Theodore Roussel. Mount for The Sea at Bognor. 1897–1899. England. Softground etching, aquatint, lavis and drypoint in yellow-brown metallic and light brownish red on ivory laid paper Roussel’s Scarab, Grecian Key, and Fly Pattern Mount was printed in different ink color combinations for five of his nine color prints. There were two variants for The Sea at Bognor, with the cartouche, or “scarab”—in opaque white or rose ink, as shown here; it was printed in green and gold for Last Poppies, and a white and gold variation was used for a small landscape entitled The Thames, Evening. The mount was
Theodore Roussel. Mount for The Sea at Bognor. 1897–1899. England. Softground etching, aquatint, lavis and drypoint in yellow-brown metallic and light brownish red on ivory laid paper Roussel’s Scarab, Grecian Key, and Fly Pattern Mount was printed in different ink color combinations for five of his nine color prints. There were two variants for The Sea at Bognor, with the cartouche, or “scarab”—in opaque white or rose ink, as shown here; it was printed in green and gold for Last Poppies, and a white and gold variation was used for a small landscape entitled The Thames, Evening. The mount was also produced in shades of red and gold for Chelsea Palaces and in black and gold for Anemonies. Both of those works are on view nearby, where the latter is placed on a drawing for the mount with a black printed cartouche. The remaining color subjects were accompanied by Roussel’s Shell Pattern Mount, which was likewise printed in a variety of color combinations.
Size: 3000px × 2742px
Photo credit: © WBC ART / Alamy / Afripics
License: Licensed
Model Released: No
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