by  JAMES ALPHEGE BREWER. (act.c.1909-c.1938)  . Exhibited at R.A., Paris Salon etcPainter and etcher. Son of the artist H. W. Brewer and brother of H. C. Brewer, R.I. Exhibited at the R.A., R.I., Paris Salon. Lived in London. Born approximately 1882. Sought after etcher. His architectural images are superb.Gallery labels etc from original sale never reframed  £220 a very delicate woodcut from a gent normally an architectural etcher

Mabel Alington Royds British 1874-1941 Flight into Egypt £255 inc

Royds studied art at the Slade School in London, but it was her extensive world travels and her friendships with artists such as Morley Fletcher and Walter Sickert that influenced her the most as an artist. In 1913 she married the etcher Ernest Lumsden, and together they traveled throughout Europe, the Mideast and India, which served as subject matter for many of her woodcuts. Unable to afford the traditional pear woodblocks for her woodcuts, Royds used instead sixpenny breadboards bought from Woolworths. This though did not prove detrimental to the final outcome and her use of hand colouring imbues each of the finished prints with a unique quality. her prints have a freshness that contrasts with many of the more conservative British prints of the time. Her earliest prints date before 1910, while the Indian subjects were made from 1920-30 and the floral prints from 1933-38. Drawing on the influence of Japanese woodcutting techniques as well as contemporary European practice (her earliest exhibited prints show the influence of Toulouse-Lautrec), Royds added her own personal sense of colour and composition, which is particularly evident in the 'Indian' prints. Condition: pretty mint very bright never framed from a folio shown whole page Wonderfully bright colour

Mabel Alington Royds British 1874-1941 Musicians

Royds studied art at the Slade School in London, but it was her extensive world travels and her friendships with artists such as Morley Fletcher and Walter Sickert that influenced her the most as an artist. In 1913 she married the etcher Ernest Lumsden, and together they traveled throughout Europe, the Mideast and India, which served as subject matter for many of her woodcuts. Unable to afford the traditional pear woodblocks for her woodcuts, Royds used instead sixpenny breadboards bought from Woolworths. This though did not prove detrimental to the final outcome and her use of hand colouring imbues each of the finished prints with a unique quality. her prints have a freshness that contrasts with many of the more conservative British prints of the time. Her earliest prints date before 1910, while the Indian subjects were made from 1920-30 and the floral prints from 1933-38. Drawing on the influence of Japanese woodcutting techniques as well as contemporary European practice (her earliest exhibited prints show the influence of Toulouse-Lautrec), Royds added her own personal sense of colour and composition, which is particularly evident in the 'Indian' prints.

Edward Gordon Craig woodcut of a Lady

Edward Gordon Craig was born in Stevenage/Hertford in 1872 as son of the actress Ellen Terry and the architect, stage designer and theatre director Edward William Godwin. Between 1889 and 1897 he worked as an actor at Henry Irving's ‚Lyceum Theatre' in London and began to design his own figurines and stage designs. He was increasingly interested in graphics and was taught woodcut techniques by James Pryde, William Nicholson and William Rothenstein since 1893. Craig executed in the following time uncounted exlibris, portraits of actors, theatre brochures and book illustrations. In his journal ‚The page' he published several graphics using various pseudonyms. In 1899 Craig turned back to the theatre and founded the ‚Purcell Operatic Society' together with the composer Martin Fallas Shaw. Here his most important theatre works were executed. With the help of Harry Graf Kessler in Weimar he got acquainted with important contemporary artists and achieved an international breakthrough with his programmatic essay ‚The Art of the Theatre'. Craig became the reformer of the stage design which had been dominated by the aesthetic of depiction and illusionism. During his lifetime he was barely able to realise his radically new theatre concept and his abstract stage aesthetic, basing on light and shadow, but his journalistic influence still lasted in the 20th century. His artistic power was developed in numerous sketches, independent from a practical realisabilty. Craig's drawings and woodcuts are formed by the style of the turn of the century and refer in their decorative line drawing, the sectioning of areas in clear forms and the high-contrast setting of light and shadow to Art Nouveau. In 1926 the artist was honoured with the ‚Order of Knights of Danneborg' for the performance of Ibsen's ‚Kronprätendenten'. Craig lived in Vence/Alpes Maritimes since 1948, where he attended to scientific studies, drawing, writing, collecting and designing of book covers.

 Condition: pretty mint very bright never framed from a folio shown whole page £55

Hiroshi Yoshida (, 1876-1950), Plum Gateway, 1935 a muted copy NOT FADED as the blues go first ! £285 inc

Colour woodcut, signed in pencil printed in muted brown colours, Jizuri seal, captioned and signed in pencil at foot, 40 x 27 cm, framed and glazed,

Hiroshi Yoshida was a leading figure in the 'shin hanga' (or new print) movement. He worked primarily as a painter until his late forties when he became fascinated with woodblock printing. After working with the Watanabe print shop for several years, Yoshida decided to fund his own workshop. Unlike ukiyo-e artists, he was intimately involved in all parts of the printmaking process. He designed the key blocks, chose the colors for the prints, and supervised the printers. In some cases, he even helped to carve the printing blocks. This was unusual, considering the traditional division of labor between designer, carver, and printer at that time.

The majority of Yoshida's prints are richly detailed landscapes, featuring such diverse subjects as the Sphinx, the Taj Mahal, and Mount Rainier. Yoshida travelled frequently, and made sketching and painting trips all around the world. He was an avid mountain climber, and is noted for his depiction of alpine scenes. He also was remarkably skilled at depicting water, with its intricate reflections and complex flow patterns. Yoshida's prints were very popular with Western collectors, and he was one of the only shin hanga artists to sign and title his prints in English.

Ludwig Heinrich, Jungnickel ( 1881-1965). Antelope, coloured lithograph,

signed and dated in pencil by the artist, 1925, 370 x 500 mm, framed and glazed £380

Indistinct annotation by the artist, 'Thielty fur Weihnachten, 1925'. Jungnickel was a painter and engraver with an innovative and impressionistic style, a contemporary of Gustav Klimt and co-operated with him in decorating the Stoclet Palace in Brussels. (b Wunsiedel, Upper Franconia [now Germany], 22 July 1881; d Vienna, 14 Feb 1965). German painter and printmaker. He was the son of a master joiner. In 1885 he moved with his family to Munich, where he attended the Ludwig Gymnasium and the Kunstgewerbeschule. In 1897 he went on a walking tour, finally arriving in Rome and Naples, where he copied oil paintings and earned a living as a portrait draughtsman. The archaeologist Orazio Maruchi enabled him to gain access to the Vatican collections. In 1898, like many artists, he was attracted to the Secession in Vienna; he enrolled at the Akademie der Bildenden Künste there in 1899 and began studying with Christian Griepenkerl (1839&endash;1916). After only a year, however, he left. To earn a living he worked as a drawing tutor, also designing carpets, fabrics and murals. Among his contemporaries in Vienna, Gustav Klimt particularly impressed him. Stylistically Kolomon  Moser also influenced him, although he never worked in such an intellectual, aesthetic way as the Secession artists.

"The Caravan" Colour Woodcut, c.1930

13 3/4 in. x 10 5/8 in. (349 mm x 270 mm) No stated edition £380  reframed John Hall Thorpe (British/Oz, 1874-1947)

Shortly before the beginning of the First World War, John Hall Thorpe moved to London and established a studio on Redcliffe Square. Most of his woodcuts were created between 1920 and 1927 and were widely collected for both their superb colourations and strong Art Deco forms.

This original woodcut by Paul Honore, (Little Cooley, Pennsylvania, 1885 - Philadelphia, 1956) Date: 1920's Pencil signed and then dedicated and signed to Sir Hugh Walpole (1884-1941) Original Woodcut 'untitled/ man on a horse' in a New frame £280 rare

 

An important American printmaker, muralist and illustrator, Paul Honore lived and worked in Detroit for most of his career. He studied art for several years at the Pennsylvania Academy and then decided to travel to London to enroll in the school of the famous muralist and printmaker, Frank Brangwyn (1867-1956). Upon his arrival Honore learned that this master had discontinued his school. Brangwyn, however, agreed to make Paul Honore his personal assistant and student for a period of one year.

When Paul Honore returned to Detroit he immediately began working upon both murals and woodcuts. Commissioned murals included work for a number of Detroit banks, the County Courthouse and the University of Michigan. He was a full member of the National Arts Club, the Washington Art Club, Scarab Club, Detroit Arts and Crafts Society and the Artists Guild of the Authors' League of America.

 



Original Japanese Color Woodcut by Benji Asada (1899-1984).

from c 1930.Benji Asada is a typical Kyoto painter and printmaker. He received his art training at Kyoto City School of Fine Arts and Crafts and Kyoto City Specialist School of Painting. Benji Asada was an honor student of Goun Nishimura. In 1920s and 1930s he was active with the Kyoto and Tokyo Sosaku Hanga artists. He contributed to different group series - "Creative Prints of Twelve Months in New Kyoto" and "100 Views of New Japan". His major activities were on paintings in Japanese style. £145 each framed