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Village on a Hill, original etching by Antonie Waterloo (c1609-1690), c1660, signed in the plate

When the Syracuse University Art Collection organised the 2007 exhibition titled ‘Rembrandt: the consummate etcher & other 17th-century printmakers’, it brought together 19 works on paper by Rembrandt with 21 etchings by his contemporaries. The latter included a proof of this work by Waterloo, from the Hyde Collection in Glen Falls, New York. (See http://www.codart.nl/exhibitions/details/1217/).
     I assume that the title is a generic description of the scene. Just visible in the distance is a windmill, so it’s probably a scene from Waterloo’s native Holland.   Waterloo was a contemporary of Rembrandt, and is best known for his landscapes, often involving wooded scenes. He was born in Lille, and lived most of his life in Amsterdam. He travelled throughout Europe, and divided his energies between drawing and etching, and working as an art dealer. A handwritten note on the reverse of the frame states that according to Bartsch, Waterloo produced 136 plates during his etching career. Note the various spellings of the artist’s name: Andoin, Antoine, Antonie, Anthonie, Waterlo and Waterloo.
     The Art Institute, Chicago, the Fine Arts Museums of San Francisco and UK’s Fitzwilliam Museum in Cambridge all have good collections of his etchings.  
     The print measures approx. 122 x 207mm. It is in very good condition for its age, and seems to have received no conservation work. It has been trimmed close to the platemark, as was the fashion among collectors in earlier centuries. There is very light foxing in the top left hand corner (see the photo). The print is glued down to the backing card.

‘Frost in the air’ original signed etching by Andrew Watson Turnbull

Andrew Watson Turbull (1874-1957) lived mainly in London and the south east, and for a while in Edinburgh. He was a painter and etcher, and also a stained glass artist.
     This work measures 177 x 254mm. It is titled in pencil (lower LH corner) and signed in pencil by the artist (lower RH corner). There is no foxing, and no age toning. It’s a rich, bright print.
     It is in what looks like the original frame, but a new rear panel has been fitted in recent years. It’s a very large frame, measuring approx. 55 x 42cm, so I would prefer to ship the print without the glass and frame. That’s what the quoted P&P covers. If you would like the frame and all, please ask for a revised shipping cost before paying. Thank you.