Harry Morley was a British painter, etcher and engraver, known for his classical and mythological compositions. He was born in Leicester, where he attended Alderman Newton's School. At the age of 16 years, he left school to study architecture at Leicester School of Art, under Augustus Spencer and Benjamin Fletcher. In 1900, Morley was awarded a scholarship to study architecture under Professor Beresford Pite at the Royal College of Art (RCA). He won an RCA scholarship in 1903, which enabled him to visit Italy for the first time. Later that year, Morley was articled to Beresford Pite, whose architectural practice was on the RCA campus. At the Royal College, Morley also attended the mural painting department and life classes. He won two further scholarships in 1905 an RCA Architecture Award and another from the Royal Institute of British Architects (RIBA), for the study of colour decoration. These awards allowed him to spend long periods in Italy, between 1905 and 1908, where he came to admire early Renaissance painters, such as Pinturicchio, Pietro Perugino, Paolo Uccello and Sandro Botticelli. Now, determined to become a painter himself, he attended the Académie Julian, Académie Colarossi and Académie de la Grande Chaumière in Paris.
In London, in 1911, Morley married Lilias Helen Swain ARCA. A skilful calligrapher and embroiderer, Lilias had studied design at the Royal College of Art under William Lethaby. She was trained in lettering and illumination by Professor Edward Johnston and went on to become his first assistant. She studied embroidery under Grace Christie, whom she assisted after her graduation. Lilias was teaching calligraphy and embroidery at the Royal College, when she became engaged to Harry Morley. Lilias all gave up her artistic career to support Morley in his work. Whenever the opportunity arose, she undertook private commissions in calligraphy and embroidery design. She continued to draw and paint under the name Lester Romley. A quiet feminist from an early age, Lilias shared digs in Chelsea with fellow Royal College of Art student, Sylvia Pankhurst, who like Lilias, was from Manchester. Lilias designed and embroidered for the Pankhursts, a demonstration banner (now lost).
By 1921, Morley had been elected a member of the Art Workers' Guild. He joined the Society of Painters in Tempera, two years later. The ethos and camaraderie of artist groups appealed to him. He was an active member of both organisations. The Society of Painters in Tempera frequently held their meetings in Morley's studio. John D. Batten, the painter-activist, Mary Sargant Florence, Francis Ernest Jackson, Maxwell Armfield and Joseph Southall were among the many that attended. The revival of British interest in tempera painting had begun as early as 1901, with the formation of the Society. By the 1920s, the medium was better understood. However, it was only after the Royal Academy of Arts's ground-breaking “Italian Art exhibition”, at Burlington House, in 1930, that the Academy accepted contemporary tempera paintings in its “Summer Exhibition”. A tempera of Morley's was one of the 36 tempera paintings shown that first year. Morley was considered to be an artist's artist. His pictures proclaim their dependence on the early Italian masters, not only by their oil and tempera technique, but in their visual vocabulary. The artist's strong sense of monumental form and spatial clarity reflected his early training as an architect. Together, with his use of clean lines, academic coolness and detachment, Morley's work is clearly distinguished from the narrative purpose and sentiment of the Pre-Raphaelites. Morley's principal concern was the mythological and biblical figure paintings in oil and tempera that he exhibited at the Royal Academy of Arts from 1912. In 1924, his tempera painting, Apollo and Marsyas was purchased for the Tate, under the terms of the Chantrey Bequest.
The 1920s and 1930s, marked for Morley, a period of relative success and public recognition. Despite the collapse of the art market, during the economic depression that followed the 1929 Wall Street Crash, Morley continued to paint, engrave and exhibit. In 1932, he reluctantly accepted a post at St. Martin's School of Art, where for eight years, he taught painting and life drawing, two days a week. Portrait commissions also supplemented his income, during the 1930s. Morley's friend and Keeper of the Royal Academy Schools, Sir Walter Westley Russell invited him to attend the Schools, as a visiting teacher to critique students' work. Morley was appointed to the Faculty of Engraving, at the British School at Rome, in 1931. He was elected Associate of the Royal Watercolour Society (RWS), in 1927 and a full member, in 1931. He served as RWS Vice President, from 1937 to 1941. Having been nominated for Associate Membership of the Royal Academy of Arts (ARA) since 1921, he was eventually elected ARA in 1936. That same year, he was also elected Master of the Art Workers's Guild. A series of six articles by Morley on the “Theory and Practice of Figure Painting in Oils” appeared in the Artist Magazine, between September 1936 to February 1937. Morley's mythological and classical figure compositions helped establish his reputation and attract critical approval. By the mid 1930s, however, he had begun to experiment with a new approach to landscape painting, influenced in part by his long-standing admiration for the work of Paul Cézanne. Were it not for the disruption caused by World War II, his relocation out of London, his ill-health and early death, it is impossible to tell where this new direction might have led.
The Sacristan
By Harry Morley
Located in New Orleans, LA
This image shows a cleric seated in a church sacristy surrounded by religious statues, croziers, various saints, statues and chalices. It is an origina...
Engraving
$2,375
H 18.25 in W 23.5 in D 0.88 in
"King of the Friendly Islands" (Tonga); Engraving from Captain Cook's 3rd Voyage
By John Webber
Located in Alamo, CA
"Poulaho, King of the Friendly Islands, Drinking Kava" is an engraving created by William Sharp (1749-1824), from a drawing by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. It was published in the atlas of "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", the official British Admirality sanctioned journal published upon completion of the voyage in London in 1784 by Strahan & Cadell. Captain Cook visited Tonga on his 3rd voyage, which he named The Friendly Islands because of the warm welcome he and his crew received, unlike some of the other more hostile Pacific islands. The engraving depicts Cook and his men observed a kava ceremony at the village of Mu’a on Tongatapu. King Paulaho sits in the centre foreground, his back to the spectator with a man kneeling before him. The ceremonial mat depicted behind Paulaho indicates that nobody was allowed to sit behind him. The figure in the centre holds a single cup, referring to the Tongan custom of offering the cup to the king first. Kava is native to the islands of the South Pacific and was first described for English readers in 1768 by Captain James Cook. The kava root has been used for centuries as a central feature of ceremonies and celebrations because it was able to bring about a calming and pleasant social atmosphere. The root was crushed and processed into coconut milk to become the focal ceremonial beverage, simply referred to as kava. This engraving is presented in a Koa wood frame and a white mat. Koa wood is legendary in Hawaii. There are occasional faint spots, but the print is otherwise in very good condition. This amazing Koa wood is native to Hawaii and it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. There are three other engravings listed from the official journal of Captain Cook's 3rd voyage available that are presented in identical Koa wood frames and mats (LU117324682422, LU117324684052, LU117324684032). They would make a wonderful grouping for a display of 2, 3 or 4 prints. A discount is available for a grouping depending on the number of items included. Captain Cook is remembered as one of the greatest explorers and navigators in history. His explorations included Australia, New Zealand and islands of the South Pacific and the northwest coast of North America. Hawaii was discovered by Captain Cook during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...
Engraving
Don Juan
By Louis Icart
Located in Missouri, MO
Aquating Engraving Image Size: approx. 20 1/4 x 13 3/8 Framed Size: 28 x 20.5 inches Pencil Signed Lower Right Louis Justin Laurent Icart was born in Toulouse in 1890 and died in Paris in 1950. He lived in New York City in the 1920s, where he became known for his Art-Deco color etchings of glamourous women. He was first son of Jean and Elisabeth Icart and was officially named Louis Justin Laurent Icart. The use of his initials L.I. would be sufficient in this household. Therefore, from the moment of his birth he was dubbed 'Helli'. The Icart family lived modestly in a small brick home on rue Traversière-de-la-balance, in the culturally rich Southern French city of Toulouse, which was the home of many prominent writers and artists, the most famous being Henri de Toulouse-Lautrec. Icart entered the l'Ecole Superieure de Commerce de Toulouse in order to continue his studies for a career in business, particularly banking (his father's profession). However, he soon discovered the play writings of Victor Hugo (1802-1885), which were to change the course of his life. Icart borrowed whatever books he could find by Hugo at the Toulouse library, devouring the tales, rich in both romantic imagery and the dilemmas of the human condition. It was through Icart's love of the theater that he developed a taste for all the arts, though the urge to paint was not as yet as strong for him as the urge to act. It was not until his move to Paris in 1907 that Icart would concentrate on painting, drawing and the production of countless beautiful etchings, which have served (more than the other mediums) to indelibly preserve his name in twentieth century art history. Art Deco, a term coined at the 1925 Paris Exposition des Arts Decoratifs, had taken its grip on the Paris of the 1920s. By the late 1920s Icart, working for both publications and major fashion and design studios, had become very successful, both artistically and financially. His etchings reached their height of brilliance in this era of Art Deco, and Icart had become the symbol of the epoch. Yet, although Icart has created for us a picture of Paris and New York life in the 1920s and 1930s, he worked in his own style, derived principally from the study of eighteenth-century French masters such as Jean Antoine Watteau, François Boucher and Jean Honoré Fragonard. In Icart's drawings, one sees the Impressionists Degas...
Engraving, Aquatint
$250
H 18 in W 20.5 in D 0.5 in
G. Paterson "Dinner Party at a Mandarin's House" Engraving After T. Allom c.1840
Located in San Francisco, CA
G. Paterson "Dinner Party at a Mandarin's House" Original Engraving After T. Allom C.1840 Original engraving Dimensions 8" wide x 5" high The frame measures 20.5" wide x 18.5" hig...
Engraving
La diligence de Beaucaire
By Félix Hilaire Buhot
Located in Middletown, NY
Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...
Laid Paper, Drypoint, Etching, Aquatint
$450
H 9.25 in W 6.07 in
Bernard Sanders, Young Girl (With Arms Crossed), about 1930
Located in New York, NY
Young Girl by Bernard Sanders (1906-1967) is a classic example of his masterful portraiture. This is a drypoint. It is signed in pencil, titled in the lower left margin, and initial...
Drypoint
Vin Rouge (Red Wine)
By Edmund Blampied
Located in Plano, TX
1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypo...
Drypoint
Soup
By Edmund Blampied
Located in Plano, TX
Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...
Drypoint, Etching
$175
H 12.6 in W 9.4 in
Xisco Mensua Spanish artist 1995 original signed framed engraving print n3
By Xisco Mensua
Located in Miami, FL
Xisco Mensua (Spain, 1960) Untitled from Portfolio "Junio - Julio", 1995 engraving on paper 12.6 x 9.5 in. (32 x 24 cm.) Edition of 6 Frame 16x20 in. ID: MEN1253-003 Hand-signed by a...
Paper, Engraving
$475
H 21.88 in W 15.88 in D 1.25 in
"Inspection Tour in the Wine Vaults", 1876 Philadelphia Centennial Exposition
Located in Alamo, CA
This engraving is entitled "Philadelphia, PA- The Centennial Exposition - the Jury of Award on an Inspection Tour in the Wine Vaults of Agricultural Hall", ...
Engraving
$1,800
H 9.625 in W 13.75 in
A Scene in the New Farce —as performed at the Royalty Theater
By George Cruikshank
Located in Middletown, NY
A Scene in the New Farce —as performed at the Royalty Theater London: George Humphrey, 1821. Etching and engraving on cream wove paper with extensive hand coloring in watercolor. 9 5/8 x 13 3/4 inches (244 x 348 mm), trimmed at the platemark. A beautiful impression of this large, intricate print...
Watercolor, Engraving, Etching
France at her Furnaces
By James McBey
Located in Plano, TX
1917. Etching. Hardie 175. 8 x 15 (sheet 10 1/8 x 16 15/16). Edition 76. Slight mat line; otherwise excellent condition. A rich impression printed on antique laid paper with full m...
Drypoint, Etching
Interiors VII: The Train from Munich
By Peter Milton
Located in Middletown, NY
Interiors VII: The Train from Munich Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The work, published in 1991, evokes one of the darkest periods of European history, the eroding and erasing of European culture under fascism, and the eventual total loss of humanity. The Train from Munich is an especially relevant and emotional work for Milton, who created the piece for his wife, Edith, who escaped Munich in 1939 as a child on the fabled Kinderstransport. The Kinderstransport was a desperate rescue effort on the part of the British government to save as many Jewish children as possible by railway before borders closed on the precipice of the Second World War. Children left their parents behind, and boarded the trains alone, leaving the impending doom of Nazi Germany, they arrived in Great Britain as refugees. More than 10,000 children escaped the holocaust via the Kinderstransport. In Train from Munich, the image itself holds an almost immeasurable amount of symbolism; each inch of the matrix is a successful effort to confront this history in a way that is poignant through a series of motifs. We see the Café disappearing into a ghostlike memory of the past, an allegory to the disintegration of culture, while through the windows we can see a rampant, snarling dog; a portrait of Hitler's shepherd, Blondi. Blondi isn't the only notable figure in the composition. Milton has pointed out that the fading figure of the doorman at the Hotel Metropole is modeled after the artist and intellectual Marcel Duchamp, and the face of the young girl peering...
Charcoal, ABS, Engraving, Etching