Orazio Farinati (1559 – after 1616)

The Madonna and Child with St John the Baptist Verona, about 1583 Etching Paper: 248 x 223 mm; mount: 557 x 403 mm This popular devotional grouping of the Madonna and the infant Jesus and St John the Baptist is intended to depict the cousins’ reunion in Egypt, after John was carried to join Jesus … Read more

Charles-François Daubigny (1817-1878)

Interior of an Inn France, 1861 Etching Plate: 120 x 150 mm; paper: 270 x 223 mm; mount: 405 x 555 mm This interior shows the corridor of an inn lined with pairs of shoes and a broom, dramatically lit by a lamp. Daubigny also depicted this scene in daylight. The observation of a scene … Read more

Charles-François Daubigny (1817-1878)

The Children in the Cart Auvers-sur-Oise, 1861 Etching Plate: 130 x 180 mm; paper: 280 x 250 mm; mount: 405 x 555 mm Daubigny watches from his boat as a woman, possibly his wife, assists a group of children pulling a cart. Madame Daubigny holds her youngest son’s hand while he rides sleepily in the cart. … Read more

Charles-François Daubigny (1817-1878)

The Beach at Villerville France, 1850 Etching Plate: 125 x 215 mm; paper: 195 x 165; mount: 405 x 555 mm This peaceful scene presents groups of workers – men fishing in a small boat to the right while women collect shells from rock pools – whose survival was dependent on the sea. In the … Read more

Charles-François Daubigny (1817-1878)

The Satyr Île-de-France, Paris, 1850 Etching 260 x 200 mm A satyr appears in a landscape that may have been inspired by the forest at Fontainebleu. As an artist renowned for a commitment to the faithful reproduction of nature, the presence of the satyr is uncharacteristic. Early in his career, Daubigny restored paintings at the … Read more

John Crome (1768-1821)

Mousehold Heath Norfolk, 1810 Etching Plate: 230 x 305 mm; paper: 350 x 465 mm; mount: 405 x 555 mm Mousehold Heath is to the north east of Norwich. The barren landscape was a popular subject for local artists in the first half of the 19th century. In this view of the heath Crome filters … Read more

Giovanni Benedetto Castiglione (1609-1664)

God the Father regarding the Infant Christ  Rome, 1645-7 Etching Plate: 260 x 200 mm, mount: 557 x 406 mm Castiglione represents the Holy Family as natural human figures. A plump infant Christ sleeps peacefully, watched by the Virgin Mary and an unusually tangible and human God. Catistiglione was greatly influenced by Rembrandt’s chiaroscuro etchings … Read more

Bartolommeo Biscaino (1632-1657)

Holy Family Italy, Genoa Etching Plate: 180 x 180 mm, mount: 557 x 404 mm Mary lovingly clutches the young Christ, who stands upright in her lap as he turns his head to look at his father, Joseph. Biscaino’s delicate handling of the medium of etching is particularly evident in his use of chiaroscuro, the … Read more

Pierre Étienne Théodore Rousseau (1812-1867)

Oaks Among Boulders Barbizon, 1861 Etching Plate: 13.4 x 21 cm; paper: 30 x 40 cm; mount: 40.5 x 55.6 cm  This etching was made from Rousseau’s painting La Chene de Roches and published in the Gazette des Beaux-Arts. Rousseau depicts the heart of the forest untouched by human intervention. Rousseau’s desire to represent nature … Read more

Wenceslaus Hollar (1607-1677)

Muscarum Scarabeorum Vermiumque Variae Figurae et Formae 1646 Etchings Wenclaus Hollar was born in Prague, but worked across Europe including in Stuttgart, Strasburg, Frankfurt and Cologne, where he became employed by Thomas Howard, the Earl of Arundel (1585-1646). Howard was a court member of King Charles I, and renowned for his collection of art and artefacts. King Charles … Read more

Antoon Derkzen van Angeren (1878-1961)

Two Skulls Dutch, 1908-9 Etching 30 x 39.7 cm This etching revives the distinctive Dutch seventeenth-century painting category of vanitas still-life. One or more skulls in isolation was a tradition established by Angeren’s seventeenth-century predecessor, Hercules Seers (1589/90-1633/38).  Purchased 2001 (No. 2001.1).

Arthur Illies (1870-1952)

Ripe Cornfield: Evening (Ahrenfeld am Abend) Hamburg, 1896 Etching on zinc 18.5 x 14.5 cm A fine impression on wove paper as issued in Pan in an edition of 1,600. This extraordinary colour etching is the product of deep biting a zinc plate and of one printing only. The colours are applied “à la poupée”. Illies, … Read more

Claude Lorrain (1604/5-1682)

Sunrise Rome, 1634 Etching Paper: 12.9 x 20 cm; mount: 40.5 x 56 cm This marine scene bustles with activity as figures gesticulate, exchange glances and huddle in groups. The sun, which faintly be seen on the horizon, floods the picture with light and blurs the distant mountains. Opposite the triumphal Arch of Titus on … Read more

James Abbott McNeill Whistler (1834-1903)

The Lime Burner London, 1859, published 1871 Etching with drypoint Plate: 25 x 18 cm; mount: 55.6 x 40.5 cm This is one of Sixteen Etchings of Scenes on the Thames which Whistler completed by 1861. They resulted from a campaign of drawing along the river in which the artist sought to document its everyday … Read more

Jan Both (c. 1618-1652)

The Mule Driver Netherlands, 1630s Etching  22 x 29.5 cm The mule with a low-slung head struggling under the weight of a heavy load is a motif that frequently appears in Both’s Italianate landscape scenes. For many, the mule was an affordable means of transport and an ideal working animal, combining the endurance and sure-footedness … Read more

Samuel Palmer (1805-1881)

The Cypress Grove Redhill, Surrey, about 1880, completed 1883 Etching 13 x 19 cm    Set amid a mountainous nocturnal landscape, a group of nymphs mourn for the shepherd Daphnis who has been blinded by the nymph Nomia for being unfaithful. Loosely based on Virgil’s Eclogues (42-39 B.C.), this work may have been inspired by … Read more

Agostino Carracci (1557-1602)

Ecce Homo Bologna, 1587 Etching Paper: 45 x 34.4 cm; mount: 63 x 51.5 cm  Depicting a standard cycle of the Passion of Christ, the words ‘Ecce Homo’ (‘Behold the Man’) were used by Pontius Pilate to present Christ to the jeering crowds before his crucifixion. Mary swoons in the foreground, an unusual addition to … Read more

Johann Baptist Zwecker (1814-1876)

Young Love Düsseldorf, 1840 Etching 24.1 x 28.7 cm  This Romantic etching is a highly atmospheric scene of love and death on a moonlit mountainside, taken from Heinrich Heine’s ‘Buch de Lieder’. ‘Love, O Love, it was your might, brought us to our sorry plight’. Their existence blighted by self-destructive love, ghostly figures rise from … Read more

James Abbott McNeill Whistler (1834-1903)

La vieille aux loques (The Old Rag-Picker) London, 1858  Etching 20.6 x 14.6 cm  An old woman sits in a doorway absorbed in sorting rags. Although the rag picker is shown as poor and frail, her focus and disengagement from the viewer creates a calm and contemplative image. The framing device of the doorway ensures … Read more

Charles-François Daubigny (1817-1878)

Apple Tree at Auvers (Pommiers à Auvers) Auvers, 1877 Etching on laid handmade paper, third state Plate: 18 x 27.5 cm; mount: 40.5 x 55.7 cm This print was made a year before Daubigny’s death in 1878. A peasant figure makes a path through the landscape equipped with tools for the cultivation of nature. The … Read more

Augustus John (1878-1961)

Nude Girl Standing London or Paris, about 1906 Etching 19 x 11.5 cm  A young naked woman stands with her knee upon a bed. Her pensive expression and downturned eyes suggest intimacy and naturalness. The loose, hastily etched lines highlight the mass and unevenness of her body rather than idealising her figure. The model is … Read more

William Hogarth (1697-1764)

Night (from the sequence ‘The Four Times of the Day’) London, 1738 Etching and graving, black ink on paper Paper: 48.6 x 40.2 cm; mount: 80.8 x 40.2 cm Disorder and chaos rule in this side-street of taverns and brothels near Charing Cross. Children sleep under a table while a drunken Freemason is escorted home … Read more