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Gerald Leslie BrockhurstL'Eventail (The Fan)1926
1926
About the Item
Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paper lower margin near edge), the matrix pristine, archival matting.
A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching.
The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his predecessor Wenzel Hollar used women’s furs and fashions to display his legendary abilities.
The meticulous etching is contrasted – in an aethetically effective way – with the curiously messy border area below. It appears that Brockhurst was practicing using the etching needle in an area that would not affect the image, and he left it that way – surely intentionally - in the edition (including also his printed signature, written normally in the plate and thus printed backwards).
- Creator:Gerald Leslie Brockhurst (1890 - 1978, English)
- Creation Year:1926
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531752353
Gerald Leslie Brockhurst
(b Birmingham, 31 Oct. 1890; d Franklin Lakes, NJ, 4 May 1978). British-born painter and etcher who became an American citizen in 1949. Precociously gifted, an excellent draughtsman, and a fine craftsman, Brockhurst won several prizes at the Royal Academy Schools and went on to have a highly successful career as a society portraitist, first in Britain and then in the USA, where he settled in 1939, working in New York and New Jersey. He is best known for his portraits of glamorous women, painted in an eye-catching, dramatically lit, formally posed style similar to that later associated with Annigoni. As an etcher Brockhurst is remembered particularly for Adolescence (1932), a powerful study of a naked girl on the verge of womanhood staring broodingly into a mirror—one of the masterpieces of 20th-century printmaking.
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