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www.dorothywoollard.com is essentially an information website devoted to the artist Dorothy Woollard.

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 roger@dorothywoollard.com.

When prints have been sold, I have left the image and description still visible, as an aid to anyone researching this artist.

Please see the Sale Terms here.

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.

Opera 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 Apple)  -  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.

Opera 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 Apple)  -  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.

Rev James Martineau by J Stephenson after a painting by C. Agar, January 1847

Martineau (1805-1900) 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.

Thomas 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.

'The 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.

Sir 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.

Portrait 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.

Une 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.

Young 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.

‘The 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.

'In port, Gloucester' 1882 by Stephen Parrish

American artist 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.

Houses of parliament, London, by Gordon Leigh

Charming little 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.

Signed 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.

‘Seathwaite 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.

‘Porte 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.

‘Peasant 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.

‘Oxcliffe Marsh’ by Fred Burridge RE, c1900

Frederick Vango 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.

‘North 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.

‘La 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.

Uncoloured 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.

‘Cardinal Manning’ by George Woolliscroft Rhead after GF Watts. 

George Woolliscroft 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 family  -  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.

‘Bridge 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

'Marten 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

'Ellen 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

'Down 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

'Ye 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

‘First 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

‘Delft’ 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

A 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 Gallery, London.
    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

Faithful 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.

‘On 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 Foster

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).