Whistler's House, Old Chelsea
Seymour Haden was the unlikely combination of a surgeon and an etcher. Although he pursued a very successful medical career, he is mostly remembered for his etched work as well as for his writings on etching. He was one of a group of artists, including James McNeill Whistler (1834–1903) and Alphonse Legros (1837–1911), whose passionate interest in the medium led to the so-called etching revival, a period that lasted well into the twentieth century. The extolling of etching for its inherent spontaneous qualities reached its pinnacle during this time. While the line of the etching needle, Haden wrote, was "free, expressive, full of vivacity," that of the burin was "cold, constrained, uninteresting," and "without identity."
View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left.
"Published States: Second.-All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865."
[Source: Harrington, p. 28]
"There are several preliminary drawings for this print, one in the VA; another in BMPD is similar in composition though the view point is from farther into the river.
State VII (DI?, H2). Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible."
[Source: Schneiderman, p. 143]
View of a river bank in Chelsea; in the foreground at left, people with dogs, two carrying long sticks; barges moored near the bank; the house of Whistler seen to the left.
"Published States: Second.-All the foreground boats have vertical reflections. There is now a line at the base of the house most to the left, which extends almost to the margin of the plate. This plate wore out very soon and had to be destroyed before it had given its full quota of impressions. Published in Études à l'eau-forte (No. VIII.), under the title of 'Old Chelsea,' some copies having the First, others the Second State. Exhibited at the Royal Academy, 1865."
[Source: Harrington, p. 28]
"There are several preliminary drawings for this print, one in the VA; another in BMPD is similar in composition though the view point is from farther into the river.
State VII (DI?, H2). Published in Études à l'eau-forte (N. VIII). Line added at base of house on left and a few lines to indicate modeling at right on the wall. The smoke, rising from the chimney of the house, second from the right of Whistler's house, is no longer visible."
[Source: Schneiderman, p. 143]
Artwork Details
- Title: Whistler's House, Old Chelsea
- Artist: Sir Francis Seymour Haden (British, London 1818–1910 Bramdean, Hampshire)
- Date: 1863
- Medium: Etching and drypoint; second state of two (Harrington); seventh state of seven (Schneiderman)
- Dimensions: Sheet (trimmed): 6 7/8 × 13 1/8 in. (17.5 × 33.3 cm)
- Classification: Prints
- Credit Line: Gift of William M. Lybrand, 1942
- Object Number: 42.33.24
- Curatorial Department: Drawings and Prints
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