Drypoint etching. Catalog: Beraldi 778. C. 1882. A very detailed etching with meticulous linework and a unique composition. Initialed in ink in the lower left, pencil signed in the lower right. Plate measures 13 3/4 x 10 3/8 inches in a gold colored 21 x 17 inch frame.
Drypoint etching from 1853. Catalog: Beraldi 111. Plate signed in the upper right, pencil signed in the lower right. Blindstamped in the lower left. Plate measures 8 7/8 x 11 1/2 inches.
Etching, image size 6 x 9 1/8 inches, cat: Melot- C.7, later printing without Cadart lettering, possibly after it was removed. This is a very nice impression with wide borders, printed on a medium weight cream colored laid type paper. This atmospheric image from Corot's series of Italian landscapes is a great example of his ability to capture the life and movement of the scene with loose spontaneous lines and rich tones.
Etching and aquatint, image size 9 3/8 x 6 1/4 inches, Bliss 83, pencil signed, l.r "A. Legros", laid watermark paper, collectors stamp.
This is an original very early Giovanni Piranesi etching. It is titled: "Veduta interna della Basilica di S. Pietro in Vaticano vicino alla Tribuna", meaning
"Internal view of St. Peter's Basilica in the Vatican near the Tribuna." It was from the Vedute di Roma series, which Piranesi is best known for. These striking, monumental images of the ancient grandeur of the Roman Empire provided inspiration for many of the artists of the Neoclassical movement in the late 18th and early 19th centuries. It appears in the Hind catalog as image number 102. The image measures 19 1/4 X 26 1/4 inches on 21 X 28 1/4 inch laid paper. This printing is from the 1st Paris edition, created between 1800-1807 when the family brought the original plates to Paris. There is a "2V" after the signature that dates this etching and makes this the 2nd state of three. A very rich impression not seen in the later restrikes.
Etching, image size 6 x 5 1/4 inches, c. 1866, plate signed.
A well inked impression with plate toning and a rich drypoint burr. Plate measures 5 1/4 x 7 inches on 7 1/2 x 11 inch laid paper. State IV/V. Catalog: Delteil 1. Published by the Gazette des Beaux-Arts in 1903 to illustrate the obituary article on Corot by Louis Gonse. Printed by A. Salmon in Paris, France in 1875. Plate signed in the lower left. The plate for this image was discovered by Felix Bracquemond in a box of nails in Corot's home.
Etching and drypoint, image size 9 7/8 x 13 3/8 inches, 1865, IV/V, Melot D.118, printed at bottom margin "Daubigny Sculp." l.l., "Sarazin imp. Paris" l.r. and titled "Le Gue" l.c., framed. This was Daubignys' third contribution to the "Societe des Aquafortistes", also exhibited at the Exposition Universelle", the world's fair of 1867.
This is a rare original mezzotint by British artist, Sir Francis Seymour Haden. The title of this work is: "Harlech No II", it was created and printed in 1880. A combination of mezzotint, etching and drypoint, hand signed in pencil lower left border. This image appears in the Schneiderman catalog as image number 197. The image measures 8X11 3/4 inches. This is the V state of V.. This is a rarely seen image by Haden. Richly inked and printed.
This 1862 etching by Johan Barthold Jongkind measures 8 3/4 x 12 1/4 inches and is plate signed and dated. Publisher info and title printed below image. III/VI, J-8, publishers blindstamp on l.c.,
This is a very fine early state etching by British artist Sir Francis Seymour Haden. The image size is 5 1/2 x 8 3/8 inches, 1864, state IX/XVII, cat: Schneiderman-72, signed titled and dated in the plate, pencil signed. Sir Francis Seymour Haden was one of the most important British etchers of the 19th century, along with his brother in law James Whistler. In addition to being a highly regarded artist he was a successful surgeon, accomplished author and dedicated angler. He was a founder and the first president of the Royal Society of Painter-Etchers and Engravers, and was knighted in 1894.
This is an original etching by British artist Sir Francis Seymour Haden. The title of this etching is: Penton Hook, Sur La Tamise, it was created in 1864. The image measures 6X9 1/2 inches. It appears in the Schneiderman catalog as image number 65. This image appears to be the 5th state of 5 although it appears to be written 1st state in pencil lower left border. This etching is pencil signed by the artist and shows nice plate tone in the sky and water.
"Penton Hook Lock is the sixth lowest lock of forty four on the non-tidal reaches of the River Thames in England. It faces an island which was until its construction a pronounced meander (a hook) and is on the site of its seasonal cutoff. It is against the left bank marking the church parish medieval border of Laleham and Staines upon Thames in Surrey for many centuries. Until 1965 their county was Middlesex. At 266 ft (81 m) it is the third longest lock on the river."
Whistler who was Haden's brother in law worked together creating many etchings from nature in the 1860's. Is is possible that the figure on the right side of this composition is in fact Whistler? It looks to be a man sketching. A few years later Haden and Whistler had a falling out and so never would create art together again.
This is a rare early state etching by Sir Francis Seymour Haden, image size 5 3/8 x 8 3/8 inches, 1864, state VI/XIII, cat: Schneiderman-72, pencil signed. Sir Francis Seymour Haden was one of the most important British etchers of the 19th century, along with his brother in law James Whistler. In addition to being a highly regarded artist he was a successful surgeon, accomplished author and dedicated angler. He was a founder and the first president of the Royal Society of Painter-Etchers and Engravers, and was knighted in 1894.
This c. 1886 etching from the French artist, Paul Albert Besnard, measures 12 3/8 x 9 3/4 inches, pencil signed, editioned (three of 100), plate 10 of 12 from a series titled "La Femme", delteil 56(2nd state). Besnard studied at the Ecole des Beaux Arts in Paris and for the beginning of his artistic career concentrated on a very academic style of painting and composition, before adopting a more impressionistic approach of portraying light and color; later he went to England to study portraiture with Thomas Gainesborough and Joshua Reynolds.
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