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
La Mère Malade, ou le Déjeuner
Etching and drypoint, 1889, 200 x 298 mm., Coppier 75 only state, Delteil 90 v/vi ( ?). A fine, though slightly rough, impression, befitting a proof, on thick, slightly brownish laid paper with full margins, signed in pencil; a small foreign paper inclusion at the far right with associated stain. The state is really undetermined, but does not match Delteil’s final one.
Done in Paris in 1889, the scene represents Mme. Besnard and her two children toward the time of birth of her third child. Besnard was commercially successful as a painter as well as receiving the full run of official rewards, certainly a result of his talents and capabilities, but also of his shrewd amalgam of classical techniques with impressionistic ones. In subject, he was drawn to faces and figures rather than landscape. His etchings, clear and direct, though sometimes, as here, quite painterly, embraced many thoroughly disquieting scenes (death, rape, starvation, addiction), but his representations of his family are all gentle affection.
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$900.00 | ![]() |