During research into the artist's life and work over the past 20 years, author Roger Staton acquired a number of original etchings by other artists. In most cases this was the result of having to purchase a mixed auction lot that included a work by Dorothy Woollard.
Now Roger has decided to slim down this accidental collection by offering them for sale via this website. More prints will be added from time to time, so you might like to bookmark this page so you can return to it periodically.
The technical limitations of this website management package mean that in some cases the image doesn't do justice to the clarity and tone of the actual etching. If you would like a high-res image to inspect, please email email@example.com.
When prints have been sold, I have left the image and description still visible, as an aid to anyone researching this artist.
Les bords de la Seine pres de Argenteuil by Maxime Lalanne
The foremost French etcher in the second half of the 19th century, known for his topographical scenes showing rural France. This print probably came from one of the publications for which he contributed etchings. It is on a sheet of paper measuring 32 x 44cm. There is heavy foxing over the sheet, although it is worse in the margins than on the plate area.
Dimensions: 8.5 x 25cm
Price: £50. P&P (UK only) £8. Please ask about shipping costs to locations outside the UK.
Durham by Harold H Holden
Harold Henry Holden was a contemporary of Dorothy Woollard, born in 1885 in Settle, Yorkshire. He attended the Royal College of Art, by way of Skipton and Leeds Schools of Art. He became an art teacher, painter and etcher and lived mostly in the Midlands and North of England.
This print is signed and titled by the artist, and inscribed ‘to my friend Derek’.
Dimensions: 23 x 14.7cm
Price: £100. P&P (UK only) £8. Please ask about shipping costs to locations outside the UK.
It's just possible that some of the older prints below came from the collection of William Duke of Bedford (1809-1872). The evidence for this is the fact that they were purchased in a card folder bearing the Duke's bookplate. However, this provenance cannot be verified. It's a nice thought, though.
set design by Matthaus Kusel after Lodovico Burnacini, 1667
This is one of the 24
fold-out set designs from the c.1667 edition of Il Pomo Doro (the Golden
a lavish opera by Pietro Antonio Cesti.
The print is in poor condition, with two vertical creases (split in places)
where the page was folded to fit into the book, two small sections of paper
missing from top edge, and various tears.
The print has been pasted onto a paper backing sheet. Despite the condition, this is an important
historic print. The V&A Museum has a
copy, see http://collections.vam.ac.uk/name/kusel-matthaus/46367/ 255
x 430mm. £100 + P&P.
set design by Matthaus Kusel after Lodovico Burnacini, 1667
This is another of the 24
fold-out set designs from the c.1667 edition of Il Pomo Doro (the Golden
a lavish opera by Pietro Antonio Cesti
- and shows a battle scene. The print is in poor condition, but mostly
complete. There are vertical creases
(split in places) where the print was folded for insertion into the book, and
there is a large piece of paper missing from the bottom of the left section,
and various tears. The print has been
pasted onto a paper backing sheet. Despite
the condition, this is an important historic print. The V&A Museum has a copy, see http://collections.vam.ac.uk/item/O1140992/print-h-beard-print-collection/ 255
x 430mm. £100 + P&P. Image to be added soon.
James Martineau by J Stephenson after a painting by C. Agar, January 1847
was a religious philosopher, Unitarian Minister and educator. This print, from a painting by C. Agar, shows
him in his early forties. Published by
Messrs Stephenson & Agar at the Art Union Repository, 104 King Street,
Manchester. The National Portrait
Gallery has a copy of this work. Line
and stipple engraving, 420 x 330mm. This
print has been stamped ‘proof’. £100 + P&P.
Martineau by Charles Turner ARA after a painting by Henry W. Pickersgill, ARA
The subject is the
father of Rev James Martineau the religious philosopher, Unitarian Minister and
educator. Charles Turner ARA (1774-1857)
is best known for his mezzotint portraits, and for his interpretations of
paintings by his friend JMW Turner. The
National Portrait Gallery has a very large collection of his engraved
portraits, but not a copy of this one. Printed
line at foot of print reads: ‘London published May 29th 1841, for
the proprietor, by Mr C. Turner, No. 50 Warren Street, Fitzroy Square’.
Mezzotint, 395 x 295mm £100 + P&P.
woman caught in adultery' (or ‘Christ and Woman Taken in Adultery’), by F
Bartolozzi, , c1738.
The printed wording at
the foot of the print reads: Drawn by
Mr. Hussey from the Original Picture of Agostino Carracci, in the Zampieri Palace
at Bologna, and presented by him to the Earl of Northumberland in the Year
1737. Now in His Majesty's Collection.
The print has been cropped very closely to the edge of the printed area,
and is in very good condition for its age, with just a few tiny nicks along the
edges, and signs of drawing pin holes in the top corners where it was probably
hung on display. 350 x 395mm £150 + P&P.
Francis Walsingham by Jacobus Houbraken, 1738
This is one of the illustrations by Jacobus Houbraken for ‘Heads of
Illustrious Persons of Great Britain’, published in parts from 1743 to 1752. The image was based on a painting of
Walsingham by Frederico Zucchero, then in the collection of the Right
Honourable Sir Robert Walpole. Sir Francis
Walsingham was Queen Elizabeth the first’s spymaster. This print was printed by John & Paul
Knapton, London, 1738. 370 x 237mm. Original wide margins with several rips that
do not intrude into the image area, apart from one tear at the top that extends
just as far as the printed edge. The
V&A has an extensive collection of portrait engravings by Houbraken,
including this work. £100 + P&P.
of Sir Francis Drake by Jacobus Houbraken, 1746
This is one of the illustrations by Jacobus Houbraken for ‘Heads of
Illustrious Persons of Great Britain’, published in parts from 1743 to 1752. The print has been trimmed all round to approx. 8mm from the edge of the image. Published by John & Paul Knapton, London,
345 x 210mm. £100 + P&P.
barque a mare basse (a boat at low tide) by (Louis) Adolph Hervier
A scene from Boulogne
sur Mer. Printed by Delatre, Rue St
Jacques, 303, Paris, published by A Cadert & F Chevalier, Editeurs, Rue
Richelieu 66. Bears the blind embossing
of Cadart & Chevalier, and may be one of the prints from one of the volumes
of Eaux Fortes Modernes published in
the 1860s. Original wide margins as published. Some creases and small tears
to the edge of the sheet, but these are well clear of the image area. £75 + P&P.
girl with cat by Gabrielle Poynot, 1890
Little information seems to be
available on French artist Gabrielle Poynot.
The 1891 book ‘Les gravures du XIX siècle’ by Henri Beraldi states that
she had been a pupil of celebrated French etcher Charles Albert Waltner (1846-1925). (Waltner was so celebrated that the French
Government made him a chevalier of the Legion d'honneur in 1882). The few known etchings by Poynot are
portraits. This work is after the picture by Charles Chaplin. 290 x 205mm.
Signed in pencil by the artist lower LH margin. No signs of having been mounted. £100 + P&P.
bather' by Max Pietschmann
This mezzotint by German
artist and etcher Max Pietschmann (1865-1952) was included in ‘Representative
artists of our time’ published by The Studio in 1903. 278 x 197mm. Very rich tones. Unsigned. £100 + P&P.
port, Gloucester' 1882 by Stephen Parrish
Stephen Parrish (1846-1938) was a member of the New York
Etching Club and
the UK’s Society of
Painter-Etchers, and is
best known for his etchings of maritime and rural scenes in the USA and Europe. He was the father of Maxfield Parrish. Etching, 97 x 240mm. Full margins.
£150 + P&P.
of parliament, London, by Gordon Leigh
etching, has previously been mounted, with remaining glue on all margins, and
age-toning. 75 x 108mm. Signed in pencil by the artist lower RH
margin. £25 + P&P.
artist’s proof by William Alexander (‘Alex’) Ansted
Alex Ansted provided the
illustrations for several books of regional British interest. This proof
may be from one of those works. Pencil signed lower LH margin with the words ‘Alex Ansted del et imp. 190 x 244mm £100 + P&P.
Tarn’ by Richard Samuel Chattock, 1880
This is probably one
of the etchings from the artist’s 1872 set titled ‘Views in Wensleydale’. There is some slight foxing to the top. 175 x 264mm, unsigned £50 + P&P.
Portrait of a girl by Ernst Friedrich von Liphart
Ernst Friedrich von
Liphart (1847-1934, also known as E. de Liphart and Baron Ernest de Liphart) was a Russian/French artist. This may be the work that appeared in the December
1880 issue of The Etcher, and was reviewed enthusiastically in the New York Times on 16th
February 1881 as follows: A portrait study, an etching of E de
Liphart, is the salient print in the December issue of The Etcher. It
represents the head of a girl some ten years old, and is charming in its
drawing and technique. …. What is
essentially good about it is the drawing.
Details of the hair without finicking elaboration show wonderful skill
in the handling of the needle. 243 x
185mm. Unsigned. £150 + P&P.
de Damme, Bruges’ by W P Crooke
This etching appeared
as plate 26 in volume 2 of the 1880 book The Etcher. The Fine Arts
Museums of San Francisco have a copy of this work, reference A102884. 160 x 240mm, unsigned. £50 + P&P.
woman of Boulogne’ or ‘Paysanne des Environs de Boulogne’ by Alfonse Legros, c1870
Published by Seeley
& Co, London, for ‘The Portfolio’. Signed in the plate, 230 x 150mm. . £100 + P&P.
Marsh’ by Fred Burridge RE, c1900
Burridge OBE (1869-1945) is another graduate of the Frank Short etchings
classes at the Royal College of Art. He
went on to become Principal of the Central School of Arts and Crafts in London,
and specialised in watercolour, oil and etched interpretations of British landscape
scenes. This etching with drypoint dates
from 1900 when he was headmaster of the Liverpool School of Art. Oxcliffe Marsh is near Lancaster. The print measures 214 x 250mm. Signed in the plate. £75 + P&P.
Dock’ by Matthew White Ridley, 1865
Matthew White Ridley
(1837-1888) had been a fellow-student of Whistler in Paris, and the two of them
shared a special interest in waterside scenes.
The National Gallery of Canada has a proof of this etching. Printed by Auguste Delatre, 135 x 213mm. £150 + P&P.
boucherie’ by Leon Augustine Lhermitte, c1890
French painter and
etcher Leon Augustine Lhermitte specialised in etching scenes of ordinary
people. This was one of the etchings included in a folio titled 'Nine examples
of original modern etchings'. The Fine Arts Museums of San Francisco have a copy of this etching,
reference 1963.30.30891. 240 x 200mm,
signed in the plate. £100 + P&P.
soft ground etching by George Morland RA (1763-1804), 1799
This scene of
travellers at an inn is the same as an oil painting illustrated in the 1907
book ‘George Morland, his life and works’ by George C Williamson, and titled
‘Farmer, wife and child’. At that time
the painting was in the collection of a Mr. F Abbiss Phillips. This same painting was sold at Christies in
July 2011 for £4,000, with the description ‘Figures conversing at a table
beside a tethered donkey, outside an inn, oil on canvas’. It probably dates from the time Morland spent
living in Leicestershire around 1790. The
same print was included in Francis William Blagdon’s 1806 book ‘Authentic Memoirs of the
late George Morland’, where it was titled ‘Conversation’. The British Museum has a copy of this
work. Along the lower edge of this print
are the words: Sold and published January 1793 by D Orme & Co at the
Morland Gallery, No. 14 Old Bond Street, London. Republished by Orme, Conduit Street, January
1799’. My understanding is that this
soft ground etching was done by Morland himself, rather than one of the many
artists who based prints on his paintings. The bottom centimetre of the print
has been folded up twice. There are four
vertical creases in the print, where it has been folded at some time in the
past, and a small nick in the paper just to the left of the letter ‘G’ in
Morland’s signature. There are heavy
traces of glue and paper in the margins, and the remains of sellotape along the
top edge. Despite the condition, it
remains a good original example of a Morland etching rather than a copy by one of
his many followers. Its uncoloured state
makes it a rather rare print. 290 x 440mm, signed in the plate. £200 + P&P.
Manning’ by George Woolliscroft Rhead after GF Watts.
Rhead RE (1855-1920) studied etching under Alfonse Legros and painting under
the Pre-Raphaelite artist Ford Madox Brown.
He went on to become an important figure in the Arts and Crafts movement,
deploying his skills in painting, etching and designing stained glass and
ceramics, and authoring books on art and design. In 1911 he designed Queen Mary’s fan. He came from an artistic Staffordshire
his father was a pottery designer, and all four children had been
apprentices at Mintons. George
collaborated with his two brothers on the 120 illustrations in an 1898 edition
of Pilgrim’s Progress. This etching of Cardinal Manning is a reproductive
rather than original creative work, based on the oil painting by GF Watts now
in the collection of the National Portrait Gallery. I have not been able to find a single
reference to this etching, so conclude that it may considered a rare work by
Rhead. Rich ink tones. £150 + P&P.
of St Martin, Toledo’ by Joseph Pennell, 1904
This etching by Joseph Pennell
(1857-1926) shows no sign of ever having been mounted, and is in fine condition. The Smithsonian American Art Museum has a
proof of this work. Sepia, 200 x 250mm. £100 + P&P
Ryckaert' by H Macbeth Raeburn RA after the painting by Van Dyck
This mezzotint by celebrated
Scottish engraver Henry Macbeth Raeburn 1860-1947 is a portrait of the one-armed
Flemish landscape painter Marten Ryckaert, from the oil by Van Dyck now in the
collection of the Prado Museum in Madrid. A fine rich impression, Measures 230 x 175 mm. £150 + P&P
Terry as Ophelia' by Anna Lea Merritt
American-born Anna Lea
Merritt (1844-1930) taught herself to etch as a tribute to her English husband (and
her former art teacher) Henry Merritt, who had died not long after their
marriage. She was elected a member of
the RE, and from 1890 on lived in Hampshire, England. See http://gather-ye-rosebuds-while-ye-may.blogspot.com/2009/11/anna-lea-merritt_6851.html
for more details of her life and work. A
quick web search indicates that Anna seems to have executed two different
etchings of Ellen Terry in the Ophelia role.
This work was one of the etchings included in a folio titled 'Nine examples of
original modern etchings'. Cornell University Library has a copy. Measures 235 x 165mm. £100 + P&P
river', or 'Sir William Drake', by Percy Thomas
Percy Thomas RE (1846-1922) was a one-time pupil
of Whistler, and they shared a love of river scenes as this etching shows. The print is pencil signed by the artist, and
also has what appear to be two alternative titles in pencil - Sir
Francis Drake and Down River. The proof
is unfaded, and there are traces of previous glued and hinged mounting on the
reverse. Measures 100 x 147mm £100 + P&P
Compleat Angler' by Sir Francis Seymour Haden, 1877
Seymour Haden (1818-1910) was a surgeon who
originally took up etching as a hobby. He
was also Whistler’s brother-in-law. He became a champion for the etching
community through the late 1800s, leading to the formation of the Society of
Artist Etchers (the ‘RE’). 'Ye Compleat
Angler' is an important work from Seymour Haden’s later career, and was selected
by PG Hamerton for inclusion in
the third edition of his book Etchers and Etching, 1880. This print seems to
be the third and final state of the etching, printed on laid and watermarked
paper. The part of the watermark visible
consists of the letters ARC. There are
good margins, 3.5cm top and bottom, and 5cm left and right. The left paper edge is deckled. There are old hinged mounts on the reverse of
the print. It looks as though the print
has never been framed and hung - it’s in mint condition, with no sun-toning
and no foxing. The British Museum has
copies of this etching.
It measures 140 x 200mm, signed and dated in plate to bottom RH corner. £150 + P&P
at Tryst’ by Robert W Macbeth
Robert Walker Macbeth (1848-1910) was a
Scottish painter and etcher who studied at the Royal Scottish Academy before
moving to London at the age of 23. He
became an associate of the Royal Academy at the age of 35, and a full member 20
years later. He was also a member of the
RE. Little is known about this etching
which dates from around 1880, or the title.
It was one
of the etchings included in a folio titled 'Nine examples of original modern
etchings'. The title is also mysterious. A web search comes up with only one
reference to the phrase ‘first at tryst’, in a line from an allegorical poem
called ‘The Queen of the Hid Isle’ by Evelyn Douglas (pen name of John Barlas, socialist
poet, political activist and friend of Oscar Wilde). However, the publication date of this poem is
1885, which is later than the print.
This print is bright, in excellent condition, printed on cream wove
paper with J Whatman watermark. with
original wide margins of 5cm left and right and 8cm top and bottom. Measures 747 x 600mm £75 + P&P
1892 by Wilfrid Ball
Wilfrid Ball (1853-1917) was an artist and
etcher best known for his topographical etchings of English scenes, especially
Thames River views, and his paintings of Sussex and Hampshire, many of which
were reproduced on postcards. He also
travelled around Europe seeking inspiration, and this 1892 etching of Delft
comes from one of those trips. Signed and titled in the plate, and also pencil
signed by the artist. Slight sunlight toning from a
previous framing, and faint traces of glue well clear of the image area. The image itself is in superb condition. Measures 7 x
12.6cm on cream wove paper, wide margins (5cm+ all round). £50 + P&P
Dutch interior by Georges Henri MANESSE (1854-1926)
After a work by Pieter
de Hooch (Hoog) titled ‘A Woman Drinking with Two Men, and a Serving Woman’ in The National
Printed by Chardon Wittmann, Paris. Some slight foxing well
outside the image area.
Measurements: Image size 195 x 170mm £75 + P&P
'A Surrey Common' by Frederick (?) Slocombe
This print is signed on the plate. The four Slocombe
brothers Alfred, Charles, Edward and Frederick were all artists and etchers,
exhibiting in the late 1800s and early 1900s. The initial in the signature is
difficult to read, but it seems to be the letter ‘F’, so this would be by
Frederick Albert Slocombe.
Print measures 138 x 283mm. Wide margins all round. £75 + P&P
Hearts by Charles O Murray after a painting by P H Calderon
There is a pencil annotation in the margin of this print, stating that it is by Charles O. Murray and based on a work by P. H. Calderon. Philip Hermogenes
Calderon (1833-1898) was a British painter of French and Spanish parents. Noted
for his paintings with historical and religious themes, he became Keeper of the
Royal Academy Schools in 1887. I have been unable to track down a work by
Calderon that matches this etching, so the annotation may be incorrect. Through the late 1800s Scottish-born Charles Murray produced etchings based on paintings by other artists. This is one of them. From around 1900 on, he switched to etching original subjects of his own choosing. Measures 153 x 207mm. £75 + P&P.
the river’ by Joseph Pennell
Published by J S Virtue
& Co Limited on thick wove paper. Unsigned. I have a feeling that although the words 'Original etching by Joseph Pennell' are printed under the image, this may be a reproduction of the original etching. There is one foxing mark in the lower margin, clearly visible in the image here. Measures 220 x 165mm. £50 + P&P.
The woman caught in adultery by Francesco Bartolozzi (1725-1815) after Agostino Carracci
This is a large print on heavy
paper. Trimmed right up to the edge of the image, as was the fashion in the early days of print collecting. Below the image are the words: 'Drawn by Mr. Hussey from the original picture of Agostino Carracci in the Zampieri Palace at Bologna and presented by him th the Earl of Northumberland in the year 1737. Now in His Majesty's collection.' This last comment relates to King George III. Bartolozzi was at the time Engraver to the King. Immediately under the right corner of the image are the words 'F. Bartolozzi Londini Sculp.'
Measures 345 x 395mm. £100 + P&P.
‘Frederick 3rd Lord Chelmsford’ by Lawrence Josset, signed
This print is based on
the painting by Philip de Laszlo. Josset was a 20th century artist
and etcher who trained at the Royal Academy Schools in the 1930s. Platemark measures 385 x 225mm. £100 + P&P.
‘Thirsty Comrades’ etching by A E Coombe after Birket Foster
This charming work was one of the etchings selected for inclusion in The Portfolio, the art periodical of the late 1800s. The print was published by Seeley & Co. c1890. Image size 128 x 178mm. Platemark 158 x 205mm. Very wide margins (8cm left and right, 5cm top and bottom). Never been matted. Slight crease/tear in top edge, but it stops 2cm clear of the platemark. £50 + P&P.
‘Les Vieux Ormes du Champ du Puits a Marzy’ by A. Mathieu, 1864
'The old elm trees in the field of wells at Marzy'. Etched by Mademoiselle
A. Mathieu, published by the well-known firm of Cadart & Luquet at 79
Rue Richelieu in Paris, and printed by Delatre at Rue St Jacques, 303, Paris. Taken from 'Eaux Fortes Moderne' ('Modern Etchings') Signed and dated 1864 in the plate. Blind embossed with the Cadart & Luquet stamp. London's Victoria & Albert Museum has a copy of this work, as do the national Gallery of Australia and the Musee des Beaux Arts in Canada. Print area
measures 205 x 290mm. Some minor foxing in the margins only, one small foxing mark on the edge of the platemark. Ask for a close-up photo. £75 + P&P.
Untitled river scene by Leon Gaucherel
Painter and etcher Leon Gaucherel (1816-1886) was born in Paris, exhibited regularly at the
Salon de Paris between 1847 and 1879, and was awarded the Légion d’Honneur in 1864. His work is widely collected. It’s quite difficult to
see whether the signature at the bottom left of the image was in the plate or
has been added by the artist. It's outside the main image area, but within the platemark. There are no clues as to the location of the river scene, or the
date. Gaucherel is known both for his interpretive etchings of works by other artists, and his original etchings. Image measures 135 x 190mm. In good condition with no foxing. £50 + P&P.
King John’s Bridge, Tewkesbury, original signed etching by Tom
Signed by the artist in pencil below the image. Very good condition on watermarked laid paper. No
signs of ever having been mounted. Measures 150 x 200mm. £50 + P&P.
And finally, two mystery prints. Can you help identify them ?
Thanks to Peter Jones for identifying this attractive little work. He tells me it its title is 'The Hills of Morven', and it is by Colin Hunter RE (1841-1904), probably around 1880. The print size is 130 x 245mm, on a heavy wove paper. Price is £75 plus P&P.
This print is also by an unknown artist. Just faintly visible below the image, on the right, is a signature that might be E. de Moiry; but I have so far failed to establish the artist. If you have any idea what this print depicts, and who the artist might be, I would welcome your thoughts. It measures 93 x 125mm (image dimension).