Last weekend I mentioned there were two fairly average monochromatic Frances Gearhart woodlbocks for sale by the same seller in the USA. Clearly I have no idea what I am talking about, because one sold for $761 USD and the other went for $751 USD. I have no idea why things go for the prices they do. I didn't mention this but there was no way to know if the Gearhart images were laid down since they were in their original frame and the seller made it clear that they would not remove the images from the frame. Despite this, some brave soul (over?)invested $1500 USD in these two prints. The Helen Hyde print "The Mexican Coquette" went, by contrast, for a piffling $384 USD. Now I don't really mention money on this blog because it's not the purpose of it, but I have to say every so often my breath is taken away and I am left scratching my head, thinking....why?
On matters monetary, one of my favourite Norbertine von Bresslern Roth images, "St. Hubertus" linocuts, is up for sale, with a starting price of $425 USD. As an image, it is complex, stunningly rendered and has it all....human, animal and "vegetable" (well it has a log at any rate).
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=320485578796&ssPageName=STRK:MEWAX:IT
Wednesday, 10 February 2010
Tuesday, 9 February 2010
Christmas Cards as Art
As you may know, I recently bought a Christmas Card by the brothers Morton, and I think it was a savvy buy. For two reasons, one is because it is real art created for their own personal Christmas card, hand carved and printed. The second is because such cards have more than a novelty value. They are not simply able to be purchased at a gallery, or through a dealer, rather they were sent to those people known to the artist(s). Precisely because Christmas cards have a use by date, and were easily disposed of, makes them so valuable when they remain intact. I remember when I was child coming across a box of Christmas cards in my grandmother's house, with used and unused cards dating back to the 30's. Even as a child I remember being fascinated by the visual changes that took place with the Christmas cards over the different periods and although I was unable to understand why, I remember finding them fascinating. They were in a box underneath a bed in one of the guest bedrooms, and I remember taking them out often when I slept in that high Victorian bed, and looking at the images. It makes me realise now of course that those cards were not quite as throw away as they are now, and even now I make it a conscious decision to keep Christmas cards. They remain visual markers of taste and style, particular to a specific era.
I have previously done a posting also on the idea of Christmas paper as art, that being that Christmas paper designs created by artists, is just as valid a a form of art and artistic expression as anything sold at a gallery in London.
Personally I don't see any difference in Dame Laura Knight, Eric Ravilious or Frank Brangwyn designing china patterns or similarly known artists designing cards or wrapping paper. It is all the bread and butter of the working artist. The very history of the Christmas card comes from Germany and was introduced to Britain and Empire with Queen Victoria Saxe-Coburg-Gotha and her husband Prince Albert. They also happened to be amongst the most powerful advocates of the Christmas tree and the Christmas card, both of these having a tradition in Germany but not in England, prior to Victoria's coronation. They were both personally interested in the Christmas celebrations and, having a large family, they were inclined to view Christmas as a special annual event.
Details of the royal family's Christmases were widely reported in the press at the time and their position as the style icons of the time meant their practices were copied by the growing middle classes. This copying spread to the colonies and by the time the 20's had come, the style and the ideas had made a comfortable home in the British Commonwealth and also in the U.S.A.
These works now have higher values often, than other art works by the same artist, for exactly the reason I mentioned previously. They were not available to the collecting market and were received by people known to the artist or the artist's family, and of course were invariably signed. I have added some here to show some of the variety of and breadth of the artists, and their designs for their own Christmas cards.
Above are a trio of Christmas cards created by Eric Gill.
A stunning linocut Christmas greeting by famed Grosvenor School alumni, Ethel Spowers, in what must be one of the more valuable Christmas cards one could have received in the preceding century.
Christmas card created by Sybil Craig.
Stunningly simple, yet effective Christmas card by John Coburn.
Christian Waller, who I have also posted on previously and her visually complex greeting card.
Finally, from Adrian Feint.
I have previously done a posting also on the idea of Christmas paper as art, that being that Christmas paper designs created by artists, is just as valid a a form of art and artistic expression as anything sold at a gallery in London.
Personally I don't see any difference in Dame Laura Knight, Eric Ravilious or Frank Brangwyn designing china patterns or similarly known artists designing cards or wrapping paper. It is all the bread and butter of the working artist. The very history of the Christmas card comes from Germany and was introduced to Britain and Empire with Queen Victoria Saxe-Coburg-Gotha and her husband Prince Albert. They also happened to be amongst the most powerful advocates of the Christmas tree and the Christmas card, both of these having a tradition in Germany but not in England, prior to Victoria's coronation. They were both personally interested in the Christmas celebrations and, having a large family, they were inclined to view Christmas as a special annual event.
Details of the royal family's Christmases were widely reported in the press at the time and their position as the style icons of the time meant their practices were copied by the growing middle classes. This copying spread to the colonies and by the time the 20's had come, the style and the ideas had made a comfortable home in the British Commonwealth and also in the U.S.A.
These works now have higher values often, than other art works by the same artist, for exactly the reason I mentioned previously. They were not available to the collecting market and were received by people known to the artist or the artist's family, and of course were invariably signed. I have added some here to show some of the variety of and breadth of the artists, and their designs for their own Christmas cards.
Above are a trio of Christmas cards created by Eric Gill.
A stunning linocut Christmas greeting by famed Grosvenor School alumni, Ethel Spowers, in what must be one of the more valuable Christmas cards one could have received in the preceding century.
Christmas card created by Sybil Craig.
Stunningly simple, yet effective Christmas card by John Coburn.
Christian Waller, who I have also posted on previously and her visually complex greeting card.
Finally, from Adrian Feint.
Monday, 8 February 2010
A Celebration of Sorts
I forgot to mention, that the previous post is my 300th! It's hard to believe, and of course the number of readers and followers of the blog is really wonderful. I can barely believe that anyone really wants to read my blatherings, but there you are. Thank you to everyone who reads and comments on the blog. Coming up in the near future, spurred on by a commenter, I intend to do a posting on linocuts and woodcuts and Christmas cards. I have found some rather interesting ones, all from national galleries and museums. I will also be doing a posting on Sydney Lee in the near future, and I have a slew of little known printmakers from around the world. Anyway to all the followers, readers and commenters of my blog, a huge thank you!
Murray Griffin (linocut 1936)
Murray Griffin (linocut 1936)
Guy Grey-Smith (1916 - 1981)
Here is something funny for you. This artist, who it is unlikely you have ever heard of, is considered one the most "significant Australian artists of the 20th Century". So signficant his name is barely known. Once again, you can leave it to the Commonwealth to let names live in the shade in perpetuity. Grey-Smith is certainly an outstanding artist but he is basically unheard of and unknown, despite having a Wikipedia page, even in Australia he is a virtual unknown. He was born and raised in Western Australia, and fought in World War II as a fighter pilot.
Big Rooster (woodcut 1978)
He was later imprisoned at a German prisoner of war camp where he contracted tuberculosis. He was sent to Spain and then later to Sussex where he was given formal art training as part of his recuperation. He had begun to paint and draw whilst he was a POW, and his artworks were sent back to his wife via the Red Cross. After his release he studied at the Chelsea school of Art under Robert Medley and Henry Moore. He then went on to study pottery at the Woolwich Polytechnic. In 1946, he finally had the chance to visit Paris and he fell in love with colours and the life, but it also helped him to make artistic references for Australia, and once he was discharged in 1947, he returned to Western Australia.
Ceylonese Girl (woodcut 1975)
Grey-Smith was not so much an artist, as a jack-of-all-trades. He created remarkable slip-decorated pottery and was chiefly responsible for the growth and popularity of a vernacular Australian pottery style of the 50's. In 1953, he returned to Europe and studied fresco paiting at the Central School under Louis le Brocquay and Hans Tigdal. More importantly, it was whilst he was there that he saw an important exhibition of Fauve painters, and it was this remarkable and impressive exhibition in Paris that probably changed his aesthetic life.
Figure (woodcut 1977)
He returned to Perth and lectured, taught and began an art group called the "Perth Group". This period was tremendously fruitful for Grey-Smith and he worked extensively in acrylics, oil and did numerous works on paper. His paintings show the extent of the Fauvist influence, which was clearly life-altering. His colours are vibrant and vivid, and well suited to the Australian light. He did a series of woodblocks and linocuts which were authentically Australian whilst being completely modern. He broke down flora and geography into abstract lines and expressionist visions; reducing the three dimensional world into flat lines and landscapes. At the seminal Australian Painting exhibition held at the Tate Gallery, Grey-Smith's works were considered a highlight and lauded by the London press, his works were also exhibited at the Whitechapel Gallery.
Landscape (woodcut 1975)
Untitled (woodcut 1975)
His artistic influence were not the only life altering time in his life. It is sadly the case the Grey-Smith suffered from tuberculosis intermittently throughout his adult life, and it was to this disease that he finally succumbed in 1981. Basically Grey-Smith did everything, and everything he did he did well, however I have selected only his linocuts and woodcuts to illustrate this post. I am interested to read your comments, as in the past I have found many people enjoy the abstracted works much more than other kinds of printmaking.
Seated Figure (woodcut 1975)
River Gum (woodcut 1975)
Big Rooster (woodcut 1978)
He was later imprisoned at a German prisoner of war camp where he contracted tuberculosis. He was sent to Spain and then later to Sussex where he was given formal art training as part of his recuperation. He had begun to paint and draw whilst he was a POW, and his artworks were sent back to his wife via the Red Cross. After his release he studied at the Chelsea school of Art under Robert Medley and Henry Moore. He then went on to study pottery at the Woolwich Polytechnic. In 1946, he finally had the chance to visit Paris and he fell in love with colours and the life, but it also helped him to make artistic references for Australia, and once he was discharged in 1947, he returned to Western Australia.
Ceylonese Girl (woodcut 1975)
Grey-Smith was not so much an artist, as a jack-of-all-trades. He created remarkable slip-decorated pottery and was chiefly responsible for the growth and popularity of a vernacular Australian pottery style of the 50's. In 1953, he returned to Europe and studied fresco paiting at the Central School under Louis le Brocquay and Hans Tigdal. More importantly, it was whilst he was there that he saw an important exhibition of Fauve painters, and it was this remarkable and impressive exhibition in Paris that probably changed his aesthetic life.
Figure (woodcut 1977)
He returned to Perth and lectured, taught and began an art group called the "Perth Group". This period was tremendously fruitful for Grey-Smith and he worked extensively in acrylics, oil and did numerous works on paper. His paintings show the extent of the Fauvist influence, which was clearly life-altering. His colours are vibrant and vivid, and well suited to the Australian light. He did a series of woodblocks and linocuts which were authentically Australian whilst being completely modern. He broke down flora and geography into abstract lines and expressionist visions; reducing the three dimensional world into flat lines and landscapes. At the seminal Australian Painting exhibition held at the Tate Gallery, Grey-Smith's works were considered a highlight and lauded by the London press, his works were also exhibited at the Whitechapel Gallery.
Landscape (woodcut 1975)
Untitled (woodcut 1975)
His artistic influence were not the only life altering time in his life. It is sadly the case the Grey-Smith suffered from tuberculosis intermittently throughout his adult life, and it was to this disease that he finally succumbed in 1981. Basically Grey-Smith did everything, and everything he did he did well, however I have selected only his linocuts and woodcuts to illustrate this post. I am interested to read your comments, as in the past I have found many people enjoy the abstracted works much more than other kinds of printmaking.
Seated Figure (woodcut 1975)
River Gum (woodcut 1975)
Friday, 5 February 2010
Adventures in Printmaking
Today I offer you an interesting installment in the joys of printmaking, but you will find that this time mere paypal and patience will not fully equip you for some of the items I have listed here. In some cases you will be required to have so much more, including time to visit the bank for transfers. I have never quite figured out what it is that makes the Germans and Austrians have such a visceral dislike of Paypal, but it seems to be the common case.
From Cornwall a trio of Oscar Droege woodblocks with the starting price of a mind-blowing 300 USD a piece. The three of them are indeed lovely and in wonderful condition but it is still a surprising starting price, and despite that, there are already bids on two of the three, which shows that I am cheap and also that people have more money than me.
This first one is a rather moody winter sea with a rugged costline and dark cold mountains with touches of snow along the horizon.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Sea-and-Mountains-c-1930_W0QQitemZ260546220434QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3d192
This second one is a delight, with a wintery scene from the 30's.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Edge-of-the-Forest-c1930_W0QQitemZ260546208387QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3a283
The third one has a collection of thatched fishermen cottages along the coast and the beached boats dragged up high on the shore. It is really a lovely scene, and I have the same woodblock.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Fishing-Boats-c-1930_W0QQitemZ260546226465QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3e921
Sticking with the Germanic theme, a very japonisme woodcut by Hans Frank from the early 20's. I quite like this image, but I have rarely seen such a good example as they are often foxed to within an inch of their lives. I think this one is a delight with a slightly more attainable starting price of 20 pounds.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200435184387&ssPageName=STRK:MEWAX:IT
From the same seller in the USA comes a rather lovely pair of Frances Gearhart woodblocks from the late nouveau period. They are not as richly inked or complex as her later 30's images, but there is enough there to command a certain amount of interest, and although they lack the colours that form plains and geographic landforms of her other images, they are still interesting. No doubt they will finish with a bang, but they are worth having a look at. They have the look of book illustrations to me and I wouldn't personally pay the amount they are already at, but different strokes....
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140380129984&ssPageName=STRK:MEWAX:IT
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130364058196&ssPageName=STRK:MEWAX:IT
Helen Hyde makes an appearance with this piece entitled "Mexican Coquette", from 1912. It is an interesting image and although her sugary concoctions don't really do much for me, I know that she is very much sought after. She has managed to make some of the Mexicans look Asian but, this one I don't mind. The lines and shape of it make you follow the image around and the sharp burst of purple gives a visual jolt to what otherwise would have been the print version of "Simply Sleep". I think Hyde is one of the more over-rated artists, but I will say that at least the American market shows respect and recognition of their own.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200435398418&ssPageName=STRK:MEWAX:IT
The Polish artist Wladyslaw Bielecki makes his debut on this blog, and this woodblock is lovely. This is a really lovely image, beautifully crafted and rendered. There is a definite homage to the German greats, especially in the rendering of the snow. His architectural component is strong and every bit as good as many German and Austrian artist of the same period. It is a lovely 20's-30's image. Although it doesn't necessarily speak to the quality of the piece, the seller at least accepts paypal, and knows his stuff. He is based in Vienna and doesn't do "bargains" but he sells good art at the market value. If you are not in love with the woodblock take a look at his other pieces on offer.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=360231133948&ssPageName=STRK:MEWAX:IT
This next piece is a slightly foxed Germanic example of japonisme. I have seen the signature before but for the life of me I cannot remember who it is. I love the image and despite the age damage, it is very interesting and adheres to the Japanese structure and composition. This one probably dates to the 1900's because of the composition, colour and style. The dealer is reputable and also takes Paypal.
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemnext&item=270526392476.html
This seller has a few linocuts from the 20's and 30's. Some of them are average but this one is lovely. It is wonderfully deco and although the image is signed we cannot cannot determine who the artist is (and it doesn't help that the seller doesn't bother to take detailed pictures either!)
http://cgi.ebay.at/ws/eBayISAPI.dll?ViewItemnext&item=120526019171.html
The same seller has this rather lovely Ernst Rötteken linocut for sale. Ernst Rötteken is an artist I have written on before and he was an artist that specialised in woodblocks and linocuts almost exclusively focused on botanic subjects. His work is generally well thought of, but he is not in the stratosphere of the stars. I think that the reason for that is because in Germany and Austria so many artists did the same thing but not to the exclusivity of other subjects.
http://cgi.ebay.at/Blaetterkaktus-Ernst-Roetteken-1882-1945-Linol-Handdruck_W0QQitemZ120526010712QQcmdZViewItemQQptZGrafiken?hash=item1c0fe8f958
Finally, a superb Albert Banska, who is one of the kings of the German woodblock. This one is really outstanding with depth and style, wrapped up in skill. Banska is sought after in Austria and Germany, and dealers chase his works, so this one could quite possibly reach dizzying heights. This piece is just as good as any of the British woodblocks of the period, and the American ones to boot.
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemnext&item=260546773307.html
As always I look forward to reading your comments.
From Cornwall a trio of Oscar Droege woodblocks with the starting price of a mind-blowing 300 USD a piece. The three of them are indeed lovely and in wonderful condition but it is still a surprising starting price, and despite that, there are already bids on two of the three, which shows that I am cheap and also that people have more money than me.
This first one is a rather moody winter sea with a rugged costline and dark cold mountains with touches of snow along the horizon.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Sea-and-Mountains-c-1930_W0QQitemZ260546220434QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3d192
This second one is a delight, with a wintery scene from the 30's.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Edge-of-the-Forest-c1930_W0QQitemZ260546208387QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3a283
The third one has a collection of thatched fishermen cottages along the coast and the beached boats dragged up high on the shore. It is really a lovely scene, and I have the same woodblock.
http://cgi.ebay.com/Oscar-Droege-Colour-Woodcut-Fishing-Boats-c-1930_W0QQitemZ260546226465QQcmdZViewItemQQptZUK_art_prints_GL?hash=item3ca9c3e921
Sticking with the Germanic theme, a very japonisme woodcut by Hans Frank from the early 20's. I quite like this image, but I have rarely seen such a good example as they are often foxed to within an inch of their lives. I think this one is a delight with a slightly more attainable starting price of 20 pounds.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200435184387&ssPageName=STRK:MEWAX:IT
From the same seller in the USA comes a rather lovely pair of Frances Gearhart woodblocks from the late nouveau period. They are not as richly inked or complex as her later 30's images, but there is enough there to command a certain amount of interest, and although they lack the colours that form plains and geographic landforms of her other images, they are still interesting. No doubt they will finish with a bang, but they are worth having a look at. They have the look of book illustrations to me and I wouldn't personally pay the amount they are already at, but different strokes....
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140380129984&ssPageName=STRK:MEWAX:IT
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130364058196&ssPageName=STRK:MEWAX:IT
Helen Hyde makes an appearance with this piece entitled "Mexican Coquette", from 1912. It is an interesting image and although her sugary concoctions don't really do much for me, I know that she is very much sought after. She has managed to make some of the Mexicans look Asian but, this one I don't mind. The lines and shape of it make you follow the image around and the sharp burst of purple gives a visual jolt to what otherwise would have been the print version of "Simply Sleep". I think Hyde is one of the more over-rated artists, but I will say that at least the American market shows respect and recognition of their own.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=200435398418&ssPageName=STRK:MEWAX:IT
The Polish artist Wladyslaw Bielecki makes his debut on this blog, and this woodblock is lovely. This is a really lovely image, beautifully crafted and rendered. There is a definite homage to the German greats, especially in the rendering of the snow. His architectural component is strong and every bit as good as many German and Austrian artist of the same period. It is a lovely 20's-30's image. Although it doesn't necessarily speak to the quality of the piece, the seller at least accepts paypal, and knows his stuff. He is based in Vienna and doesn't do "bargains" but he sells good art at the market value. If you are not in love with the woodblock take a look at his other pieces on offer.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=360231133948&ssPageName=STRK:MEWAX:IT
This next piece is a slightly foxed Germanic example of japonisme. I have seen the signature before but for the life of me I cannot remember who it is. I love the image and despite the age damage, it is very interesting and adheres to the Japanese structure and composition. This one probably dates to the 1900's because of the composition, colour and style. The dealer is reputable and also takes Paypal.
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemnext&item=270526392476.html
This seller has a few linocuts from the 20's and 30's. Some of them are average but this one is lovely. It is wonderfully deco and although the image is signed we cannot cannot determine who the artist is (and it doesn't help that the seller doesn't bother to take detailed pictures either!)
http://cgi.ebay.at/ws/eBayISAPI.dll?ViewItemnext&item=120526019171.html
The same seller has this rather lovely Ernst Rötteken linocut for sale. Ernst Rötteken is an artist I have written on before and he was an artist that specialised in woodblocks and linocuts almost exclusively focused on botanic subjects. His work is generally well thought of, but he is not in the stratosphere of the stars. I think that the reason for that is because in Germany and Austria so many artists did the same thing but not to the exclusivity of other subjects.
http://cgi.ebay.at/Blaetterkaktus-Ernst-Roetteken-1882-1945-Linol-Handdruck_W0QQitemZ120526010712QQcmdZViewItemQQptZGrafiken?hash=item1c0fe8f958
Finally, a superb Albert Banska, who is one of the kings of the German woodblock. This one is really outstanding with depth and style, wrapped up in skill. Banska is sought after in Austria and Germany, and dealers chase his works, so this one could quite possibly reach dizzying heights. This piece is just as good as any of the British woodblocks of the period, and the American ones to boot.
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemnext&item=260546773307.html
As always I look forward to reading your comments.
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