Ponte Marie, Paris
Drypoint, 1927, Rushbury 55 (iii/III), edition 90. 7 7/8 x 10 in. Signed in pencil. This is a superb, luminous impression printed on ivory wove paper with full margins. This well-crafted Parisian view shows the influence of Meryon and his similar work done along the river Seine.
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St. Olave's, Crutched Friars
Drypoint and engraving, 1914, Rushbury 18, edition 30. 10 3/4 x 10 1/2 in. Initialed in the plate and signed in pencil, lower right. This is a superb impression printed with carefully inked plate tone in the sky. The margins are full and the condition is fine apart from a minor soft wrinkle in the upper right margin. Like Bone, Cameron and Griggs, Rushbury was part of the British etchers movement in which architectural subjects played an all- important role. A proper and most welcome catalogue raisonne on Rushbury's prints was published in 2010 by the Royal Academy of Arts, London.
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St. Olave's, Tooley Street
Drypoint, 1927, Rushbury 56, edition unknown. 11 3/8 x 8 1/16 in. Signed in pencil, lower right. This is a fine impression printed on cream wove paper. THe margins are wide and the condition is very good. (There's just a faint suggestion of toning within a previous mat opening. On the verso is the mark of Viola and Remig Papp (not in Lugt). The subject is the destruction of the ancient church of St. Olave in Bermondsey.
SOLD