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
The Cock
Etching and foul biting on zinc, 1900, 214 x 277 mm., Dodgson 56. Superb impression in brown-black on simili-japon with large margins, signed in pencil. This is an early work by Detmold (he was seventeen) done well before the suicide of his twin brother and collaborator. It has the strength and straightforwardness of the work done then by both brothers, individually and together, rather than the attractive, but rather wispy, Orientalist style that Edward developed later in his life. The Detmolds were a unique phenomenon in British etching: highly precocious (they exhibited at the Royal Academy at the age of thirteen), essentially self taught and self directed, totally preoccupied with natural history and strongly influenced by Japonisme. Their early – but totally mature -- prints look like those of no other British artist, and if this one shows a passing resemblance to Bracquemond’s Vieux Coq, that is more a matter of subject and coincidence than direct influence. The edition size here is unknown, but almost all early prints by the Detmolds are rare and almost unobtainable today.