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Calais Pier after Turner
Sir Francis Seymour Haden (English, 1818–1910)
May 1, 1875
Medium/Technique
Etching
Dimensions
Platemark: 59.8 × 74.3 cm (23 9/16 × 29 1/4 in.)
Sheet: 68 × 93.6 cm (26 3/4 × 36 7/8 in.)
Mount: 69.4 × 93.6 cm (27 5/16 × 36 7/8 in.)
Sheet: 68 × 93.6 cm (26 3/4 × 36 7/8 in.)
Mount: 69.4 × 93.6 cm (27 5/16 × 36 7/8 in.)
Credit Line
Gift of Miss Aimée and Miss Rosamond Lamb in memory of Horatio Appleton Lamb
Accession Number56.1300
NOT ON VIEW
CollectionsEurope, Prints and Drawings
ClassificationsPrints
Catalogue Raisonné
Schneiderman (1983) 141, VIII?; Harrington (1910) 157, I
DescriptionA letter from John Ruskin to Haden dates this print prior to January 11, 1874. This letter reflects the success that Haden enjoyed with one of his few ventures into “reproductive printmaking.” The letter is transcribed in toto:
Herne Hill, 11th Jan. ‘74
My Dear Sir:
I am so deeply interested in your etching of the Calais Pier that I take the liberty of writing to you about it, having long watched your work, and only refrained from seeking an introduction to you under the impression that you had taken a determined line of art in which you were entirely successful and satisfied with your success – and in which also you received so much admiration from the public that you would not care for what I could give you of sympathy and would be little likely to attach any weight to the expression of my feelings.
But, if you indeed enjoy this work from Turner in at all the same way that you do your work from nature – it enters so completely into the brush of effort which I have borne for many years grieving and staggering in – that I can not help introducing myself and my hopes upon you.
Of course, all that you say of etching is perfectly true – you – of all men, know its complete reach and its limitation. But it is impossible for you to follow, within these limitations, the scheme of Turner’s lines – perhaps even in some degree of chiaroscuro with the more studious analysis for instance – the first conditions of the Calais Pier are the sections of the lines A, B, C: with E, F: the B, C lines a most curious and subtle one completed by the slapped-on light of the flabby fish, carried up over the pier edge on the right.
Then the massive sky seems to me the entering motive of the light and shade – and assuredly the small tossing wave at A ought to be in some way made the conspicuous mass of form, rather than the - - - - ones on the left, which you have etched with such superb power as to draw the entire attention to them.
Then – if I may carry my impertinence further – was it well to bite the shadow of the jets with those strong jagged lines? I think Turner in his own etchings never touched a surface of his sails – but was content with pure outline.
I wish you would honour me some time with a little tale before the picture. I can’t recollect – never could – forms well enough to explain what I mean, when I haven’t the thing before me.
But with your powers – and means of expression – and your real and high gifts of abstraction and invention I am certain you might give renderings of Turner’s impetuous work grander than anything that has yet been done in landscape – expect by himself.
Believe me, my dear Sir, Most respectfully Yours,
(signed) J. Ruskin
[P.S.]
Pardon my scrawl: I am in grievous haste today, but could not forbear writing this when I saw your kind letter to Mr. Severn. I shall be at work on the Student’s day at the National Gallery next week.
Additional support for the earlier dating is found in a miscellaneous letter (possibly to C. E. Norton, unaddressed but dated August 5, 1874, which states in part:
In deference to your obliging wish I have looked out for you a number of proofs (25) which (whatever their demerits or merits) no one else was likely to have in that state – for the simple reason – that they could have been altered – lost – been spoiled – or, in some way or other, made impossible of repetition. To these I have added a couple of trials of parts of the Calais Pier plate (in progress) which no body has seen or is likely to see (in this country) for another year at least.
According to the accounts, recorded by Hardie, Goulding was called on in April 1875 to print the first published state:
As to the “Calais Pier,” in its etched state, Sir Seymour Haden wrote in April 1875, that he wished to settle definitely about its printing, and proposed that Goulding should come to his studio at 62 Sloane Street to work for the six weeks necessary in order to pull three hundred proofs. This was arranged, and Haden provided a man to grind the ink, turn the press, and do all the sweeping and cleaning.
However, Goulding was not specific about when the plate was initially printed:
Commenced proving Haden’s “Calais Pier” in its many “states” or alterations of the plate. A press was made specially at a cost of two hundred guineas. I had previously been to Paris at his instigation to find out if one could be bought or made there of a better model or more advantageously, but found nothing better than what could be made in London. The press was eventually made by Smith, a firm of Engineers somewhat near Cavendish Square,
The printing probably extended into 1876; Goulding experimented with different inks mixed with sepia at the Sloane Street studio. ‘Everyone who sees it exclaims – “What a beautiful colour!” – Seymour Haden told him.’
Harrington notes that this print is extremely difficult to catalogue, and I must concur. Many impressions which show changes are not of the whole plate, thus it is impossible to determine when changes were made to other areas of the plate. The difficulty is augmented because mant impressions are only partially inked. If one could catalogue all the changes of state X and state XII, there may be at least 60 states.
Schneiderman (1983) p. 287 - 289
Herne Hill, 11th Jan. ‘74
My Dear Sir:
I am so deeply interested in your etching of the Calais Pier that I take the liberty of writing to you about it, having long watched your work, and only refrained from seeking an introduction to you under the impression that you had taken a determined line of art in which you were entirely successful and satisfied with your success – and in which also you received so much admiration from the public that you would not care for what I could give you of sympathy and would be little likely to attach any weight to the expression of my feelings.
But, if you indeed enjoy this work from Turner in at all the same way that you do your work from nature – it enters so completely into the brush of effort which I have borne for many years grieving and staggering in – that I can not help introducing myself and my hopes upon you.
Of course, all that you say of etching is perfectly true – you – of all men, know its complete reach and its limitation. But it is impossible for you to follow, within these limitations, the scheme of Turner’s lines – perhaps even in some degree of chiaroscuro with the more studious analysis for instance – the first conditions of the Calais Pier are the sections of the lines A, B, C: with E, F: the B, C lines a most curious and subtle one completed by the slapped-on light of the flabby fish, carried up over the pier edge on the right.
Then the massive sky seems to me the entering motive of the light and shade – and assuredly the small tossing wave at A ought to be in some way made the conspicuous mass of form, rather than the - - - - ones on the left, which you have etched with such superb power as to draw the entire attention to them.
Then – if I may carry my impertinence further – was it well to bite the shadow of the jets with those strong jagged lines? I think Turner in his own etchings never touched a surface of his sails – but was content with pure outline.
I wish you would honour me some time with a little tale before the picture. I can’t recollect – never could – forms well enough to explain what I mean, when I haven’t the thing before me.
But with your powers – and means of expression – and your real and high gifts of abstraction and invention I am certain you might give renderings of Turner’s impetuous work grander than anything that has yet been done in landscape – expect by himself.
Believe me, my dear Sir, Most respectfully Yours,
(signed) J. Ruskin
[P.S.]
Pardon my scrawl: I am in grievous haste today, but could not forbear writing this when I saw your kind letter to Mr. Severn. I shall be at work on the Student’s day at the National Gallery next week.
Additional support for the earlier dating is found in a miscellaneous letter (possibly to C. E. Norton, unaddressed but dated August 5, 1874, which states in part:
In deference to your obliging wish I have looked out for you a number of proofs (25) which (whatever their demerits or merits) no one else was likely to have in that state – for the simple reason – that they could have been altered – lost – been spoiled – or, in some way or other, made impossible of repetition. To these I have added a couple of trials of parts of the Calais Pier plate (in progress) which no body has seen or is likely to see (in this country) for another year at least.
According to the accounts, recorded by Hardie, Goulding was called on in April 1875 to print the first published state:
As to the “Calais Pier,” in its etched state, Sir Seymour Haden wrote in April 1875, that he wished to settle definitely about its printing, and proposed that Goulding should come to his studio at 62 Sloane Street to work for the six weeks necessary in order to pull three hundred proofs. This was arranged, and Haden provided a man to grind the ink, turn the press, and do all the sweeping and cleaning.
However, Goulding was not specific about when the plate was initially printed:
Commenced proving Haden’s “Calais Pier” in its many “states” or alterations of the plate. A press was made specially at a cost of two hundred guineas. I had previously been to Paris at his instigation to find out if one could be bought or made there of a better model or more advantageously, but found nothing better than what could be made in London. The press was eventually made by Smith, a firm of Engineers somewhat near Cavendish Square,
The printing probably extended into 1876; Goulding experimented with different inks mixed with sepia at the Sloane Street studio. ‘Everyone who sees it exclaims – “What a beautiful colour!” – Seymour Haden told him.’
Harrington notes that this print is extremely difficult to catalogue, and I must concur. Many impressions which show changes are not of the whole plate, thus it is impossible to determine when changes were made to other areas of the plate. The difficulty is augmented because mant impressions are only partially inked. If one could catalogue all the changes of state X and state XII, there may be at least 60 states.
Schneiderman (1983) p. 287 - 289
Signed
In plate: u.l.. by F. S. Haden 62 Sloane St. London 1st May 1875 (NOTE: THE "S" IN STREET IS BACKWARDS.; l.l. Haden after ____ J. M. W. Turner
InscriptionsIn plate: u.l.. by F. S. Haden 62 Sloane St. London 1st May 1875 (NOTE: THE "S" IN STREET IS BACKWARDS.; l.l. Haden after ____ J. M. W. Turner; on sheet l.l. fragment of proof finished state H157, 1; on mount: Calais Pier after Turner, Etching 1875 1st state of 4__; 3 inches of left border of plate blocked.