Sir Francis Seymour Haden, P.R.E. 1818-1910.
Click on the images for larger screens.
Breaking up of the Agamemnon, No 1. 1840. Etching and drypoint. Schneiderman 133.viii/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). Illustrated: Kappel, The Golden Age of Engraving; Lumsden, The Art of Etching, 289; Salaman: Modern Masters of Etching: Haden; Salaman, The Great Painter Etchers from Rembrandt to Whistler. A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in pencil. $1,250.
Cowdray castle, with Geese. 1882. Etching and drypoint. Schneiderman 208.iv/v. 6 x 9 1/2 (sheet 9 3/8 12 5/8). A rich impression printed on cream laid paper. Titled 'Cowdray' and dated in the plate, lower left. Mounted on board, mat lines and marginal toning from 2 previous mounts; thie image in good condition. Signed in pencil, lower right margin. Housed in a 14 x 17-inch silk mat with a silver liner. $350.
A Lancashire River. 1887. Etching. Schneiderman 203. Undescribed proof between vii and viii, with the clouds touching the hills, but before the blindstamp in state viii. 10 7/8 x 15 3/4 (sheet 15 5/16 x 20 1/2). Illustrated: Print Collector's Quarterly 1 (1911): 27. An extremely strong, well-inked impression. Printed on heavy cream wove paper with full margins . Mild time tone within the mat window area. An exceptionally rare state of this dramatic image. Provenance: Kennedy Galleries. Signed in pencil. $975.
Old Willesley House. 1865. Etching. Schneiderman 92. iii/iv. 6 7/8 x 9 15/16 (10 1/4 x 13 1/2). Printed on cream wove paper. Signed in pencil. $450.
A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.vii/xiv. 5 1/4 x 8 3/8 (sheet 6 3/4 x 9 1/2). A rich, glowing impression with drypoint burr, printed on fine cream laid paper. Philip Gilbert Hamerton wrote "With the exception of one plate by Claude, this is the finest etching of a landscape subject that has ever been executed in the world." Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector's Quarterly 1 (1911):20; Salaman: Modern Masters of Etching: Haden. Signed and dedicated 'à Burty' in pencil. $1,500.
A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.vii/xiv. 5 1/2 x 8 1/2 (sheet 6 7/8 x 9 1/2). Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector's Quarterly 1 (1911):20; Salaman: Modern Masters of Etching: Haden. An extremely rich impression with drypoint burr, printed on Japanese mulberry paper. Signed in pencil. $1,250.
Windsor. 1898. Etching. Schneiderman 186.xii. 13 1/4 X 17 1/2 (sheet 18 5/8 x 23 1/4). Edition of 50 in this state, published by the Fine Art Society. Toning in the image; repaired tear in the right-hand corner, well outside the image. A richly-inked impression printed on cream wove paper with full margins. Signed in pencil. $975.
Born in 1818, Sir Francis Seymour Haden was an etcher, collector and surgeon. He studied at the Derby School, Christ's Hospital and University College in London. He also studied at the medical schools of the Sorbonne in Paris and at Grenoble. He became a member of the Royal College of Surgeons in 1842 and he was made a fellow in 1857. He was an honorary surgeon to the Department of Science and Art from 1851 to 1867 and in 1847 he settled into a private practice. Haden was a vice-president of the obstetrical society of London and one of the founders of the Royal Hospital for Incurables in 1850.
In 1858, Haden encouraged James McNeil Whistler to work from nature and consequently, Whistler dedicated his first set of etchings entitled French Set, to Haden. The etchings were printed by Auguste Delâtre in Paris and marketed, with some help from Haden, in London. In 1859 Whistler settled in London and often visited Haden's Sloane Street home. Whistler executed a number of paintings and etchings of domestic scenes within Haden’s home, among them Reading By Lamplight and Harmony in Green and Rose: The Music Room. Haden’s old master prints and his vast knowledge of photography were a great influence in Whistler's career. After an argument in 1867, Haden and Whistler never spoke again and during the same year, Whistler was expelled from the Burlington Club as a result of a complaint made by Haden.
Haden became the president of the Society of Painter-Etchers and he was partly responsible for the Rembrandt exhibition at the Burlington Fine Arts Club in 1879. His published works include, The Etched Work of Rembrandt (1879), The Art of the Painter-Etcher (1890) and The Royal Society of Painter-Etchers (1891). In 1891 he was elected a member of the Athenæum and in 1894 his public service was rewarded with a knighthood. In 1905 his distinction was recognized abroad by honorary membership of the Institut de France, the Académie des Beaux Arts and the Société des Artistes Français. He was awarded medals for etching at the Expositions Universelles in Paris in 1889 and 1900.
To order, to report broken links or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com), call (001) 860 429 2322 or fax (001) 860 429 2825. Business hours are 9:A.M. to 5 P.M. Eastern Standard Time.
Please click here to review the USE AND ACCEPTANCE AND PRIVACY POLICIES FOR THE ALLINSON GALLERY, INC. WEBSITE
Thank you for visiting this website.