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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
Egham
Schneiderman 20 vi/x (the plate was cancelled in the final state)
Harrington 15
125 x 202 mm
Original etching and drypoint, 1859-65.
The plate ‘entitled’ in reverse.
Impression in the 6th state, with strong drypoint burr, as issued for Etudes à l’eau-forte (Haden worked on the plate as it was being printed for the edition, which also included
impressions in the 9th and 10th.
With an unidentified collector’s mark verso – two small combined coats of arms (one being Arms of Amsterdam) (Ex Lugt).
£650
This plate and Egham Lock (S.21), were needled in their 1st state “on the same day and upon the same spot,
one looking up and one looking down river” (Haden). They are amongst the earliest of plein air etchings.
At this period, when Haden and Whistler were close and sometimes working together, Haden wrote to Delâtre that
he was contemplating a joint publication with Whistler of views of the Thames from the source to the sea,
as a series of four portfolios each of twelve prints; a project which was never realised.
The Thames remained a favourite subject; but Haden fell out with his brother-in-law.
Exhibited at the Royal Academy 1860.
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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
Little Calais Pier
Schneiderman 88 iii/v (the plate was cancelled in the final state)
Harrington 98
78 x 159 mm
Original etching, 1865.
The plate signed and dated.
Third state, with 3 a m added to the inscription,
but before the seated figure added at the near end of the pier, published as the headpiece to the first page
of Burty’s descriptive catalogue in Etudes à l’eau-forte, edition of 180.
An issue from early in the edition,
with the French text on the reverse with instructions to assist amateurs in handling the loose plates so
as to keep them in order.
As the edition progressed these directions were transferred to the foot of the title
sheet to the first etching.
On chine appliqué on cream laid paper, trimmed in the margins.
Slight foxing in the margins.
£100
Sketched directly onto the copper on the deck of a channel steamer as it approached France in the early morning.
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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
The Cabin
Schneiderman 163 iv/iv
Harrington 170
136 x 201 mm
Original drypoint, 1877.
The plate signed and dated. Signed in pencil?
Final state, after the figures removed and the dog added.
With the signature moved to the centre of the plate.
On stout wove paper.
£500
Two unidentified collector’s marks verso (ex Lugt).
One a purple gothic letter M with curled addition.
The other is a small coat of arms with a lion rampant and three stars above the shield.
[Also stamped by a later hand at the foot of the sheet verso “Signature and collector’s stamp cannot be fully verified”.]
Haden took a great delight in adding animals into his plates. .
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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
Calais Pier
Schneiderman 141 v-vi/ xii
Harrington 157
595 x 843 mm
Etching, 1874 and later, after J M W Turner.
An intermediary etched state, with the first (and full) inscription Etched by F Seymour Haden after the picture by J M W Turner but with the foul biting shading the sail of the boat to the right of the pier and the sea in the left foreground.
Printed in 1875.
Harrington records 6 impressions in the 5th state and no number is given for the 6th.
There may have been 300 impressions in all 11 etched states, before Haden added mezzotint.
Printed in sepia-black on stiff cream wove paper.
A tiny abraded patch in the plate tone at the top of the plate towards the left.
Time stained at the sheet edges.
£4000
This bravura tour-de-force was printed for Haden in his own studio in Sloan Street, by Frederick Goulding,
who experimented with different inks mixed with sepia, the results of which were much admired.
The plate was so large that a press had to be made specially, at a cost of 200 guineas.
Haden also paid for an assistant to grind the ink, turn the handle of the press and do all the floor sweeping and cleaning.
The Turner oil painting the etching reproduces, exhibited at the Royal Academy in 1803, itself three times the size of Haden’s etching,
is in the National Gallery, part of the Turner Bequest, 1856.
Its full title is
Calais Pier, with French Poissards preparing for Sea: an English Packet arriving.
Tate Britain has the related sketchbook.
The subject was inspired by Turner’s first trip to Calais in 1802, on which he experienced very rough seas and was “nearly swampt”.
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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
Sketch at the back of a zinc plate
Schneiderman 147 iii/iv (the plate cancelled in the final state)
Harrington 179
142 x 213 mm
Original etching with drypoint., c1874-77.
Signed in pencil twice and dated in pencil at the foot of the sheet 15 July 1877.
£750
Impressions from this plate, probably done at Sonning in Berkshire, are rare.
It is not known what was on the ‘front’ of the plate; none of Haden’s plates from around this time have the identical measurements.
Harrington catalogued this plate as 1887 but Schneiderman suggested 1874 because of annotations on an impression in the New York Public Library collection.
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Sir FRANCIS SEYMOUR HADEN
Chelsea 1818 – 1910 Bramdean, Nr Arlesford
Harlech, No.2
Schneiderman 197 v/v
Harrington 212
223 x 313 mm
Mezzotint with etching and drypoint, 1880.
Fifth (final) state, with further additional mezzotint partially covering
the plate inscription Drawn, Etched, Engraved and Printed by Francis Seymour Haden May 11 1880.
Signed in pencil.
Printed in brown-black ink on stout cream wove paper.
£600
Exhibited at the Royal Academy 1880.
This mezzotint view of Harlech castle with a distant view of Cardigan Bay repeats in reverse Haden’s earlier view of the castle (Harlech, 1) from 1874 on zinc.
Haden made four direct pencil studies of Harlech Castle on August 24th 1874 on which his first Harlech etching was based.
That etching reverses the drawings and so is topographically incorrect.
Some years later, presumably before May 11th 1880, Haden added mezzotint to the plate of Harlech No.1 in its 4th and 5th states).
Perhaps he was dissatisfied with the results of the experiment on zinc (few impressions were printed)
or wished to have the castle topographically accurate, when he made a second plate of the subject on a copper plate,
a variation reversing Harlech 1, which from the beginning he intended as a mezzotint, grounding the whole plate,
though he did add some etching in the 3rd state.
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