Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.

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Images of Women.

Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/8 x 12 1/4. Total edition 91). Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression printed on simili-Japon paper. Signed in pencil. This is the artist's magnum opus. It was one of the most influential and familiar icons of erotica of the 1930s. Housed in a 28 1/2 x 23 1/4-inch modernist gold leaf frame. Price upon application.

Amanda No. 1 (Marguèrite). 1920. Etching. Fletcher 19. 3 1/2 x 2 3/8 (sheet 9 x 7 1/4). Edition 55. . Arich proof printed with plate tone on on cream laid paper with full margins. Signed in pencil. This is a striking portrait of Brockhurst's first wife, Anaïs Folin. $350.

Anaïs No. 1. 1920. Etching. Fletcher 6.i/ii. 5 7/16 x 8 1/2 (sheet 11 1/2 x 8 1/2). 2 proofs in this state total edition 57 impressions. Printed on cream laid paper, with full margins. Signed, titled and annotated in pencil by the artist, '1st state G.L.B. (2 proofs thus).' The sitter is the artist's first wife, Anaïs Folin. $500.

Anaïs No. 2. 1930. Etching. Fletcher 67. 8 7/8 x 6 3/4 (Sheet 15 x 11). Edition 111. An extremely rich proof printed on cream wove paper, on the full sheet with deckle edges. Anaïs was the artist's first wife, Anaïs Folin. Provenance: the Brockhurst estate. Signed in pencil. $900.

A Ballynakill Woman. 1926. Etching. Fletcher 53. Published state. 5 3/8 x 4 1/8 (sheet 10 5/8 x 8 1/2). Printed on 'ENGLAN[D]' countermarked cream laid paper with full margins. Total edition of 107. Signed in pencil. The woman portrayed was the mother of the two children in The West of Ireland (Fletcher 61). $600.

Le Beguin (Anaïs). 1922. Etching. Fletcher 33.iii./iv. 5 1/2 x 4 5/16 (sheet 11 3/8 x 8 1/2). Edition 76. A rich impression printed on cream laid paper with wide margins. Illustrated: Print Collector's Quarterly 11 (1024): 435. The title of the etching comes from the French-Moorish cap or headband worn by women from Dax in South Western France, the Aquataine. wife, Anaïs Folin. Signed in pencil. $650.

The Black Silk Dress (Anaïs). 1927. Etching. Fletcher 58.v/ix. 8 3/4 x 6 1/4 (sheet 17 1/8 x 11). 4 impressions in thei state (edition 111). Exhibited at the RE, 1928, no.22. Illustrated: Furst, Original Engraving and Etching: An Appreciation and Salaman, Modern Masters of Etching: Brockhurst. A rich impression printed on 'J Whatman' laid paper. Signed and annotated '5th state GLB 4 proofs thus' in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $1,500.

Chiquita. 1923-4. Etching. Fletcher 44.Published state. 6 3/8 x 5 5/16 (sheet 11 x 8 3/4). Edition 76 (total 81 impressions). A dramatic impression with subtle plate tone, printed on cream wove paper with full margins. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $750.

A Connemara Peasant. 1921. Etching. Fletcher 24. 6 7/16 x 4 3/8 (wheet 11 3 /4 x 9 3/16). Edition 76. A rich impression with plate tone printed on cream wove paper with wide margins. Etched from a drawing now in the British Museum. An impression was exhibited at the RE, 1923. Signed in pencil. $375.

Une Dacquoise. (Anaïs) (A Woman from Dax (Landes). 1922. Etching. Fletcher 29.iii. 6 3/8 x 4 1/2 (sheet 11 1/2 x 9 1/8). Edition 76. A rich impression printed on cream wove paper, on the full sheet with deckle edges. The name Dacquoise is given to ladies from the town of Dax in South Western France, the Aquataine. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $750.

The Dancer (Anaïs). 1925. Etching. Fletcher 52.i/viii. 9 3/4 x 6 1/16 (Sheet 16 5/16 x 9). Edition 107. Early proof before the published state, before the plate was reduced, with the signature in reverse, upper right, before the signature and date were added in the lower left. An extremely rich proof printed on cream 'J. Whatman' paper. Illustrated: Salaman, Modern Masters of Etching: Brockhurst, Print Collector's Quarterly 21 (1934): 319; and Fine Prints of the Year, 1926. Signed in pencil and annotated "1st state G.L.B." in pencil. $1,200.

Dorette (Kathleen Nancy Woodward). 1932. Etching. Fletcher 72.v/vii. 9 1/8 x 7 1/4 (sheet 14 3/8 x 10 1/8). Trial proof 5, prior to the published edition of 100 (111 proofs in all). Illustrated: Fine Prints of the Year, 1932; Royal Academy Illustrated, 1932; Print Collector's Quarterly 22 (1935): 74. Printed on cream-colored simili-japon paper with full margins.. Signed and annotated '5^th state G.L.B.' and '(1 of 3 proofs thus)' and in pencil. $3,500.

Elisabeth (Anaïs) also called The London Caster Girl. 1922. Etching. Fletcher 32.x. 5 5/8 x 4 1/4 (sheet 11 1/2 x 9). Edition 76 (total 94 impressions). A rich impression with plate tone, printed on '[F J Hea]d & Co' cream laid paper. Signed in pencil.This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $600.

L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cream laid paper with wide margins. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. Housed in a 19th-century gilt and gesso deep-cove frame; frame measurements are 19 1/2 x 17 3/8 x 3. The frame features an extremely deep cove and extremely high hollow, with three different running ornaments with leaf motifs. $1,750.

Geneviève (Anaïs). 1922. Etching. Fletcher 30.vi/ix. 7 3/4 x 5 7/8 (sheet 11 1/2 x 9 1/4). Only 2 impressions in this state (total 92 impressions). Exhibited at the R.E., 1923. A rich impression with plate tone, printed on cream wove paper. Signed and annotated '6th state G.L. B. (2 proofs thus) in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $800.

Head of a Girl (Dorette, The Head of a Young Girl). 1942. Lithograph. Fletcher Lithographs 1.i/vi. Stone. 9 x 8 (14 1/4 x 10 1/8). Edition 30. Before the stone signature was darkened and before additional modeling in the face. A rich impression printed on cream laid paper. Signed in pencil. $2,500.

Jeunesse Dorée (Kathleen Nancy Woodward). (Gilded Youth.) 1942. Etching. Fletcher 80. 10 7/8 x 8 7/8 (sheet 13 7/8 x 10 1/2). Edition 75 in this state (there was also 1 trial and 4 proofs in state I; 2 trials and 2 proofs in state II; and 2 proofs of state 3, plus 4 proofs of the plate). Light toning, otherwise good condition. A very rich impression with subtle plate tone, printed on antique cream laid paper with full margins. Signed,dated and annotated 'Selected for E.A. Scattergood G.L.B.' in pencil. $6,500

Noémie (Marguérite). 1926. Etching. Fletcher 57.ii/vi. 8 1/8 x 5 15/16 (sheet 11 5/16 x 8 7/8). One of only 4 proofs in this state (total 132 impressions). A fine impression printed on cream wove paper. An extremely rare proof, before the reduction of the plate. Printed on 'Van Gelder Zonen" laid paper. Signed and annotated '2nd state G.L.B. 4 proofs thus' in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $750.

Noémie (Marguérite). 1926. Etching. Fletcher 57.vi 7 1/8 x 4 3/16 (sheet 10 15/16 x 8 7/16). Edition 111 in this state (total 132 impressions). A fine impression printed on cream wove paper. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. $750.

Phémie (Marguérite). 1924. Etching. Fletcher 42. 3 7/8 x 2 7/8 (sheet 10 3/4 x 7 3/4). Edition 76 (total 79 impressions). Exhibited at the R.E. 1924. A fine proof printed on the full sheet of cream wove paper with deckle edges. A dramatic tonal study. $400.

Study for a Decoration (Marguérite). 1926. Etching. Fletcher 46.ii/iii. 6 7/8 x 5 (sheet 11 3/16 x 9 1/16). 5 proofs in this state (total 76 proofs). Illustrated: Salaman, Modern Masters of Etching: Brockhurst. A fine impression printed on cream Van Gelder Zonen laid paper. Signed and inscribed '2nd state G.L.B.'in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil.$750.

The Two Mélisandes. 1928. Etching. Fletcher 60. 5 3/4 x 3 1/2 (sheet 10 1/2 x 7 1/2). Edition size not stated. Illustrated: Fine Prints of the Year, 1928; Salaman, Modern Masters of Etching: Brockhurst; Print Collector's Quarterly 21 (1943): 327. Printed on cream-colored laid paper with full margins. Anaïs, the artist's first wife, Anaïs Folin, is holding their baby daughter. Signed in pencil. $750.

Una (The Young Creole). 1929. Etching. Fletcher 65.iv/x. 8 1/2 x 6 1/4 (sheet 15 3/8 x 10 1/4). Edition of 3 in this state (total 140 impressions). A very rich impression printed on cream wove paper. Signed and inscribed '4th state G.L.B. 3 proofs thus'in pencil. $1,000.

Ursula. 1926. Etching. Fletcher 55. 5 13/16 x 2 3/4 (sheet 11 5/8 x 8 3/8). Edition of 111. A fine impression on cream wove paper. Signed in pencil. $500.

Youth (Standing Nude, Diana.S) 1945. Lithograph. Fletcher L4. Stone.ii. 14 3/4 x x 4 3/4 (sheet 15 5/8 x 12). Edition 100. A fine impression on cream wove paper printed in black ink. Signed and dated in reverse in the plate. $500.

Mrs. Albert H. Wiggin (Jessie Duncan Hayden) (1972-1954). 1932. Etching. Fletcher 74. 9 3/4 x 7 3/8 (sheet 15 1/8 x 10 3/4). Edition 58. A rich impression printed on cream wove paper. Signed in pencil.Jessie Duncan Hayden married Albert Wiggin in 1892; they had two daughters. Wishing to study sculpture, she rented a studio in MacDougal Alley behind the Whitney Museum and began to study under Victor Salvatore. $325.

Images of Men.

The Basque Boy also called Boy with Beret and Fabian. 1944. Lithograph. Fletcher Lithographs 3.ii. zinc plate. 13 x 10 1/4 (sheet 17 1/8 x 13 7/8). Edition 10. Printed on countermarked 'hand made' wove paper on the full sheet with deckle edges. A fine impression of this very rare lithograph. Signed and dated in pencil. $550.

Henry Bell, Esq. December, 1930. Etching. Fletcher 68.v. Published state. 8 5/16 x 6 3/16 (sheet 14 3/4 x 10 7/16). Private commission. Edition 55 (68 total proofs). A very rich impression. Signed in pencil. Henry Bell was associated with Lloyds Bank. $300.

Oliver St. John Gogarty. 1935. Etching. Fletcher 78. 6 7/8 x 5 1/2 (sheet 11 1/4 x 8 1/2). Edition 100. 75 intended for the Cuala Press, Dublin. A rich impression, printed on cream wove paper. Signed in pencil. $350.

Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106 (total 113 impressions). A rich impression, printed on cream laid paper. Signed and annotated "Trial" and "to light" by the artist in pencil. The model for this portrait was the wood engraver, Marquett, whose portrait Brockhurst had etched in 1921 (Fletcher 27). $575.

James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A rich impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931; Print Collector's Quarterly 22 (1944): 70. Signed in pencil. Housed in a 19 1/2 x16-inch Hogarth style frame. $1,750.

An Old Corsican. 1921. Etching. F 27. 6 5/16 x 4 9/16 (11 1/2 x 9 3/8). Edition 76. A beautiful, rich impression with plate tone, printed on 'J. Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. The model for this portrait was the wood engraver,Marquett, whose portrait Brockhurst had etched in 1925 (Fletcher 51). $650.

Henry Rushbury, A.R.A., R.E., R.W.S., No. 2. 1930. Etching. Fletcher 66. Published state. 10 x 7 3/8 (sheet 14 1/2 x 10 3/4). Edition 111. Illustrated in 'Royal Academy Illustrated' 1930; 'Fine Prints of the Year' 1930; Print Collector's Quarterly 21 (1943): 331. An exceptionally rich impression with printed on cream wove paper. One of a few proofs signed by the artist and also by Henry Rushbury. $2,250.

A Self Portrait. c. 1932. Ink drawing on wove paper. 3 1/2 x 2 1/4 (sheet 10 x 7). Provenance: the artist's daughter. Unsigned. A unique silhouette housed in anarchival French double mat and a 12 3/4 x 11 3/8 Whistler-style gold leaf frame. $1,750.

Regarded from the age of twelve as a young Botticelli, he studied in England, France and Italy. After attending the Birmingham School of Art, Gerald L. Brockhurst entered the Royal Academy Schools in London, where he received the Gold Medal and Traveling Scholarship in 1913. The award allowed him to visit Paris and Italy, where he studied works by early Italian painters. Piero della Francesca and Leonardo da Vinci remained important influences.

From 1915 to 1919, Brockhurst lived in Ireland, where he met painter Augustus John, whose painting style was influenced by contemporary French art's simplicity of color and forms. In 1919 Brockhurst returned to England for his first significant gallery exhibition.

During the 1920s Brockhurst became an etcher, focusing primarily on female portraits and using his wife as his model. Coolness, technical perfection, and overt classicism mark both his printmaking style and his painting manner. By 1930 Brockhurst had returned to painting with a new teenage model, Dorette Woodard, whom he later married. His haunting portraits of her opened the door to fame and fortune, and he became a fashionable portrait painter; his stated goal was to capturing appearance, not character. His sitters included J. Paul Getty, Marlene Dietrich, and the Duchess of Windsor. In 1939, at the height of his success, Brockhurst settled in the United States.

Gerald Brockhurst is best known for his portraits and etchings of beautiful women. Brockhurst's placement of a portrait within a surrounding landscape, recalls the work of Italian Renaissance masters, as there is a sense of mystery and the unknown, which separates the viewer from the sitters. Brockhurst's sitters are given extra emphasis by their surroundings and are usually composed close-up, looking straight at you, positioned in shallow space, against a ledge, or against a blank background. By changing the pose, setting or costume he could seemingly transform the model into an entirely different person. To add to the shroud of mystery and romance of the image, and to encourage the imagination of the viewer, Brockhurst would attach exotic titles such as, Ophelia, Viba, Xenia and Anaïs. In the UK in the 1930s and later in New York, Brockhurst became a fashionable portrait painter with famous sitters including Marlene Dietrich and the Duchess of Windsor. In retrospect he is regarded as an impressive portraitist and printmaker.