Theodore Roussel. Emma and Her Baby, Chelsea Embankment. 1888–1889. England. Etching in black on cream laid paper For many of his earliest etchings Roussel used small copper plates and focused on Chelsea scenes, conveying a clear sense of place while often presenting affectionate portraits of the neighborhood’s youngest residents. In one example, a nursemaid with her charge stands in front of Chelsea Embankment’s characteristic railings, with Battersea factories across the Thames River. In another, three young children are shown on the embankment against a backdrop of flags and raised oars. Ro

Theodore Roussel. Emma and Her Baby, Chelsea Embankment. 1888–1889. England. Etching in black on cream laid paper For many of his earliest etchings Roussel used small copper plates and focused on Chelsea scenes, conveying a clear sense of place while often presenting affectionate portraits of the neighborhood’s youngest residents. In one example, a nursemaid with her charge stands in front of Chelsea Embankment’s characteristic railings, with Battersea factories across the Thames River. In another, three young children are shown on the embankment against a backdrop of flags and raised oars. Roussel employed a shorthand drawing style, almost caricature, to portray the figures, and yet the girl and two boys in Chelsea Regatta can be identified by their sizes and relative ages as the artist’s children, Jeanne, Raphael, and Paul.

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