The Linosaurus

Red hair and white roofs: Update

2012-03-12T14:17:00.006+01:00

Also pasting these recently discovered examples in the original posting, I'll share them here for chronologic readers in this Update posting. Wintery roofs by a German artist. I know I've seen the monogrammed cartouche, or cartouched monogram, lower right, before somewhere...........

And this red haired beauties were hidden in my files under Hans Neumann (1873-1957). They could be cows grazing over the white cliffs of Dover but I suppose this is an Alpine composition.

Studio Schmutzer (2/3)

2012-03-11T20:39:00.001+01:00

Continuingwith Ferdinand Schmutzer’s legacy today some examples of hisetchings are compared to the discovered photographs. In the above photograph of his wife Alice the grandeur (and dress) rivaling John Singer Sargents (1856-1925) portrait of Lady Agnew of Lochnaw. Schmutzer used a cushion allowing a more reclining position for his wife but left it a bit clumsely in sight.

I did my best finding the photograph Schmutzer used to create one of his most famous etchings of Rosa Kantor, a Viennese bankers daughter. It's not 1:1 but it's close. The actual etched print, a huge, impresive and never before seen 95 x110 cm. I am very curiousabout the different and combined techniques he and other artist put to use the photographicalnegatives to the etching plate. I'm convinced the negatives weren’tonly “used as designing aid” as is stated in the accompanying text in theAustrian National Library but far more direct methodes were used. I found this great site www.photogravure.com which answered many of my questions and has a great database.

In the case of Sigmunds Freud's (1856-1939) etched portrait it's obvious, Photo: etching, 1:1. In the case of composer and conductor Richard Strauss (1864-1949) (below) it's probably the next photo from the same sitting session I failed to find. Remnants of the cabinet survived in the background at the eye-level right-side of the etching. And the surviving original photograph had to be mirrored.

On the other hand Pablo Casals' (1876-1973) portrait (below) was again 1:1 to the photograph.

Wether the negatives, or the copper plate, or both, before, afterwards, were (re)-worked and to what extend I cannot technically answer. Comparing Schmutzer’s work to that of other artists a great variety of different styles and effects can be seen in next (3/3) posting.

In the case of Schmutzers view on Dürnstein above I found the etching and a painting in oil but not the photograph that obviously is the source of both.

"Hamburg canal " proving Schmuzters talent and reputation as an important photographer. The list of examples can be much longer; Ferdinand Schmutzer was a prolific artist,

showing in many photo's and etchings his admiration for Rembrandt (right)

The actual word photogravure however is causing much confusion because it is freely used for anarray of artistic grafic expressions. From the relatively basic photographic chemical process of etching the photographical image onto a copper plate, instead of paper, to far more creative and artistic forms of printmaking. Also it isto be taken into account many examples are (still) described as etchingswhile it is obvious they are, technically, some form of photogravure.

Next: other artist using photographic images and negatives creating great and famous prints.

Studio Schmutzer (1/3)

2012-03-08T11:02:00.000+01:00

After aninitial discussion with a certain and prominent writer on Modern Printmaking concerningthe suggestion of possible use of early photography in printmaking my rainy day research leading today to the Viennese studio of FerdinandSchmutzer.

Ferdinand Schmutzer

(1870-1928)

painter, etcher,printmaker, sculptor, professor, portraitist,

and able early photographer
(left etching, right photo)

was a contemporary andacquaintance of turn-of-the-century celebrities like Albert Einstein, psychoanalyst and shrink Sigmund Freud, composer Richard Strauss, cellist Pablo Casals, violinist JosefJoachim and many others including royalties. He and his wife Alice, né Schnabel, entertained in Villa Schmutzer in the Stenwartestrasse and Schmutzer portrayed them all. Their home the centre of intellectual, literary, musical and artistic life in Vienna.

Viewed in thecontext of printmaking Schmutzer, appointed professor in the Vienna Kunst Akadamie in 1908, was teacher to Norbertine Bresslern-Roth (1891-1978). Besides world famous for her woodblock animal prints she is less known for creating other work like her self-portrait (left) and this pastoral reclining Diana in her unmistakingly style. Besides she was a very couragious woman defying Nazi intimidations because of her husband having a Jewish mother.

See here* for some excelent references and biography of Norbertine Bresslern-Roth.

Not longago, in the former residence of the Schmutzers in Vienna, an unexpected treasure was discovered. Thousands of photo's and glass-negatives giving a rare insight in the creative use of early photography. Among them a great many portraits of important and famous people and intimate views in their world, house and studio. Like early photographer and painter George Hendrik Breitner (1857-1923) in Amsterdam and likewise Anders Zorn (1860-1920) in Sweden, Schmutzer understood and put to use the immens possibillities of early photography when in the hands of a creative and skilled artist.

From different sources and locations I scratched together examples showing there is no distinct dividing line between artistic photography and otherforms of art since the invention of capturing lasting images on glass or paper.

Artist likeRudolf van Alt (1812-1905), great painter in the footsteps of his father, could only have dreamedabout such possibilities he and his father had to do without. Here are two equally phenomenalportraits by Schmutzer of a monumental man in his late eighties (1898), the etching (left) made with the help of the mirrored photo negative (right).

Note this etched portrait is hanging on the wall in Schmutzers studio in front of the model. Note also the notched cord hanging next to the standing model. A simple yet effective scaling device. But as you can see Schmutzer did not use the cord (it's strapped-up!) but instead he used the actual photograph for his etching (of which I sadly couldn't find a better image). Schmutzer, the sculptor, pioneer in the world of etching revival became engaged after seeing Rembrandt's etchings while visiting the Netherlands in 1894-96. He was also the first creating etchings in a large, not used before format and inventing and using new tools and instruments. The photographic negative glass plate one of them.

Artists had dreamed of such possibillities since Leonardo’s timesand did Ferdinand Schmutzer made great use. As a photographer Schmutzer belongs in the same league as Alfred Steiglitz and Edward Steichen. I will show in next episode that it is extremely difficult to avoid work created with "the help of" photonegative glass plates becoming dull and mere amateuristic tracings. A pitfall to many artists who tried.

L: A 1894 build German Dressler camera, the year young Ferdinand (24) started his photographic career.

All pictures are mouse-clickable

To be continued soon

The Schmutzer photo treasure is published: Ferdinand Schmutzer, Das photographische Werk 1894-1928 ISBN 978-3-9812344-1-1.

Red haired beauty !

2012-03-05T12:23:00.000+01:00

Victorian Red Haired Beauty by unknown artist

Contemporary Red Haired Beauties by Corry Kooy

Charles' latest posting in ModernPrintmakers revealing a lovely small print of two cows: "Rouge andNoire" by Sylvain Boxsius (1878-1941) coincided with a planned posting on woodblock prints showing cows.

So this is a good opportunity starting with the colorful red beauties first. The opening painting of a "herd of red cattle along river Flist" by Dutch artist Corry Kooy. Although not a print perfectly illustrating the nostalgic feeling we (at least I) have when enjoying a nostalgic scenery that has almost disappeared from our landscapes.

William Nicholson (1872-1949) Anne Faulkner (1862-1933)

Since the times these printmakers took to the meadows, satand sketched their subjects, much has changed. Many of the herds staying indoorsnowadays, the bovine milking types through selective breeding changed into far more powerful andproductive feno-types. Red cows and mixed stock have allmost completely disappeared. This posting with these lovely examples of times gone bya tribute to the colorful cow.

Carl Alexander Brendel (1877-1948)

Siegfried Berndt (1889-1946)

Hiroshi Toshida (1876-1950)

Kathleen Hale (1898-2000) - Johan van der Zee (1898-1988)

This "ordinary" black & white sister had to be included here ofcourse. Japanese printmaker Kanae Yamamoto (1882-1946), when staying in Brittany in 1912, made some great and surprisingly Modern (European) prints. After investigating his no doubt relationship with Breton printmaker Henri Rivière (1864-1951) I'll show them soon.

Likewise, although not prints, these cows (thank you Lily Japonisme!) also in Brittany by Paul Gauguin (1848-1903) and painted in 1890 before leaving for Tahiti 1891 I couldn't resist. His close friend Vincent, himself a red head, shows his love for red beauties and simultaniously, with a wink, paying his respect to Old Master Jacob Jordaens (1593-1678)

And while painting this peaceful family group of red ladies (above) one of the more sensitive German printmakers Walther Klemm (1883-1937) perhaps found his inspiration for this print.

Hans Neumann (1873-1957) printed these probably Alpine red haired cows but they could also be grazing over the white cliffs of Dover.

Closing this thematic posting with contemporary Dutch printmaker Margriet de Goede.

Groningen Martini Tower Woodblock

2012-03-02T09:36:00.000+01:00

The Martini Tower (d'Ôlle Grize, or Old Gray) in Groningen probably is one of the most charactestic landmarks in the Netherlands and has been for centuries the symbol of the Northern provinces. It was build in the 15th century, 96 meters high, and it is said the foundation, build on a layer of cowhides, isn't 10 feet deep.

This woodblock print (L.) of a snow covered Martini tower was recently salvaged from a bin with discarded old frames.The only thing I was able to find out about its maker is that it's signed by Pieter Jan Ningen who, after a little genealogical research spend his life in Groningen (1888-1956) and was, like his father, a carpenter. So this could well be a unique print by an amateur printmaker. There's only one more Martini Tower woodblock print I know of and it is in the great book and van der Grinten collection I mentioned in the Blog before: "die Frühzeit des Modernen Holzschnitts". That print is by an unknown printmaker (R.). The tower is starring in dozens of etchings (I'll not bother you with here) but it's also the main focus in a great painting I do want to share.

Cornelis Vreedenburgh (1880-1946) showing a peaceful, sunny and colourful market day. As before him did another son of Groningen etcher Waalko Dingemans (1873-1925) in this etching (below) And there's a photograph from around 1905 showing market day (probably every day).

Otto Eerelman (1839-1926), a celebrated and internationally famous painter of horses in his days, in 1919 painted on commission "26th August". A celebration of "Gronings Ontzet" (end of siege of 1672). My great grandfather Sieger (1866-1932) is in there somewhere holding and leading a horse for jurying.

Waalko Dingemans (1873-1925) also etched this North facade of the Great Market and an early (sun rising in the east ) lone waggoner (below). Chartered waggoners (horse and wagon transporters) and stable owners the honourable trade of my ancestors for many generations since the 17th century and some 150 years before my branch of the family settling in Groningen around 1810.

What was lovingly build in 4 centuries was demolished in just three days (April 13-16th) in 1945. The historic and once considered most beautiful and authentic medieval market square in the Netherlands was savagely shot to rubble liberating the city from German occupation, never to recover to its former glory. See and weep: 1900-1945-1960.

Lucien Levy-Dhurmer

2012-02-26T10:24:00.003+01:00

Lucien Levy-Dhurmer

(1865-1953)
French painter, pastellist and illustrator.

&
René Lorrain
(b.1873)
French etcher

Recently, observant reader Huib van Marle, pointed me to this colour etching in the files of Neil's Adventures in the Print trade Blog (see "my Bloglist" on the right) and his Idburry Prints. It is a color etching by René Lorrain (b.1873) after a pastel by Lucien Levy-Dhurmer which shows great similarities with the St. Jacques print in my first Antwerp School posting. Lucien Levy-Dhurmer is showing 10th century Bruges' Cathedral.

The unknown printmaker of St. Jacques in Antwerp, with initials A. vd J., still veiled in obscurity. Googling Levy-Dhurmer you'll be astonished by the number and quality of paintings and drawings by this artist. From the great many I'll show you two of my favorite ones here. Neil wrote about the technical aspects of Lorrain's unique printmaking here and you'll find some more examples of his work in his shop.

This portrait above (in the Museé Dorsay) may be hinting at Levy-Dhurmers admiration for James MacNeill-Whistler (and his mother)

as well as at Hans Holbein (the younger: 1497-1543):

but would I like to know who modelled for this great heroic and academic yet very delicately rendered torso.

Thank you Huib !

Some more snow !

2012-02-22T23:38:00.000+01:00

Kamisaka Sekka 1866-1942

Some more Snow !

Continuing from last posting showing Jan Boon's Brueghel's winter print lets go out and meet some other artists who were inspired making similar prints. And then say goodbye to winter! Today februari 22th at 07h the blackbird for the first time this year announced the coming of spring 2012 with his song.

The above print, "Oud Münster" is by Jan Boon around 1922 a few years after Robert Gibbings' (1889-1956) 1918 "Dublin under Snow". Gibbings is well known for his fascination reducing sun and shade, black and white to an almost abstract level of composition. Jan Boon also did several more, experimenting with composition and the ultimate harmonic and easthetic distribution of black and white.

Obviously the first to explore the possibillities of this theme were the Japanese printmakers but there are so many to choose from. That's why this great and relatively unknown (detail of) "Hotsprings of Hatashita" by Kawase Hasui (1883-1957) will have to represent this group because:

it's the European Modern Printmakers I want to show here like British Bernard Rice (1900-1998) in Bosnia and Giovanni Giacometti (1868-1933) in Italy:

and in Norway John Savio (1902-1938), from Sami descent, humorously and brilliantly adding the wandering cat on a cold white roof to his snowy rooftops print.

By an unidentified German printmaker (r.). Is there some-one who recognizes the monogram ?

Fritz Bleyl (Germ. 1880-1966) shows he was able to create very tastefully and effectively a wintery atmosphere with minimalistic means.

Although winter and cold can be rendered even more minimalistic as shown by his friend and Brücke (1905-1913) colleague Karl Schmidt-Rotluff (1884-1976) (Because Schmidt is such a common name even among German printmakers, a second name, often place of birth, was added to distinguish but in the end creating a lot of confusion because often these were in turn abbreviated. A posting is planned clearing this matter up)

Rather deviant from all his other (and not widely known) woodblock prints here's a very nice example by contemporary printmaking American Walt Padgett (I have a posting planned introducing and showing the work of this very extra-ordinairy American artist).

George Gustav Adomeit (1879-1967) born in Germany but who immigrated at the age of 4 to America becoming a celebrated painter and (Provincetown) print maker shows these city dwellings in snow.

And last but not least a recent acquisition from my own collection: Wim Abeleven (Dutch, 1903-1967) this 1938 serene and snow covered village in the province of Zealand.

Jan Boon, printmaker

2012-02-20T13:01:00.001+01:00

Jan Boon

(1882-1975)

Dutch painter, portraitist, book illustrator, etcher and printmaker.

One of my favorite art books is "Themes and Variations, five centuries of master copies and interpretations" by K. E. Maison, edited by Thames and Hudson, London in 1960. It's a huge monument of a book in red cloth and although half a century old still unexcelled. If you ever stumble upon it donot hesitate: it's one of those must have books. Or try your local second hand bookshop or bookfinder.com.

And one of my favorite paintings is "Winter" (also named "Return from the hunt"), by Jan Brueghel the elder (1568-1625). I believe it to be the perfect winter painting.

I think, after Jan Boon experimented with format, design and the distribution of black and white in similar prints, this great woodblock print "Winter in Traunkirchen" (Ger.) should have been included in K.E. Maison's book. This theme, snowy roofs, was also inspirational to many printmaking artists from Finland to Japan. Fascinated by the artistic possibilities of the black and white rythm and geometry of snowy roofs.

Belgian painter Valerius Saedeleer (1867-1941) painted much of his fantastic wintery work in the very best of Breughels tradition:

I'll show you and compare a good many of them in next posting. But first here's another great example of printmaking by Jan Boon. It's also one of my favorite prints of Amsterdam. Showing a famous spot hardly changed in centuries: the 17th century junction of the Keizers"canal" and the Reguliers"canal". Boon had been taught by Jacobus Gerardus Veldheer (1866-1954) one of the leading and internationally renowned Dutch wood engraving printmakers.

Postcard around 1905

This historic location leading to this painting by George Hendrik Breitner (1857-1923), important Dutch impressionist painter and early photographer of daily city life.

The book "Themes and Variations" in mind I'm quite certain, in a glimpse, I've met this lady with the characteristic veil, hat and fur lined shawl in Amsterdam before.

G.H. Breitner: Singel-bridge crossing, Palace street.

It could be Breitners' model Geesje who sat for his kimono paintings or it could also be Marie Jordan (1866-1948) who also posed for him and whom he married in 1901. Besides his many Amsterdam paintings and photographs Breitner is most famous for his paintings of women dressed in Kimono as well as Marie in various intimate paintings in her most natural costume.

A thank you to Eddy Habben-Jansen for borrowing his pictures. Visiting his Website dedicated to the life and works of Jan Boon is recommended.

Ice !

2012-02-16T10:55:00.001+01:00

Making and using ice, without leaving behind any ecological footprint, for centuries was not only a luxury to the rich but also a very clever and sustainable way of survival we should not forget and try to remember with great respect.

Walter Klemm (1883-1957)

Besides cooling wine in summer, fishmongers and bakeries and probably many more enterprises and industries depended on harvesting and storing ice. Ice that lasted as long as a year in cleverly constructed isolated cellars.

Karl Friedrich Zähringer (Sw.) (1886-1933) "Eisbrecher"

Giovanni Giacometti (It.) 1868-1933

It's hard to imagine when we open our refrigerator door the activities shown by these artists were once a common sight not a century ago. As these pictures show: in Italy, Holland, Germany and Switserland.

Harvesting ice in Amsterdam 1917

If readers have knowledge of more examples of icemaking and harvesting please send them for sharing.

Bernard Rice (Br.) (1900-1998), thank you Charles.

(2003) Clara Lieu (US)

----------------------------------------------

Speaking of the wonderful and versatile Walter Klemm (read here) I found two more prints that should have been in the recent Fanny Psicha posting. But along this self educational path I follow and the information on the Internet expanding every day, these things happen. For following readers I show them here and also add them to the original posting for new readers.

Joseph Pennell

2012-02-13T15:11:00.000+01:00

Joseph Pennell

(1857-1926)

American writer, lithographer, etcher and illustrator.

L: Pennel at his press in his Adelphi Terrace House appartment, by John McClure Hamilton (1853-1936)

Discussing the beginning of Emile Verpilleux’s color printmaking careerwith Antwerp St.Jacques' tower in last posting makes it inevitable mentioning Joseph Pennell, earliest promotor and encourager of Verpilleux' work.

R: 1902 view from the window towards St. Pauls and Waterloo Bridge. Rare double sided newspaper supplement drawn exclusively for the october 25 edition.

Back in London Verpilleux’ printed works weren't received very warmly but the appreciation of this monumental and influencial writer,illustrator, etcher, lithographer, Whistler’s friend and biographer, undoubtedly musthave been of great help. Pennell and his wife, writer Elisabeth Robins Pennell (1862-1952) were (in) the centre of the London art world.

The Pennells, born and trained in the US, moved to London around 1885. Like that other great pioneering American artist James McNeill Whistler (1834-1903) some 30 years before them.
L. Rare watercolor by Pennell; view from the window.

Whistlerwas to stay, the Pennells returned after a 30 year stay in London toAmerica. Some texts say 1917, others claim just before the Great War.

The couple livedin posh nr. 3 Adelphi Terrace House, Pennell had his printing Studio there, overlookingthe Victoria embankment, Waterloo bridge and the Charing Cross (also named Hungerford) Railway Bridge.Directly next to Charing Cross Station. The luxury houses were designed and build by the Adams brothers some 100 years before.

R: view from the window, railway bridge and embankment.

Adelphi Terrace seen from Hungerford Railway Bridge after completion and before construction of the Victoria Embankment

Pennell's artwork on the www. is ofcourse abundant and accessible. But here aresome rarely seen examples, views from and towards Pennell’s home in the Adelphi building(demolished in 1936). He was a great admirer of Whistler and obviously was impressed with Whistlers inovation:the “Nocturne” or night view. Inspiring him creating some wonderful and very atmospheric impressions of and from this London location.

1891 lithographic drawing by Joseph Pennel,,
engraved by J.C. Griffiths for "Black and White" August 22 edition.

Pennell an inspiration to David Welsh (1937-) ?

These two editions of the same plate (below) show that Pennell enjoyed experimenting and was a true master over his materials, press, paper, inks and plates.

Charing Cross Bridge and Railway station seen from the Southbank

----------------------------------

After the departure of the Pennell's the appartment from 1919 was owned by Rolls-Royce excutive Claude Johnson (1864-1926). He died the same year as Pennell. Johnson was responsiblefor the creation of the legendary Spirit of Ecstasy. Her 100th birthday was celibrated 2011.

It was modeled after Johnson's good looking secretary Eleanor Velasco Thornton in 1911. Johnson shared his secretary with Lord John Scot Montagu of Bealieu. Monty admired and shared with miss Thornton also her more feminine qualities. Traveling in the Mediteranian their ship, the SS Persia, was cowardly torpedoed without notice on December 30, 1915, sinking her and killing 300 of her 500 crew and passengers.

Miss Thornton drowned, but Montagu survived. Driving a Rolls Royce all his life the view and sight of his mistress from behind (the steering wheel) must have been at least an ambivalent experience...........

Around Antwerpen School of Printmaking (IX)

2012-02-10T12:24:00.001+01:00

Emile Verpilleux (V)

In the beginning there was:

Emile Antoine Verpilleux & Hubert Valentine Fanshaw.

Had I known this print, “the Tower”, published in “theStudio” 1910, I would have begun my Antwerp and Verpilleux postings with it. But I didn't. We can safely assume it is his first. Probablyhe had just returned to London after his educational years in Antwerp. It isAntwerp’s St. Jacobs tower and for that reason I repeat here some already shown contemporary woodblocks.

L: A.v.d.J R: Jean Claessens (1978-1963)

The mysterious artist mentioned in the 1913 article in "the Studio", "who knew the ropes" and succeeded in persuading young Verpilleuxto change from painting into taking courses in printmaking with Eduard Pellens was most certainly Hubert Valentine Fanshaw (1878-1940). Fanshaw studied in theSheffield Technical School, the Royal College of Art in London and in theAcademie Royale des Beaux Arts in Antwerp. He immigrated to Canada in 1912 justbefore the second article on Verpilleux beginning of 1913 in the “the Studio” illustrated with two color prints by Verpilleux. Honouring Fanshaw for his foresight I show a selection of, his typical Canadian, prints here. And if I said they were by Walter J. Phillips you would believe me too.

Two other artists followed Fanshaw to Canada a year later, in 1913: Walter Joseph Phillips (1884-1963) and the etcher Cyril Barraud(1877-1940) Also, in 1913, Dresden trained German printmaker Henri Eric Bergman (1893-1958) immigrated to Canada and these 4 men were to become the founding fathers of theSociety of Canadian Painter-Etchers/Engravers.As a watercolor painter Phillips took up etching only after 1914 (taught by Barraud who left for the War) and his block printmaking career started even later. These prints by Fanshaw showing how these men influenced each other creatively. Phillips has more then enough entries in the www. Bergman's and Barrauds work I shall discuss and show later.

Another souvenir de Belge is Verpilleux' print "Malines" showing the majestic tower of St. Rombouts Cathedral in Malines (Mechelen). It should have been almost twice as high but the imbalance between ambition and reality left it an impressive 96 meters still. As we know today this medieaval financial crisis surely wasn't the first nor to be the last.

A century after Verpilleux sat there nothing much has changed in mediaeval Mechelen. But I am quite sure Verpilleux is trying to tell us more then just showing a nice view. A procession seems to be going on and there's statue clearly visible. The statue (removed and replaced in 2006) is of Margareth of Austria Savoy (1480-1530)

She choose Mechelen her residence ruling over the Lower Countries. In the end of her life processions were held to her health. She suffered and died of a bone marrow infection after a fall from her horse and after a not very happy life. But she was well loved by her subjects. Also since 1273 the famous Hanswijk procession devoted to Maria is held here every sunday before Ascension (end of april, beginning of may) for over 800 years. Followed by a horse drawn parade with historical themes and relics of St. Rombout. Although very small the horses and horsemen are clearly visible. Well well, Emile Verpilleux the teacher, hidden history lessons from a woodblock print.

PS: thanks to Charles (see comments) here is Emil Orlik's (1860-1911) view on Mechelen (Malines) and St. Rombouts. He visited Belgium and the Netherlands in 1898.

Mystery prints (continued)

2012-02-08T16:23:00.002+01:00

Mystery Prints

(continued from Febr. 2th)

A few days after the Posting about the mystery budgees and bee-eaters prints, Bavarian reader Simon Krischer came with an interesting clue to the identity of the printmaker. He sends two more prints with the same signature. A third one is on Ebay at this moment, but I don't find it very attractive and it is grossely overpriced imho.

For some time Simon is collecting prints by an etcher/printmaker who signs RIC. Here are a few examples. He has plenty more, you can see them in Simons Blog-page he made for this not identified artist (here). These are far more decorational and of iconic, around 1970's, designs.

The most curious thing is in the use of printing paper by his and the (probably) other artist. In both sets of prints there's a paper (or editor/publishers ?) mark impressed, but it's not in the budgee and bee-eater japan papers.

All prints originate from Germany. So maybe we are looking for a combined (commercial) entreprise or editor/publisher in the 1960-70 ?

David Rabinowitch

2012-02-03T16:46:00.001+01:00

David Rabinowitch

(1943)

Canadian painter, sculptor and printmaker.

I've not been very much into abstract art. But when I recently saw these monotype (just one made: 1/1) woodblock prints I was very amazed and fascinated. Suddenly the memory of basic childhood joy and wonder of printing forms and Xmas cards from potatoes came back to me. There is some explaining text in the book I just received, commentary by one Kenneth Barker about the asymetry and balance and more expert stuff about the artist and the perspective and relations to his (later) work.

That's all very well and informative but to me the most important are the odd 60 (!) wonderful and high quality printed examples of these 1962 prints that were "only recently rediscovered" (in 2003) by the artist himself. An exclusive and collectors book, bound and printed on 170 gr. Velva paper in Germany in an edition of 1500.

These monotypes, according to the list of illustrations in the back of the book, today are all in the possession of private collectors and museums all over the world, including the MOMA.

This luxury book, I discovered, is currently offered in the "ramsh" department (in the Netherlands) for an incredible € 9,95 only ($12,50)

I thought there might be readers who would like to know. Here's the ISBN: 3-933807-90-5. Hurry !

Mystery prints

2012-02-02T11:32:00.002+01:00

Mystery Prints

Maybe an observent reader can help with identification of these two bird prints on handmade japan paper and tell me something about the (combination ?) technique used.

Only one of them, the blue budgees (Melopsittacus Undulatus) is signed, but illegible. The green birds are bee eaters (Merops Orientalis)

See for a follow up also: here (< link)

Maria Willemina Wandscheer

2012-01-27T12:05:00.001+01:00

Maria Willemina (Marie) Wandscheer

(1856-1936)

Dutch painter

Portrait by her friend, the painter, early photographer and etcher Willem Witsen (below)

In last posting I mentioned Marie Wandscheer being the painting teacher of Fanny Psicha. What better opportunity (before returning to a new chapter in the Antwerp theme postings) sharing some fine examples of her work. Marie Wandscheer until very recently was a somewhat obscured, neglected and forgotten painter but recently some new attention was brought to her.

1) Jan Voerman Sr. 2), 3) Marie Wandscheer.

After initially painting nudes, which was en-vogue for lady painters in those days, she was persuaded trying at "gingerpots and flowers" by painter Jan Voerman Sr. (1857-1941) whom I showed before on the Blog. Well, here they are, a dozen or so little gems brought together in the Linosaurus.

Marie entered the Rijks Academie in Amsterdam in 1876. Living and working in Amsterdam at first but later she moved with her family and also painting sister to the provincial town of Ede around 1895.

In Ede she met again her old Amsterdam Academy class mate painter, photographer and etcher Willem Witsen (1860-1923). Witsen returned from his stay in London (1888-1891) and just married, taught her how to use the etching needle. Witsen, mr.painter and etcher also was mentioned before on the Victoria Embankment (link above). I will show more of his atmospheric London prints shortly.

These contrasting last two lovely impresionist flowers in gingerpot could have been among the last Eduard Manet (1823-1883) ever did in this world: see his famous "last flowers" in the Linosaurus here.

See also earlier postings on Manet's legacy by impressionist flower painters Stanley Bielen (here) and Nancy Tips (here).

Amazing: Fanny Psicha

2012-01-24T10:48:00.002+01:00

Fanny Psicha

born as

Maria Adeline Alice Schweistal

(Brussels 1864 - Amsterdam 1950)

Dutch painter and printmaker.

(her portrait, probably by her Academy teacher and friend Marie Wandscheer (1856-1936) who was a close friend of Willem Witsen, one of Netherlands great etchers. Maybe explaining the quality of this only known graphic work by Fanny.

Today, interupting the Antwerp and Verpilleux postings I'ld like to share this remarkable woodblock (25x30 cm) print. The grain of the block is clearly visible and it's monogrammed FP in the block. The perspective and composition is reminding of James MacNeil Whistler's (1834-1903) "Nocturne": Battersea Bridge, Hiroshige, and other Japanese equivalents.

L: Whistler R: unknown

Yoshimune Arai

Discovering the figures and the horse and carriage on the bridge actually being Japanese was an even bigger surprise. The silhouetted figurines resemble Yoshimune Arai (1873-1945)(above) and Shoda Koho (1870-1946), below. Recognizing the Amsterdam Canal and Bridge by an observant reader would be a great help. I don't think Fanny ever visited Japan.

And this Ver-Sacrum example by one Leopold Stilba (R.)

Fanny was accepted 1887 (23) as "Fanny Psicha, born 1866" in the "Rijks Academie voor Beeldende Kunst" in Amsterdam and was a student untill 1892. The year of birth a slight difference with her official date and closer to the date of her mothers marriage in 1867 (see below, maybe for social acceptance reasons.)

Additional examples by Walter Klemm (1883-1857) added Febr.16-2012

Additional found woodblock by Dutch printmaker Jan Theodoor Giesen (1900-1983)

***************

Trying finding out more about the artist at first I had very little succes, untill I found these paintings of Dutch interiors signed Fanny Psicha. The one below left, once belonged to Queen Juliana of the Netherlands (1909-2004). The others I found in old auction cataloques. No other examples of prints were found.

Here's some genealogical data which with some difficulty I managed to put together from the internet:
Fanny's mother Klaartje van Kooten (Antwerp 1842-1914 Amsterdam) was of 100% Amsterdam Jewish descent but like Fanny was also born in Belgium). She married Antoine Psicha (Amsterdam 1837-1911) in 1867. Antoine Psicha's book on the theory of "the birds eye perspective" was edited posthumously in 1912. I couldn't find any other children and I don't know if Fanny ever married.

Only a handfull of Psicha family members actually lived in Amsterdam middle of the 19th century. There's a Liverpool merchant and ship owners branch (Georgi), and there are two refugee brorhers from the Chios Diaspora (the Turkish massacre of the Isle of Chios in 1822). One named Antoine, and perhaps travelling from Chios through Marseille to Amsterdam to related families. The Greek Consul in Amsterdam was named C. Psicha, and had a brother both living in great wealth in Amsterdam.

To the family name Schweistal I regretfully found nothing at all, neither in Holland nor in Belgium nor anywere else.

Around Antwerpen School Printmaking (VIII)

2012-01-20T09:03:00.000+01:00

Emile Antoine Verpilleux (IV)

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

It would be interesting comparing Verpilleux’s British Museum print with works by his colleagues of the period who also choose similar classic-revival buildings. The more I look at Verpilleux' prints the more I am convinced he deliberately choose a different approach from his colleagues. A view not done before (Edinburgh, York), an even grander panorama (river Thames), a daring perspective (Tower Bridge) or like here, a careful choosen detail of the front entrance of the British Museum.

Thissection of a very recent photograph (right) showing how accurate a woodengraver and printmaker he was. Nothing much has changed in a 100 years except for maybe the fashion. In earlier comments it was discussed photography may have been used creating composition. A posting is already in preparation showing the photogravures of enigmatic William Hyde proving the interaction, use and thin line between early photography and other forms of Art.

The BritishMuseum (designed by architect Robert Smirke) was opened in1847. American etcher Joseph Pennell (1857-1926) when living inLondon (untill 1914) had his own studio on the Adelphi Terrace overlooking riverThames and also had a keen eye for drama and perspective. He created these two BritishMuseum prints.

The two artists actually may even have met. Pennel also staging, suggesting crowdsin the lower margins in most of his prints, like Verpilleuxand August Lepère (see before postings). This is perticularly the case in both artists New York high-rise prints (later)

Pennel also created this view of St. Pauls cathedral: “St. Paul’s pavement”.

(This print/etch sometimes wrongly titled "the London Stock Exchange" for reasons not difficult to understand as you can see later)

The Paris Stock Exchange (“Bourse de Paris”), build in 1825, was a comparable classic decorative city landmark attracting many and various artists,

like this other great artist Emile Verpilleux may have met either in London or in Antwerp: Frantisek TavikSimon (1877-1942). Simon is said to have visited Antwerp and Holland while living in Paris, the years Verpilleux studied there. He later stayed and worked in London when Verpilleux had returned in 1910.

Anton Schutz (1894-1977) a German printmaker (left) who laterimmigrated to the US and made it to fame and glory as a printmaker of American city-scapes was here too.

And LuigiKasimir (1881-1962), in spite of his Italian name, Austro-Hungarian innovatorof color-etching was inspired creating one of his most interesting works here (above). It is certainly one of his most entertaining. Kasimir was in London too, have a look at both his and Verpilleux' Tower Bridge print here*

Bijschrift toevoegen

Also by Luigi Kasimir is “Eglise Madeleine” a neo classical colonnade church. Building started before the French Revolution and was at last completed in 1842. Chopin’s funeral ceremony was held here a few years later in 1849. His last request was Mozart’s Requiem to be played. The service was delayed for two weeks allowing for the exception to be made for female choir members attending in the church. But invisible, singing from behind curtains was the comprise.

In Berlinthe “Altes Museum” by architect Karl Friedrich Schinkel was similarly build1823-1830 on the Museum Insel. The entrance closely resembling the British Museum. Or is it the other way around. Just a coincidence?

In the Victorian era similar neo-classicalbuildings were designed and build in many places in the Old and New World.

NationalGalleries, Banks and almost every Stock Exchange Building was designed with classic columns. Showing-(off) wealth (companies), good taste (city officials) and to impress mortals (tax and insurance payers). Creating a feeling of safety andstability.
After a century and a half in the case of the National Galleries only this seemsto have been justifiable architectoral symbolism. Like the stability they once symbolised the columns have all but disappeared from modern buildings today.

The list of similarly designed decorative and impressive buildings is as long as the list of artists and photographers portraying them. Sydney Jones (1881-1966) and his rendering of the Royal Exchange (above, collums of the Bank of England on the left) the last example for this posting.

The new RomeStock Exchange was designed and rebuild just before the Victorian age and may have set the example and revival to Victorian Europe's city architects. In Rome they re used the actual columns(those that were left) of Hadrian’s palace. Some 15.

Emperor Hadrian (76-135 AD) middlest of the Five Good Emperors might have walkedthe Londinium Hills during his visit in 122 AD, thus nicely closing the circle of this posting on Verpilleux' 3 British Museum pillars.

Question: Shall I continue with another posting on Verpilleux' prints , or move on ?

Around Antwerpen School of Printmaking (VII)

2012-01-14T10:03:00.002+01:00

Westminster from the Victoria Embankment

William Dudley computer composition
( in the style of John Atkinson Grimshaw)

While researching the Verpilleux’ Thames woodblock print in last posting, strolling along the Victoria Embankment I’ve encountered almost allimportant artists of the 1870-1930 period. British painters and etchers, French Impressionists and a good many visiting artists from all over Europe andAmerica.

After the views from Waterloo Bridge towards Westminster (also last posting) now following is aselection of similar views but seen from the Victoria Embankment it self, constructed and completed in 1870.

What better position then high up from the Cecile Hotel allowing the highest and most dramatic and spectacular panoramic view over River Thames. Depending on the angle of view Cleopatra’s needle (erected 1878 in front) is either overlooked or visible as a landmark.

1902

Most artists choose this view West towards Westminster showing Hungerford Railway bridge (replacing the old Hungerford suspension footbridge in 1860), Westminster Bridge and Lambeth Bridge on the horizon.

Leo Lesser- Ury (1861-1931): 1927

Edward Seago (1910-1974)

André Derain (1880-1954): 1906, from Waterloo Bridge crossing.

Claude Monet did several (a great many) others, from this point also in the other direction (the famous Waterloo Bridge series. Later).

William Lionell Wyllie (1851-1931) showing Hungerford Bridge,
possibly with some phantasie)

Leaving the Victoria Embankment, but not London, dismissing all great works of Art viewing the other side, so towards Waterloo Bridge, here are a few more encounters and views towards Westminster from the pavement. Like the view from American artist Joseph Pennell's (1857-1926) sudio (unitill 1914) on the Adelphi Terrace (below)

On a rainy day I promiss to make up and return to the Embankment. Walking East towards Waterloo Bridge (right) meeting Emile Claus (1849-1924), the Belgian Impressionist refugee who had a studio on the Embankment. Like printmaker Henri Wils (1892-1967), the starting point of this series, he also fled Antwerp in 1914. Wils ending up in the Netherlands.

(Circle of) Wilfrid Gabriel de Glehn (1870-1951)

John Atkinson Grimshaw (1836-1893)

James Aumonier (1832-1911) 1882

Leo Lesser-Ury (1861-1931), Crossing

Rose Mary Maynard (1856-1929) Crossing

Ken Howard (1932) Crossing

Next: TheBritish Museum: London woodblock print by Emile Verpilleux. And some more fresh biographical discoveries.

Please note: there are many more photographs, paintings and other works of art of and from this location. This is just my selection.

Around Antwerpen School of Printmaking (VI)

2012-01-03T15:50:00.001+01:00

Emile Antoine Verpilleux (III).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

Thames view towards Charing cross (Hungerford) railway bridge.
Under Waterloo Bridge

Verpilleux' view of River Thames is a remarkable achievement in many ways. It's accurate, it's panoramic, has great colours towards a setting sun. And it's without any equivalent. The broad waters dramatically rushing towards the viewer. Again: remember this is not a painting but a woodblock print. On the far left South Bank: the bell tower of County Hall. The Victoria Tower and Clock Tower are in the centre. The two towers of White Hall Court and Cleopatra's Needle on the Victoria Embankment on the right.

Were the artist sat.

To emphazise his very low view point he shows a glimpse of one of those caracteristic Victorian lanterns on the Victoria embankment wall above him. Adding yet another element to the already very strong perspective.

Would it have been a painting and more known it would have been discussed and analysed by art experts all over the world. It would have hung in a prominent Museum on a prominent spot. But it's not. Not a painting, not well known, nor on display in any museum. Not even in London. A shame !

This above birds eye view of what Verpilleux is showing us from the centre of his print: Victoria Tower (the little yellow dot is where he sat.

Adelphi , Cecile and Savoy Hotels, around 1905,
the pontoon l.r. seen from Waterloo bridge.

Verpilleux choose a dramatic low view point. As low as he could find. On the surface of River Thames on a pontoon build in 1869 (it's no longer there) and in front of the Savoy Hotel and practically under Waterloo bridge.
Thus, cleverly enabling him, placing the horizon and Westminster Bridge below the railway bridge with its caracteristic domed pillars and steaming engine driving towards Charing Cross Station.

It is possibly the most depicted, painted and photographed London panorama.

View from the Cecile Hotel.

But there's really no equivalent to Verpilleux' print showing the greatness of River Thames.

The only modern prints I know with a similiar scene and similar low perspective is "Pont Royal" with river Seine in Paris by German woodblock printmaker Heine Rath (1873-1923)
and etcher Luigi Kasimir (1879-1937) with river Elbe and Hamburg.

There are many great and famous paintings of this grand panorama. Most but a handfull of artists however choose a higher position either from the Victoria Embankment, the bridge crossing or high up from the Savoy or Cecile (no longer there) Hotels. Painters, etchers and photographers.

From this perspective Claude Monet 1903 clearly choose higher grounds for this and countless other views in changing weather and atmosphere.

Here are some examples of the famous railway bridge as seen from Waterloo bridge. Massive White Hall Court dominating on the right.

French Impressionist Camille Pissaro (1830-1903): view from Waterloo Bridge (build 1865). Probably painted 1871, the year he visited London

American Impressionist Frederick Childe Hassam (1859-1935), 1929

Czech artist Frantisek Tavik Simon (1877-1942), one of the finest European painters and graphic artists of the xxth century, visited Antwerp and lived in Paris 1904-1914. This is his sketch of Thames tugboats and the railway bridge.

Andre Derain (1880-1954): 1906

And contemporary painter Claire Randall stood right above where Verpilleux sat. Restored RS Queen Mary (a restaurant) now moored at this location.

Under Waterloo Bridge in 1924 around the time Verpilleux sat there. One of my favorite artists Dutch painter and etcher Willem Witsen (1877-1942) had a fascination for this spot too around 1905 (below). He made several paintings.

From the great many wonderful pictures I found researching Verpilleux' print these I cannot withhold sharing here:

The railway bridge and the Victoria Embankment at night seen from the other (West) side, from Westminster Bridge. White Hall Court and Charing Cross station on the left, a 1904 photogravure (click!) by William Hyde (could find no biographical data). I will come back to him later.

And Whistler's friend, American Joseph Penell (1857-1926) had a fascination for this bridge too: "under Charing Cross Bridge" and "Westminster and railway bridge" seen from Waterloo Bridge' South Bank.

In next posting I'll show a selection of the more celebrated and popular London and Thames impressionist views I found researching this article to emphazise the importance of Verpilleux' woodblock print. Impressionist views from the Grand Hotels on the Victoria Embankment between Waterloo Bridge and the Adelphi Terrace.

This posting has been my most extensive, time consuming and laborous contribution to this Blog so far. Leaving feedback and comments is always welcomed.

Around Antwerpen School of Printmaking (V)

2012-01-02T20:53:00.001+01:00

Emile Antoine Verpilleux (II).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

York Minster (1920)

In the 1913 Studio article it ismentioned when in Antwerp Verpilleux was persuaded switching his painterlyambitions to woodengraving and printmaking. By a Canadian artist "who knew the ropes". Verpilleux was a good painter both in oil andwatercolor, and a great portrait painter. He was one of the few artists who could capture a portrait in woodblock print too asI intend showing you later with some great examples) and was to become an important book illustrator. This article in the Studio I think started Verpilleux' career as a printmaker as it was mentioned that when back in London his art was received at first with indifference by the critics and galleries.

Bootham Bar and York Minster, etching by Henri George Walker (1876-1932

In next episode I intend revealing the identity (a 100 years later) of the artist with the great forsight that Studio reporter James Bolivar Manson would not mention by name in his Studio article for reasons I can only guess at.

York Minster (1935) by Fred Taylor (1875-1963), railway poster.

Verpilleux' great York Minster print is available at Paramour Fine Arts in the US. For serious collectors only.

Some Lesser Gods impressionist paintings London

2011-12-30T21:11:00.000+01:00

Emily Gladys Court

(1880-1957)

British painter,
student of Slade School of Art London.

The privilege of being a Blog writer, a Blog owner and editor combined in one person is one can do as one pleases. Without Murdochian ambitions. Like today interrupting the Antwerp related series of postings wandering off and sharing some nice discoveries that I made along my researching Verpilleux's St.Pancras Railway Station print. And finding my way in London's foggy atmosphere. Meeting some of the of the great French impressionist painters along the banks of foggy River Thames. And some early iconic photographers. Wait untill I speculate over Verpilleux's prints "view from Waterloo Bridge" and "the British Museum" in next Antwerp School episode.

But let me first share these atmospheric impressions by some Lesser Gods of Impressionist Painting.

Emily Court , St.Pancras Station

I am convinced I would never have known Emily's interpretation of St.Pancras nor any of her other railway related impressions. Her portrait, painted by a greater God, American impressionist William Merrit Chase (1849-1916), suggesting she was in some very good artistic company and circles. Chase frequently visited London and was besides an Impressionist a prolific and popular portrait painter.

Emily Court , Cannon street Station
View from Southwark Bridge

Emily Court,
"View along the railway track"

Meeting Emily Court lead to making the acquaintance with another lesser Gods of British impressionist painting.

Algernon Mayow Talmage

(1871-1939)

British painter and postermaker.

he also decided painting inside Cannon street Station. Like in St. Pancras here're also the waiting horse and cariages inside the station. Great painting !

Cannon street Station

St. Pancras Railway Station

Pietro Sansalvadore

(Turin 1892-1955 London)

born in Italy but decided to stay in London painted Cannon street Station from the other bank (also probably from Southwark Bridge).

Cannon street Station and railway bridge.

Tom Roberts

(1856-1931)

Roberts left with his family for Australia, came back to England to study at London Art School, returned to Australia and became one of Australia's famous and influential painters. In 1915 (aged 59) he again returned to London to work in the 3th London Hospital in Wandsworth in the War effort. Not far from were he painted in a few strokes this little Thames impression on the back of a cigar box..

House of Parliament seen from the Victoria embankment

Leo Lesser Ury

(1861-1931)

German impressionist painter.

3 London bridges, viewed from the Savoy or Cecile Hotel
Waterloo, Hungerford railway and Westminster bridges
Cleopatra's Needle not shown.

German impressionist Leo Lesser Ury also visited London and I think these lesser known impressions by him match any of Monet's and Whistler's far more known and famous foggy interpretations. How much more "atmospheric" can you get? If it is painted from the Savoy or Cecile Hotel; Walker's (lead)Shot tower on the South bank in the centre. Ury loved painting "nocturnes" (Whistlers trademark) and was also famous, called a master, for painting/drawing with pastel. He made great atmospheric nocturnes and rain-paintings of his hometown Berlin and of Paris. But London: what better place to be on:

A foggy day in London Town.

(click the link above)

And what greater images closing 2011?

A happy New Year and best wishes to all readers.

I shall continue with Antwerp School and Emile Verpilleux first thing in

2012

This posting is not supposed to give a complete overview of impressionist paintings of London and the Thames. These pictures I've stumbled upon and I hope you are as surprised by them as I am. And like them as much as I do.

Leaving a comment is always much appreciated and encouraging continuing in 2012.

St.Pancras Station London now

2011-12-28T22:27:00.001+01:00

Researching Emil Verpilleux' St.Pancras print I found this amazing photograph of St. Pancras Station after it's recent 1000.000.000 € restoration project and with consent from the editor couldn't resist sharing before continuing with Verpilleux' other prints.

And this impression after it's completion in 1868. The largest cast iron span structure in the world.

1865, the fundamental cast iron structures below standing in St.Pancras cemetery that had to be replaced.

And just in service 1870

In 1937 painted by William Menzies Coldstream (1908-1987)

Around Antwerpen School of Printmaking (IV)

2011-12-27T21:59:00.000+01:00

Emile Antoine Verpilleux (I).

(1888-1964)
British painter, portraitist,
woodengraver, illustrator and
Modern Printmaker

His first 5 modern prints.

The mostactual and condensed biography on E.A.Verpilleux can be found here in Art and the Aesthete.The exemplary and legendary but sadly late Blog of Clive. I can only encourage reading his greatand informative posting. My postings around the Antwerp School of Printmaking are an attempt showing some things that maybe haven’t been shown or discussedbefore on the web.

Born fromBelgium parents in London Emile was trained in the Antwerp Royal Academy but started his artistic training in London. Initially, undoubtedly, as a painter. Guessinghe must have been around 18 leaving for Antwerp leads us to around 1905-07. Aroundthe year Edward Pellens, was appointed director-professor. Againguessing he will have stayed in Antwerp for maybe 4-5 years, most students stayed 4 but Emile, because of his already noticed talents was granted a state (post doc) stipendium. We find him actuallyback in London in January 1911, mentioned in theLondon Illustrated.

Theprestigious Studio Magazine published a major article by James Bolivar Manson (1879-1945, reading this later Tate director’s biography here is a must) on youngEmil Verpilleux in the September 1913 edition. Showing “his latest” two printsin full color: “St. Pauls from Cheapside” and “St. Pancras station” both dated1912. Also his ”Interior of St. PaulsCathedral”, shown in black and white, and the mentioning and praising of “Interiorof King’s College Chapel”.

His 1912 print “the Tower Bridge” was printed in colorfour months earlier in the May 1913 edition. So 5 of his prints at least can be dated with some accuracy as early as 1912-1913.

E.A.Verpilleux: St. Pauls from Cheapside 1912
note the window screenes lower right and the fotograph below.

Cheapside 1910

In some publications it is argued that Verpilleux changed from the traditional use of the Japanese baren (press), water based inks and thin papers to using a printing press, modern printing inks and thick absorbent papers. Urushibara arrived in London december 1910 giving lectures, showing the Japanese printing methods to artists and students. He returned to London in 1912 to stay, traveled and taught also in Paris. Comparing with the publishing dates of these prints I'm convinced Verpilleux wasn't trained that way in Anwerp. Nor had he the time to master it back in London and reject it before creating these prints. But maybe someone can throw light on this subject. Also I have not been able to locate the source of this statement.

E.A.Verpilleux, Tower Bridge in London Fog, 1912
Note the lantern (left) and see were Frank Brangwyn stood
sketching Tower Bridge (below) at a slightly different perspective.

Tower Bridge, Frank Brangwyn

Tower Bridge, Luigi Kasimir

A foggy day in London Town , 2011

Many great printmaking artists visited London, Paris and Antwerp. Frank Brangwyn (1876-1956), Luigi Kasimir (1881-1962) and Frantisik Tavik Simon (1877-1942) for instance. They surely will have had greater influence on the young Verpilleux. As I intend showing you later.

Verpilleux' St.Pancras Station print must have been inspired by Claude Monet's Gare St. Lazare painting (one of its versions). Most Impressionist painters (and the post Impressionists) visited and painted London and the Thames.

Claude Monet: Gare St. Lazare Paris 1877

Besides the achievement of great atmoshere in this print (that was after all the starting point of this series) it is incredibly detailed and acurate. Verpilleux showing both his skills as a classic taught wood engraver in Antwerp but also he already is a very modern block-printmaker. These contemporary photographs proving. The perspective, the hurrying crowd, the structure of the station and the impressionist atmosphere are created with the greatest skills and great knowledge of using color (and inks and paper). Acccording to J.B.Mansion in 1913. And he was besides a critic also an accomplished artist.

Yoshijiro Urushibara (after Frank Brangwyn)

The railway engine: Frank Brangwyn.

To be continued soon.

Suggestions and comments welcome!

Happy Christmas

2011-12-23T15:42:00.000+01:00

To all readers :

Around Antwerpen School of Print Making (III)

2011-12-19T11:21:00.003+01:00

Lepère at work

Auguste Louis Lepère

1949-1918

French wood engraver, etcher and

First Modern Printmaker

Both my main subjects and starting point of these series ofpostings, printmakers Emile Verpilleux and Henri Wils were taught in Antwerp at atelier Pellens. Wils at least "claimed" he had been inspired by Auguste Lepère. Verpilleux, although Icould not find a quote, has Lepère written all over his wonderful prints.

Lepère and his friend and colleague Felix Noël (1839-1907) at work.

à la Rembrandt

So I’ve taken the burden upon me to pay attention to the great Auguste Lepère.Without consulting textbooks, dissertations (there are), collection catalogues (there are) norany scholarly (I haven't on this subject) background. As Charles (of Modern Printmakers Blog) put it very tothe point: "all information gathered from the Internet is at best superficial". Andhe is totally right of course. Nevertheless, warned but undaunted I’ll continue this personal account of my internet investigation. Facts and pictures. No harm in there.

atmosphere (and rain) engraved by Smeeton & Tilly

In Paris between 1840-1880 flourishedthe reproductive studio of Joseph Burn-Smeeton and Auguste Tilly. In spite ofhis name there’s not much known about Smeeton. Dates (undoubtedly taken from accountablesources) are only given for his working (productive) period: 1840-1880. The composite family name Burn-Smeeton was created with the marriageof George Smeeton and Mary Burn. In 1774 in St. Martin in the Fields (Br.) probablyJoseph’s grandparents.

The studio in Paris must have been a success because they evenengraved the world famous Waterpoort, build around 1500 in my hometown. In Friesland. Nothing much has changed on that location in 400 years. (all pictures are mouse click-able)

Porte de Nantes, Nantes Harbour 1906

In 1862 Auguste Louis Lepère was acceptedas an apprentice just 13 years of age after being taught (probably the basics of engraving) by his father, theParis sculptor Francois Lepère. Auguste was to become one of the greatest Frenchartist of the 19^th century and world famous already during his life, because of his remarkable wood engraving skills and technique but particularly forthe atmosphere he was able to create in his engravings, etchings and later for his pioneering and inspiring modern printmaking.

Marché aux pommes, Paris. etching (notice: against and into the light)

But here, at atelier Smeeton, he receivedhis basic training as a wood engraver. In studios like this all over Europe paintings of “real”, creatingartists, were copied in wood- and copper engravings, and designs for booksexecuted.

Watercolor by Lepère: "Son et lumière au place des Vosges,
Victor Hugo Centenaire.

In 1889 Lepère, following the advice of his friend, the painter and etcher Felix Bracquemond (1833-1914), took up etchingand his career as a free creating artist took of. Experimenting with color blocks in woodblockprinting, combining wood engraving with woodcutting and blockprinting.
It’salways these same few but great color prints turning up (on the www) but how fascinating they are. I wonder if he did any more.

Bassin-des-tuileries-1898

Palais de Justice

Dimanche, bords de Paris

Le dimanche aux fortifs 1898

Lepère almost always places people, action, in the front of his compositions. In new, difficult anddaring perspectives. Always with great care for detail and composition. Always active. Often against the light, as any photographer knows, encreasing drama and atmospheric effect. The merry go round (what brave positioning and sectioning) might even have been an inspiration to American printmaker Frances Gearhart (1869-1958) * Lepère was also very famous in America.

There’s always a lot to see and discover in Lepère's prints. With all his skills and experimentinghe was able to create atmosphere and temperature, in his etchings, engravings andin his pioneering color printmaking. Impressionist printmaking.

London, Houses of parliament by Auguste Lepère
a British Newspaper supplement anno 1889

around 1900: Notice the slight difference in view point with Lepère.
The photographer stood on a balcony or used a ladder while Lepère appeares to have been seated.

Pigeon eye view of Parliament Square.

The staging of a silhouetted (back-lit) but amazingly detailed and always busy crowd in the foreground was probably Lepère's invention and it was eagerly borrowed by Emile Verpilleux. Greatly increasing drama and scale very effectively. There's a story told in the lower 3 cm. Hurrying, sheltering, weeping, travelling, commutering, praying, visiting, sunday afternoon strolling people. The other 95% is an impressive stage setting. These prints both Lepère's and Verpilleux' are not decorational. Every print is like a play.

All examples: Verpilleux' bottom 3 (!) cm of his prints.

This, the low viewpoint (the eye level of the seated sketcher?) and the delicate building up of a just few faint layers of shade or colour in most of Lepère’s work also can be found in Verpilleux's.The choice of the subject (great rivers, great city views with ornamental buildings, cathedrals, bridges, squares and market places) and the time of day greatly attributing to create not an effect but a perception of greatness and atmosphere. Transferred onto a piece of paper.
If Lepère was the God of Modern Printmakers, Verpilleux must have been his son.

Next: Emile Verpilleux, a wonderful perception of greatness and atmosphere.

See also: http://www.clivechristy.com/2010/06/auguste-lepere-1849-1918.html

* Frances Gearhart's Merry go round borrowed from Lily's Japonism

Around Antwerpen School of Print Making (II)

2011-12-14T22:04:00.002+01:00

Edward Pellens

(1872-1947)

Belgian wood engraver, printmaker, illustrator, stamp designer, ex libris and bookcover designer.

Teacher and professor at he Royal Academy of Antwerp

In AntwerpEdward Pellens ran a xylographic studio (atelier) in the Royal Academy voor Schone Kunsten and in 1906 was appointed head of this Instition after thedecease of his predecessor (aged 86 !), wood engraver Edward Vermorcken (1820-1906). He was to remain infunction for over 25 years until 1933. Antwerpen Royal Academy was founded in1664. After Rome, Paris and Florence the oldest Academy in the Old World. In 1886 it wasextended with the National Hoger Instituut voor Schone Kunsten, a postdoc wherepromising students stayed for a number of years sometimes even (the most talented) with ascholarship (stipendium) from the Belgian State.

E.Pellens, woodcut
SS Mercator in Antwerp harbour.

Many, mostif not all serious XXth century wood engraving and cutting printmakers and graphicillustrators (outside Brittain) of name were trained in the Atelier Pellens. Pellens becoming the father of XXth century wood-using printmakers.Most probably Pellens had been a student of Vermorcken thus continuing a longline of classical and traditional training and artistic influences.

Edouard Vermorcken: wood engraving, St. Johns Cathedral, den Bosch

Pellens wasthe pivotal figure in the changing of traditional wood engraving (illustrational art) into modern print making in Belgium. His influence probably stretchingfrom Paris to Amsterdam. In Paris at the time worked August Lepère (1849-1918), (*see below) , the starting point and Godfather of all Modern Printmakers, world famous even during his life and wayahead of his time. Pellens, after hisappointment, spreading the Modern Printmaking gospel into the Low-Lands andEngland.

E. Pellens, postage stamp: wood engravings

Most of thelater important printmakers of the XXth century were technically trained in his studio. Frans Masereel, Henri vanStraten, Joris van der Minne, Josef Cantré, John Buckland-Wright and many, manyothers.

Among them also: Emil Verpilleux and Henri Wils. These two printmakers werethe starting point of this (web) investigation. The most brilliant of ModernPrintmakers and in 1913 already very much Halelujahed for his atmospheric color woodblockprints Emil Verpilleux (1888-1964) and the least known of them: modest Henri Wils(1892-1967). They could (will) have met, been in the same class room with Master Pellens.

Both willhave their own posting following. Verpilleux, going his own unique colorful wayas early as 1910 and Wils stepping stylish in the footsteps of his teacher E. Pellens never to create anything else but decorational, sellable topographic prints of Dutch cities. But also bare in mind the circumstances: he fled WW1, managed as an artist through the Big Depression and met and lived through yet another war.

I’mconvinced Frank Brangwyn (1867-1956) and Yoshihiro Urushibara (1889-1953) didmake their acquaintance with Pellens, as did a mysterious, not mentioned by name certain "Canadian printmaker". Maybe Emil Orlik (1860-1911) payed a visit when in Belgium. But I couldn’t find any written account or proof.Urushibara arrived in London in 1910 and made several trips to the mainland. In his Bruges prints there are elements of surprise and similarities.

It is veryannoying, although mentioned in biographies of dozens of modern printmakersthere’s hardly any work by Edward Pellens to be found on the www. A series of postcards for the Red Star Line (Antwerp-New York) giving some idea of his skills. But I had to dig deep finding them.

As a classicalwood engraver Pellens will have undoubtedly passed on his knowledge and will havetrained basic and classic engraving and more modern cutting, and combining, techniques onto all of his students.

The opening picture of "SS Mercator", however proving he was quite capable ofcreating an “atmospheric” and Modern Printtoo. Using minimal color and just three blocks. What a difference with the otherprint in the classic engraving technique also showing “SS Mercator” in Antwerpharbour. These prints dating after 1932, because she was build and launched (inEngland) that year. It's hard to believe they are made by the same artist.

Besides the woodcuts for the postcard series (of which I have never seen a bigger or original print) Pellens designed chocolate posters (were have I seen these color combinations used in the background ?), ex-libris, postage stamps, and sheet music covers (above).

Edward Pellens: Antwerp and the Schelde river

Auguste Lepère: Paris and the Seine river

His view of Antwerpen maybe based on a great, heroic, chilling and atmospheric 1890 print by August Lepère, “Paris sous la neige,vue du haut du Saint Gervais” (Paris, in snow as seen from the hights of thechurch Saint Gervais on the banks of the Seine).

It is inthe more topographical style of Pellens and choosing also a monochrome approach using just 3 or 4 blocks, Antwerp born Henri Wils continued.

Henri Wils, Zuidblaak, Rotterdam

Seaking refuge, with 100.000's of others in 1914 when Antwerp was overrun by German troups, being internedin the neutral Netherlands, married and making a living from his printmaking skills, taught by Pellens, and his enterprise in Rotterdam.

In thiscontext under preparation and to follow soon:

AugusteLepère, Godfather of Modern Printmakers.

EmileVerpilleux, King of Modern Printmakers, a student at Studio Pellens.

Henri Wils,just another printmaker from Studio Pellens.

Around Antwerpen School of Print Making (I)

2011-12-08T10:45:00.001+01:00

This unknown woodblock print will serve as a starting point of an investigativejourney along some of the earlier Modern (colour) Printmakers admired fortheir ability to create "atmosphere" in woodblock printing. How andwhere they evolved from the wood engraving tradition in Northern Europe. Their teachers and their schools. This print shows St. Jacobs Tower (St. Jacques) in Antwerp by an unknown printmaker (Peter Paul Rubens married there and he was interred in 1640). Unknown evento collector and connoisseur Hans van der Grinten from whom’s famous collection (and book) I borrowed this picture. Signed A. vd J.(?) it has "it" all.

St. Jacobs (St.Jacques) Tower, A. vd J.

Aninteresting format (30 x 30 cm.), the monochrome use of color, a brave viewpoint(looking up, dismissing the lower part of the houses), depth and "atmosphere" (created by hues of one color),perspective and composition. As well as loose and easy cutting and printingskills. Impressionistic in excecution. And the clever little extra, bringing movement ina static picture catching the investigating eye and leading it through andover the picture: the line of birds flying from the tower.

(Somefiddling with old web pictures and Photoshop produced these images of St.Jacobs (St.Jacques Tower).

St. Jacobs now and 100 years ago

If we'll agree the print was made very early in the XXth century, the maker is definitely Belgian or Dutch, considering how many families would fit vd J. There's really not that much choice looking for a fittingfamily name. I can think of but one: van der Jagt but I was unablefinding any artist to “fit”. His name beginning with an A. All other suggestions are very welcomed. Maybe we'll be able to solve this puzzle together.

This print by Jean Claessens (Antwerpen 1879-1963) is very nice, unmistakingly Antwerp Academy (Hoger Instituut) and has the name of it's principal, woodengraver, printmaker and teacher written all over. As I will show in next postings. But it also lacks the atmospheric and impressionistic warmth of the above example.

In the book mentioned however there's this other great example of warmth and atmosphere. Printed also in just a few shades of brown, by an unidentified printmaker: Louis Han (but it is definitely by Dutch painter and printmaker Louis Haver (Groningen 1906- Hilversum 1969)

To be continued.

PS: this excercise is for my personal amusement only. It does not have any pretentions of being of any scientifique or scolarly value whatsoever.

NOID, Help requested

2011-12-07T19:11:00.000+01:00

AS: the identity of the French printmaker was solved today by reader "Archimandrill", see comments below.

Something came up today and I ask the help of readers in identifying a French printmaker. Not often does one see a woodblock print by a French printmaker. This one titled "Tours sous la Neige" (city of Tours in snow). Tours largest city in the centre of France and Loire district but not the capital (that's Orleans). Famous for it's many castles and heavenly wines. The Loire, "Queen of Rivers". There are many examples of great prints showing Prag from the banks of the Danube in snow but this is a very rare view. To make it even better: it's for sale. Here, at Stuarts'.

Besides nice, in shades of gray, it's also rather acurate as you can see by this early xxth century postcard,

And by this modern photopgraph (with a wide angle lense) of the ancient bridge and city view of Tours.

Stuarts shop is here.

Carl Kunst, some more finds

2011-12-04T22:18:00.001+01:00

Carl Kunst (III)

(1884-1912)

German Poster and Printmaker

Keeping my promise from the before posting, to share some more newly found examples of Carl Kunst's prints, here is a collection of around 1910 postcard designs of the city of Munich he made. To my knowledge these 3 postings combined making up by now a pretty unique Catalog of Works by this artist. Although he died young, he has been far more prolific as I at first imagined a year ago when I found the exceptional print I started this quest for examples by this short lived artist with the first posting.

These are rather small, miniature pictures if you consider they make up the top 1/3 of a vertical postcard.

And one in the horizontal.

Then I found three more examples of Ammersee postcards.

And one more poster (for a chocolate company)

And two prints/designs labelled "carpet designs":

If you happen to know of examples of works by Carl Kunst please consider letting me know. (contact button)

Carl Kunst, VROOOOOMMM

2011-11-29T09:53:00.001+01:00

Carl Kunst (II)

1884-1912

German Printmaker
Poster & Bookcover designer.

A few weeks ago I received a friendly email with some goodies attached from Blog reader Konstantin, who inherited from his father several, a collection of prints by Carl Kunst. There is also a family connection to this artist. Today I'ld like to share one of them because I think it is pretty spectacular and unique. It is also a good opportunity announcing a third posting showing even more new finds of this short lived but great poster and printmaker.

1910 USA

What makes this print so very special, besides capturing the action, the dare devillish speed and movement so well, the fact is it must be the absolute first woodblock print inspired by this new and daring sport: car racing. Grandprix racing originating in 1908. Here are some great photographs from that time.

Robert Leon Demachy, photographer, (1854-1936) "Speed" 1903

In this famous 1916 photograph people were puzzled by the oval shape of the wheels. The phenomenen occurs because of the cars' speed and the slow shutter speed of the camera. Capturing a racing car with these kind of camera's was a great achievement and must have been of great help designing this great print. As well as the posters of the period below.

Even without a proper date the print must be created around 1905-1910 because of the untimely departure of Carl Kunst aged only 27 in 1912. The car probably German although Fiat raced with red cars in those years. Maybe a reader can help us on the make of the car, maybe even knows who is driving it (in Germany ?)

1907 Fiat

1908 Mercedes

It is hard to imagine it would take another 25(!) years before British Cyril Edward Power (1872-1951) and Canadian Sybil Andrews (1898-1993) created their famous speed and racing inspired linoleumcut prints after together founding the Grosvenor School of Modern Art in 1925.

Cyril Power 1932

Sybil Andrews 1934

To be continued with even more new found examples of Carl Kunst's woodblock prints.

Ernst Rötteken, rarest prints (II)

2011-11-25T11:27:00.001+01:00

Ernst Rötteken

1882-1945

German Painter and Printmaker

His rarest prints (II)

I thinkyou’ve enjoyed the first series of Röttekens rare prints. So today I will share some more, before starting new postings on other interesting lowlands printmakers. This also allowskeeping these 2 postings nicely together as a future reference. See for a reference to Röttekens more basic, widespread and popular prints here* (Link) or follow the Shop Button (above) to German Printmakers

3 studies of Geraniums

ErnstRötteken was born in 1882 as the second son of Fritz Rötteken, veterinarian and equerry to the last King ofHannover George V (cousin to Queen Victoria). His fatherbuild a large family house within the walls of the old city of Detmold and Ernst, after finishingthe Detmold Gymnasium, started his studies at first following courses in Botany.

His knowledge of plants would later beof great help and value to his before mentioned endeavour allowing ordinary people to buy and own “real and good art” to decorate their houses instead of the kitsch and rubbish they were accustomed to andfor whom his big landscape oil paintings were financially out of reach.

It was the same thought Vincent van Goghwrote to his sister ”What I really would like to do is to paint for those who have no knowledgeof artistic values”.

2 Studies of orchids

Rötteken originally was trained in traditional German landscape painting as a classical painter inDüsseldorf and later Karlsruhe Kunstakademie. And he was to become the leadingand very successful painter of the Lippe landscape.

Village of Schwalenberg 1935

It was not before 1928Rötteken, now in his mid 40’s, started his career as a woodblock (linoleumblock)printmaker after successfully trying and publishing a map of lithographiclandscape prints in 1926. In his heydays his technically well made and welldesigned aesthetic flower compositions were ordered and sold in some 450 art shops in and beyond the province of Lippe all over Germany. The same method (flower prints, catalogue and selling points) of selling art to the "masses" was followed by contemporary Dutch printmaker Arie Zonneveld (1905-1941) whom I mentioned in this Blog many times before. Curiously both printmakers each created some 50 prints in their lifetime, but Zonneveld (although very short lived) created also some miniature landscapes which I've planned showing soon.

Cactus and Geranium by Arie Zonneveld, also rare prints

Both printmakers, to this day, are still very much appreciated and loved and are again collected by print enthousiasts not restricted to Lippe or Germany but because of Ebay and the computer all over the world.

Rötteken, early studies in composition; Irisses and Azalia's

It takes a lot of time and research composing these articles. Leaving acomment, corrections or suggestions after reading therefore is always very muchappreciated.

Somepostings have been visited and consulted (borrowed and used !) over 900times. Without leaving a single notice.

If Iwasn't convinced you were probably very busy and forgot to, it could easily beinterpreted as not very polite.

(Please consider thatborrowing and using these uniquepictures makes one very traceable.)

Ernst Rötteken, rarest prints (I)

2011-11-19T15:23:00.001+01:00

Ernst Rötteken (I)

(1882-1945)

German painter and printmaker

(< self portrait as a young man 1902)

The colorsin this print below, "Echinopsis", make a nice bridge to continue after the colorfulworld of Matt Underwood's prints in last posting. Today I make a start sharing some very rare and probably never before shown or published flower prints by Ernst Rötteken (1882-1945).

Ihave so many nice things to share and show I'm afraid it will have to be in two separate postings. The aboveprint, probably a proof, showing all (15 !) hues used, proving Rötteken, like Matt and Kandinsky, knew too. About the Japanese colors and hues.

Rötteken wasa local printmaker in the Province of Lippe, living in Detmold the provincial capital of the once souvereign Princedom of Lippe (Westphalen) in the hills and mountains of the Teutoburger Forest, were in AD 9, fierce Germanic tribes beat and stopped the advance of the Roman Legions. Rötteken produced his prints with the philosophy that by creatingwoodblock prints of his flower compositions the affordability put Good and Aesthetic Art intothe reach and houses of the middle classe people of Lippe.

Judging by their popularity and numbers of (unnumbered) prints many if not every middle class house in the province Lippe region was decorated with one or more of his prints. He was a well loved and respected artist, who experienced that prints of locally unknown and exotic plants like "Kamelie" didn't sell.

It was "Goldregen, Roter Kaktus, Osterblumen, Sonnenblumen, Apfelblüten und Enzian" the Detmolders understood and wanted. So pernickety they were that prints like "Osterblumen" (Easterflowers) were not displayed in winter.

See for these most and well known prints by Rötteken the Linosaurus Bazaar/Shop section following “GermanPrintmakers” and you'll find a reference to these prints. Follow the button above or this use this link.

But these veryunknown and rare prints however I enjoyed and photographed at my friend Hubert in Detmold when I visited him last spring. He isthe greatest expert on painter & printmaker Ernst Rötteken and was one of the initiators of an exhibition of Röttekens work some years ago in Detmold.

These are his early prints as well as experiments with form, design and color. Like in these three different prints of "Euphorbie".

Rötteken, relying for his bread and butter on his painting and printmaking had a small, 20 pages, cataloque made and installed at the regional better art and design shops and frame makers. It is sometimes on Ebay and holds 36 of his popular prints (to be ordered) and mentions 14 more prints in preparation (but some were never executed). In 1:4 miniature.

.................To be continued ..............

It takes a lot of time and research composing these articles. Leaving a comment, corrections or suggestions after reading therefore is always very much appreciated.
Some postings have been visited and consulted (borrowed and used !) over 900 times. Without leaving a single notice.
If I wasn't convinced you were probably very busy and forgot to, it could easily be interpreted as not very polite.
(Please consider that borrowing and using these unique pictures makes one very traceable.)

Matt Underwood, British printmaker

2011-11-14T13:04:00.001+01:00

MattUnderwood

(born 1971)

British painterand printmaker.

How comesome pictures seem to stick more easily to the mind and memory then others? The answer liesprobably in the way how the brain functions when storing information in the memory. Pictures are a most powerful form of information.

Chardonnerettes

You’ll haveto intensify your casual glance into some more serious prying to help emerging from the blotches of color two of these very beautiful, almost exotic, butcommonest of garden birds. The title is also not making it easier and consumer friendly for yourbrain. Unless you’re French. Carduela Carduela, also called Gold Finch and Thistle Finch.Chardon, French for thistle. Hence the Chardonnerettes. Little thistle dwellers.

By now the image will be firmly storedin your brain. For eternity probably. Try again with next "Demoiselles".

Demoiselles

Ready? But there’s really more to it. Besides the form, the blotchesof color, there’s also something familiar and comforting with these colors and their combinations used by Matt in his paintings and printmaking. Here's (in this link) is some great insight and explaining. And I'll bett, by now, you've completely missed the 3 damselfies (in three very clever different views of perspective) and the flowering irisses in the above print. It's because you, like me, were focusing on the kingfisher (fr. Madame pêcheur). And the Title didn't ring a bell either. Demoiselles, Damselflies. There's more to Matt as there's more to each of his prints. He is also a keen birdwatcher, botanist and naturalist. And has a good sense of humour.

Jane's poppies.

Look again carefully: there is a surprise hidden in these poppies
(two surprises actually)

These colors (hues) are literally "allover the place" in the 1904 Panama-Pacific Exhibition in San Francisco and it has everything to do with Japonisme (Link) Thanks to Jules Querin (1860-1922), please, do read the small but interesting article in the Link), designer, lithographer, colorist and illustrator. They are the traditional Japanese color combinations (as in real life not real harmonies) used for centuries in Japanese artand design.

Colors for the PPE 1904, Jules Querin

Influential Art teacher Pedro the Lemos (1882-1945) knew. And it is of course also the pallet of his teacher and Godfather of Modern Printmakers Arthur Wesly Dow (1857-1922) and that other student of his William Seltzer Rice (1873-1963).

Pedro the Lemos

Artur Wesley Dow

Oriental musicians, Wassily Kandinsky 1907

Modernist Russian/French artist WassilyKandinsky (1866-1944) became fascinated and was caught by abstracted forms, light and color at his girlfriend’s, German painter and printmaker Gabriëlle Munter (1877-1962). He quite revolutionary invented and combined expressionism with thesecolor combinations into painting and printmaking. Compare his above Oriental Musicians with Matts Chardonnerettes. And wonder.

Study in colors by W. Kandinsky

So a very distinct line, an artistic umbilical cord, can be drawn from traditional Japan through the earliest of Modern Printmakers, through the birth and developpement of expressionism to contemporary British printmaking.

Early blossoms

With Matt’s permission and cooperation I share with you some of his wonderful prints today. He obviously (and actually) is acquainted with that other icon of British contemporary printmaking Robert Gillmor.

Grandpa Ott (L.) and Swallows and Poppies (R.)

Matt is alsoparticipating in this recent book: Wildlife in Printmaking. Tell the family. It would make just the perfect Boxing Day present for many print enthusiasts. I've packed mine already. And here are my last examples and Matt's first ever attempt on printmaking, the Winter visitors (do look them up in any birdbook, it's november!) And Irisses (do look for the 2 surprises)

Follow Matt for more great art surprising prints in future here:
Link to Matt's Website
Link to Matt's Blog