LANDSCAPE AND MEMORY
- d'Onofri, Landscape with Battus
- after Brueghel, Alpine Landscape
- School of Antwerp, Imaginary Landscape
- Sadeler, Facade of a Temple
- van Noort, Landscape with the Temple
- Davent, Landscape with Ancient Ruins
- att. to Pozzoserato, Mountainous Landscape
- van de Velde II , Interior of the Ruins
- Waterloo, Two Travelers
- Grimaldi, Landscape
- Saftleven, Landscape with a Man
- Barrière, View of the Town
- Monti, Landscape with a River
- Meyeringh, Landscape with Mercury
- Bout, The Skaters
- Lelu, A Town in Portugal
- Dietricy, Heroic Landscape
- Le Loup , View of the Town
- att. to Verrijk , River Scene
- Kolbe, Landscape with a Cowherd
- Roos, Vast Mountainous Landscape with Herds
- Roman School, Lago d’Albano,
- Isabey, Ruines du Château
- Williams, A Part of Melrose Abbey
- Palmer, The Morning of Life
- Richardson, Loggers by a Lake
- att. to Preller, Oak Trees
- Lalanne, Plage des Vaches
- Miller, A Road in Winter
- Haden, Sunset in Ireland
- Doeleman, Stormy Sky
- Meryon, Nouvelle Zélande
- Latenay, Autumn Trees
- German School, Birches
- Cameron, Ben Lomond
- Yeats, July 4, 1908
- MacLaughlan, Rossinières
- Cotton, Spring Landscape
- Legros, Une Vallée
- Torre-Bueno, Farmlands
- Jungnickel, Loser - Altaussee
- Komjati, Willows
- Wengenroth, Bucks County
- Kantor, Abstracted Landscape
- Eby, Christmas Trees
- Massen, Landscape with Trees
The Skaters
Etching, Bartsch 2, Hollstein 2 ii/ii, 194 x 273 mm. Very fine, rich impression on laid paper with the watermark of a fleur-de-lis in a shield (17th century), with thread margins almost all around. Inky marks in the plate margins, as described by Hollstein for this state (the first state in London is probably unique); a nick and two fold marks in the upper left corner and slight traces of a center fold, otherwise in fine condition.
Bout, who was born and died in Brussels, was primarily a landscape painter and draughtsman and made only five etchings, all of which are both rare and desirable. This skating scene is perhaps the most desirable, for it is one of the very best etched depictions ever made of that prototypical Netherlandish subject. Bout shows his painterly inclinations in the wiping of the plate, where the sky just above the horizon line, instead of being evenly dark, is heavily wiped to take ink out of the lines, producing the effect of a blast of light glancing off the low clouds (the reproductions in Bartsch and Hollstein show similar wiping). This is not a typical etcher’s device, but the result is that the image “reads” when seen from a distance greater than is usual in looking at an etching -- much like a painting.