbered TP1 (Trial Proof), aside from the edition of 60
September 13 1918, St.Mihiel (The Great Black Cloud), 1934
Etching, aquatint & sandpaper ground
26.5 x 40.4 cm.
Signed lower right Kerr Eby imp, inscribed 'Proof selected by the artist for Mr Roy Holderman
Edition of Aside from the edition of 100
Based on the successful counteroffensive by the Americans against the Germans during the St.Mihiel offensive in September 1918. In describing the event, the Print Collector’s Quarterly of 1939 noted, ‘in the Saint-Mihiel Drive, the great cloud hung for days over the advancing troops, the Germans called it the Cloud of Blood’
Paris Omnibus, 1923
21.6 x 27.9 cm.
Signed & numbered in image
Edition of 50
Private Collection, Canada
Printed from 4 blocks in blue oil paint, crimson oil paint, viridian printing ink and black printing ink. On oriental laid tinted with a wash of yellow-ochre watercolour, mounted on stiff brown paper backing.
Etching on BFK Rives paper
69 x 57 cm.
Initialled in pencil and numbered from the AP edition of XV aside from the edition of 50
Craig Hartley, Etchings of Lucian Freud: A Catalogue Raisonne 1946-1995, 1995, no.30
Craig Hartley, Freud and Auerbach Recent Work , Print Quarterly , Vol. 9 No. 1 (March 1992), p. 13 (Fig. 12)
Starr Figura (ed.), Lucian Freud: The Painter’s Etchings (New York: Museum of Modern Art, 2007), Cat. 31, p. 61
The sitter is the artist’s daughter Bella Freud
Lucian Freud made his first etching in Paris in 1946, using the wash-basin in his hotel room as an acid bath. Five small-scale etchings date from this decade, following which Freud ceased printmaking for thirty-four years. Thereafter, beguiled by its ‘ element of danger and mystery’ , he steadily created an impressive contribution to the medium.1
Freud’ s etchings from the mid-1980s onwards are distinguished by their size and technical command. Standing his copper plates upright on an easel, for the first time, he was able to work with greater force and fluidity. He claimed to find etching easier than drawing, candidly acknowledging the role that redrawing can play in printmaking. Sometimes Freud would ask the printer to erase sections, to crop an image or to scrap a final printing in favour of earlier proofs. Working closely with Marc Balakjian, at Studio Prints in Kentish Town, Freud was always present at the biting and proofing of his plates.
Bella (1987), a portrait of his daughter, is defined by dense hatching, marking the head’ s weight against the pillow, its wisps of hair and the face’ s contours. Freud sought further contrast within the image, however. Giving the printer a proof shaded with grey wash to indicate where ink should be left on the plate after wiping, the etching was reproofed until he was satisfied. Craig Hartley describes the result as ‘ seductively tonal’ , one of Freud’ s most beautiful portraits.2
Elsewhere, through the use of generic titles, Freud sought to deflect attention from his sitters’ identity. He remarked,
Many people are inclined to look at portraits not for the art in them but to see how they resemble people. This seems to me a profound misunderstanding.3
Portrait Head (2001) is more delicate than Bella in its use of line, its lack of background detail placing the strongly characterised face in relief. The sitter appears contemplative, perhaps weary, an effect emphasised compositionally by the downward pull of her scarf, loose hair and shadowed gaze. Reviewing MoMA’ s exhibition in 2008, which juxtaposed Freud’ s portrait paintings with his etchings, Donald Kuspit noted the latter’ s ‘ rough emotional urgency’ and tendency to be ‘ more individual – more uniquely themselves’ .4
1. Lucian Freud, in Starr Figura (ed.), Lucian Freud: The Painter’ s Etchings (New York: Museum of Modern Art, 2008), p. 15.
2. Craig Hartley, ‘ Freud and Auerbach Recent Work’ , Print Quarterly , Vol. 9, No. 1 (March 1992), p. 5.; also Hartley, The etchings of Lucian Freud: a catalogue raisonné 1946-1995 (Marlborough Graphics, 1995), p. 22.
3. Freud, in Freud at Work: Photographs by Bruce Bernard and David Dawson (Jonathan Cape, 2006), p. 32.
4. Donald Kuspit, ‘ Lucian Freud: Museum of Modern Art/Marlborough Graphics’ , Artforum International , Vol. 26, No. 7 (March 2008), p. 360-61.
Portrait Head, 2001
59.7 x 47.3 cm.
Signed with initials and numbered
Mathew Marks Gallery, New York
Starr Figura 61
Sebastian Smee 44
New York, Museum of Modern Art, Lucian Freud: The Painter’s Etchings , 16 Dec 2007 – 10 Mar 2008 (another impression exhibited and illustrated p.92)
The sitter is presumed to be ‘Emily’ a close friend of Freud’s.
Sleeper – Red, 1997
Etching and aquatint with drypoint printed in black and red, on wove paper
97 x 193 cm.
Signed and inscribed 'PP' in pencil, aside from the edition of 50
Edition of V
107 Workshop, Wiltshire
D. Krut, William Kentridge Prints, Johannesburg and Iowa, 2006, pp. 66, 68-69.
In 1996 Kentridge embarked on a series of etchings to coincide with the centenary of Alfred Jarry’s Ubu Roi. In Ubu tells the Truth Kentridge transposed Jarry’s spiral-bellied comic anti-hero with the figure of a naked man based on photographs of Kentridge performing the part of Ubu in his studio. The series was the basis for a theatre production written and directed by the artist, Ubu & the Truth Commission (1997), which in turn was the genesis of The Sleeper prints.
‘I had worked on a series of messy drawings of a naked man, sometimes enclosed by the white Ubu line drawing, trying to get some feel of the theatre production in them. With the first set of drypoints I had used a thumbprint and printed the heel of my hand to suggest the flesh texture. With the large drawings one has to pull shape and texture into the drawing on a larger scale. I wheeled a bicycle across the paper, hit it with charcoal-impregnated silk rope, invited children and cats to walk over it, spattered it freely with pigment. The Sleeper prints used a range of materials and objects placed on soft ground to try to effect the same damage upon the paper’ (William Kentridge, in: William Kentridge Prints, David Krut Publishing, Johannesburg and New York, 2006, p. 66)
Sleeper Black, 1997
Etching, Aquatint & Drypoint
97 x 193 cm.
Signed and inscribed `EA', a proof aside from the numbered edition of 50, of which only 20 were printed.
D. Krut, William Kentridge Prints, Johannesburg and Iowa, 2006, no. 68.
“The print marked Act IV, Scene I from the Ubu Suite provides the compositional motif that Kentridge expounds upon in the large Sleepers, a series of 4 prints published in 1997. The artist, Ubu, lies naked on a table suggestive of hospital beds, mortuary slabs, dissecting tables or torture chambers. There is nothing sexual or voyeuristic about this portrayal of the male nude (the artist again) who exists rather as an asexual figure of suffering and resignation, an interesting counterpoint to the tradition of the reclining female nude in western art. South Africa gained its independence under Mandela in 1994, and the Truth and Reconciliation Commission began its arduous process of confession and healing. Kentridge was working on large-scale charcoal drawings of Ubu at this time and in order to bring a sense of the body abused, damaged and humiliated into the drawings (in accordance with the histories revealing themselves on the radio every morning in the TRC broadcasts), he rode over the paper on a bicycle, flagellated the paper with a charcoal-impregnated silk rope and invited, “children and cats” to trample upon and desecrate the image. To carry these marks onto a plate through printmaking, Kentridge used a range of materials and objects and pressed them into a soft ground painted onto the giant Sleeper plates, leaving footprints, scrapes and scratches.
This extract is taken from Kate McCrickard’s essay, “William Kentridge Prints” which was commissioned by Edinburgh Printmakers to accompany an exhibition of Kentridge’s work, curated by David Krut, that was shown during the Edinburgh Printmakers’ Festival from July to September 2007.
Sleeper I, 1997
Etching with aquatint
97 x 193 cm.
Signed lower right. Inscribed `Proof' lower left
Edition of Proof aside from the edition of 30
Purchased direct from the Publisher, David Krut Fine Art Editions
Private Collection, USA
D. Krut, William Kentridge Prints, Johannesburg and Iowa, 2006, p. 66.
Standing Figures, 1950
40.8 x 29.4 cm.
Signed, dated & numbered from the edition of 50 in pencil
Edition of 50
Private Collection, UK
Gérald Cramer (ed.) Alistair Grant & David Mitchinson, Henry Moore. The Graphic Work, 1931-72, vol. I, London, 1973, no.14, illustrated.
Based on a drawing Standing Figures 1948.
Frieze of Dancing Figures, 1921
Linocut on buff paper
16.5 x 34.5 cm.
Private Collection, UK
Henry Moore and the Challenge of Architecture , published by the Henry Moore Foundation, 2005, catalogue no.3, page 6
Henry Moore Foundation, Henry Moore and the Challenge of Artchitecture, Perry Green Much Hadham, 2005
One of only 3 recorded impressions.
Dancing Figures is a rare and early linocut from 1921, which came to light among other previously unseen works in the exhibition Henry Moore and The Challenge of Architecture, organised by the Henry Moore Foundation in 2005.
This linocut was created as an idea for an architectural frieze and conveys a sense of movement and dynamism among the stylized figures, giving a clear insight into Moore’s creative process at a time when he started his earliest explorations of architectural concepts.
German Double Pill-Box, 1918
Lithograph on white wove paper
45 x 35.5 cm.
Signed and dated lower right. Dedicated in pencil to 'Sir Michael Sadler' upper left.
Edition of 25
Postan, Alexander. The Complete Graphic Work of Paul Nash. London: Secker & Warburg, 1973. cat.no. L5.
Encouraged by artist and lecturer, William Rothenstein, Sir Michael Sadler attended an exhibition at Dorien Leigh Gallery in 1915 and purchased two works by Paul Nash. A friend and collector of Wassily Kandinsky, he was the President of the radical Leeds Art Club, and a great champion of modern art in Britain. As a long-standing client of the Leicester Galleries (they had an exhibition of his print collection in 1944) it is probable that this print was purchased, along with ‘A Shell Bursting, Passchendaele’, from the gallery, conceivably from the 1918 ‘Void of War’ exhibition.
The subject of ‘German Double Pill Box, Gheluvelt’ is the aftermath of an offensive in the battle of Passchendaele. Among the units involved were the 15th Hampshires, whom Nash would join in early 1917. In the battle the unit were ordered to seize a position close to the German position of Tower Hamlets, an area of camouflaged concrete ‘pill-box’ machine gun posts. In letters to the British War Memorials Committee Nash described the subject that also inspired his monumental work, ‘The Menin Road’:
The picture shows a tract of country near Gheluvelt village in the sinister district of ‘Tower Hamlets’, perhaps the most dreaded and disastrous locality of any area in any of the theatres of War.
Returning to the Trenches, 1916
Drypoint on off-white laid paper
15.1 x 20.2 cm.
Signed and dated in pencil
Private Collection, UK
Osborne Samuel, London
Black, Jonathan. CRW Nevinson – The Complete Prints. London: Lund Humphries in association with Osborne Samuel, 2014. cat. no 9.
During his time both as an ambulance driver and with the Red Cross, Nevinson was captivated by the dense lines of marching French soldiers seemingly moving as one. Informed by the Futurist techniques for depicting movement, seen in such works a Boccioni’s ‘The City Rises’ and ‘States of Mind’, the French soldiers in ‘Returning to the Trenches’ merge into one unified mechanical mass, their limbs blurring together, giving one the impression of a speeding train disappearing into the distance. In his autobiography Nevinson stated that these soldiers may have been part of the French 89th territorial division, and in the oil painting of the same subject the early French uniform is distinctive with its impractical red cap. In an interview with The Daily Express in February 1915 where the painting was reproduced he stated:
“I have tried to express the emotion produced by the apparent ugliness and dullness of modern warfare. Our Futurist technique is the only possible medium to express the crudeness, violence, and brutality of the emotions seen and felt on the present battlefields of Europe … Modern art needs not beauty, or restraint, but vitality.”
Swooping down on a Taube, 1917
40.2 x 30 cm.
Signed, dated and numbered. Also stamped in ink lower right margin 'Made in Britain'
Edition of 200
Black, Jonathan. CRW Nevinson – The Complete Prints.
London: Lund Humphries in association with Osborne Samuel, 2014. cat. no. 21.
NEVINSON AND ‘MAKING AIRCRAFT’
‘Britain’s Efforts and Ideals’ was a series of prints published by the Department of Information, the wartime propaganda wing of the government. The prints were intended to be widely distributed and exhibited to boost morale and encourage support for the British war effort. Nevinson was selected for the topic of ‘Making Aircraft’ a new element of modern warfare. Each print was published in editions of 200 signed and a further 100 unsigned impressions. ‘Efforts’, such as Nevinson’s series, were sold for £2 2s (£100 today) and ‘Ideals’, symbolic subjects, for £3 3s (£154 today). Art critic P.G. Konody wrote of Nevinson’s lithographs in the Observer; “To look at his flying pictures is to share his experience of swooping through the air. Here are all the essentials of movement, of exhilaration, of the victory of human intelligence over the forces of nature and these essentials are detached from their insignificant and disturbing details.” The series was exhibited at the Fine Art Society in early July 1917 and went on to tour Britain, France, American, Canada and Australia, launching Nevinson’s international career as a printmaker.
Here a British plane dives towards an enemy plane, nicknamed a ‘Taube’, meaning ‘dove’, so called because its outline is curved like that of a bird.
Nerves of an Army, 1918
Drypoint on off-white laid paper
20 x 14.2 cm.
Signed lower right, edition of 100
Edition of 100
Black, Jonathan. CRW Nevinson – The Complete Prints. London: Lund Humphries in association with Osborne Samuel, 2014. cat. no. 41.
Nerves of an Army depicts four Royal Engineers repairing severed telephone wires – vital lines of communication between Commanding Officers and the front lines. The soldiers are precariously balanced on the telephone pole and, silhouetted against the sky, would be at risk of being spotted by the enemy.
As the title suggests they remain calm and stoic in spite of the dangerous situation, qualities deemed innately British and patriotic. Years later the drypoint inspired film director, Richard Attenborough, an impression of which he owned, to recreate the image in his directorial debut ‘Oh! What a Lovely War’.
Now Back the Bayonets, 1918
Lithographic poster on thin wove, backed onto linen
75 x 48 cm.
Nevinson first produced his bayonet design for the poster for his own show of paintings at the Leicester Galleries, March, 1918, entitled “War”, illustrated in Edward Bayes’s “The Underworld: Taking cover in a Tube Station during a London air raid” in the Imperial War Museum collection. Nevinson later adapted the design and the accompanying text for a poster issued by the National War Savings Committee to promote the raising of funds.
The remarkable design depicts massed fixed bayonets printed in orange against a bright yellow background. The bold design and the superimposition of the black stylized text against a field of fiery colour variants is arresting. Image and text are successfully integrated through the elaboration of an appropriately cubist letterform, whose spikey design echoes the raised bayonets, rendered with mathematical precision.
Furthermore, Nevinson’s design exemplifies the optical disturbance associated with “dazzle” effects, those made possible by combining the geometric experimentation of cubism with the simplifications of the Japanese woodcut of the Ukiyo-e (floating world). In poster terms, dazzle effects were deployed to attract the eye against an increasingly hectic background of metropolitan spectacular. Large-scale dazzle effects were famously used by Norman Wilkinson and colleagues to camouflage shipping.
The cultural significance of Nevinson’s poster cannot be overstated. Looking back over the artistic experimentation of the 20th century, the consistent recurrence of dazzle and strobe effects points to the power of this design as a major breakthrough.
The subject of men marching was a recurring theme with both Nash and Nevinson. Here however, rather than the soldiers marching in single file, as we can see in ‘Returning to the Trenches’, they are turned, either marching shoulder to shoulder pushing the enemy back, or bayonets raised in celebration. The same image was used in an earlier poster ‘Now the Bayonets Have Won Through’.
The posters were designed to encourage the purchasing of War Savings Certificates, a way of attracting war financing from the home population.
The Temples of New York, 1919
19.7 x 15.5 cm.
Signed lower right
Black, Jonathan. CRW Nevinson – The Complete Prints. London: Lund Humphries in association with Osborne Samuel, 2014. cat. no. 55.
First exhibited in his October 1919 solo exhibition at the Leicester Galleries, ‘Temples of New York’ depicts the steeple of Trinity Church in the centre of the financial heart of New York. The angle suggests that Nevinson may have been looking out from the recently completed Equitable Building. Nevinson may well have seen this view before the war. In 1913 the Goupil Gallery in London held an exhibition of photographs by Alvin Langdon Coburn featuring sharp angled views of the skyscrapers of New York including a view of the Trinity Church spire. Nevinson would most likely have been aware of the work as his friend H.G. Wells wrote the introductory essay for the catalogue. Ambivalent about the power wielded by the financial sector in New York, Nevinson depicts the spire, the tallest building in New York until the 1890s, dominated by the new skyscrapers, the very symbol of capitalism.
New York: An Abstraction, 1921
Drypoint printed in sepia on off-white laid paper
12.7 x 8.9 cm.
Signed lower right. Titled verso.
Black, Jonathan. CRW Nevinson – The Complete Prints. London: Lund Humphries in association with Osborne Samuel, 2014. cat. no. 77.
Used as the cover image for the catalogue at Bourgeois Galleries, New York, 1920, ‘New York: An Abstraction’ may be based on a stretch of elevated railway that ran along Third Avenue. The wall of skyscrapers and the train tracks dominate the composition, leaving no space for human beings, described by Jonathan Black as “New York’s somewhat inhuman architectural dynamism”. Nevinson later renamed the oil painting of the same subject, ‘The Soul of a Soulless City’ – indicative of the artist’s now distinctly negative view of the city.
Six Snapshots of Julie, 2015
A series of 6 woodcuts with lithographic underlays printed on 185 gsm Aquarelle Arches Satin Paper
72.5 x 48.5 cm.
Signed by the artist and numbered on the reverse
Edition of 68
The Plough, 1928
20.6 x 31.6 cm.
Signed, titled & numbered
Printed from 3 blocks in emerald green, cobalt blue & mauve.
This very rare print by Spowers shows the plough going from right to left. There is a later edition of 50 of the same subject reversed titled ‘Birds Following a Plough’ also in an edition of 50 in 1933 (see Coppel ES 26). There is also a woodcut of the same subject made in 1929.
S.S. Jerseymoor, 1918
Woodcut printed in black on Japan paper
11.9 x 21.3 cm.
Signed lower right, titled & dated lower left
Lord Timothy Willoughby of Eresby (grandson of Nancy Astor)
Colnaghi catalogue 130
The SS Jerseymoor is an exquisite woodcut of 1918, a classic image for a Vorticist artist like Wadsworth who helped in the design of ‘ dazzle camouflage’ during WW1
In 1917 Edward Wadsworth was hired to oversee the application of ‘dazzle’ patterning to ships in the Liverpool and Bristol dockyards. Dazzle camouflage was devised as a means of frustrating the attempts of German U-boat commanders to calculate the exact course and speed of an allied merchantman. By breaking up the outline of the hull with irregular patterns painted in stark colours, a ship became more difficult to target accurately, reducing its chances of a direct and fatal hit by torpedo. During 1918 nearly 2500 ships were being painted at any one time and the results of this dazzle camouflage were successful to the war effort and something to which Wadsworth was very proud.
For a Vorticist artist these ‘dazzle’ ships with their cubist informed patterning were an obvious subject matter. In ‘S.S. Jerseymoor’ Wadsworth created a pictorial equivalent of the ‘dazzle’, conflating the diverging diagonals of the barrels in the foreground with the striped ship, rigging, warehouses and cranes in the middle-distance. The result is dynamic and visually disorientating, perhaps not too dissimilar in effect to the view of a dazzled ship glimpsed from a U-boat periscope.