Sir John Charles Robinson

1824 – 1913

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Space and Light, Sierra de Almaden, Estremadura c.1872

Original etching.

Unique early working proof impression, signed and inscribed by the artist in pencil
“J.C. Robinson 1872. Sierra de Almaden, Spain. 3rd state of the proof. 12 p…”

Very fine early working proof impression, prior to all lettering and prior to considerable further biting of the plate. Proofs of this nature by J.C.Robinson are exceptionally rare.

£320

Space and Light, Sierra de Almaden, Estremadura c.1872

Original etching.

Excellent impression of the completed etching, printed with selectively wiped plate tone to enhance the effects of light throughout the image.

£295

Talavera: the Field of Battle 1872

Original etching.

Particularly fine impression of the completed etching, carefully wiped to produce impressive tonal range.

£265

Hastings: All Saints’ Church and the East Cliff from Croft 1872

Original etching.

Superb impression of one of Robinson’s finest etchings.

This essentially Victorian etching by Sir J.C. Robinson forms an unique link between three distinct threads in British etching:- the idyllic pastoral world of Samuel Palmer; the typical etched work of the Victorian period; and the expressive, open freedom of the pioneering works of the British Etching Revival.

SOLD

All of the etched works of Sir J.C. Robinson are now rare. During his lifetime, few of Robinson’s prints were ever offered for sale to the general public, the majority being privately distributed solely amongst the artist’s personal friends.

Contemporary and close friend of Sir Francis Seymour Haden, Sir J.C. Robinson was concerned primarily with the depiction of atmospheric effects of weather. Like Haden he was a wealthy gentleman artist who did not need to depend on an income from his art, yet he was an etcher of outstanding skill and innovative approach. It is only due to the fact that Robinson kept his rare work within his personal circle, rather than publishing and selling his etchings, that he is not far better known today. Connoisseurs have always regarded this accomplished printmaker’s atmospheric works as amongst the finest etchings of their period. Indeed, K.M. Guichard remarked “his realisation of some of the fleeting poetical visions of nature has in the best of his plates not been surpassed in the British School.” (British Etchers, p.56-57). [more]