William Hogarth (1697-1764)

Evening (third in the sequence from ‘The Four Times of the Day’) London, 1738 Etching and engraving with red ink  Paper: 48.5 x 40.6; mount: 80.8 x 60.5 cm Clenched fists and furrowed brows indicate an oncoming tantrum as this brother and sister quarrel over a gingerbread man. The contrast between the children’s elegant clothing … Read more

William Hogarth (1697-1764)

Noon (second in sequence from ‘The Four Times of the Day’) London, 1738 Etching and engraving, black ink on paper Paper: 49 x 41 cm; mount: 80.8 x 60.5 cm  Dour-faced worshippers shuffle into the bright midday light from the Protestant French Huguenot church at St Giles’s-in-the-Field, London. Across the street, the rowdy patrons of … Read more

William Hogarth (1697-1764)

Morning (first in the sequence from ‘The Four Times of the Day’) London, 1738 Etching and engraving, black ink on paper Paper: 48.8 x 39.7 cm; mount: 80.8 x 60.5 cm A wealthy spinster crosses Covent Garden Piazza on a freezing morning. The spinster’s attention is riveted on two embracing couples, causing her to ignore … Read more

Jean-François Millet (1814-1875)

The Diggers France, unknown date Etching Two men are digging in an inhospitable landscape. Their strong shoulders, curved backs and widely planted legs suggest the strenuous nature of their task. Millet often regarded peasant figures as evoking a sense of eternal and timeless toil in an unforgiving world. He un-idealised visions were seen by many … Read more

James Abbott McNeill Whistler (1834-1903)

The “Adam and Eve”, Old Chelsea London, 1879 Etching on fine Japanese paper 17.6 x 30.4 cm  Whistler’s depiction of life on the Thames in Chelsea is retrospective. This work shows an old riverside inn, The Adam and Eve, next to rows of dilapidated buildings which were demolished during the early 1870s to make way … Read more

Joseph Mallord William Turner (1775-1851)

The Lake of Thun  London, 1808 Etching with mezzotint  18.3 x 29.2 cm Etched by JMW Turner and engraved by Charles Turner (no relation), this print was the third plate of the artist’s Liber Studorium, a series of landscape prints intended to advertise his range. The production of which caused a disagreement between Turner and … Read more

Joseph Mallord William Turner (1775-1851)

Isleworth London, 1819 Etching with mezzotint 21 x 28.9 cm In 1804 Turner began renting Sion Ferry House at Isleworth in Twickenham and spent the summer of 1805 making oil sketches from a boat on the Thames. This print is based on those sketches and was published in the penultimate thirteenth part of Liber Studiorum. … Read more

Joseph Mallord William Turner (1775-1851)

The Chain of the Alps from Grenoble to Chambéri British, 1812 Etching, with mezzotint by W. Say 186 x 288 mm This plate appeared in the tenth part of the Liber Studiorum series, and is based on sketches made during Turner’s 1802 European tour. He travelled specifically to see the Alps and this print belongs … Read more

Joseph Mallord William Turner (1775 – 1851)

Isis London, 1819 Etching, with mezzotint by W. Say 20.9 x 30 cm This image is highly reminiscent of Claude Lorrain and belongs to the elusive ‘E.P’ category. It was published in the forteenth and final installment of the Liber Studiorum series. The ruins in the foreground create a strong sense of an idealised ancient … Read more

Francisco de Goya (1746-1828)

Don’t Scream, Silly (No Grites, Tonta) Madrid, 1799 Etching with aquatint and drypoint Plate: 21.5 x 15.8 cm, mount: 56 x 40.5 cm Plate 74 from Los Caprichos. Goya’s commentary reads: “Poor little Francisca! She was looking for the footman and she met the goblin. But don’t be afraid! The goblin is in a good … Read more

Max Ernst (1891-1976)

Birds in Green, Rain USA, 1959 Etching with aquatint and mixed techniques printed in colours Forms of birds and hands frequently appear in this pattern of lines. Highly influenced by Sigmund Freud’s theories of the mind, Ernst experimented with automatic drawing, in which he used uncontrolled strokes in an attempt to represent the unconscious visually. … Read more

OTTO DIX (1891-1969)

Soldiers’ Graves Between the Lines Düsseldorf, 1924 Etching and aquatint 192 x 287 mm The full moon leers over the churned earth of a rat-infested mass grave; shattered body parts erupt from the soil. This nightmarish image is part of Dix’s print cycle Der Krieg (War), 1924, based on his memories as a soldier. Like … Read more

Anthony Van Dyck (1599-1641)

Lucas Vorsterman Antwerp, about 1630 Etching 248 X 160 MM Lucas Vorsterman (1595-1675) was a talented engraver who was employed by Rubens to create reproductions of the master’s work until a violent dispute ended their relationship. This engraving is one of 80 prints that appeared in Van Dyck’s series ‘portraits of famous men’, later known … Read more

Wenceslaus Hollar (1607-1677)

Queen Henrietta Maria London, 1641 Etching Henrietta Maria (1609-1669) was the daughter of Henri IV of France and the wife of Charles I. Although her Roman Catholicism alienated many of her subjects, she gave strong and devoted support to her husband. Wenceslaus Hollar was a prolific artist, producing nearly 2,800 prints and many watercolours and … Read more

Adrian Ludwig Richter (1803-1884)

Genoveva Dresden, 1848 Etching 420 X 250 MM This tender portrayal of a mother and child is based on an 8th-century folk tale that was popularised during the 19th century. Condemned and abandoned by her husband, Genoveva and her child found sanctuary in the forest, where they are tended to by a doe. Richter endows … Read more

Carl Wilhelm Kolbe (1759-1835)

A Youth Playing the Lyre to a Maiden at a Fountain in Luxuriant Vegetation Dessau, 1803 Etching The wild and overgrown foliage of this scene is a distinctive feature of Kolbe’s extraordinary and original art. He termed such images ‘Kraüerblätter’, or ‘vegetable leaves’. The intricate detail of the enlarged shrubbery is accentuated by the distinct … Read more

ÉDOUARD MANET (1832-1883)

Charles Baudelaire Paris, 1865 Etching Composed after a photograph by the French photographer Nadar, this etching captures the immediacy of the original photographic image. The short busy lines swirl across the paper to build up the likeness of the art critic and poet Charles Baudelaire. Nadar took a direct approach to his portraiture, intending to … Read more