Gladys Hadkinson and Philippe Zilcken.

Curious by heart my attention to this etching wasn't drawn by the quality or subject, some leafless trees surrounding a pond with a fence. But it hung for several weeks in a local charity shop and reminded me of Philippe Zilcken (the Hague 1857-1930) a Dutch painter/etcher who was appreciated and well known around the turn of the century because of his skills as an etcher for his etched copies of very popular paintings by Hendrik Willem Mesdag (1831-1915).

He was also known for his interest and travels in the Orient with his contemporary but much more famous and appreciated "Dutch Orientalist" Marius Bauer (the Hague 1867-1932) (below).

Zilcken's etchings, often unrecognized, can be regularly found in sales, car boots, charity shops etc.. Bauer's  work (with "Rembrandtesque" light) on the other hand is highly sought after and very collectable. (Follow the Label to read about my Bauer find or click here).   

The signature, after some serious puzzling reads G. Hadkinson and: '2  '16, probably indicating a "second state" print created in 1916. I thought there might be an interesting story in here somewhere. 

Googling, I found a mentioning of a correspondence in the Amsterdam Rijksmuseum (sadly not to be consulted by the public) between Ernestine Hadkinson (1863-1928) and Philippe Zilcken.  And also some works created by Gladys' younger sister Dorothy (1892-1958) are kept in "the Rijks".  

This Hadkinson family is mentioned living in Greece, Macedonia and Turkey. Ernestine Hadkinson-Seiffert was born in the Hague, Netherlands, her father was August Seiffert.  

Here's some genealogy maybe helping to solve the mystery concerning the maker. In here I found a G. for Gladys Hadkinson.  

  

Gladys Anna Eleanora Hadkinson was born in Kravolak in Macedonia-Vadar region in 1895 (although her birth was registered in 1918 by her grandfather at the British Consulate General in Saloniki in Greece: 23 years later !). 

Sadly Gladys Hadkinson died in Paris 1925 shortly after or during giving birth to a daughter: Sylvia Georgina Ruth Hadkinson (Paris 1925-2011 U.K.). I found her father Charles was a farmer in Macedonia and is mentioned as a RNVR (Royal Navy Volunteer Reserve) in the British army and is mentioned in publications with war-witness accounts. This particular corner of Europe (Balkan) has a violent past: wars, feuds and ethnic cleansing. 

Maybe Gladys travelled and settled in Paris to study further but she is not mentioned in any Artist Lexicon, dying so young of course, nor has she an artistic entry in the Internet. I suggest her mother Ernestine, one way or the other knew the etcher Zilcken (they were both from the Hague). Is it far fetched suggesting she possibly negotiated concerning etching or drawing lessons for her artistic daughter(s) ........ ?

Three Dutch etchers: Ph. Zilcken (1857-1930), Jan Veth (1864-1925) and Marius Bauer (1876-1932)
and a printing technician. 

Ernestine (Hadkinson) Seiffert died in Surabaya, Indonesia in 1928 so Gladys' parents probably divorced or separated earlier because her father Charles Hadkinson had two more children in Greece with a second wife in 1924 and 1925, he died in Alexandria Egypt 1942. Ernestine, probably well educated, wrote an article in an Amsterdam newspaper (de Groene Amsterdammer) in 1914 on Macedonia. 

I have no clue how this etching with an interesting family history ended up in my back-yard. It was donated to a local charity shop, its artistic and family ties and values long forgotten. 

Maybe this posting will be picked up by some-one interested in this particular Hadkinson family.  

All information and help is welcomed !

Marius Bauer: Susanna or Saskia ?

Recently I discovered this intriguing and charming etching in a fair. Going through a pile of other "stuff" this one stood out and since I could not find any new works created by my German woodblock printmaking ladies, I decided she was to be my fair consolation. 

What had caught my eye, and interest, was the Rembrandtesque light, the sketch like drawing and the slightly familiar interior and pose of the startled girl. See also the subtle slipper lower right. In both works ! 

It is obvious the artist was inspired by Rembrandts Susanna (but without the dirty old men euphemistically named.. "Elders"). 

And that she is actually situated in Rembrandts house (preparing and looking towards the bed) is maybe another a clue. This artist knew his Rembrandt (1606-1669) and showed his admiration in this "pastiche".

Rembrandt drew his love Saskia in the "box" bed. And she may also have been model to the most lovely, intimate and spontaneous nude drawings I know.

Even during his life Rembrandts sketches probably were inspiration for others. I can't help suspecting Rubens was inspired by Rembrandt in his Susanna (1636-40), but I'm not an art historian. 

It is known, Rembrandt probably was on his way with Hendrikje, his later wife, to visit her parents that Rembrandt stayed in the city of Amersfoort in the early 1650's. Here lived  his colleague Paulus Bor  (1601-1669). This location, the Westersingel, very near the place where I learned to play the piano. 300 years later.. 

Paulus Bor, sitting nude  ------------------

There has been a signature, obviously, but it looks like it has been clumsily erased. Why ? After some research I found this etching listed in the catalogue raisonée of one of the most important (consider by experts "the best") Dutch 1880-1930 etchers and "orientalist" Marius Bauer (1867-1932) and there it is titled "Saskia". 

The residue of the erased signature however resembling the signature seen in etchings by Etienne Bosch (1863-1933). Sadly the print has no margins. Another clue why the erased signature, was within it's borders ........A clue but not an answer. 

Etienne Bosch had been a class mate and friend of Marius Bauer in the Hague Art Academie (studying there 1880-85, yes Bauer entered aged 12 !). Like Bauer, Bosch probably shared the same teachers and thus also had been a student of controversial George Breitner (1857-1923) a most celebrated post-impressionist and early photographer who had once claimed Vincent van Gogh paintings were: "Art for Eskimo's"................ I think this was not ment to be an advice hanging Vincents colorful paintings in an Greenland iglo. It had to do with the colors Breitner could not approve of.  

 Bauer and Breitner, student and master.
Both considered controversial in the Hague's Academy. Both left.  

Who knows, Bosch "cheated" with Bauers copper plate and changed his mind later. There can be multiple explanations. As long there's no copy of the etching with Bauers actual signature I'll stay doubtful about the attribution. The original plate, but without makers markings or signature is said to have been found together with 50 others (by Bauer) and is now kept in Bauers reference collection. But "found together" is no proof either. 

Both men were involved in the "Nederlandse Etsclub" (Dutch Etching Club 1885-1896) and consisted of some 28 leading Dutch graphic artists publishing and promoting their work and organizing exhibitions showing the international graphic works of contemporary colleagues: Degas, Whistler, Rops, Pissarro and many others.  
         

All pictures borrowed freely from the Internet for friendly, educational and non commercial use only.