Siri Rathsman

Siri Rathsman, Composition, Vintage Lithograph

1953

This charming mid-19th-century hand-coloured lithograph depicts the ‘Enterprise Steam Omnibus’, the most successful steam carriage of its period. In the early 19th century, long-distance travel was predominantly undertaken by horse-drawn carriages. Yet, every so often, the clitter-clatter of hooves was abruptly overshadowed by the whir of steam-powered technology. From around 1801, several plucky inventors began developing carriages which could propel themselves via steam. The majority were notoriously unreliable, often breaking down, too slow to be practical, and occasionally exploding. The first steam-powered carriage, invented by Richard Trevithick of Cornwall, made its debut in 1801. It was known as ‘The Puffing Devil’ or ‘Captain Dick’s Puffer’ and said to cause quite a fright when trundling towards you. But this, like several others, couldn’t sustain the rigours of regular long distance trips, which were required to support the cost of running them. Walter Hancock’s (1799-1852) carriages were different. They became the first to run regularly - initially from Stratford and London via the ‘Infant’, a ten-seater bus, and in 1833, between London Wall and Paddington via ‘The Enterprise’, which we see here. Hancock’s machines were revolutionary due to his patented steam boiler (which had less risk of exploding). The Enterprise also had a pioneering suspended engine along with several other clever additions. Driving it was a tricky affair with three operators required - one to steer and control the speed, a second to monitor the boiler’s water level, and a third to maintain the fire. It’s unclear how the three communicated over the omnipresent din. In total, Hancock’s machines carried 12,761 passengers across 4,200 miles, an incredible achievement given the constraints of the day and the condition of the roads. The Enterprise was lauded in Europe and the US, with this particular image featuring in the New York press. The lithograph is based upon an earlier engraving...

This charming late 19th-century lithograph was produced by Freudenthal & Co for clothing manufacturers, TJ Thomas & Ellis Jones, to showcase the latest fashion. There are 17 styles including the DB Gladstone (after the Prime Minister), Ulster, Demi Sac, Tourist Blouse, Frock Coat and D B Prince Alfred. There’s also a Riding Habit for the lady. TJ Thomas & Ellis Jones were based at 138 Queen Victoria Street...

This fine early 18th-century engraving by flemish printmaker Jacques Coelemans (1654-1732) was commissioned by Jean-Baptiste II de Boyer (1645-1709) and formed part of ‘Recueil D'Estampes D'Aprés Les Tableaux Des Peintres Les Plus Celebres D'Italie, Des Pays-Bas Et De France, Qui sont à Aix dans le Cabinet de M. Boyer d'Aguilles’. Within mountainous terrain and partially hidden by rocks, a muscular man...

This early 20th-century etching by German artist Otto Goetze (1868-1931) depicts a nude within a bedroom setting. She poses while holding a mirror and catching her reflection. Goetze was a master of provocative scenes such as this. Seemingly obsessed with the female form, his skilful etchings portray women in various states of undress. It’s interesting to consider how tastes changed during the period he worked and how the line shifted between nudes as an artwork and the more overt world of eroticism. Swedish artist Anders Zorn (1860-1920) is one of the more prominent artists of this genre, particularly during the early 20th century. His earlier depictions of nudes were often portrayed under the guise of mythological subjects - wood nymphs and such - making them more palatable for display in the home. However, as time progressed, they were simply a celebration of form. Here, in around 1915, we see a work by Goetze that suggests a narrative. She’s perhaps looking at her hairstyle. Checking whether it’s ok from the reverse. She happens to be naked but within the boundaries of acceptable taste. Note how she’s without pubic hair...

This late-19th-century etching by German draughtsman Albert Kruger (b. 1858) is after a painting by Max Liebermann (1847-1935). The rhythmical monotony of the spinners, organised like a rigid machine, echoes through the low barn. Youths, hunched by square windows, wind flax onto spindles. While women stand in clogged feet, working tirelessly with aching bones. Liebermann captured their daily grind with aplomb, avoiding sentiment in favour of laborious reality. Yet, amid this harsh environment, he celebrates their efforts. The composition conveys determination with its lines and strong verticals while the atmosphere is one of steel rather than tortuous circumstance. Liebermann was a realist yet he found light among the ordinary. Originally published in The Art Journal...

This 17th-century engraving by Flemish draughtsman Adriaen Frans Boudewyns (1644-1719) is after a painting by Adam-François van der Meulen (1632-1690). ...

Lithograph Optical Pop Art Attrib. Victor Vasarely, 1970s with frame

Modern and bold abstract geometric composition of Mayan sculpture Chac Mool in sky blue by Marilyn Kruger (American, 20th Century). Numbered, titled, and signed ("1/5 Chac #2 Marilyn Kruger") along the lower edge. No frame. Chac Mool is sculpture of a reclining male figure holding a bowl on his torso. They were given the invented name Chac Mool by nineteenth-century explorers during an archaeological expedition to Chichen Itza...

Bold lithograph by Patricia Pearce (American, b. 1948). Numbered ("2/25"), titled ("Kimono 10"), and signed ("Patricia Pearce") along the bottom edge. Presented in a blue-gray mat wi...

Gold Sky with Silver Ribbon - Hand-Augmented Modern Collotype Print Delicate and layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). The background of...

Delicate layered collotype on heavy bond paper by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of other Pearce work. No frame. I...

Abstract print by Patricia A. Pearce (American, b. 1948). This piece is unsigned, but was acquired with a collection of other Peace work. Presented in a new gray mat with foamcore ba...