Theodore Casimir Roussel. 1847-1926.
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The Avon on the Road to Bexhill. 1919. Drypoint. Hausberg 115.iv. 4 1/2 x 5 7/8 (sheet 6 3/8 x 8 1/4). About 12 proofs in this state; total printing about 22. A rich impression with plate tone, printed by Roussel on cream wove paper. Signed on tab 'Theodore Roussel imp' in pencil on the tab indicating an impression printed by the artist. $750.
Chelsea Palaces (Black-and-White Version) 1888-89. Etching. Hausberg 16.iii. 3 1/8 x 4 11/16 (image and sheet). Edition about 52 in this state (total printing about 54 impressions). There was a color version that was from a different plate. A rich impression with plate tone, printed by Roussel on cream laid paper. An early proof, before the plate was retouched in 1925. Trimmed to the plate and tab by Roussel in imitation of Whistler. Signed on tab 'Theodore Roussel imp' in pencil on the tab indicating an impression printed by the artist. $1,250.
Laburnums and Battersea. 1889-90. Etching and drypoint. Hausberg 34.iii/v. 13 1/2 x 8 5/8 (image and sheet). Only one other known impression in this state (total of about 62 known impressions). A rich impression with subtle tonal wiping printed in brown ink on antique cream laid paper. Trimmed to the platemark and tab by Roussel. Signed 'Theodore Roussel imp' indicating a proof printed by the artist. $1,000.
The Corner of Luna Street, Chelsea Embankment. 1888-89. Etching. Hausberg 28.ii. 6 7/16 x x 5 5/8 (sheet 8 3/8 x 6 13/16). Edition 50 in this state (total edition 51). A rich impression with plate tone, printed cream laid paper. Signed in pencil. $1,250.
Portrait of Mrs. Arthur Ball. 1895-1900. Drypoint. Hausberg 54.i/ii/ 6 7/8 x 5. A proof before the signature in the plate. Hausberg knew of only one proof in this state (there were about 15 impressions of state ii). A very rich impression with drypoint burr, printed on 'Edmunds & Co 1809' laid paper. Dedication verso- 'Given to Miss Petherow ThR' (Theodore Roussel). Signed 'Theodore Roussel imp' in pencil, indicating a proof printed by the artist. $1,000.
Railway Bridge, Chelsea. 1888-89. Etching. Hausberg 17. 2 11/16 x 4 1/4. About 25 impressions. A rich impression with tonal wiping, printed by the artist on cream wove paper. Trimmed to the platemark and tab. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist of this scarce image. $1,250.
The Sign of the White Horse, Parson's Green. 1906. Etching. Hausberg 68.vii/xiv. 4 11/16 x 3 3/16 (image and sheet). Edition about 30 in this state (total about 60 proofs) printed in 7 states. Agnew's label verso. Illustrated: Calloway, English Prints for the Collector, p. 161. A rich impression with plate tone, printed on cream laid paper. A rich impression with plate tone, printed by Roussel on cream laid paper. An early proof, before the plate was retouched in 1925. Trimmed to the plate and tab by Roussel in imitation of Whistler.Signed on tab 'Theodore Casimir Roussel imp o' in pencil (Whistler used to indicate superior impressions with a number of 'os'. $1,250.
The Steam Launch, Chelsea Embankment. 1888-89. Etching. Hausberg 18. 3 1/4 x 4 3/4 (image and sheet). Edition about 30. Agnew's label verso. A rich impression with plate tone, printed on off-white paper. A rich impression with plate tone, printed on cream laid paper. An early proof, before the plate was retouched in 1925. Trimmed to the plate and tab by Roussel in imitation of Whistler. Signed on tab "Theodore Roussel imp" in pencil. Housed in a reproduction frame that adapts part of Roussel's Stag and Flower Pattern Frame, Hausberg 164. Total frame size: 9 x 11 3/16. $975.
Roussel was born in Brittany and educated in Paris. After fighting in the Franco-Prussian War, Roussel moved to England in 1870. He settled in London and shared a studio with Percy Jacomb-Hood and Thomas Henry in Chelsea. Although he first began exhibiting in London in 1872 it was not until 1885 that Whistler became aware of his work and arranged to meet him. The two artists found they not only shared similar subject matter but their artistic sympathies and thoughts about the art establishment were also the same. Unusually for Whistler and his friends, they remained on good terms for life. He, like Whistler, became a member of the Royal Society of British Artists in 1887 only to resign with Whistler and his followers in 1888. Whistler is supposed to have said of Roussel, “At last I have found a follower worthy of the master”. Although never actually a pupil, Whistler’s influence on Roussel’s work was immense, particular during his time living in Chelsea between 1880 and 1891. Roussel created about 170 etchings, printed in small editions. His prints are relatively scarce.
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