Pierre-Émile Berthélemy

Peche a la Sardine - Etching by Pierre-Émile Berthélemy - 1860s

1860s

Etretat is a black and White etching realized by Léon Gaucherel in the 1860s.  Titled in the lower Image Size: 23x31 Very good impression. Realized for the "Société des Aquaforti...

La Rentrée des Bateaux des Pêcheurs is an artwork realized by Léon Gaucherel in the 19th Century . Etching. Signed on Plate.

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...

Baie de Kerloche is a black and White etching realized by Auguste Feyen Perrin in the 1860s.  Titled in the lower. Image size: 23x32. Very good impression with wide margins and a ...

Medium: original etching. This impression on cream laid paper is from the edition printed for "French Etchers", published in New York in 1884. Plate size: 6 3/8 x 9 1/8 inches (158 x...

Pierre-Emile BERTHELEMY (1818 - 1894) Rescue at Sea during the Storm Original etching Printed signature in the plate On linen vellum 24 x 33 cm (c. 10 x 13 in) Excellent condition

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...