Early Australian + International Art - 3
Emile Bernard (France 1868 - 1941)
La Fileuse (The Spinner), 1892 Zincograph Signature lower left and dated in the plate in the shadow to the right with Bernard’s leaf symbol and ‘92’ in reverse A proof aside from the numbered edition of 200 22 x 33 cm $950 incl GST * Emile Bernard and Gauguin were close friends and held joint exhibitions of their zincographs, including at the Volpini Cafe in Paris. Both artists printed the plates themselves, using selective wiping and watercolour for each impression, the result being that Bernard’s prints are not only rare but each impression is unique. A zincograph is an etching printed on a zinc plate (instead of steel or copper) - this gives a broader, softer line than other, harder, metals but results in the plate wearing out quickly so only a few impressions can be taken from the plate and further contributing to the rarity of these works Bernard was interested in medieval standards of honour and here depicts a scene from one of Jean Moreas’s poems, published in 1886 from his Cantilene series where a young girl patiently spins while waiting for her (unfaithful) husband to return from his adventures Bernard was also good friends with Picasso and an influential person in the Arts of the period. 
E. Sudlow (1784 - 1891)
A New Map of the World Engraved for J.Harrison 115 Newgate St, as the Act directs. March 24th 1788 80 x 100 cm (framed) Price: $1,450 Incl. GST (SOLD) A hand-coloured double hemispherical map of the world with relief shown pictorially and imaginary coastline in the Australian Bight. Tasmania is not separated. The map Includes the tracks of Anson’s, and Cook’s voyages. At this stage discoveries have meant that the world has been explored quite extensively and is starting to take the basic form as we now know it although the extremes of exploration at the time, such as New Holland, still have much exploration and mapping to come in the next few decades.
M. Boyce
'Gnair' Winner 1936 SA Centenary Great Eastern Steeplechase Oil on board Price: $1,450 Incl. GST 
Anthony Van Dyck (Flemish 1599 - 1641)
Frans Franken the Elder Etching by Van Dyck 4th state of 7. c. 1635 From the Gillis Hendricx edition, printed 1645 20.5 x 16 cm with good margins This fine and rare impression of an early state is the fourth state before 'Vranx' was changed to 'Franck', with small margins. It is signed in the plate lower left 'Ant. Van Dyck fecit aqua forti', and further inscribed with the sitters name and the inscription Antwerpiae Pictor Humanarvm Figvrarvm. It is further inscribed in pencil lower right, in a contemporary hand "No. 39" (possibly its position in Hendrickx’s Iconographie?) and is also initialled in the plate "G.H." for the publisher, Gillis Hendricx. Minimal engraved additions which is limited to a pillar behind Francken's head which was done by another hand, but within Van Dyck's lifetime. Francken, who was one of the leading Antwerp artists of his time, was a member of the older generation of artists etched by Van Dyck and was registered in the Guild of St Luke as master in 1567. He painted large altarpieces and smaller 'cabinet' pictures. Francken's death in 1616 means that Van Dyck must have relied on existing portraits for his etching. Provenance: Christies, London, 1974 Private Collection, Adelaide $4,750 incl GST 
Anthony Van Dyck (Flemish 1599 - 1641)
Paul de Vos Etching by Van Dyck and engraving by Schelte à Bolswert, 10th state of 10. Probably from the Verdussen edition of 1720 15 x 23 cm with thin margins Paul de Vos (1595-1678) was a talented follower of Frans Snyders who became master in the Guild of St Luke in 1620, and went on to work with both Van Dyck and Rubens. He painted large-scale hunting or animal scenes as well as still lives. These were in demand in high circles, including Philip II of Spain and Ferdinand III, Holy Roman Emperor. This is the final state, reworked by Schelte à Bolswert who was employed by Gillis Hendricx for the 1645 edition of the Iconography. Bolswert left the head alone to retain as much of Van Dyck's work as possible, but has added engraved detail to the hand and index finger, the ruff and the clothing. A second line of lettering has also been added. Provenance: Craddock & Barnard, London, c.1980 Private Collection, Adelaide, SA $850 incl GST 
Anthony Van Dyck (Flemish 1599 - 1641)
Paulus Pontius Etching by Van Dyck and engraving by an unknown engraver, 7th or 8th State of 8 after the initials “G.H.” have been removed. 20.5 x 15.5. with thin margins Etched c. 1635, probably printed for the Verdussen edition of 1720 In the background, vertical engraved lines have been added over the horizontal lines, forming a grid and the etched lines of the face have been made more uniform by additional engraved lines. Paulus Pontius (the Latinized name of Paul De Pont) was the pupil of Lucas Vorsterman and replaced Vorsterman as chief engraver in Rubens' studio. Pontius was one of the printmakers selected by Van Dyck to engrave portraits after his designs for Van Enden’s Iconographie. Provenance: Craddock and Barnard, London, c. 1982 Private Collection, Adelaide, SA $850 incl GST 
Anthony Van Dyck (Flemish 1599 - 1641)
Joos de Momper Original Etching by Van Dyck 4th state of 5. Etched c. 1635, probably printed for the Verdussen edition of 1720 20.5 x 15 cm One of the few Van Dyck etchings that was not elaborated by subsequent printmakers, neither within Van Dyck's lifetime nor after it. A borderline and inscription, which describes De Momper as a 'painter of mountains', are the only additions to Van Dyck's original etching. De Momper came from a Flemish family of dealers and artists. He was apprenticed to his father, and became master in the painter's guild in 1581. He became dean of the Guild in 1611 and often collaborated with other figure painters, such as Jan Brueghel Provenance: Craddock and Barnard, London, c. 1982 Private Collection, Adelaide, SA $850 Incl GST 
Albert C. Cooke (Aust 1836 - 1902)
Pulpit Rock, Cape Schank, Vic., circa 1870 23 x 34 cm Watercolour Price: $2,400 Incl. GST *An original drawing for the engraving that appeared in the Illustrated Australian News, Jan 31, 1870. Further research available. 
A 19th Century print of a shipping scene after the original by W. Van der Velde
In original gilt frame 33.5 x 26.5 cm framed Price: $485 Incl. GST 
A 19th Century Scene
In a wonderful frame by John Thallon (Melb.) Price: $480 Incl. GST 
James Ferries (Aust. 1875-1951)
Morning Flinders Rangers Oil on canvas 31 x 45.5cm $1,350 Incl. GST |
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