Roussel, Theodore (1847-1926), 'Chelsea Palaces (Colour Version)', Colour etching and aquatint, 1890-97

'Chelsea Palaces (Colour Version)', Colour etching and aquatint, 1890-97

printed from five copper plates, steel faced.

The print is trimmed to the image and mounted on the ‘Scarab, Grecian Key and Fly Pattern mount.


Trial proof outside of the edition of 10 completed versions. 

The print, No. 14, was titled ‘Chelsea Palaces, Sunset’ in the catalogue for the exhibition at Goupil’s, in July 1899.


'According to Mackay, six printings were necessary to produce a complete impression. The range and number of colours employed make this the most complex of Roussel’s small colour prints. For purposes of registration, Roussel left a border around the image with three, parallel, etched lines on each side, Completed impressions are cut to the edges of the image and therefore, smaller than the plate size'. (Hausberg, M. 'The Prints of Theodore Roussel', Bronxville, New York, 1991. P.167)

Although Roussel records call for Chelsea Palaces to be laid onto a red mount and displayed in a red frame he experimented with different colour arrangements. Another impression of this print exists on this mount and is presented in a buff coloured frame, as usually seen on ‘The Sea at Bognor’. 
This print depicts the last large seventeenth century house in Chelsea, Lindsey House, which is situated to the west of Beaufort street and Battersea bridge.  Built on the site of a farmhouse on Sir Thomas More's estate, and remodelled in 1674 by the Earl of Lindsey, it was later subdivided and was to become the home of Isambard Kingdom Brunel as well the artists John Martin and James McNeil Whistler. The house still survives today.

Print Size 8.5 x 13 cm
Mount Size 29.6 x 31.7 cm
Provenance The artist's estate

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