Legros “A Woodland Study; 1903” Original Etching-Drypoint “Alphonse Legros – A Woodland Study” is a Original etching by Alphons Legros.  More »

Legros “A Woodland Study; 1903” Original Etching-Drypoint “Alphonse Legros – A Woodland Study” is a Original etching by Alphons Legros. Printed on Arches Laid Paper, published in a portfolio “Representative Art of Our Time”. This impression is 7.75 by 12.50 inches with margins and in good Condition with discoloration ONLY on the back of the print NOT effecting the front of the work. Alphonse Legros (May 8, 1837 — December 8, 1911), painter, etcher and sculptor was born in Dijon. His father was an accountant, and came from the neighbouring village of Véronnes. Young Legros frequently visited the farms of his relatives, and the peasants and landscapes of that part of France are the subjects of many of his pictures and etchings. He was sent to the art school at Dijon with a view to qualifying for a trade, and was apprenticed to Maître Nicolardo, house decorator and painter of images. In 1851 Legros left for Paris to take another situation; but passing through Lyon he worked for six months as journeyman wall-painter under the decorator Beuchot, who was painting the chapel of Cardinal Bonald in the cathedral. In Paris he studied with Cambon, scene-painter and decorator of theatres, an experience which developed a breadth of touch such as Stallfield and Cox picked up in similar circumstances. At this time he attended the drawing-school of Lecoq de Boisbaudran (the "Petite école") where he found himself in sympathy with Jules Dalou and Auguste Rodin. In 1855 Legros attended the evening classes of the École des Beaux Arts, and perhaps gained there his love of drawing from the antique, some of the results of which may be seen in the Print Room of the British Museum. Experiments in all varieties of art work were practiced; whenever the professor saw a fine example in the museum, or when a process interested him in a workshop, he never rested until he had mastered the technique and his students were trying their apprentice hands at it. As he had casually picked up the art of etching by watching a comrade in Paris working at a commercial engraving, so he began the making of medals after a walk in the British Museum, studying the masterpieces of Pisanello, and a visit to the Cabinet des Médailles in Paris. Legros, considered the traditional journey to Italy a very important part of artistic training, and in order that his students should have the benefit of such study he devoted a part of his salary to augment the income available for a travelling studentship. His later works, after he resigned his professorship in 1892, were more in the free and ardent manner of his early days—imaginative landscapes, castles inSpain, and farms in Burgundy, etchings like the series of "The Triumph of Death," and the sculptured fountains for the gardens of the duke of Portland at Welbeck.   « Less

Salvator Rosa (1615 — March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. As a painter, he is best known as an  More »

Salvator Rosa (1615 — March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. As a painter, he is best known as an “unorthodox and extravagant” and a “perpetual rebel” proto-Romantic. He was born in Arenella, in the outskirts of Naples: either June 20 or July 21, 1615. His father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into the convent of the Somaschi fathers. Yet, Salvator showed a preference for the arts, thus secretly worked with his maternal uncle Paolo Greco to learn about painting, and soon transferred himself to his own brother-in-law Francesco Francanzano, a pupil of Ribera, and afterwards to either Aniello Falcone, contemporary with Domenico Gargiulo, or Ribera himself. Some sources claim he spent time living with roving bandits. At the age of seventeen he lost his father; his mother was destitute with at least five children, and Salvator found himself without financial support. Salvator Rosa “Study of a Standing Figure” Etching, plate 50 from the “Studies of Figures”, on antique laid paper with narrow, uneven margins. Work measures 3.75 by 5.25 inches approximate. In good condition.   « Less

Georges Braque "Still Life" Color Lithograph Limited Edition Georges Braque (May 13, 1882 — August 31, 1963) was a major 20th century French painter and sculptor  More »

Georges Braque "Still Life" Color Lithograph Limited Edition Georges Braque (May 13, 1882 — August 31, 1963) was a major 20th century French painter and sculptor who, along with Pablo Picasso, developed the art movement known as cubism. Braque's paintings of 1908–1913 began to reflect his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, appearing to question the most standard of artistic conventions. In his village scenes, for example, Braque frequently reduced an architectural structure to a geometric form approximating a cube, yet rendered its shading so that it looked both flat and three-dimensional. In this way, Braque called attention to the very nature of visual illusion and artistic representation. Beginning in 1909, Braque began to work closely with Pablo Picasso, who had been developing a similar approach to painting. The invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. After meeting in 1907, Braque and Picasso, in particular, began working on the development of Cubism in 1908. Both artists produced paintings of neutralized color and complex patterns of faceted form, now called Analytic Cubism. In 1912, they began to experiment with collage and papier collé. This is a color lithograph AFTER painting which is signed and it is a limited edition numbered 31 out of 375. There is a stamp on the back of the lithograph, “This is a highly faithful rendition, made by a skilled artist AFTER (D'APRES) the art depicted. It is a color lithograph, done in limited edition. Registered Copyright, Library of Congress.” Dimension: H 58.5cm x W 43 cm (23" x 17") There is a minor tear outside of the image which has been repaired.   « Less

Extremely intimate in scale, this image offers a snapshot of daily life. Prowling on a balcony, a cat peers into a pot of planted flowers possibly looking for a little  More »

Extremely intimate in scale, this image offers a snapshot of daily life. Prowling on a balcony, a cat peers into a pot of planted flowers possibly looking for a little mischief. "Compositionally, this is one of Manet's most subtle combinations of complex and simple. The silhouetting of the flat area of the cat's shape against the "busy" background presents some visual confusion, for the spectator's attention is often distracted from the simple, easily grasped shape of the cat and of the railings to the more intricate lines and rhythms of the flowers and the diamond shapes between the railings. Manet has thus reversed what is a more normal figure-ground relationship (i.e. with the more complex description of form being in the foreground and the simple more broadly handled forms behind)…" (Harris, 198). Created in 1869, this work is signed in the plate by Edouard Manet (1832-1883) in the lower left hand corner of the work. Posthunus edition. The etching measure 8 by 6 inches in a professional framed 13 by 15.75 inches . In good condition ( NOT EXMAINED outside of the frame ) Documented and illustrated in: 1. Harris, Jean, Edouard Manet The Graphic Work, A Catalogue Raisonné, 1990, listed as cat no 65 on pgs 198-201. Shipped Unframed for International Buyers. Édouard Manet (23 January 1832 — 30 April 1883) was a French painter printmaker ,. One of the first 19th-century artists to approach modern-life subjects, he was a pivotal figure in the transition from Realism to Impressionism. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, engendered great controversy and served as rallying points for the young painters who would create Impressionism. Today, these are considered watershed paintings that mark the genesis of modern art. Born into an upper class household with strong political connections, Manet rejected the future originally envisioned for him, only to become engrossed in the world of painting. The last 20 years of Manet's life saw him form bonds with other great artists of the time, and develop his own style that would be heralded as innovative and serve as a major influence for future painters. Édouard Manet was born in Paris on 23 January 1832, to an affluent and well connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince, Charles Bernadotte, from whom the current Swedish monarchs are descended. His father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Charles Fournier, encouraged him to pursue painting and often took young Manet to the Louvre In 1841 he enrolled at secondary school, the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a special course of drawing where he met Antonin Proust, future Minister of Fine Arts and subsequent life-long friend. At his father's suggestion, in 1848 he sailed on a training vessel to Rio de Janeiro. After Manet twice failed the examination to join the Navy the elder Manet relented to his son's wishes to pursue an art education. From 1850 to 1856, Manet studied under the academic painter, Thomas Couture. In his spare time, Manet copied the old masters in the Louvre. From 1853 to 1856 he visited Germany, Italy, and the Netherlands, during which time he absorbed the influences of the Dutch painter Frans Hals, as well as the Spanish artists, Diego Velázquez and Francisco José de Goya. In 1856, Manet opened his own studio. His style in this period was characterized by loose brush strokes, simplification of details and the suppression of transitional tones. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker (1858–59) and other contemporary subjects such as beggars, singers, Gypsies, people in cafés, and bullfights. After his early years, he rarely painted religious, mythological, or historical subjects; examples include his Christ Mocked, now in the Art Institute of Chicago, andChrist with Angels, in the Metropolitan Museum of Art, New York.   « Less

Childe Hassam “The Regatta” Rare Aquatint Childe Hassam, American Impressionist Painter, Lithographer , watercolorist and etcher (known to all as Childe,  More »

Childe Hassam “The Regatta” Rare Aquatint Childe Hassam, American Impressionist Painter, Lithographer , watercolorist and etcher (known to all as Childe, pronounced like child) left high school without graduating, and ended up working for a wood engraver. He attended drawing classes at the Lowell Institute, a division of MIT, and was a member of the Boston Art Club. He began his artistic career as an illustrator and watercolorist. By 1882, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and thereafter was known simply as “Childe Hassam”. Having had little formal art training previously, Hassam went to Paris in 1886 to study figure drawing and painting at the Académie Julian. He studied under Gustave Boulanger and Jules Joseph Lefebvre. However, he later considered the education he received there “superfluous.” What had a greater influence on Hassam’s work was the art he was exposed to in the city’s museums and galleries, especially the works of the Impressionists. Hassam returned to America and settled in New York City in 1889. He soon become close friends with fellow artists J. Alden Weir and John Henry Twachtman, whom he met through the American Watercolor Society. Hassam enthusiastically painted the genteel urban atmosphere he discovered in New York, which he greatly preferred to Paris. During his time in New York, Hassam made summer painting excursions to Thaxter’s home on Appledore Island, Maine, the largest of the Isles of Shoals; and to Gloucester, Massachusetts; Cos Cob, Connecticut; and Old Lyme, Connecticut. Outstanding Childe Hassam (noted American Impressionist Master) was commissioned to execute and publish a series of Venetian Watercolors for “Venetian Life, 1889” Executed in the medium color Aquatint, employing multi plates for various colors and tonal effects. These beautiful works were conceived and printed under the supervision of Hassan and took place at the Riverside Press in Riverside New York, 1889. Because of the high cost of published these works in high quality, the technique soon was ended by the first of the 19th century. Sheet Size: 4.50 by 7 inches on wove paper. This exceptional antique multi-stone aquatint has the look of an actual watercolor and of a limited edition. When correctly matted and framed these are truly beautiful works that will give you many years of great enjoyment. The publication of these works became one of the finest Aquatints in color produced in the period and best among the finest Aquatint printing of the period in America , Here Childe Hassam works in watercolors became strong, brilliant, and individual. Among the best examples are his American water colors. Today these examples are becoming very rare to find on the open market and are often over look by collectors of Hassam’s fine print-making. He visited Xavier Martinez in 1914 in his Piedmont gallery to view Martinez’ recent paintings of the Arizona desert. Hassam is famous for his series of 22 flag paintings, which he began in 1916, when he was inspired by a “Preparedness Parade” (for World War I) held on Fifth Avenue in New York. Monet, among other French artists, had also painted flag-theme works, but Hassam’s have a different, distinctly American character. They all depict Fifth Aveue, Fifty-Seventh Street, or streets near Hassam’s gallery at the time, which was on West Fifty-Seventh Street. The Metropolitan Museum, the New-York Historical Society and the National Gallery of Art all own a Hassam flag painting. In 1919, he purchased a home in East Hampton, New York, where he would die, aged 75. He was a member of the Ten American Painters group, which seceded from the Society of American Artists in 1898.   « Less

John Winkler “The Constitutional Convention” Pencil Signed Etching John Winkler “The Constitutional Convention — 1787.” 9 1/2 x 13 5/8.  More »

John Winkler “The Constitutional Convention” Pencil Signed Etching John Winkler “The Constitutional Convention — 1787.” 9 1/2 x 13 5/8. Denied the enjoyment of private life by a new public emergency, Washington reluctantly emerges from retirement as Presiding Office of the Constitutional Convention. Published in the The Bi-Centennial Pageant of George Washington.1932. ONE of a Suite of 20 etchings illustrating events in Washington’s life, edited by John Taylor Arms and Harry A. Ogden, New York. Published by the George Washington Memorial Association, Inc. The Sheet size: 14 3/4 x 19 3/4. and the etched work is 9 1/2 x 13 5/8 Printed on ‘G.W.’ countermarked paper. John Winkler was born in Vienna of a military family. At 16, seeking adventure and changing his name, Winkler came to America. He met hobos and Indians, mined for copper in Bingham Canyon, and shucked corn in Nebraska. In San Francisco, in 1911, he impulsively enrolled in the San Francisco Institute of Art although he had never done any serious art work. He studied and taught at the Art Institute. He soon discovered that etching provided a permanent and challenging media and was given a life scholarship at the Institute. He lit gas lamps to sustain himself. Working directly on the plate, Winkler recorded life and scenes of lively San Francisco rebuilding after the earthquake. He won awards and exhibited his etchings of Chinatown’s Alleys, Telegraph Hill goats and shacks, and East Bay sailing ships, among other scenes. In 1921 Winkler left for Paris and London where he brought out new plates. The Gazette des Beaux Arts wrote of Winkler -- “San Francisco is to Winkler as Tahiti was to Gauguin.” Malcom Sulaman wrote a Winkler catalog while his closest friend, John Taylor Arms wrote of Winkler “Master of line--Master of us all.” In France John W. Winkler drew the country genre and cathedrals, and he etched plates of Normandy’s shops and street people. In London he etched boats, bridges, and shipping on the Thames. Returning to California in 1929 Winkler completed many more etchings and drawings. He enlarged the San Francisco, France, London, and began the California Mountain etching series. He created his Christmas etchings in the 1930’s. After branching out into other media he returned to his etching in 1976 when over 40 never published plates were finished and small editions were printed. During his lifetime Winkler produced nearly 600 plates, hundreds of drawings, jewelry pieces, and 200 hand-carved, decorated, wooden boxes. Winkler chose mediums which could not be changed. He said the difficulty was a stimulus and a challenge. Technique was taken for granted, but the personality of the artist was what counted. Winkler prints can be found in most major museums with the following museums having the most complete collections: The Achenbach Foundation, San Francisco; The Art Institute of Chicago; The Boston Public Library; the Library of Congress; the New York Public Library; The Smithsonian Institution; the Massachusetts Institute of Technology Museum; The Oakland Museum; The San Diego Museum; and the Brooklyn Museum. John W. Winkler was part of the community of artists that included famous photographer, Imogen Cunningham, and etchers Roy Partridge, John Taylor Armes, and Arthur Heintzelman. He hiked in the Sierra Mountains with William Colby who founded the Sierra Club. His wife, Elizabeth Ginno Winkler was also an artist and worked and exhibited at the San Francisco World’s Fair of 1939. Winkler never printed large editions of his work, never amassed financial security with his art, but he did find lifelong pleasure in it.   « Less

Jean-Louis Forain (October 23, 1852 — July 11, 1931) was a French Impressionist painter, lithographer, watercolorist and etcher. Forain was born in Reims,  More »

Jean-Louis Forain (October 23, 1852 — July 11, 1931) was a French Impressionist painter, lithographer, watercolorist and etcher. Forain was born in Reims, Marne but at age eight, his family moved to Paris. He began his career working as a caricaturist for several Paris journals but wanting to expand his horizons, enrolled at the École des Beaux Arts, studying under Jean-Léon Gérôme as well as another sculptor/painter, Jean-Baptiste Carpeaux. In 1891 Forain married the painter Jeanne Bosc with whom he had a son, born in 1895. Forain was greatly influenced by Honoré Daumier plus friend and artist, Edgar Degas. He participated in four Impressionist exhibitions between 1879 and 1884. In his later years, Forain created numerous scenes of the Law Courts and other Parisian institutions plus social satires and anti-Semitic caricatures on late 19th and early 20th century French life. In 1931, shortly before his death, he was made a member of the Royal Academy of Arts in London. Jean-Louis Forain “L’ Ambulante” Etching, etched by Forain for the frontispiece of J. K. Huysmans “Croquis Parisiens” and published in Paris in 1880 in a total edition of 545. Printed on laid paper. Signed in the plate. Plate measuring 5.75 x 3.75 inches.   « Less

Jacques Villon ”Pete Champetre” Etching Jacques Villon (July 31, 1875 — June 9, 1963) was a French cubist painter and printmaker. Born Gaston Emile  More »

Jacques Villon ”Pete Champetre” Etching Jacques Villon (July 31, 1875 — June 9, 1963) was a French cubist painter and printmaker. Born Gaston Emile Duchamp in Damville, Eure, in the Haute-Normandie region of France, he came from a prosperous and artistically inclined family. While he was a young man, his maternal grandfather Emile Nicolle, successful businessman and artist, taught him and his siblings. Among Villon’s greatest achievements as a printmaker was his creation of a purely graphic language for cubism — an accomplishment that no other printmaker, including his fellow cubists Pablo Picasso or Georges Braque, could claim. Villon died in his studio at Puteaux. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp: Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Suzanne Duchamp. Some of this family exhibition was later shown at the Musée National d’Art Moderne in Paris. Many important museums include works by Villon in their collections, including: Fine Arts Museums of San Francisco; Minneapolis Institute of Arts, Museum of Fine Arts, Boston; MOMA, New York City;, TheUniversity of Michigan Collection; The National Gallery of Art, Washington D.C.; The Art Gallery of New South Wales, Sydney, Australia; La Bibliothèque Nationale in Paris; and Musee Jenisch, Vevey, Switzerland. Leading private collections which include the works of Villon are the Joachim Collection of Chicago, the Vess Collection of Detroit, and the Ginestet Collection of Paris. Here we have a lovely image of Jacques Villon ”Pete Champetre” Etching ready to grace your wall for many years of enjoyment. The work measures approximate 8.75” x 3.75”. This is a work published by the Collectors Guild New York and comes with the original COA, once attached to the framed work, as issued by the Guild.   « Less

George Inness “Saco River Valley” Etching George Inness, 1825—94, American landscape painter, b. Newburgh, N.Y. His father intended Inness to be a  More »

George Inness “Saco River Valley” Etching George Inness, 1825—94, American landscape painter, b. Newburgh, N.Y. His father intended Inness to be a grocer, but he showed artistic talent at an early age and was apprenticed to an engraver. In 1845 he opened a studio in New York City, devoting himself to painting, and two years later with a friend's aid was able to go to Rome. He made a subsequent visit to Rome in 1851, and in 1854 he and his wife went to Paris. On their return they settled in Medfield, Mass. There Inness painted many of his best-known canvases. In later life he enjoyed a high reputation, maintaining studios in New York City and in Montclair, N.J., where most of his last 20 years were spent. The early work of Inness is in the manner of the Hudson River school . His panoramic Peace and Plenty (Metropolitan Mus.) is characteristic of this period. But in a short time he discovered his own personal style, which became simplified, freer, more intimate, and richer in color. In the landscapes of the 1880s and 90s, edges frequently dissolve into the air, merging in a painterly haze. In these later works his subjects, covering a wide range of light effects, became a vehicle for the expression of a romantic mood. Inness was a Swedenborgian and consistently sought the mystical in nature. Among his principal works are Rainbow after a Storm and Millpond (Art Inst., Chicago); Delaware Valley, Autumn Oaks, and Evening—Medfield, Mass. (Metropolitan Mus.); June (1882; Brooklyn Mus., N.Y.); and Georgia Pines and Niagara (National Gall. of Art, Washington, D.C.). Many of his other works are in the collection of the Montclair Art Museum. Inness died in Scotland. Here we have a great impression of, George Inness “Saco River Valley” Etching Conceived first as a painting by Inness and etched under his approval by the noted engraver William Wellstood and published from Choice Etchings (London: Alexander Strahan, 1887), ,This great landscape measure 6.75 by 8 inches on laid paper in good condition and full margins . Plate inscribed, an impression (pencil signed by the engraver) of this work can be found at http://www.famsf.org/imagebase_zoom.asp?rec=5076163106690068   « Less

Sir Henry Raeburn (March 4, 1756 — July 8, 1823) was a Scottish portrait and historical painter and etcher. He was born the son of a manufacturer in Stockbridge,  More »

Sir Henry Raeburn (March 4, 1756 — July 8, 1823) was a Scottish portrait and historical painter and etcher. He was born the son of a manufacturer in Stockbridge, a former village now within the city of Edinburgh. Orphaned, he was supported by his older brother and placed in Heriot’s Hospital, where he received an education. At the age of fifteen he was apprenticed to a goldsmith, and various pieces of jewellery, mourning rings and the like, adorned with minute drawings on ivory by his hand, still exist. Soon he took to the production of carefully finished portrait miniatures; meeting with success and patronage, he extended his practice to oil painting, at which he was self-taught. The goldsmith watched the progress of his pupil with interest, and introduced him to David Martin, who had been the favorite assistant of Allan Ramsay the Latter, and was now the leading portrait painter in Edinburgh. Raeburn was especially aided by the loan of portraits to copy. Soon he had gained sufficient skill to make him decide to devote himself exclusively to painting. In his early twenties, he was asked to paint the portrait of a young lady whom he had previously observed and admired when he was sketching from nature in the fields. She was the daughter of Peter Edgar of Bridgelands, and widow of Count Leslie. Fascinated by the handsome and intellectual young artist, she became his wife within a month, bringing him an ample fortune. The acquisition of wealth did not affect his enthusiasm or his industry, but spurred him on to acquire a thorough knowledge of his craft. It was usual for artists to visit Italy, and Raeburn set off with his wife. In London he was kindly received by Sir Joshua Reynolds, who advised him on what to study in Rome, especially recommending the works of Michelangelo. Raeburn carried with him to Italy many valuable introductions from the president of the Royal Academy. In Rome he met Gavin Hamilton, Pompeo Girolamo Batoni and Byers, an antique dealer whose advice proved particularly useful, especially the recommendation that “he should never copy an object from memory, but, from the principal figure to the minutest accessory, have it placed before him.” After two years of study in Italy he returned to Edinburgh in 1787, and began a successful career as a portrait painter. In that year he executed a seated portrait of the second Lord President Dundas. Examples of his earlier portraiture include a bust of Mrs Johnstone of Baldovie and a three-quarter-length of Dr James Hutton, works which, if somewhat timid and tentative in handling and not as confident as his later work, nevertheless have delicacy and character. The portraits of John Clerk, Lord Eldin, and of Principal Hill of St Andrews belong to a later period. Raeburn was fortunate in the time in which he practiced portraiture. Sir Walter Scott, Hugh Blair, Henry Mackenzie, Lord Woodhouselee, William Robertson, John Home, Robert Fergusson, and Dugald Stewart were resident in Edinburgh, and were all painted by Raeburn. Mature works include his own portrait and that of the Rev. Sir Henry Moncrieff Wellwood, the bust of Dr Wardrop of Torbane Hill, the two full-lengths of Adam Rolland]] of Gask, the remarkable paintings of Lord Newton and Dr Alexander Adamin the National Gallery of Scotland, and that of William Macdonald of St Martin’s. It was commonly believed that Raeburn was less successful in painting female portraits, but the exquisite full-length of his wife, the smaller likeness of Mrs R. Scott Moncrieff in the National Gallery of Scotland, and that of Mrs Robert Bell, and others, argue against this. Raeburn spent his life in Edinburgh, rarely visiting London, and then only for brief periods, thus preserving his individuality. Although he, personally, may have lost advantages resulting from closer association with the leaders of English art, and from contact with a wider public, Scottish art gained much from his disinclination to leave his native land. He became the acknowledged chief of the school which was growing up in Scotland during the earlier years of the 19th century, and his example and influence at a critical period were of major importance. So varied were his other interests that sitters used to say of him, “You would never take him for a painter till he seizes the brush and palette.” In 1812 he was elected president of the Society of Artists in Edinburgh, in 1814 associate, and in the following year full member of the Royal Scottish Academy. In 1822 he was knighted by George IV and appointed His Majesty’s limner for Scotland. He died at Edinburgh. Raeburn had all the essential qualities of a popular and successful portrait painter. He was able to produce a telling and forcible likeness; his work is distinguished by powerful characterisation, stark realism, dramatic and unusual lighting effects, and swift and broad handling of the most resolute sort. David Wilkie recorded that, while travelling in Spain and studying the works of Diego Velázquez, the brushwork reminded him constantly of the “square touch” of Raeburn. Raeburn was unusual amongst many of his contemporaries, such as Reynolds, in the extent of his philosophy of painting everything directly from life. This attitude partly explains the often coarse modeling and clashing color combinations he employed, in contrast to the more refined style of Thomas Gainsborough and Reynolds. However these qualities and those mentioned above anticipate many of the later developments in painting of the nineteenth century from romanticism to Impressionism. Sir Henry Raeburn died in St Bernard’s House, Stockbridge, Edinburgh. Outstanding original etching “Greenwich Pensioners at the Tomb of Nelson” etched by Henry Macbeth Raeburn after a work in oil by the noted Sir J E Millais. This lovely work printed in sepia on antique laid paper measure 7.25 by 9 inches and inscribed below the etched work as state. Published by Magazine of Art, London. This is in good condition.   « Less