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
Nouvelle Zélande . Presqu’ile de Banks
Etching, 1863, Delteil 69 v/vii, 157 x 324 mm.. Very fine impression on laid paper with full, large margins.
Meryon, long recognized as one of the greatest of all etchers, is famous for his interpretations of old Paris. But years before he became an artist, he was a sailor, journeying, among other places, to the South Seas. Sketches he made at that time later became etchings. 1845 was not exactly the Age of Exploration, but to a Frenchman in his twenties, even one who had previously seen Athens and Algiers, New Zealand was clearly exotic. Meryon, as we know from his later work, was far from a literal topographer and put down what he saw in the way he wanted to see it. The idyllic, if exotic, scene here carries more than a hint of Rousseau’s “noble savage” theory: unspoiled, uncivilized beings working in harmony with nature in a landscape of abundance, artistically-arranged trees and unforbidding mountains, all under a sky bedecked with white clouds. It was a far cry from the gritty back streets and glorious monuments of medieval Paris. The subtitle here gives the precise location as the Pointe dite des Charbonniers à Akaroa, and the natives are fishing with seine nets.