THE ETCHING REVIVAL
France, Britain, America and Zorn
France, Britain, America and Zorn
- Jacque, Rembrandt, Etching
- Jacque, Le Chemin de Halage
- Daubigny, Le Grand Parc
- Lalanne, Richmond
- Meryon, Greniers Indigènes
- Bracquemond, Le Corbeau
- Buhot, Débarquement
- Lepère, La Route de Saint Gilles
- Legros, Le Triomphe de la Mort
- Besnard, La Mère Malade
- Leheutre, Notre-Dame de Chartres
- Legrand, Devant Sa Glace
- Brouet, Coin de Campagne
- Beaufrère, Bords de la Laïta
- Frélaut, Allée de Village
- Forain, L’Avocat Parlant
- Laboureur, Vue du Chateau
- Haden, Mytton Hall
- Whistler, Black Lion Wharf
- Strang, Eel Fishing in a Cave
- Cameron, Ben Lomond
- Bone, Culross Roofs
- McBey, Palestine: Blue Bonnets
- John, Head of Granger
- Blampied, Blessing the Waters
- Lumsden, Cliff and Cactus
- Lee-Hankey, Le Repas
- Osborne, Zierikzee
- Simpson, James Pryde
- Rushbury, On the Waveny
- Detmold, The Cock
- Brockhurst, Phemie (Marguerite)
- Nicolson, Quiet Hour
- Moran, Landscape on the Marne
- Moran, The Rapids Above
- Moran, Scrub Oaks
- Parrish, Winter in Trenton
- Platt, Deventer, Holland
- Mielatz, The Old Bridge
- Pennell, The Shot Tower, London
- Benson, Yellowlegs at Dusk
- Hassam, Madonna of the North
- Sloan, Girls Sliding
- Winkler, North End
- Arms, Stokesay Castle
- MacLaughlan, Bernese Oberland
- Friedlander, Downtown
- Eby, North Country
- Marsh, Coney Island Beach
- Zorn, Pilot – Lots
- Zorn, Portrait of Ernest Renan
Le Chemin de Halage
Etching and drypoint, ca. 1864, 215 x 175 mm., Guiffrey 200 iii/iii, B. N. Inv. 303 iii/v. Fine, clear impression, before any text, on chine-appliqué with large margins ; foxing on the support sheet visible mostly verso. Guiffrey describes only three states, but this impression is before letters and from the first published edition and is therefore likely the B. N.’s third state of five. The subject of a couple of horses towing a boat through a canal is typical for Jacque, informal and unpretentious, but with the full feeling of open air, birds, trees in leaf and manual labor. It was meant less to impress connoisseurs and sophisticates than to reflect life in the country as it was, in its way an art of the people and for the people.
Jacque was never a high-priced artist, and he still isn’t.