Etching

There were local, or at least county, connections when this large linocut print, ‘Church and Thunderstorm’ by Edward Bawden (1903-1989) was offered by Essex auctioneers Sworders at their spring Country House sale.

THE 30 plates, all India proofs on heavy paper, that make up an 1857 volume of Etchings for the Art-Union of London by the Etching Club include three by Samuel Palmer – one shown right.

THESE two half-length images of women, right, could hardly be more different in date or technique, but their prices proved as uncannily similar as their poses when they came under the hammer at recent fine art auctions.

ONE of the Thirty-One Original Etchings of Views of Norfolk by John Crome, a portfolio collection issued in 1821 by Freemans of Norwich, that sold for £3200 to an American collector in a Christie’s South Kensington sale of April 29.

THIS punting scene by Whistler is one of some 3000 additional original and reproduction etchings and engravings, mostly full-page and many mounted and titled in ink as well as being mounted, where possible opposite the relevant text, that were to be found in an extra-illustrated 1880, third edition of Philip G. Hamerton’s Etchings & Etchers seen at Bonhams on May 6.

A travel sale held by Christie’s South Kensington on April 29 was a mix of books, prints and pictures and seen here are two items from a section of that sale devoted to the Alpine regions.

Buying art as an investment has always been a perilous business. Back in the 1920s during the so-called Etching Boom speculating collectors were prepared to pay hundreds of pounds – ie more than the price of an average London house – for single prints by ultra- fashionable artists such as Muirhead Bone, David Young Cameron and James McBey.

Exhibitions outside London: Specialist print dealer Elizabeth Harvey-Lee (1 West Cottage, Middle Aston Road, North Aston, Oxon OX25 5QB. Tel: 01869 34 7164) has built up an impressive reputation for producing informative, well-illustrated stock catalogues.