Francis Seymour Haden (aka Sir Francis Seymour Haden; H Dean [used for RA
exhibitions]) (1818–1910)
“Ye Compleat Angler”
(The Complete Angler), 1877, first published in 1878 by Hogarth and Sons
(London) and later published in Philip Gilbert Hamerton’s, “Etching and Etchers”
(3rd ed., London, 1880).
Note:
Hamerton’s, “Etching and Etchers” may be downloaded free of charge at
archive.org and it may be viewed online: https://archive.org/stream/etchingandetche00hamegoog?ref=ol#page/n4/mode/2up
Etching and
drypoint printed in a warm-black ink with plate tone on cream laid paper with
margins as published.
Size: (sheet) 20.8
x 30.5 cm; (plate) 13.9 x 20 cm.
Signed in
plate, at lower right: "Seymour Haden 1877"
State iii (of
iii) with the bushes in the right background shaded with oblique lines. Compare
with the state i impression held by the BM (https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3244864&partId=1&searchText=Ye+Compleat+Angler&page=1) and the state ii impression also held
by the BM (https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1573023&partId=1&searchText=Ye+Compleat+Angler&page=1).
S 161 (Richard
S Schneiderman 1983, “A Catalogue Raisonné of the Prints of Sir Francis Seymour
Haden”, Wiltshire, Robin Garton Ltd, p. 319, cat. no. 161 III); D 149 (Sir
William Drake, “A Descriptive Catalogue of the Etched Work of Francis Seymour
Haden”); H 166 (Henry Nazeby Harrington 1910, “The Engraved Work of Sir Francis
Seymour Haden, P.R.E.: an illustrated and descriptive catalogue”, Liverpool, H.
Young and Sons, cat. no. 166 i, p. 83, ill.).
The British
Museum offers the following description of this print:
“A young angler
with a rod, wearing a bonnet, seated in profile, looking left towards the
river; behind, small cabins on either sides [sic]; trees seen in the
background.”
See also the
superb insights about this print offered by Art of the Print:
Regarding
Haden’s approach to etching, Hamerton (1880) in “Etching and Etchers advises:
“A good
principle to remember is, that for an etching to look fresh we must avoid weariness.
This is why Mr. Haden recommends a single sitting; it seems to him that the
freshness of the mind, its first virgin impression of a subject, may be kept
three or four hours, but not very much longer. Before the mind acknowledges
fatigue it loses its keen interest in the subject which occupies it, and this
keen interest is what we have mainly to rely upon for the vivacity of our work.
A jaded etcher is sure to spoil his plate. Without making a rule to etch only
plates of one sitting, which would confine us to sketching, it is quite
necessary to stop before the mind wanders or goes on another tack” (p, 64).
Condition:
richly inked faultless impression with full margins as published. The sheet has
minor age toning at the upper edge otherwise it is in near pristine condition
considering the age of the print.
Note: I have
five copies of this etching available. Consequently, if this impression is sold, I may have
other impressions of the same high quality available.
I am selling
this richly inked, freely drawn unassuming masterpiece of etching by arguably
one of the finest printmakers of the nineteenth century for AU$280 in total
(currently US$189.14/EUR172.17/GBP153.78 at the time of this listing) including
postage and handling to anywhere in the world (but not, of course, any import
duties/taxes imposed by some countries).
If you are
interested in purchasing this stunning etching epitomising the artist’s late
style, please contact me (oz_jim@printsandprinciples.com) and I will send you a
PayPal invoice to make the payment easy.
This print has been sold
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