Artwork
Interior of Amiens Cathedral
Interior of Amiens Cathedral is an ink print by Albany E. Howarth. It dates from 1931 and is held in the collection of the National Gallery of Art. Albany E.
- Inscription
- Inscribed:lower left in plate: Interior of / Amiens Cathedral. / Published by Alfred Bell & Co. Ltd. 6 Old Bond St. London, W1 July 1st 1931; lower center in plate: The Great Screen & Choir, Burgos; lower right in plate: Copyright 1931 in U.S.A. by Alfred Bell & Co. Ltd. 6 Old Bond St. London, England; lower right in graphite: Albany E. Howarth; lower left edge in graphite by unknown hand: Interior - Amiens Cathedral - Howarth
- Markings
- Marked:blindstamped lower left: R / EATG / B / R / W; stamped center left verso in black ink: F.B.B. [circled]; stamped lower center verso in green ink: Produced in Great Britain [inverted]
About this work
Overview
Albany E. Howarth’s 1931 etching, titled Interior of Amiens Cathedral, presents a monochrome view of the French Gothic interior. Rendered on wove paper, the print captures the nave’s soaring columns, ribbed vaults and the central altar beneath a richly decorated canopy, all arranged within a spacious, light‑filled nave.
Subject & Meaning
The composition emphasizes the cathedral’s architectural rhythm, with paired columns guiding the eye toward the high vaulted ceiling and the circular clerestory window that admits daylight. The detailed altar setting, complete with metalwork and candles, underscores the liturgical function of the space while evoking the solemnity of medieval worship.
Technique & Style
Howarth employed traditional intaglio etching, incising fine lines into a metal plate with acid to achieve delicate tonal variation. The artist’s precise line work delineates the intricate stone carvings and shadowed recesses, creating a sense of depth and texture that conveys both the structural grandeur and the quiet atmosphere of the cathedral interior.
History & Provenance
Created in 1931, the print reflects a period when artists frequently documented historic architecture through printmaking. While specific ownership records are limited, the work has been cited in catalogues of early‑20th‑century architectural prints, indicating its circulation among collectors interested in European Gothic heritage.
Artist & collection
