Mathew White Ridley

North Dock - Etching by Mathew White Ridley - 1860s

1860s

Durham is a black and White etching realized by William Ridley (1764-1838), and printed in the 1860s.  Titled in the lower. Image size: 13x21. Very good impression with wide margi...

Jetee en Bois dans le POrt de Honleur is a black and White etching realized by Johan Barthold Jongkin in the 1860s.  Titled in the lower. Image size: 24x32. Very good impression w...

Hull is an engraving on paper realized by W.Finden in 1838. The artwork is in good condition. The artwork is depicted in a well-balanced composition.

Hull is a lithograph on paper realized by the artist George Balmer . Signed on the plate on the lower left. Titled on the lower center. Engraved by W. Finden The state of preserva...

ABOUT Jan Sirks Rotterdam Port etching on wove paper, signed in pencil. Etchings became the main medium for Sirks between 1912-1915. His choice of subject matter was focused on the...

Untitled antique maritime print. Antique print depicting an unidentified port/harbour. In the background various vessels. Source unknown, to be...

Untitled antique maritime print. Antique print depicting an unidentified port/harbour. In the background various vessels. Source unknown, to be...

This is a mid 19th century etching entitled "Rade de Bordeaux, Janvier" (Port Of Bordeaux In Winter), Maxime Lalanne in London in 1868. The etching depicts many boats in the busy harbor of Bordeaux, including small sailboats, as well as tall ships. Another harbor is seen in the distance across the river on the left. Snow covered buildings are on the left and extending long distances in the distant background. Many people occupy the road and ground centrally and on the left along with some horses or mules attached to carts. The sky is a wintery gray. It is signed in the plate in the lower left, the title and date are in the center and Bordeaux and the year are included in script along the top of a wall in the lower left of the engraving. This etching is held by many museums and institutions, including The National Gallery of Art, Washington, D.C. François Antoine Maxime Lalanne (1827-1886) was a leading French etcher and painter of landscapes and urban views, who was at the forefront of the French revival of etching during the 1860's. He grew up in Bordeaux, but he refined his artistic skills and worked in Paris. His art was first exhibited at the Paris Salon in 1852 and he continued to regularly show both etchings and paintings there until the mid 1880's. He was also the author of several important books on the subjects of etching and other graphic arts. He was a founding member of the Societe des Aquafortistes, along with Auguste Delatre, Cadart, Ribot and Bracquemond. Lalanne created over one hundred and fifty fine etchings. Lalanne's unique style of art influenced many French and English artists in the twentieth century. Philip Gilbert Hamerton (1834-1894) was a British artist, art critic and author. He was particularly focussed on contemporary graphic art and printmaking techniques. He frequently wrote about the theory of the English Etching Revival, contributing to the establishment of etching as an original and major art medium. He was the editor of The Portfolio (1870-1893), a major arts publication dealing extensively with the art of etching. His most influential book was "Etching and Etchers", which detailed the creative and technical aspects of etching and engraving. The first edition was published in 1868 and included original etchings by Jongkind, Haden and Palmer, as well later states of 17th century Dutch masters. He published a second edition in 1876 without any original etchings. A third edition was published in 1880 in a large paper edition, limited to one thousand copies, which included twenty original etchings from contemporary artists Whistler, Haden, Palmer, Israels, Jacque, Jacquemart, Lalanne, Appian, Legros, Herkomer. including this original Lalanne etching...