Items Similar to The Street, Chelsea Embankment
Want more images or videos?
Request additional images or videos from the seller
1 of 2
Theodore Casimir RousselThe Street, Chelsea Embankment1888-9
1888-9
About the Item
Theodore Roussel (1847-1926), The Street, Chelsea Embankment, etching, 1888-9, signed in pencil on the tab and annotated “imp” [also signed lower left in the plate]. Reference: Hausberg 26, only state, about 40 impressions printed. In good condition (tiny repaired tear upper margin, trimmed by the artist at the platemark leaving a tab for the signature), 5 7/8 x 8 1/4 inches. Printed in brownish/black ink on an old laid paper, archival mounting.
A fine atmospheric impression, printed by the artist with an overall veil of plate tone.
Roussel was a student and admirer of Whistler, and, like Whistler, he printed his etchings personally, then trimmed them at the plate mark and left his signature on a tab. This print is illustrated in Lochnan’s The Etchings of Whistler, as an example of Roussel’s work (Lochnan notes that Roussel was so full of respect for the master that he always went bareheaded in his presence). As it developed, Roussel was surely one of the most outstanding of Whistler’s accolytes.
This commercial section of Cheyne Walk was destroyed in 1889, when it was razed in connection with the building of Battersea Bridge. Meg Hausberg, in her superb catalogue raisonne of Roussel’s prints, was able to find the names of each of the shops; the sign board for James Clarke, Dining Rooms; and Mrs. Sarah Weller, Furniture Dealer are both visible in the etching, as is the large News of the World sign above the shop at the far left.
- Creator:Theodore Casimir Roussel (1847 - 1926, British)
- Creation Year:1888-9
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU51531472733
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
- Bridge, AmsterdamBy James Abbott McNeill WhistlerLocated in New York, NYJames McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 Samuel Josefowitz, Pully, Switzerland A very fine, shimmering impression of this great rarity. This impression is included in the Glasgow inventory, ID number K4090301; only about 11 lifetime impressions in all states are known (three were also printed posthumously by Nathaniel Sparks...Category
1880s Impressionist Landscape Prints
MaterialsEtching
- 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
- Black MagicBy Gerald GeerlingsLocated in New York, NYGerald Geerlings (1897-1998), Black Magic, etching and aquatint, 1929, signed in pencil lower right, titled and annotated (New York, 1928) lower left margi...Category
1920s American Impressionist Landscape Prints
MaterialsEtching
You May Also Like
- Charing Cross Bridge - 1909 etching of London by Joseph PennellBy Joseph PennellLocated in London, GBJOSEPH PENNELL (1857-1926) Charing Cross Bridge at Night, 1909 Signed Etching Plate size17.5 by 25 cm., 7 by 10 in. (frame size 38.5 by 45 cm., 15 ¼ by 17 ¾ in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...Category
Early 20th Century Impressionist Landscape Prints
MaterialsEtching
- Crab Boats, Southampton Water /// Impressionist British Seascape Ship MaritimeBy Aileen Mary ElliotLocated in Saint Augustine, FLArtist: Aileen Mary Elliot (English, 1896-1966) Title: "Crab Boats, Southampton Water" *Signed by Elliot in pencil lower right Circa: 1925 Medium: Original Drypoint Etching on laid p...Category
1920s Impressionist Landscape Prints
MaterialsDrypoint, Etching, Laid Paper, Intaglio
- Desolation, S.C. or Deserted Cabins, Beauford, S.C.By Louis Oscar GriffithLocated in Fairlawn, OHDesolation, S.C. or Deserted Cabins, Beauford, S.C. Etching & Aquatint, c. 1930 Signed by the artist in pencil lower right (see photo) Annotated "Trial Proof" in pencil lower left co...Category
1930s American Impressionist Landscape Prints
MaterialsAquatint
- Brittany Landscape with FigureBy Louis Oscar GriffithLocated in Fairlawn, OHBrittany Landscape with Figure Etching & color aquatint, c. 1920 Signed lower right (see photo) Numbered lower left: "No. 21" (see photo) An early ...Category
1920s American Impressionist Landscape Prints
MaterialsAquatint
- BillingsgateBy James Abbott McNeill WhistlerLocated in Middletown, NYEtching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...Category
Mid-19th Century Impressionist Landscape Prints
MaterialsDrypoint, Laid Paper, Etching
- Lonely Giant. Contemporary Limited Edition EtchingBy Ian LaurieLocated in Brecon, PowysLimited Edition , 5 of 15, etching from this very collected Scottish artist. Signed. Excellent condition Image 9" x 7.5" Ian Laurie was born in 1933 and is a self taught artist who...Category
21st Century and Contemporary Impressionist Landscape Prints
MaterialsEtching
Recently Viewed
View AllMore Ways To Browse
The Antique Shop
Antique Street
Shop Sign Street
Antique Dining Rooms
Old Chelsea
Brownish Black
Antique Furniture Chelsea
Impressionist Dining Art
Chelsea Plate
Etchings By Whistler
Chelsea Bridge
Whistler Chelsea
Cheyne Walk
Battersea Bridge
Antique Shops Chelsea
Christo Gates Print
Altman Harold
Vintage Jungle Fabric