A Salmon River, No. II
Etching and mezzotint, 1884, Schneiderman 214 (iii/IV), edition unknown. 4 5/8 x 6 1/4 in. Signed in the plate, lower left. Signed in pencil. This is a fine, dramatic impression of this rare print. The paper is a sturdy wove with full margins. The condition is fine apart from faint toning within an earlier mat opening.
$900

A Sunset in Ireland
Drypoint and etching, 1863, Schneiderman 47 (vii/XIV). 5 3/8 x 8 1/2 in. Signed in the plate and in pencil. A superb impression on heavy laid paper.. Substantial margins.
SOLD

A Sunset in Ireland
Drypoint and etching, 1863, Schneiderman 47 (XIII/XIV); edition unknown. 5 1/2 x 8 1/2 in. Signed and dated in the plate, lower left. Signed in pencil, lower right. This is a fine impression of the penultimate state. The margins are full with a deckle edge on all sides. The condition is very good other than a little weakening along the plate mark at top. (This is due to the pressure of the plate against the paper when printed.) This iconic image is arguably the best known English landscape etching of the 19th century.
SOLD

A Sunset in Ireland
Drypoint, 1863, Schneiderman 47 (xiii/XIV), edition unknown. 5 1/2 x 8 1/2 in. Signed in the plate and signed in pencil. This is a superb, rich impression printed on laid paper. The margins are full apart from a small loss in the upper right corner. There's a faint suggestion of toning within an earlier mat opening. This iconic 19th century landscape print is Haden at his best and it echos his admiration for the work of Rembrandt. Provenance: William Weston Gallery, London.
$2,000

Amstelodamum, No.1
Etching, 1863, Schneidermann 41A, (v/VI), exact edition unknown. 4 x 4 5/8 in. Signed in the plate and in pencil. A fine impression of this scarce print. 1/2 margins all around. A small, inconspicuous thin spot.
$575

Combe Bottom
Etching and drypoint, 1860, Schneiderman 32 (exact state unknown). 4 1/2 x 5 15/16 in. Signed in pencil, lower right. With the number 29 in pencil on the left, possibly a reference to the Drake catalogue number for Haden's prints. This is a very fine impression printed on cream laid paper. The margins are fairly narrow and there are a couple of skilfully repaired splits in the margin at left, away from the platemark. We are not exactly sure which state this is according to the Schneiderman descriptions. We've located two impressions which are the same as our copy; one in the de Young/Legion of Honor Museum in San Francisco, and the other in the the collection of the Art Gallery of New South Wales in Australia.
SOLD

Kensington Gardens, No. II
Etching and drypoint, 1860, Schneiderman 31 (iii/III), edition unknown. 8 x 5 in. Signed and dated in the plate, lower left. Signed in pencil. This is a fine impression of this stellar early work. Printed on chine appliqué, the margins are trimmed (well away from the image) and there's a bit of foxing on the verso. Provenance: M.Knoedler, NY (with their label).
$950

Mytton Hall
Drypoint, 1859, Schneiderman 19 (iv/V), edition unknown. 4 3/4 x 10 1/4 in. Signed and dated in the plate; signed in pencil. This fine, early impression is printed on a thin Japanese paper. The margins are narrow. (The signature is slightly rubbed.) This outstanding work is a beautiful example of Haden's command of the drypoint medium.
SOLD

Newcastle in Emlyn
Etching with touches of drypoint, 1864, Schneiderman 57 (ii/II), edition unknown. 4 1/2 x 5 3/4 in. Signed and titled n the plate, upper right. Signed in pencil below on the right. This is a fine impression printed on off-white laid paper. The margins are substantial and the condition is fine. In this, the second state, the square house has been etched in.
SOLD

The Turkish Bath, With One Figure
Etching and drypoint, 1865, Schneiderman 114 (v/V), edition unknown. 6 3/4 x 3 7/8 in. Signed in the plate and signed in pencil, lower right. This is a superb impression of this very rare print. The paper is a fine laid with the watermark IPFH and the margins appear to full and untrimmed. The condition is excellent. Best known for his landscapes, this engaging figure study is a rare departure for Haden from his typical subject matter. Whistler certainly comes to mind.
SOLD

Thomas Haden of Derby
Etching, 1864, Schneiderman 53 (v/V); the published state. 13 3/4 x 9 1/2 in. Signed in the plate and signed in pencil. A very good impression in good condition. Wide margins. Trace of old adhesive along sheet edges, verso. Subtle stains in margins, recto. Uncommon. The print is after the painting "Edwin the Minstrel" by Joseph Wright of Derby.
SOLD