Comments on: Ernest George’s Old London Etchings

By: David Parsons

David Parsons — Sun, 11 Apr 2021 12:33:26 +0000

In answer to Douglas Brett’s last comment above, from thirty years of collecting and studying etchings, I can assure those interested that reverse-printed signatures and dates (or parts thereof) are not uncommon even amongst the works of the most accomplished etchers (see, e.g., works by Rembrandt, Seymour Haden, Brangwyn, Brockhurst, Dali, Picasso, etc.). Usually, this is because the etcher was not concerned enough about it to etch in reverse (so that the inscription printed in the right direction) but sometimes, as in the George etchings in question here, it is evident that the etcher made an unwitting error with an individual character which he then did not bother to correct (by laboriously burnishing and re-etching the affected area of the plate). There is no more mystery to it than that.

By: Douglas Brett

Douglas Brett — Fri, 09 Apr 2021 06:49:43 +0000

David Parsons suggests that the mirror image numerals are a result of carelessness on the part of the etcher. Having worked in print of one sort or another all my life and known many highly skilled craftsmen I find this highly unlikely. An artist of George’s calibre would not have repeated this error so consistently. I prefer to think that it is a signature or maybe even a code of some sort. I used to hide tiny glyphs in some of my work, partly as a form identification as a protection against illegal copying, partly just for fun.

By: Kelly Holman

Kelly Holman — Thu, 08 Apr 2021 09:54:05 +0000

Such incredible detail to enjoy for ages. I found the etchings of Limehouse and Shadwell particularly evocative.

On the etching of Rowden’s Hair Cutting Rooms, just to the left of the sign itself, is a large upside down looking urn-shaped feature. I wondered what it is?

By: Sonia Murray

Sonia Murray — Thu, 08 Apr 2021 02:30:52 +0000

Thanks, G.A. These etchings are not only beautiful but sensitive – one feels one could walk into the courts and chat with the people there, and climb the stairs into the lanes of Old London. I do hope these pictures are being reproduced, as surely many people would love to have them framed on office walls and in their homes. George’s work is a balm to the soul – what a delightful contrast to the garish daubs considered art today. Please give us more of George’s work!

By: David Parsons

David Parsons — Wed, 07 Apr 2021 22:37:02 +0000

In appreciating George’s romantic visions of old and disappearing London, it is worth noting that his art was a private side-line to his main occupation as one of the most successful architects of his period. His long practice is famous as having been the training ground of many successful architects of the following generations (most notably Edwin Lutyens) and George was president of RIBA from 1908-1910.

The answer to the question posed by Douglas Brett above is that George has, for these numerals, neglected to draw them in reverse when etching the plate. Because of the nature of the etching process, an etching is a reverse (mirror image) impression of what is etched on the plate. This means that anything the etcher wishes to appear in the ‘right’ direction (such as a topographically correct view or an inscription within the plate) must be etched in reverse so that it prints in the right direction.

By: Gillian Tindall

Gillian Tindall — Wed, 07 Apr 2021 16:29:47 +0000

Every one of Ernest George’s chosen sites looks notably dilapidated, which is no doubt partly why he selected them, thinking they were due to disappear. I hope he would be pleased today to find that at least few of them have survived and are looking much better maintained. St Bartholomew, of course, and the gateway to St John’s, and Staple Inn –

By: Saba

Saba — Wed, 07 Apr 2021 12:46:55 +0000

There’s a tactile quality to these scenes. I feel as if I could walk into the streets, get out of a boat and walk up the stairs to the Tower of London. Spring light in some and summer’s warmth in others. I would love to walk around and look more closely at everything.

They must have had a healthy population of rats since everything fanned out from the river. Snakes, roaches, and spiders, too. Adds to the character!

The paper color is cream. I wonder if the color is darker due to aging.

By: Lynne Perrella

Lynne Perrella — Wed, 07 Apr 2021 12:24:42 +0000

Note the image of the grave yard. Dripping in atmosphere. The tree overlooks the scene as buildings crowd in, all around; blocking out the light. (I long to see the tree flowering, don’t you?) The empty eyes of the old windows have forgotten to take pleasure in the grave stones below. And a lone strand of laundry looks like it has been left outdoors to weather. The stately decorative head stones have languished, waiting for appreciative eyes. And now here we are.

Thanks for taking us along, GA.

By: Douglas Brett

Douglas Brett — Wed, 07 Apr 2021 07:16:06 +0000

Anybody explain why the last numeral of the year dates (Ponders House and a gravestone in St Barts) are mirror images?