«Heading» - International League of Antiquarian Booksellers
«Heading» - International League of Antiquarian Booksellers
«Heading» - International League of Antiquarian Booksellers
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Pre-Raphaelite & Victorian Etchings<br />
Henry Macbeth-Raeburn (1860-1947) was a noted<br />
Scottish painter and mezzotint engraver active in<br />
Edinburgh during the 1920's. He was a member <strong>of</strong> the<br />
Royal Academy and the Royal Society <strong>of</strong> Painters,<br />
Etchers, and Engravers. He is known today for his<br />
stylish mezzotints after celebrated eighteenth and<br />
nineteenth century portraits, which reproduced with<br />
accuracy and finesse the glory <strong>of</strong> these earlier masters.<br />
He had a penchant for the paintings <strong>of</strong> Reynolds,<br />
Gainsborough, and Sargent and produced many fine<br />
prints after their works.<br />
6. The Wine <strong>of</strong> Circe.<br />
Etching<br />
Jules Payrau after Sir Edward Coley Burne-Jones<br />
1896<br />
Image 136 x 208 mm, Plate 175 x 245, Sheet 225 x 308<br />
mm<br />
mounted<br />
From The Magazine <strong>of</strong> Art<br />
The Magazine <strong>of</strong> Art was an illustrated monthly British<br />
journal devoted to the visual arts, published from May<br />
1878 to July 1904 in London and New York by Cassell,<br />
Petter, Galpin & Co. It included reviews <strong>of</strong> exhibitions,<br />
articles about artists and all branches <strong>of</strong> the visual arts,<br />
as well as some poetry, and was lavishly illustrated by<br />
leading engravers <strong>of</strong> the period.<br />
Sir Edward Coley Burne-Jones, 1st Bt (1833-1898) was<br />
a painter and designer closely associated with the later<br />
phase <strong>of</strong> the Pre-Raphaelite movement. He was inspired<br />
to take up art through his friendship with D.G. Rossetti<br />
and was also a lifelong friend and collaborator <strong>of</strong><br />
William Morris, for whom he designed stained-glass<br />
windows, tapestries, tiles and book illustrations. Burne-<br />
Jones’ paintings <strong>of</strong> classical subjects and medieval<br />
romances exemplify the aesthetic dream-world <strong>of</strong> late<br />
nineteenth-century art. His reputation reached its height<br />
in the 1880s but began to decline during his lifetime<br />
with the onset <strong>of</strong> the Impressionists, whose style and<br />
choice <strong>of</strong> subject matter he despised.<br />
Condition: Some foxing to sheet not affecting image but<br />
inside <strong>of</strong> plate.<br />
[27621]<br />
£140<br />
7. La Belle Dame Sans Merci.<br />
Etching<br />
Henry Macbeth-Raeburn after John William<br />
Waterhouse<br />
c.1895<br />
Image 239 x 177 mm, 270 x 195 mm, Sheet 300 x 228<br />
mm<br />
mounted<br />
From The Magazine <strong>of</strong> Art<br />
John William Waterhouse (c.1849 -1917) was an<br />
English painter known for working in the Pre-<br />
Raphaelite style. He worked several decades after the<br />
breakup <strong>of</strong> the Pre-Raphaelite Brotherhood, which had<br />
seen its heyday in the mid-nineteenth century, leading<br />
him to have gained the moniker <strong>of</strong> "the modern Pre-<br />
Raphaelite". Borrowing stylistic influences not only<br />
from the earlier Pre-Raphaelites but also from his<br />
contemporaries, the Impressionists, his artworks were<br />
known for their depictions <strong>of</strong> women from both ancient<br />
Greek mythology and Arthurian legend. Although not<br />
as well known as earlier Pre-Raphaelite artists,<br />
Waterhouse's work is currently displayed at several<br />
major British art galleries, and the Royal Academy <strong>of</strong><br />
Art organised a major retrospective <strong>of</strong> his work in 2009.<br />
Condition: Some foxing to sheet and along the top edge<br />
<strong>of</strong> the image inside the plate.<br />
[27622]<br />
£120