Saturday, 17 February 2018
John Fullwood’s etching (with drypoint), “Forest sunset with a fallen tree in a stream” c1880
John Fullwood (1854–1931)
“Forest sunset with a fallen tree in a stream” (descriptive title only), c1880 (attribution based tenuously on the paper used), remarque proof with pencil signature.
Etching and drypoint with plate tone on fine laid paper, signed by the artist in pencil at lower left and with a remarque at lower right.
Size: (sheet) 62.3 x 45.3 cm; (plate) 59.9 x 37 cm; (image borderline) 54.9 x 32.9 cm
Inscribed on plate with the artist’s name in reverse within the image borderline at lower left.
Hand-signed in pencil by the artist below the image borderline at left.
See a related etching, “River Scene” by Fullwood at LiveAuctions: https://www.liveauctioneers.com/item/4810954_90-john-fullwood-etching
See a selection of Fullwood’s prints at The New Art Gallery Walsall’s online gallery : http://thenewartgallerywalsall.org.uk/collections/?search=John+Fullwood
Condition: a richly inked, museum-quality impression in near pristine condition (i.e. there are no tears, holes, folds, abrasions, stains or foxing).
I am selling this hand signed, HUGE, graphically arresting and deeply romantic etching exemplifying the 19th century interest in capturing mood in landscape, for AU$145 (currently US$114.92/EUR92.54/GBP81.92 at the time of posting this listing). Postage for this print is extra and will be the actual/true cost.
If you are interested in purchasing this powerful print that almost growls with an aura of presence, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
This print has been sold
This print is sheer romance and a very moody romance at that. Similar to the melancholic poetry of prints by Fullwood’s contemporary in France, Adolphe Appian (1819–98), the eerie lacework of tree limbs silhouetted against the soft light of the setting sun is a superb example of nineteenth century landscape romanticism. Despite such strong images like this one, Fullwood’s reputation is in tatters as he is dismissed by arts writers with comments such as this appraisal by Kenneth M Guichard (1981) in “British Etchers 1850–1940” (Robin Garton, London): “… a prolific etcher of over-wrought, often water-filled landscape noted for a certain dreary competence” (p. 38). How sad is that assessment!