Items Similar to The Avon on the Road to Bexhill
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Theodore Casimir RousselThe Avon on the Road to Bexhill1919
1919
About the Item
Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, fourth state (of 4), from the total printing of about 22 impressions, about 12 in this state. In excellent condition, printed on a very thin laid Japon with margins, 4 1/2 x 5 7/8, the sheet 6 x 7 3/4 inches.
A very fine impression with substantial burr from the drypoint work.
According to Hausberg “Bexhill lies just west of St. Leonards-on-Sea, where Roussel lived from 1914. The River Avon does not flow near the area, so the Avon of the title may be a satirical reference to the tiny rivulet pictured in the print or a misidentification by the artist.”
- Creator:Theodore Casimir Roussel (1847 - 1926, British)
- Creation Year:1919
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531518821
About the Seller
4.9
Recognized Seller
These prestigious sellers are industry leaders and represent the highest echelon for item quality and design.
Established in 2000
1stDibs seller since 2016
99 sales on 1stDibs
Typical response time: 3 hours
Associations
International Fine Print Dealers Association
- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- The Mill, Amsterdam, 1889By James Abbott McNeill WhistlerLocated in New York, NYJames Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso. Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x 9 3/8 inches. A very fine impression of this great rarity, printed in black/brown ink with a slight veil of plate tone. provenance: H. Wunderlich & Co., New York Louis B. Dailey, New York (Lugt 4500) sale, Sotheby’s, New York, October 31, 2003, lot 69 literature; Neue Lagerliste 122: James McNeill Whistler – Etchings...Category
1880s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- J.H. Woods’ Fruit Shop, ChelseaBy James Abbott McNeill WhistlerLocated in New York, NYJames Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate. According to Glasgow “Joseph Henry Wood had a greengrocer’s shop at 1 Park Walk...Category
1880s Impressionist Landscape Prints
MaterialsEtching, Drypoint
- Shere Mill Pond II (Large Plate)By Seymour HadenLocated in New York, NYSeymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...Category
1860s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- A Street in Ventnor, Isle of WightBy Theodore Casimir RousselLocated in New York, NYTheodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed...Category
1910s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- The Bridge, Santa MariaBy James Abbott McNeill WhistlerLocated in New York, NYJames Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...Category
1870s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- The Gate, ChelseaBy Theodore Casimir RousselLocated in New York, NYTheodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...Category
1880s Impressionist Landscape Prints
MaterialsDrypoint, Etching
You May Also Like
- Landscape with Horses.By James Abbott McNeill WhistlerLocated in Storrs, CTKennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...Category
Mid-19th Century American Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Querelle d'amoureux. (Quarreling). 1By James TissotLocated in Storrs, CTEn plein soleil. (In the Sunlight). 1881. Etching and drypoint. Tissot 54, Béraldi 45, Wentworth 54. 7 13/16 x 11 1/2 (sheet 11 1/4 x 15). Edition about 100. Mat line and two hinge s...Category
19th Century Impressionist Figurative Prints
MaterialsDrypoint, Etching
- Barcarolle.By James McBeyLocated in Storrs, CTBarcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8 (sheet 17 1/4 x 10 1/4). Edition 80, #xxv. Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth...Category
1920s Impressionist Landscape Prints
MaterialsDrypoint, Etching
- Laburnums and Battersea.By Theodore Casimir RousselLocated in Storrs, CTLaburnums 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 im...Category
19th Century Impressionist Landscape Prints
MaterialsDrypoint, Etching
- The RialtoBy James Abbott McNeill WhistlerLocated in New York, NYA superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...Category
Late 19th Century American Impressionist Landscape Prints
MaterialsDrypoint, Etching
- SUNSET IN IRELAND (undescribed state?)By Sir Francis Seymour Haden, R.A.Located in Santa Monica, CASIR FRANCIS SEYMOUR HADEN (British 1818 -1910) SUNSET IN IRELAND 1863 (Schneiderman 47 - Appears to be an undescribed state between XI and XII) Etching and drypoint, signed in penci...Category
1860s Impressionist Landscape Prints
MaterialsDrypoint
Recently Viewed
View AllMore Ways To Browse
Antique Roads
Avon Antique
River Avon
Marco Da Marco
Kasimir Landscape Etchings
Mulberry Flower
Lewis Rose
Original Lino Cut Prints
Past Tiffany Collections
Piranesi Views Of Rome
Christo Central Park Project
Tiffany Met
Vintage Cremona
Indian Sheet Metal
Daniel Dens
John Taylor Arms Etchings
Return To Tiffany 1969
Harold Altman Artist