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William Alfred Delamotte

  1775 - 1863
 
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Lake Thun

Lake Thun   1834

Original soft ground etching with mezzotint.

Extremely rare early proof impression, with Delamotte’s name and the title scratched faintly in the wide blank plate margin.

£320



Mill Dunkerque

Mill Dunkerque   1834

Original soft ground etching with mezzotint.

Extremely rare early proof impression, with the title scratched faintly in the blank lower area of the plate. We have been unable to trace any other impression of this print.

£240



[A Horseman in Woodland, after Rembrandt] sold

[A Horseman in Woodland, after Rembrandt]   c.1830

Etching with mezzotint.

Unique early proof of this unrecorded etching with mezzotint. Inscribed by Delamotte in the plate “Rembrandt 1635”. We have been unable to trace any other impression of this print.

SOLD

 

Born in England of a French refugee family, William Delamotte rose to become one of the leading landscape painters of his time. He took the post of Professor of Drawing at Sandhurst Military Academy, living for many years around the Sandhurst area, publishing his prints from his own home address. His sensitive landscape etchings display a naturalism and handling which is especially comparable with that of the later Norwich School artists. Indeed, W.A. Delamotte was one of the few artists outside their group to use etching as a truly creative medium during the first decades of the nineteenth century.

As a young man William Delamotte was one of the select group of artists to be invited to contribute to the first publication ever to employ the newly invented process of lithography (Specimens of Polyautography, 1803). He continued to explore the possibilities of new processes in printmaking throughout his life, working in almost all the available media, using etching, soft ground etching, aquatint, mezzotint and lithography at various times and in various combinations throughout his career.

With the exception of the pen lithographs which he created for Specimens of Polyautography and his views in Oxford, it appears that few of his prints were published by other parties. Indeed, many of his prints may have been for private circulation alone. [more]