The Treasure Hunt: Part VII

Printmaking in the United Kingdom has a long and rich history, starting with the utilization of the letterpress. After Germany’s Johannes Gutenberg invented the “moveable type” printing press in 1439, Britain- industrious to the last- wasted no time in replicating it, printing and publishing Chaucer’s Canterbury Tales in 1476. The British art print, in the form of the woodcut, began to flourish in the 15th century, with the publication of illustrated books. Printed works and their accompanying illustrations greatly impacted the growth of literacy, as well as public awareness of class disparity, in the United Kingdom. By the 18th century several acclaimed English artists had begun utilizing the industrial and economical technique to replicate and spread powerful political imagery, both serious and satirical in nature. One such artist was William Hogarth (1697 – 1764), well known not just in the United Kingdom but throughout all of Europe for his tongue-in-cheek etchings. British industry helped develop and popularize the use of intaglio and lithographic printmaking, as well. However it wasn’t until the Victorian era that the primarily commercial medium would be utilized by a handful of innovative artists to reproduce an image with artistic intent, rather than informational. We’ve selected a range of British prints of the 19th and 20th centuries to illustrate this movement.

Click on the links to get more information on the print, as well as biographies of the artists who made them.

25 British Printmakers

Susan Allix: "Omar Khayyam - The Rubaiyat, as rendered into English by Edward Fitzgerald", 1973; book of color etchings and intaglios. $3,500

Susan Allix: “Omar Khayyam – The Rubaiyat, as rendered into English by Edward Fitzgerald”, 1973; book of color etchings and intaglios. $3,500

Susan Allix (born 1943): Omar Khayyam (The Rubaiyat, as rendered into English by Edward Fitzgerald), 1973; hand-bound book with 27 color etchings and intaglios; ink signed and numbered; 61/75; book size: 10-1/2 x 1-1/4 x 1-5/8″; plates: various; printed and published by the artist and Quadrat Press; on J Green white wove mould-made paper; bound by Sangorsky & Sutcliff, London.

Robert Austin: "Girl on Stairs", 1937; etching. $1,200

Robert Austin: “Girl on Stairs”, 1937; etching. $1,200

Robert Austin (1895 – 1973): Girl on Stairs, 1937; engraving; initialed in plate; trial proof, from outside the edition of 50; state viii/ix; 6-5/16 x 5-7/8″ platemark; printed on cream wove vellum paper. Reference: Dodgson 117 (viii/iv).

Muirhead Bone: "Constantinople", 1934; drypoint. $500

Muirhead Bone: “Constantinople”, 1934; drypoint.

Muirhead Bone (1876-1953): Constantinople, 1934; drypoint; pencil signed; annotated “96 proofs” (total 97 proofs from 9 states, this being state viii/iv); 5-15/16 x 11-7/8″ platemark; printed on antique-white wove paper. Reference: Dodgson 454.

Edward Gordon Craig: "Town on a Hill", 1907/1925; woodengraving. $425

Edward Gordon Craig: “Town on a Hill”, 1907/1925; woodengraving. $425

Edward Gordon Craig (1872 – 1966): Town on a Hill, 1907/1925; woodengraving; pencil signed; proof, from published state (“only 150 printed. copy 55″ annotated along bottom); 1-1/2 x 6-5/8” image size; printed by the artist on fine laid paper.

Alan Davie: "III (from the portfolio 'Zurich Improvisation')", 1972; color lithograph. $900

Alan Davie: “III (from the portfolio ‘Zurich Improvisation’)”, 1972; color lithograph. $900

Alan Davie (born 1920): III (from the portfolio ‘Zurich Improvisation’ of 34 color lithographs), 1970; color lithograph; pencil signed; 8/75; 22 x 29-1/2″ image size; printed by the artist on antique-white Rives BFK wove; published by Editions Electo. Reference: Editions Electo 245, EA44.

Anthony Davies: "Peter Grimes (A narrative poem by George Crabbe)", 1982; etching and aquatint. $1,800

Anthony Davies: “Peter Grimes (A narrative poem by George Crabbe)”, 1982; etching and aquatint. $1,800

Anthony Davies (born 1947): Peter Grimes (a narrative poem by George Crabbe with 22 etchings), 1982; etching and aquatint; pencil signed; 21/50; 7-3/4 x 9″ platemarks; printed on Saunders 285 GSM antique-white rag paper; published by Clare Beck and Moira Kelly.

Edward Julius Detmold: "Off to the Fishing Grounds", 1899; etching. $1,200

Edward Julius Detmold: “Off to the Fishing Grounds”, 1899; etching. $1,200

Edward Julius Detmold (1883 – 1957): Off to the Fishing Grounds, 1899; etching; pencil signed; edition size not stated; 13-3/4 x 18-1/4″ platemark; printed on antique-white vellum paper. Reference: Alfrey & Verdi 25; CD55.

Ada Shrimpton Giles: "Flowering Tree in Front of Gate", circa 1920; color metal relief print. $1,200

Ada Shrimpton Giles: “Flowering Tree in Front of Gate”, circa 1920; color metal relief print. $1,200

Ada Shrimpton Giles (1858 – 1925): Untitled (flowering tree in front of gate), circa 1920; color metal relief print; pencil signed; numbered 27 from an unstated edition; 12-7/8 x 9-5/8″ platemark; printed on soft cream laid paper.

John Greenwood: "Grassington Bridge, Morkshire", circa 1924; woodengraving. $225

John Greenwood: “Grassington Bridge, Morkshire”, circa 1924; woodengraving. $225

John Greenwood (1885 – 1954): Grassington Bridge, Morkshire, circa 1924; woodengraving; pencil signed; edition size not stated; printed on fibrous cream wove paper.

Anthony Gross: "Summit (Spur with Valley)", 1957; etching and engraving. $700

Anthony Gross: “Summit (Spur with Valley)”, 1957; etching and engraving. $700

Anthony Gross (1905 – 1984): Summit (Spur with Valley), 1957; etching and engraving; pencil signed; 52/100; 13-7/8 x 17-7/16″ platemark; printed on antique-white wove with elaborate, unidentified watermark; published by the International Graphic Arts Society (IGAS). Reference: Herdman 5703; Reynolds 186.

Arthur Hackney: "Dappled Horse in a Surrey Field", 1960; etching and aquatint. $300

Arthur Hackney: “Dappled Horse in a Surrey Field”, 1960; etching and aquatint. $300

Arthur Hackney (1925 – 2010): Dappled Horse in a Surrey Field, 1960; etching with aquatint; pencil signed; 32/50; 12 x 11-1/2″ platemark; printed on heavy, cream wove vellum.

Francis Seymour Hayden: "The Village Ford", 1881; etching with drypoint. $900

Francis Seymour Hayden: “The Village Ford”, 1881; etching with drypoint. $900

Francis Seymour Haden (1818 – 1910): The Village Ford, 1881; etching with drypoint; pencil signed; proof from state ii/v (before plate is reduced); 7-1/16 x 11-9/16″ platemark; printed on antique-white laid paper. Reference: Schneiderman 202ii; H 216.

Stanley William Hayter: "Faust's Metamorphosis - Poems by George Reavy", 1931-'32; book of engravings with mezzotint. $2,000

Stanley William Hayter: “Faust’s Metamorphosis – Poems by George Reavy”, 1931-’32; book of engravings with mezzotint. $2,000

Stanley William Hayter (1901 – 1988): Faust’s Metamorphoses – Poems by George Reavy (6 engravings by Hayter), 1931 – ’32; 6 engravings, 4 with mezzotint; ink signed by both the artist and the poet; 23/100; 10-3/4 x 7-3/4″ portfolio cover size; published by The New Review Editions, Fontenay-aux-Roses, Paris; printed on Van Gelder Zonen laid paper. Reference: Black & Moorhead 55-60.

William Lee-Hankey: "La Fille du Ferme", 1917; drypoint. $600

William Lee-Hankey: “La Fille du Ferme”, 1917; drypoint. $600

William Lee-Hankey (1869 – 1952): La Fille du Ferme, 1917; drypoint; pencil signed; unnumbered, from an edition of 50; 9-3/4 x 6-7/8″ platemark; printed on toothy cream wove paper. Reference: Hardie 135.

E. Leigh-Pemberton: "Magnolia Bud", circa 1920; woodengraving. $275

E. Leigh-Pemberton: “Magnolia Bud”, circa 1920; woodengraving. $275

E. Leigh-Pemberton (British: active early 20th century): Magnolia Bud circa 1920; woodengraving; pencil signed; edition size not stated; 5-1/8″ diameter; printed on cream Japanese laid paper. Ex-collection Georg Brochner.

William E.C. Morgan: "Italian Cottage", 1928; drypoint. $350

William E.C. Morgan: “Italian Cottage”, 1928; drypoint. $350

William E.C. Morgan (1903 – 1979): Italian Cottage, 1928; drypoint; pencil signed; 34/78; 4-1/4 x 5-15/16″ platemark; printed on cream laid “David Strang” watermarked wove paper.

Samuel Palmer: "The Cypress Grove", circa 1880; etching. $1,200

Samuel Palmer: “The Cypress Grove”, circa 1880; etching. $1,200

Samuel Palmer (11805 – 1881): The Cypress Grove – plate 14 from “An English Version of the Eclogues of Virgil”, circa 1880; etching (finished by Palmer’s son, Anthony); signed in the plate; unnumnered, from the state i/iv (before text); 3-15/16 x 5-15/16″ platemark; printed on heavy, antique-white wove paper. Reference: Boerner 15; Lister E15.

Roland Penrose: "Bon Jour Max Ernst", 1976; color soft-ground etching. $800

Roland Penrose: “Bon Jour Max Ernst”, 1976; color soft-ground etching. $800

Roland Penrose (1900 – 1984): Bon Jour Max Ernst, 1976; color soft-ground etching; pencil signed; 26/100; 14-7/8 x 9-3/4″ platemark; printed on antique-white Arches wove paper.

John Piper: "Stone Wall - Anglesea", 1949; color lithograph. $1,800

John Piper: “Stone Wall – Anglesea”, 1949; color lithograph. $1,800

John Piper (1903 – 1992): Stone Wall – Anglesea, 1949; color lithograph; pencil signed; 28-50; stamped “Zullant Wien 129″ on verso; 15-5/8 x 20-1/2” image size; printed on cream wove paper. Reference: Piper catalogue #71.

Arthur Rigden Read: "The Chinese Ducks", circa 1920; color woodcut. $475

Arthur Rigden Read: “The Chinese Ducks”, circa 1920; color woodcut. $475

Arthur Rigden Read (1879 – 1955): The Chinese Ducks, circa 1920; color woodcut; pencil signed; edition size not stated, presumed small; 6-7/8 x 5-1/16″ image size; printed on soft, antique-white laid paper.

Ceri Richards: Untitled (abstract fantasy), circa 1955; color lithograph. $1,200

Ceri Richards: Untitled (abstract fantasy), circa 1955; color lithograph. $1,200

Ceri Richards (1903 – 1971): Untitled (abstract fantasy), circa 1955; color lithograph; pencil signed; proof from an unstated edition; 14-1/2x  18-3/4″ image size; printed on cream wove paper.

Michael Rothenstein: "Circle - Violet and Yellow", 1968; color linocut, woodcut, and half-tone plate. $950

Michael Rothenstein: “Circle – Violet and Yellow”, 1968; color linocut, woodcut, and half-tone plate. $950

Michael Rothenstein (1908 – 1993): Circle – Violet and Yellow (Beige to Purple, Black Center), 1968; color linocut, woodcut, and half-tone plate; pencil signed; 16/40; 27-3/8 x 23″; printed on white wove paper. Reference: Sidey 182.

Helen G. Stevenson: "The Campers", circa 1920; color woodcut. $1,000

Helen G. Stevenson: “The Campers”, circa 1920; color woodcut. $1,000

Helen G. Stevenson (active early 20th century): The Campers, circa 1920; color woodcut; pencil signed; edition size not stated, presumed small; printed on antique-white laid paper.

Ian Strang: "Harley Street (London)", 1927; etching. $600

Ian Strang: “Harley Street (London)”, 1927; etching. $600

Ian Strang (1886 – 1952): Harley Street (London), 1927; etching; pencil signed; unnumbered, from an edition of 75; 9-13/16 x 13-3/8″ platemark; printed on antique-white laid paper with partial watermark; published by Alex Reid & Lefevre. Reference: Strang #147; PCQ Vol. 18, #2, pg. 144.

William Walcot: "At Thebes", circa 1914; etching, drypoint, and aquatint, printed in brown/black ink. $5,000

William Walcot: “At Thebes”, circa 1914; etching, drypoint, and aquatint, printed in brown/black ink. $5,000

William Walcot (1874 – 1943): At Thebes, circa 1914; etching, drypoint, and aquatint; pencil signed; RARE artist’s proof from an unknown edition (not in Dickens); 23-1/16 x 29-3/4″ platemark; printed on heavy, antique-white wove paper. Ex-collection Warren Howell.

This concludes Part VII of “The Treasure Hunt”

About Annex Galleries

The Annex Galleries holds one of the largest original fine print inventories on the West Coast. With over 9,000 works, we specialize in (but are not limited to) original prints of the WPA era, Arts & Crafts movement, and Abstract Expressionism through the 1960's, with a focus on American and Californian artists both known and unknown. We have everything from Durer to Baumann to Picasso.
This entry was posted in Abstract Expressionism, Arts & Crafts, Atelier 17, Color Woodcut, Discoveries, Exhibition, Impressionism and tagged , , , , , , , . Bookmark the permalink.

2 Responses to The Treasure Hunt: Part VII

  1. Roy Raymond says:

    loads of fun……….wish I could afford the Rubaiyat! R

  2. Pingback: The Treasure Hunt: Part VII | Cat Among the Pigeons Press

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