Nicolas Ponce After Pierre Antoine Baudouin - 1771 Engraving, La Toilette

1771

Original stipple engraving on laid. Presented behind glass in a contemporary wooden frame with a Sebastian D'orsai label on the verso.

Pupils relax in a magnificent schoolroom. Sumner has achieved a magnitude of depth and detail through his expert etching technique. The plate is inscribed 'Etched by Heywood Sumner...

Drypoint 3/3. Signature, date and title inscribed below plate lines. On watermarked wove.

Drypoint 1/3. Signature, date and title inscribed below plate lines. On wove.

Resist ground etching and engraving on Rives heavyweight buff paper, 20 x 36 inches (508 x 914 mm), full margins. Signed, titled, dated and numbered 103/160 in pencil, lower margin. Minor mat tone. A rich and finely printed impression of this complex and iconic work by Milton. Framed handsomely under Plexiglas with archival materials in a solid wood frame with silver finish. [Milton 98]. Milton states that in the evolution of his body of graphic work he found himself at point that necessitated the exertion of nerve in his subject matter. He found it imperative for growth to explore whether his compositions had previously been too polite, and through this process he experienced a great burst of artistic and psychic liberation. Milton refers to this awakening as a sort of adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. Les Belles et La Bête...

Resist ground etching and engraving on cream wove paper, 22 x 39 inches (558 x 990 mm), full margins. Signed, titled, dated, and numbered 27/160 in pencil, lower margin. With the blindstamp of the printer, Robert E. Townsend, in the lower left margin. A beautiful, richly inked impression of this highly detailed, large image. In very good condition with minor mat tone, extremely minor scattered light surface soiling, and one pin-point sized dot of brown discoloration on the lower left margin, recto, well outside of image area. [Milton 99]. Milton states that there is a metaphorical evolution at the root of his body of graphic work, and with Les Belles et la Bête, Before the Hunt, he found himself at a crossroads that he viewed as a sort of artistic adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. The image is brimming with fantastical images and metaphors for the confrontation of sexual exploration; a Freudian analyst appears in the left of the image, scattered tableaus of paired figures...

A rare early 19th century view of the Great Fire of London over Ludgate, enhanced with hand coloring. London: Robert Wilkinson, 1811. Copperplat...

A faithful architectural rendering of the earliest Ashkenazi synagogue constructed in London; built about 1690, and subsequently destroyed in the Blitz, 1941. London: Rudolph Ackerm...