Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right, and also inscribed by the artist: “2nd State, GB”. Reference: Fletcher 65, second state (of 10), before the edition of 111. In very good condition, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/8 inches, archival matting.

A fine impression of this early state, before the signature in the plate and much additional shading in the background and on the figure.

Only 4 proofs are known in this state.

A painting in the Metropolitan Museum of Art in New York by Brockhurst is related to this etching; the model is the same woman.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: as a master etcher, and superb draftsman.

Detail

]]> http://harrisschrank.com/una-portrait-of-a-creole-lady-early-state.htm/feed 0 http://harrisschrank.com/una-portrait-of-a-creole-lady.htm http://harrisschrank.com/una-portrait-of-a-creole-lady.htm#comments Sat, 24 Oct 2009 15:19:07 +0000 Harris Schrank http://harrisschrank.com/?p=753 Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right [also signed in reverse in the plate lower left]. Reference: Fletcher 65, tenth state (of 10), from the edition of 111. In very good condition, the slightest marginal toning, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/2 inches, archival matting. A very fine impression, delicately printed in brownish/black ink. Provenance: Kennedy Galleries, with their stock number (A53211) lower right. A painting in the Metropolitan Museum of Art in [...]]]> Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right [also signed in reverse in the plate lower left]. Reference: Fletcher 65, tenth state (of 10), from the edition of 111. In very good condition, the slightest marginal toning, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/2 inches, archival matting.

A very fine impression, delicately printed in brownish/black ink.

Provenance: Kennedy Galleries, with their stock number (A53211) lower right.

A painting in the Metropolitan Museum of Art in New York by Brockhurst is related to this etching; the model is the same woman.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: as a master etcher, and superb draftsman.

Gerald Brockhurst (1890-1978), A Galway Peasant (also, An Irish Peasant), etching, 1920, signed in pencil lower right. Reference: Fletcher 10, from the edition of 55, third state (of 3), printed on laid paper, the full sheet, in very good condition (remains of prior hinging verso), 4 x 4 1/4, the sheet 10 1/2 x 9 inches, window mount.

A fine impression, printed in greyish/black ink on ivory laid paper.

Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls (including the famed Adolescence) and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: a master etcher, and superb draftsman.

Gerald Brockhurst, Elizabeth (Anais, also called the London Coster Girl), etching, 1922, signed in pencil lower right, also initialed and annotated “1st State” lower left margin corner [also signed, in reverse, in the plate lower left].  Reference: Fletcher 32, first state (of 10), 2 proofs in this state, edition of 76.  In very good condition, with inkmarks, slight soiling and fingerprints in the margins as befits an early proof impression. 7 x 5 3/8, the sheet 8 1/2 x 11 1/8; the image is 5 3/4 x 4 3/8.

A very fine impression of this first state impression (there were only two proofs in this state), before any wear and thus with Brockhurst’s exquisite detailing intact.

In this state Brockhurst has yet to cut the plate down to the borders which he has etched in in this proof, so the plate mark is well away from the image. The composition is completed at this stage. There are some practice etching marks in the borders; these will of course be lost when the plate is cut down, and at that point Brockhurst also strengthened the borderline.

The subject appears to be Brockhurst’s first wife. A coster is one who sells goods – fruits, vegetables, crafts – on the street.

Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paper lower margin near edge), the matrix pristine, archival matting.

A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching.

The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his predecessor Wenzel Hollar used women’s furs and fashions to display his legendary abilities.

The meticulous etching is contrasted – in an aethetically effective way – with the curiously messy border area below. It appears that Brockhurst was practicing using the etching needle in an area that would not affect the image, and he left it that way – surely intentionally - in the edition (including also his printed signature, written normally in the plate and thus printed backwards).

Gerald Leslie Brockhurst (1891-1978), Aglaia, etching, 1926, signed in pencil lower right [also signed in reverse in the plate]. Reference: Fletcher 54, ninth state (of 9), from the edition of 106.  In very good condition apart from slight light toning, with wide margins, 5 x 3 1/2, the sheet 11 x 8 1/4 inches, archival window matting.

A fine delicately printed impression, printed in a blackish/grey ink, on an ivory wove paper.

Aglaia was the Greek goddess of beauty, splendour, glory, magnificence and adornment. She was the youngest and most beautiful of the Three Graces, the sisters who typically appear dancing in a circle (the others were Euphrosyne (joy and mirth) and Thalia (bringer of flowers).

Brockhurst would often add a touch of drama to the naming of his etchings and paintings, using such names as Aglaia, Xenia, Melisande, Nedajda. But in this as in many other cases, the model for the work is Brockhurst’s first wife, Anais.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best, as a master etcher and superb draftsman.

Gerald Brockhurst (1890-1978),  etching, 1924, signed in pencil lower right [also signed, in reverse, in the plate]. Reference: Fletcher 47, second state (of 2). In excellent condition, printed in black on cream wove paper, with wide margins, 5 7/8 x 4 3/8, the sheet 9 1/2 x 8 3/4 inches, archival windowmat mounting.

A fine impression with exquisite detailing.

At this point in his career Brockhurst focused his portraiture on women; Najeda is a fine example of this work.

Brockhurst created shading through a system of elaborate cross-hatching; he also evidently used an exceedingly subtle stipple or dot-printing technique, which involved punching the copper plate with a needle point, creating tiny indentations in the plate which would hold ink. In Najeda this dotted work is evident on Najeda’s arms, neck and face.

Gerald Leslie Brockhurst (1891-1978), etching, 1944, signed and dated bottom right. Reference: Fletcher 81, third state (of 3). In good condition apart from remains of old hinges on margin edges, slight handling folds, unobtrusive scuff and pressure mark, no light staining apparent. Printed on a wove paper with the watermark SASPINA and Coat of Arms. Total edition of 75. 10 x 8, the sheet 12 1/4 x 9 1/2, archival mounting.

A fine impression, and superb example of Brockhurst’s exquisite etching technique.

Mrs. Paul Mellon was a founder of the Pantheon Press; her husband was a founder of the Washington’s National Gallery of Art

Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls (including the famed Adolescence) and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: a master etcher, and superb draftsman.

Gerald Leslie Brockhurst (1891-1978), The Dancer (Anais), etching, signed lower right and dedicated by the artist (to F.L. Berry, Esq.) lower left [also signed and dated in reverse in the plate lower left]. Reference: Fletcher 52, seventh state (of 7). From the edition of 107. In good condition, with slightest toning, with full margins and as issued and (not archivally) matted, 9 1/4 x 5 1/2, the sheet 15 3/8 x 9 3/8 inches.

A fine impression with exquisite detailing, printed in a dark brownish black ink on laid Whatman paper, with the Whatman watermark.

Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he seems to be gaining renown for his poignant images of young women and girls (including the famed Adolescence) and several portraits of contemporaries (Rushbury, McBey); and for classic portraits such as The Dancer; to print lovers impressions such as this example show him at his best: an artist able to capture his subject through mastery of both etching technique and draftsmanship.

Gerald Leslie Brockhurst (1891-1978), La Tresse (Anais), etching, 1926, signed in pencil lower right [also signed and dated in reverse in the plate lower left]. Reference: Fletcher 56, seventh state (of 7). In very good condition apart from slight light toning, with wide margins, 8 3/8 x 6 3/4, the sheet 11 x 8 3/4 inches, archival window mat.

A fine impression, with a light veil of plate tone overall; printed on greyish/black ink on an ivory wove paper.

La Tresse refers to the long braid of hair held by Anais, Brockhurst’s first wife.

Gerald Leslie Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of young women and girls and several portraits of contemporaries (Rushbury, McBey); to print lovers portraits such as this example show him at his best: a master etcher, and superb draftsman.