Francis Seymour Haden, “Scotch Firs, Inveroran”, 1873

Francis Seymour Haden (aka Sir Francis Seymour Haden; H Dean [used for RA exhibitions]) (1818–1910)

“Scotch Firs, Inveroran”, 1873, a pencil signed second state impression (or three states). I understand that the coarsely etched linework was intended as preparation for later mezzotinting (see Schneiderman [1983], p. 185 cat. no. 140), but this plan was not explored and the plate was cancelled in the third state. Note that the Metropolitan Museum of Art holds a first state impression of this print showing a distant mountain (see https://www.metmuseum.org/art/collection/search/705935). Interestingly, this mountain was erased in the second state (as shown here), but faint traces of it may still be seen.

Etching with plate tone on heavy cream wove paper, signed and dated in the plate (1873) and signed in pencil at lower right.

Size: (sheet) 30.2 x 43.4cm; (plate) 25.2 x 38cm.

Inscribed in plate at lower left: "Seymour Haden 1873"; signed in pencil below the platemark at right.

State ii (of iii)

Schneiderman 140 (Richard S Schneiderman 1983, “A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden”, Wiltshire, Robin Garton Ltd, p. 285, cat. no. 140 II).

See also the description of this print offered by the British Museum (inv. no. 1910,0421.151).

Condition: a richly inked and near faultless impression. Beyond toning and minor marks (recto and verso) where the print was once framed, the sheet is in an excellent condition with no tears, holes, folds, foxing or significant stains.

I am selling this richly inked and bold panoramic landscape by arguably one of the finest printmakers of the nineteenth century for AU$396 in total (currently US$259.86/EUR239,64/GBP201.13 at the time of this listing) including Express Mail (EMS) postage and handling to anywhere in the world, but not (of course) any import duties/taxes imposed by some countries. Note that payment is in Australian dollars (AU$396) as this is my currency.

If you are interested in purchasing this large and confidently inscribed etching, no doubt, made directly in front of his subject during his usual self-imposed three-hour time limit, 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

Francis Seymour Haden’s drypoint and etching, “Ye Compleat Angler”, 1877

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” (3^rd ed., London, 1880). This impression is from the 1880 edition.

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

Drypoint and etching and printed in a warm-black ink with plate tone on cream laid paper with small margins.

Size: (sheet) 18.3 x 26.5 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/collection/object/P_1937-0612-216) and the state ii impression also held by the BM (https://www.britishmuseum.org/collection/object/P_1925-0312-14).

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” (https://www.britishmuseum.org/collection/object/P_1910-0421-176).

See also the superb insights about this print offered by Art of the Print: http://www.artoftheprint.com/artistpages/haden_francis_seymour_thecompleteangler.htm.

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: a richly inked and near faultless impression. The sheet has a patch of thinning (only visible when the sheet is held to the light) otherwise it is in near pristine condition for the age of the print with no tears, holes, folds, stains or foxing.

I am selling this richly inked and freely drawn drypoint (with etching) by arguably one of the finest printmakers of the nineteenth century for AU$280 in total (currently US$200.59/EUR176.92/GBP150.66 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 quietly unassuming etching, no doubt, made directly in front of his subject during his usual self-imposed three-hour time limit, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Note that this is the second impression of this print that I have listed (the previous impression has been sold).

Seymour Haden’s drypoint, “Windmill Hill, No. 2”, 1877

Francis Seymour Haden (aka Sir Francis Seymour Haden; H Dean [used for RA exhibitions]) (1818–1910)

“Windmill Hill, No. 2”, 1877, pencil signed by the artist at lower right.

According to The Fitzwilliam Museum’s (2018) exhibition essay, “Amateur Artist of Distinction: Prints by Francis Seymour Haden” (see https://www.fitzmuseum.cam.ac.uk/sites/default/files/exhibitions/Amateur%20Etcher%20of%20Distinction.pdf):

“Windmill Hill is the name of a high common near Swanage. This is one of 17 plates executed in a fortnight during a stay at Newton Manor in Dorset with a fellow amateur artist and collector, Sir John Charles Robinson (1824-1913), who also produced etchings done on the spot of the same landscape” (p. 110).

Drypoint printed in a warm-black ink on cream laid paper.

Size: (sheet) 19.6 x 29.9 cm; (plate) 15 x 22.5 cm.

Signed in plate, at lower left: "Seymour Haden/ 1877".

Signed in graphite, at lower right below the platemark: "Seymour Haden".

State iv (of v) with final modifications to the image before the plate is cancelled in the final state (e.g. “Some of the previous work on trees at upper left removed and their outlines redrawn with diagonal strokes” [Schneiderman 153 IV]).

Schneiderman 153 (Richard S Schneiderman 1983, “A Catalogue Raisonné of the Prints of Sir Francis Seymour Haden”, Wiltshire, Robin Garton Ltd, p. 317, cat. no. 153 IV); Harrington 164 (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. 164).

The British Museum offers the following description of this print:

“A heath with small bushes at centre, in the foreground; trees seen in the background”

(https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1573345&partId=1&searchText=seymour+haden+Windmill&page=1).

See also the description of this print at the Metropolitan Museum of Art:

https://www.metmuseum.org/art/collection/search/705021?searchField=All&sortBy=Relevance&ft=Haden+windmill+hill&offset=0&rpp=20&pos=10.

Condition: richly inked and faultless impression with margins in near pristine condition considering the age of the print (i.e. there are no tears, holes, folds, losses, abrasions, stains, foxing or signs of use—apart from pencil notations by previous collectors and a faint collector’s stamp verso).

I am selling this superb, museum quality, pencil signed masterpiece of drypoint by arguably one of the finest printmakers of the nineteenth century for AU$510 in total (currently US$341.51/EUR316/GBP263 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 exceptionally beautiful drypoint of the rugged terrain near Swanage (South West England) rendered with loose—almost calligraphic—velvety strokes of richly inked burred lines, 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

Francis Seymour Haden's etching, “Ye Compleat Angler”, 1877

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” (3^rd 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.”

(https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1572946&partId=1&searchText=Ye+Compleat+Angler&page=1)

See also the superb insights about this print offered by Art of the Print:

http://www.artoftheprint.com/artistpages/haden_francis_seymour_thecompleteangler.htm

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

Francis Seymour Haden’s etchings, “The Two Asses” and “Dundrum River”, 1863

Francis Seymour Haden (1818–1910)

Two plates created from the division of a single composition

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(LEFT) “The Two Asses”, 1863, published in “Fine Arts Quarterly Review” (1867), printed by Frederick Goulding for the firm Day and Son.

Etching on heavy cream wove paper with wide margins (as published).

Size: (sheet) 26.9 x 17.6 cm; (plate) 15.3 x 8.6 cm

State ii (of ii) with the inscription added:

“This plate is a part of the square one wh [which?] follows it. Both were drawn under the mordant and afterwards cut. The balance wd [would?] have been better preserved if the division had not been made, and if this white space had been filled in with strong work as intended. S.H.”

Schneiderman 1983 46.A.II; Harrington 1910 50.II

See the British Museum’s description of this print:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1565092&partId=1&searchText=haden+asses&page=1

Condition: richly inked and faultless impression in pristine condition (i.e. there are no tears, holes, folds, abrasions, stains, foxing or signs of use) with wide margins as published.

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(RIGHT) “Dundrum River, 1863, published in “Etchings for the Art Union of London by The Etching Club” (1872)

Etching on heavy white wove paper with wide margins.

Size: (sheet) 24 x 21.4 cm; (plate) 15.2 x 14 cm

State iv (of iv) with the inscriptions: (upper left corner) “Seymour Haden”; (lower centre) “A river’s bank”.

Note this state still partly reveals the burnished inscription from the first state at upper left corner: ”Done under the acid without additional work”

Schneiderman 1983 46.B.IV; Harrington 1910 49.II

See the British Museum’s description of this print:

https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1565105&partId=1&searchText=haden+Dundrum&page=1

Condition: richly inked and faultless impression in near pristine condition.

__________

I am selling this pair of related etchings in remarkably fine condition for AU$420 in total (currently US$302.53/EUR265.71/GBP237.48 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 these etchings by one of the important luminaries of British printmaking, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

These print have been sold