1

Despite its harvest theme, I think this ravishing colour etching by Arthur Illies a suitable image for the turn of the year. It was published by the Jugendstil art revue Pan in 1896. Its title, Mondaufgang, means Moonrise, though this print also seems to be known as Ripe Cornfield, Evening, under which title it is one of the treasures of the Barber Institute of Fine Arts at Birmingham University. A gallery assistant at the Barber, Sarah Brown, writes eloquently about it here . As she writes, "The variety of colour throughout this image is immense, as gold, sienna and turquoise bring the mass of corn to life." This is landscape imbued with that spiritual potentiality that Gerard Manley Hopkins called "inscape". Arthur Illies, Mondaufgang Etching, 1896 The painter and printmaker Arthur Karl Wilhelm Illies was born in Hamburg in 1870, and died in L�neberg in 1952. Illies studied at the Munich Academy of Fine Art, after which he returned to Hamburg, under the patronage

Adventures in the Print Trade wishes all its readers a merry Christmas and a peaceful 2011. Hermine David, Angel of the church bells Drypoint coloured � la poup�e, 1943 From one of 50 coloured suites of Hermine David's drypoints for an edition of Sagesse by Paul Verlaine. printed by Georges Leblanc on china paper

The name of Maxime Lalanne would once have put thrills down the spine of many a keen young etcher - because it was Lalanne's Trait� de la gravure � l'eau-forte (Treatise on Etching), first published by Alfred Cadart in 1866, from which thousands taught themselves the art of etching. Walter Franklin Lansil from my last post was one such young hopeful - and he had the pleasure of seeing his first ever etching published in an 1880 American edition of Lalanne's work. But Lalanne was not just seen as a teacher, he was revered as a master of etching. Philip Gilbert Hamerton, for instance, an etcher himself and editor of The Portfolio , which published many original etchings, wrote that, "No one ever etched so gracefully as Maxime Lalanne." The etcher and lithographer Joseph Pennell went further, saying that "His ability to express a great building, a vast town, or a delicate little landscape has never been equalled, I think, by anybody but Whistler." So are t

This is the first - and so far as I can tell, the last - etching by the Boston-based marine painter Walter Franklin Lansil. We know exactly how it was executed, from a description by Sylvester Rosa Koehler, the first curator of prints at the Museum of Fine Art, Boston. Koehler writes: "It is eminently 'home-made.' The ground was prepared according to the recipe given; the points used were a sewing-needle and a knitting-needle; the tray in which it was etched was made of paper covered with stopping-out varnish; even the plate (a zink plate, by the way) did not come from the plate-maker, but was ground and polished at home." Walter Franklin Lansil, Ships in Boston Harbor Etching, 1879 Walter Franklin Lansil was born in Bangor, Maine, in 1846. He studied originally under J. P. Hardy in Bangor, alongside his younger brother Wilbur. In 1872 the brothers moved to Boston, which remained their base. However in 1888 they headed for Paris, to study at the Acad�mie Julian. Walte

This voluptuous flower-maiden dates from 1885. At first glance you might take her for the work of Dante Gabriel Rossetti, but he had died three years earlier.  His influence is certainly strongly present in this ravishing early work by George Woolliscroft Rhead. George Woolliscroft Rhead, Magnolia grandiflora Etching printed in brown, 1885 George Woolliscroft Rhead was born in North Staffordshire in 1855, into a family with a long association with the Potteries. His father, George Woolliscroft Rhead senior, was a talented pottery designer, and the younger George Woolliscroft Rhead and three of his siblings - Frederick Alfred, Louis John, and Fanny - were all apprenticed at Mintons. When Mintons set up an art pottery studio in Kensington in 1871, under the directorship of W. S. Coleman, George Woolliscroft Rhead moved to London to work there. He then gained a scholarship to study at the South Kensington School of Art. He studied painting under the Pre-Raphaelite artist Ford Madox Brown,

It is not often that one can see a complete overview of an art movement, but this is the case for the post-war French figurative school known as La Jeune Peinture , whose members practically all contributed to the series of print portfolios Sujet. I have the first five issues of Sujet, published between 1950 and 1953, and I believe that that is the complete set. Sujet was published by the artist Philippe Cara Costea (1925-2006), who was the organizing force behind the screenprinting collective that produced it. According to a website devoted to Cara Costea , the group was formed in 1949. The first issue is undated, but can be confidently dated to 1950 as several of the artists dated their prints '50, and the second issue came out in January 1951. Issues 3 and 4 also appeared in 1951, but the last issue was not published until June 1953. Sujet 1: Io, vierge � cornes de vache Paul A�zpiri (1919- ) Antoni Clav� (1913-2005) Ga�tan de Rosnay (1912-1992) Andr� Minaux (1923-1986) Jean Sou

George Grosz (1893-1959) is best remembered for his violent satirical drawings of the decadent Berlin of the 1920s, which depict a corrupt world of leering businessmen pawing at prostitutes. These drawings were collected and reproduced in publications such as Ecce Homo (1923). Ecce Homo was seized by the Public Prosecutor, and in February 1924 Grosz was tried for obscenity and fined 6,000 marks. It was perhaps this that prompted an extended trip to France, for the whole of April and May of 1924, resulting in his first French exhibition in that November, and a further extended spell in France from June to October in 1925. Grosz had studied in Paris in 1912 at the Atelier Colarossi, at which time he met likeminded artists such as Moise Kisling and Jules Pascin, and made friends with Bohemian figures such as the writer Pierre Mac Orlan. It was to Mac Orlan that Grosz turned for guidance to the new post-war Paris. As Hans Hess writes in his excellent biography George Grosz , "In Apr