Adriaen Frans Boudewyns

Adriaen Frans Boudewyns After Adam-François Van Der Meulen, Etching

c. 1670

This fine late 19th-century etching by British artist Henry Robert Robertson (1839-1921) depicts a couple worshipping a shrine to the Virgin Mary at sea. The original painting was ex...

This exquisite 18th-century engraving by Jacques-Philippe Le Bas (1707-1783) is after a portrait by Dutch artist Gerard Metsu (1629-1667). It formed part of Jean Baptiste Pierre Le Brun’s 'Galerie des Peintres Flamands, Hollandais et Allemands; Ouvrage enrichi de Deux Cent Planches graves d'apres les meilleurs Tableaux de ces Maitres'. Jean Baptiste Pierre Le Brun is considered one of the most influential art dealers in European history. His publication, Galerie des Peintres Flamands etc, illuminated the darkened corners of Dutch and Flemish art while also building acclaim for known luminaries, such as Gerard Metsu. Via the ‘Galerie’, Le Brun mentions Vermeer for the first time and sets the great Dutch master on a path to notoriety. He also unearthed several of Rembrandt’s followers, such as Ferdinand Bol...

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 stylish early 20th-century etching by Swedish artist Axel Wallert (1890-1962) depicts a young lady wearing an extraordinary hat. She’s attending a busy function and dressed to impress in the fashion-a-la-mode. It’s tricky to decipher exactly how the hat is constructed but it’s probably feathered. It’s reminiscent of Edwardian bird hats...

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...

Bretherton, James (After Rembrandt van Rijn). Christ and the Woman of Samaria Among Ruins. London: c 1775. Etching on light cream laid paper, 4 3/4...

Engraving on cream laid paper, 8 x 5 7/8 inches (202 x 149 mm), trimmed at the platemark. Adhered at each corner to a small sheet of archival laid paper. Horizontal edge loss at the ...

Etching and engraving on cream laid paper, 11 3/4 x 8 1/8 inches (297 x 205 mm), margins trimmed. Scattered light surface soiling, minor loose handling creases, rubbed edges, and sma...

Etching on Chine collé mounted to cream wove paper, 3 5/8 x 5 1/8 (90 x 129 mm), full margins. With a pencil notation in the right margin on the recto (outside of image area), as we...

Etching and engraving on handmade cream laid paper, 3 7/8 x 6 7/8 inches (97 x 173 mm), full margins. In good condition, consistent with age. Several small notations in pencil in t...

Etching with engraving on cream laid paper, 7 x 10 3/4 inches (184 x 273 mm), thin margins. Printing anomaly in the lower left quadrant with associated fold. Scattered handling wear...