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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. 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.
Egham. 1859. Etching and drypoint. Schneiderman 20. vi/x. 4 15/16 x 7 15/16 (sheet 6 5/8 x 9 3/8). As published in Études à l'eau-forte, Number XII. A rich impression with burr, printed on off-white laid paper. One iron oxide spot, inherent in the paper; otherwise excellent condition. Illustrated: Kappel, The Golden Age of Engraving. Signed in reverse in the plate. $220.
Egham. 1859. Etching and drypoint. Schneiderman 20. viii/x. 4 15/16 x 7 15/16 (sheet 7 13/16 x 10 9/16). Printed on vellum. Signed in pencil. Foxing in the margins; otherwise excellent condition. $400.
Egham Lock. 1859 and later. Etching. Schneiderman 21.iii/x. 5 13/16 x 8 13/16 (sheet 7 x 10 5/8). As published in the Gazette des Beaux Arts, Number 10 (1864). A rich impression printed on off-white laid paper. Illustrated: Kappel, The Golden Age of Engraving. Scattered small foxing spots; a repaired tear in the right-hand margin, well outside the image; otherwise fine condition. Signed and titled in reverse in the plate. $175.
Erith Marshes. 1865. Etching. Schneiderman 104.ii/vi. 9 7/16 x 15 (sheet 12 5/16 x 19 3/4). An extremely strong impression with pronounced etched lines. Prior to the extensive area of rust in the plate and prior to the removal of much etched work in the sky. Printed on heavy cream wove paper with full margins and deckle edges. Mild time toning within the mat window area. Weak lower platemark with three small strips of archival tape for support, verso. Illustrated: Keppel, The Golden Age of Engraving, Salaman, Modern Masters of Etching: Haden. Signed in pencil. $650.
Haden etched this extensive landscape and Yacht Tavern, Erith (see below) in the company of his friend, the famous French painter-etcher, C.F.Daubigny. The image shows the marshes on the north side of the Thames at Purfleet, opposite Erith, a few miles to the east of London. A very rare state of this dramatic image.
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.
A Lancashire River. 1887. Etching. Schneiderman 203.viii. 10 7/8 x 15 7/8 (sheet 13 7/8 x 17 7/8). Illustrated: Print Collector's Quarterly 1 (1911): 27. A 1-inch printing fold in the left-hand side of the image, and a printing flaw extending 1/2 inch into the top left of the image. A fine impression printed with plate tone on cream wove paper with full margins. Signed and dedicated in pencil 'To Mr. Charles W. West in pleasant remembrance of 1883'. Professor Charles E. West, like Haden, was interested in photography. $750.
The Mill Wheel. 1874. Etching. Schneiderman 144. iv. 7 x 10 5/16 (9 13/16 x 12 1/4). Printed on cream wove paper with deckle edges. Signed in pencil. $240.
Mytton Hall. 1859. Etching and drypoint. Schneiderman 19.iii/v. 4 13/16 x 10 5/16 (sheet 5 3/4 x 10 15/16). As published in Études à l'eau-forte XXIV. Illustrated: Guichard, British Etchers, 1850-1940. An extremely rich impression printed on fine laid paper. Signed in the plate. $750.
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. 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: Kappel, The Golden Age of Engraving. An extremely rich impression with drypoint burr, printed on Japanese mulberry paper. Signed in pencil. $1,250.
"Thomas Haden of Derby". 1864. Etching and drypoint. Schneiderman 53.ii/v. 13 7/8 x 9 7/16 (sheet 16 1/2 x 11 7/16). Printed with plate tone on cream-colored 'BIV' laid paper. Rubbing from a previous mat in the lower margin, well outside the image; otherwise excellent condition. A fine impression of this scarce early state. Signed and titled in the plate. $550.
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. A fine 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.
Allinson Gallery Index.
British Fine Prints.
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