![]() The prints are otherwise in excellent condition. There is one tiny spot in the right margin of plate 1 and another in the lower margin the latter could be from the printing process. These large folio sized "Analysis of Beauty" engravings are presented in antiqued gold-colored frames with double mats the outer silk mats are light brown-colored and the inner mats are dark brown. Most were melted during World War I for the construction of bombs. This was the last time Hogarth's copper plates were used for printing. Hogarth, March 5th 1753, according to Act of Parliament." Hogarth's original copper plates were refurbished where needed by James Heath and engravings were republished in London in 1822 by Braddock, Cradock & Joy. The publication line in the lower right reads: "Designed, Engraved, and Publish'd by Wm. Due to their popularity, these plates were later published separately. The two plates in this set were created utilizing both engraving and etching techniques by William Hogarth in 1753, originally as illustrations of his book on aesthetics, entitled "Analysis of Beauty". Gutekunst, the dealer who inherited the rights to sell all of Francis Seymour Haden's remaining prints upon his death, noted on the front of his catalogue in July 1911: "It may be useful to add that those impressions of Sir Seymour Haden's early and rare etchings, which were published in portfolio form in Paris in 1865-66, under the title Études à l'eau-forte have, with the exception of one or two sets, never been signed in autograph by Sir Seymour, and do not, of course, bear any stamp of any kind." Although Gutekunst had impressions of the majority of Haden's works for sale, he had no remaining impressions of Mytton Hall. ![]() Haden used to stay there when he went salmon fishing. Mytton Hall is a fifteenth century mansion house situated on the River Ribble, at Whalley near Blackburn, Lancashire. ![]() An extremely rich impression printed on fine laid paper. Illustrated: Guichard, British Etchers, 1850-1940. As published in Études à l'eau-forte XXIV. Here it is the act of painting that isolates the artist from reality and ultimately threatens his or her extinction – or the spinning forth of socially imposed patterns.Mytton Hall. The works of two contemporaries who have experienced their own selves as a prison are brought together in Rosemarie Trockel’s (b. 1952) wall piece Prisoner of Yourself ( Gefangener deiner selbst) from 1998 and Arnulf Rainer’s (b. 1929) undated Selbstübermalung. Here, beyond the reach of all moral norms, the temptations and threats of Eros could be discovered, the secret life of nature explored, or the absurd conditions in a French internment camp described – as can be seen in the works of WOLS and Hans Bellmer dealing with camp life at a large brickworks in the French Camp des Milles. Uncoupled from the constraints of reality, it offered them a new, “super-real” space. In the 20th century Giorgio de Chirico (1888-1978) revisited Piranesi’s idea of the paradoxical interweaving of interior and exterior space to establish a higher-level “metaphysical” setting in his paintings, a place that also played an important role in Surrealist painting. The 20th Century: Indoor and Outdoor Space For Honoré Daumier (1808–1879), who had to spend time in a sanatorium because of the biting nature of his caricatures, the prison became the scene of self-deprecating resistance, whereas Odilon Redon (1840–1960) perceived the isolation from the outside world as a protective space that made free and dreamlike imagining possible in the first place. ![]() ![]() In Francisco de Goya’s (1746–1828) work, the dungeon appears as a place of solitude and existential threat. Works from the 19th century continued to deal with the subject of imprisonment. The 19th Century: Imprisonment as a Motif Gates and arches, stairways and ladders lead to nowhere or into a wall changing perspectives and proportions are a constant source of irritation interior and exterior spaces can no longer be distinguished from one another. Instead, the images deliver the viewer into a world of in-between spaces. The depictions also open the way for speculation because there is not a single enclosed space among them as might be expected in a prison. The ambiguity of Piranesi’s title – which can be understood as the imprisonment of the imagination, but also as the imagined prison – invites all sorts of interpretations. This year’s collection presentation focuses on Giovanni Battista Piranesi’s (1720–1778) famous series of 16 etchings Carceri d’invezione (Prisons of the Imagination) from 1761. ![]()
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