John Park, “The Romantic House”, 1878, after John Constable (2nd copy)

John Park (1851–1919)

“The Romantic House”, 1878

Insights about the Subject:

The Tate Gallery (London) provides the following background on the house—known as Old Grove House, located at 26 Hampstead Grove in the historic heart of Hampstead, North London—featured centrally in this scene: 

“At some time known as The Grove, Admiral's House takes its present name from Admiral Matthew Barton (?1715–1795), who retired there towards the end of the eighteenth century. Barton rigged out the roof of the building in nautical style: ‘from this elevated position,’ wrote T.J. Barratt in 1912, ‘the old sailor was accustomed, at times when naval victories were being celebrated, to fire salutes from a couple of cannon he had mounted there, on what he called his quarter-deck.’ … The pond, which no longer exists, was known as Clock House Pond or Crockett's Pond.” See: https://www.tate.org.uk/art/artworks/constable-the-grove-hampstead-n01246

The British Museum describes the scene: 

“House at Hampstead; figures and cattle around a watering hole in the foreground with small bridge at right, the house with tower, known as 'The Grove' (or 'Admiral's House'), seen through trees behind…”Museum Number 1879,0510.130 — https://www.britishmuseum.org/collection/object/P_1879-0510-130

Technical Details & Condition:

Etching on buff-coloured laid paper. The design is based on John Constable’s (1776–1837) painting, “The Grove, Hampstead” (circa 1821–32), held in the collection of the Tate Gallery. See: https://www.tate.org.uk/art/artworks/constable-the-grove-hampstead-n01246.This etching was printed in Paris by François Liénard (active circa 1860s–1880s) and published facing page 178 in the French periodical, “L’Art,” in 1878.

This is a richly inked, crisp, and evenly printed (faultless) impression. The sheet is in near pristine condition, free of tears, holes, folds, abrasions, stains, or handling marks.

Dimensions:

• Sheet: 36 x 29.4 cm
• Platemark: 25.8 x 21.4 cm
• Image borderline: 24.9 x 20.9 cm

In-Plate Lettering (below the image):

• Left: “John Constable R.A. pinx. / L’Art.”
• Centre: “THE ROMANTIC HOUSE.”
• Right “J. Park, sc. / F^çois Liénard, Imp. Paris.

Price & Shipping:

AU$222 (approximately US$155.19 / €135.67 / £115.27), including worldwide express shipping. Import duties and taxes are the buyer’s responsibility.

If you’re interested in acquiring this creatively inventive transcription of Constable’s painting—where swirling lines add drama to the clouds and tiny flecks of white suggest sparkling light—please contact me at oz_jim@printsandprinciples.com. I am happy to provide a secure PayPal invoice for a seamless purchase.

Maxime Lalanne, “Weymouth Bay”, 1873, after Constable

Maxime Lalanne (aka François Antoine Maxime Lalanne) (1827–1886)

“Weymouth Bay” (aka “Baie de Weymouth”; “Plage de Weymouth”), 1873, after John Constable’s (1776–1837) painting in the Musee du Louvre, Paris (see https://digital.nga.gov.au/archive/exhibition/constable/detail.cfm%3Firn=145199&bioartistirn=18283&mystartrow=25&realstartrow=25&mnuid=2.html). Lalanne’s etching was exhibited in the Salon of 1874 (no. 3489) and published in London by Seeley & Co., and edited by Philip Gilbert Hamerton (1834–1894) as an insert between pages 160 and 161 to the article, “Examples of Modern Etching” in the art periodical “The Portfolio”, 1873, vol. 4.

Interestingly, there seems to be a controversy about the title of the Louvre’s painting that this etching translates into line, nevertheless the Louvre’s painting seems clearly to be the one that Hamerton (1873) describes on page 161, as “Osmington Shore, near Weymouth”.

Note that Lalanne made another etching of Constable’s painting (see https://www.britishmuseum.org/collection/object/P_1905-1021-15) but the present etching is the one published in “The Portfolio” in 1873.

Etching on laid paper, trimmed with a narrow margin around the image borderline and backed with a support sheet providing wide margins.

Size: (sheet) 12.9 x 17.5cm; (image borderline) 12.7 x 17.4cm.

Inscribed in plate: (lower right corner) “Lalanne sc./ d'ap Constable”.

State iv (of iv) as published in “The Portfolio” (1873).

Villet 95 (Jeffrey M. Villet 2010, “The Complete Prints of Maxime Lalanne”, Washington, D.C., art@mone fine prints, n. p., cat. no. 95 IV).

The British Museum offers the following description of this print: “View of Weymouth Bay, Dorset, beneath a stormy sky, with at centre towards foreground two figures at edge of water towards foreground; after Constable (Reynolds 19.9)” (https://www.britishmuseum.org/collection/object/P_1878-0511-90).

Condition: a richly inked and well-printed (near faultless) impression trimmed close to the image borderline and laid onto a support of archival (millennium quality) washi paper providing wide margins. Note that there are a few minor marks on the washi paper support.

I am selling this marvellous etching featuring light piercing through in an otherwise solid blanket of storm clouds passing over Weymouth Bay on the south coast of England, in Dorset, for AU $192 in total (currently US $118.99/ EUR 115.60/ GBP 96.80 at the time of posting 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 $192) as this is my currency.

If you are interested in purchasing this very beautiful and romantically dramatic etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Louis Kratke, “The Cottage”, c.1880, after Constable

Charles Louis Kratke (aka Charles Louis Kratké) (1848–1921)

“The Cottage”, c.1880, after John Constable’s (1776–1837) painting in the Musée du Louvre (as inscribed in the plate).

Interestingly, Alfred Louis Brunet-Debaines (1845–1939) also made an etching of the same painting by Constable in 1873; see https://www.nwmissouri.edu/archives/art/deluce-family/collected-works/dc198.htm.

Etching printed in burnt umber ink on heavy wove paper, trimmed with a small margin within the platemark.

Size: (sheet) 56.5 x 42.5cm; (image borderline) 49.3 x 40cm.

Lettered in plate below the image borderline: (centre) “THE COTTAGE/ Etched by L. Kratke after the picture by John Constable/ in the Musée du Louvre”.

Condition: a richly inked and near faultless impression trimmed within the platemark with small margins around the image borderline. The sheet is in a very good condition with no tears, holes, folds, abrasions or significant stains.

I am selling this huge and superb etching translating the colours, tones and textures of Constable's painting into an insightfully orchestrated web of lines, for the total cost of AU$302 (currently US$197.43/ EUR185.83/ GBP154.88 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$302) as this is my currency.

If you are interested in purchasing this richly worked and very beautiful etching, please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.

Charles Louis Kratke, “Sodden Landscape with Distant Storm”, c.1890

Charles Louis Kratke (aka Charles Louis Kratké) (1848–1921)

“Sodden Landscape with Distant Storm” (descriptive title only), c.1890, a proof-state impression possibly before formal lettering, with scratch publication notes suggesting that the print was in preparation for publication (“In progress [for the] proprietor”) in Paris by Boussod, Valadon & Cie (fl.1884–1919) (formerly Goupil & Cie [fl.1850-1884]).

Note that this print has compositional similarities to a smaller etching by Charles Louis Kratké, “Valley Landscape Under Stormy Sky”, 1891 (see https://www.goldinfineart.com/products/charles-louis-kratke-valley-landscape-under-the-stormy-sky-etching-1891).

Etching on imitation vellum, pencil signed with generously wide margins.

Size: (sheet) 55 x 72.3 cm; (platemark) 44.7 x 53 cm; (image borderline) 37.6 x 48.3 cm.

Inscribed in plate below the image borderline: (centre) “In progress the for proprietor. Boussod & Valadon Paris.”; (right) “L. KRATKÉ s.c.”; (possibly numbered at right) “1”.

Inscribed with the artist’s signature in pencil below the image borderline: (right) “L Kratke”.

Condition: a richly inked and near faultless impression with generously wide margins. There are minor marks in the margins, otherwise the sheet is in excellent condition with no significant stains.

I am selling this huge and visually stunning pencil-signed proof-state etching of a rain drenched rural landscape with a spectacularly glowing incandescent sky and distant storm, for the total cost of AU$362 (currently US$243.55/EUR221.56/GBP186.01 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$362) as this is my currency.

If you are interested in purchasing this simply incredibly beautiful etching—regarding the subject, I may be very wrong, but it’s possibly the same landscape shown in John Constable’s painting, “Branch Hill Pond, Hampstead Heath” (see https://en.wikipedia.org/wiki/Branch_Hill_Pond,_Hampstead_Heath)—please contact me (oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make the payment easy.