Collectors are Rediscovering French Etching Revival of the 19 Century

 

 

 

 

 

 

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Collectors are Rediscovering French  Print Revival of the 19 Century

The Etching Revival is the name given by at the time, and by art historians, to the renaissance- re birth and appreciation of etching and other forms of Print Making  of  as an original form of Fine Art  during a period of time stretching approximately from 1850 to 1930.

During the century after  Rembrandt’s death and The Golden Age Of Dutch Art . The major accomplishments in Print Making and that of Etching by Rembrandt , Adrian Van  Ostade, Berchem ,  Van Ruysdeal and Callot to mention a few .
 
  The techniques of etching and dry point brought to their highest point by him gradually declined. By the late eighteenth century, with brilliant exceptions like Piranesi and Tiepolio , Canalotto ( Canal ), Most etchings were reproductive or illustrative.
 
 
  A rebirth started in 1840s and 50’s in France, a number of artists did produce some landscape etchings which seemed to recapture some of the  rekindered spirit of the  Art Of  Etching of the Old Masters Works , Some of the leading artists of the period among them Daubigny, Meryon,Millet,Corot and sevral others  . Other Noted Artist involved in the movement included tow Great Prints Makers James Whistler and Seymour Haden often associated with the British Print Movement of the same period  produced etchings that were different from those heavily worked reproductive plates of the previous century.
 
  Among several including three “Movers and Shakers”  that had great influence in the French French Print  the publisher Afred Cadart , an brillant copper plate printer and a master of the craft  Auguste Delatre and artist Maxime Lalalne .  In England P. G. Hamerton , frederick Goulding ranks among the finest of the Period . 
 
Cadart founded the Société des Aquafortistes in 1862, reviving the awareness of the beautiful, original etching in the minds of the collecting public.
“A Treatise on Etching” by Lalanne was translated by S.R. Koehler and published in the United States in 1880. It played a significant role in the Etching Revival in America.
 
 
Philip Gilbert Hamerton would later promoter of several similar publication in England   and  However, before the translation of Lalanne’s book,  promoter of etching in Britain. His “Etching and Etchers” (1868) and 1880 ) was more an art history than a technical text but it did much to popularize the art and some of its modern practitioners.
 
These two volumes were beautifully printed with original  copper etching plates etched by masters including those of Callot , Rembrandt , Dujardin ,Whistler to mention a few . The printing were very well done from the original plates and published in a relative small edition assuring good quality impressions of the etching .
 
Most Scholars agree these in edition of less than 500 and many have been broken up over the years to preserve the etchings . Sadly the wood fiber text pages has discolored many of the fine Prints that were included in these two fine editions.
 In  1870s Hamerton was also publishing an influential periodical, titled “The Portfolio”, that published etchings in editions of 1000 copies generally good BUT no was as brilliant publication as the previous two ” Etching and Etchers “.
 
  In America , S.R. Koehler and published in the United States in 1880. It played a significant role in the Etching Revival in America. His works published in American Etchings and those others from the New York Etching Club produce so of the finest American Etching of the 19 Century . The works included works of Thomas, Mary, Peter Moran , a single  etching by Mary Cassatt , J. H. Hill , Frederick S Church , Hassam ,Pennell and others .
 
  The Golden age of the Print Revival in Europe , England and America and the collecting  and deeper appreciated  , Ended with the Great Bank Crash of 1929 .
 
All over the world educated and cultured   Museums and individuals filled there collection with many fine volumes and singular works . It would not be years later than prints were again produce as great Fine art with a few exception of some very fine print makers of the W P A Period .
 
 
  For the Collector today , there is a vast selection of fine works that are under valued and under priced for every taste and pocket book . For a good introduction of what is available please visit our vast collection at .
 
 
 
 
 
                                              James Stow & Anthony Yau
 
                                              Candlewood Yankee Fine Arts

 

  
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