Edward Goodall - The Soldier's Dream of Home

The Soldier's Dream of Home

Edward Goodall's original hand-colored mezzotint and engraving, The Soldier's Dream of Home is based upon a design by Frederick Goodall. This Proof impression is printed upon mid nineteenth century china paper and impressed onto a large sheet of wove paper and with full margins as published in London by Henry Graves in 1855. The Soldier's Dream of Home is a fine, original example of the engraved art created by the British artist, Edward Goodall.

Original Mezzotint & Engraving by Edward Goodall designed by Frederick Goodall.

The Soldier's Dream of Home

View other original works of art by the British artists, Edward Goodall and Frederick Goodall.

Edward Goodall (Leeds, 1795 - London, 1870) & Frederick Goodall (British, 19th c.)
#	Image	Title & Artist	Medium	Date	Notes	-
01.-		The Angel's Whisper by Edward Goodall and Frederick Goodall	Original Mezzotint and Engraving	1849	Signed in the plate along the lower margin.	Sold
02.-		The Soldier's Dream of Home by Edward Goodall and Frederick Goodall	Original Hand-Coloured Mezzotint & Engraving	1855	Signed and dated in the plate along the right side of the image, (Proof Impression).

View other original works of art published by Henry Graves and Company, London.

Henry Graves and Company, London
#	Image	Title & Artist	Medium	Date	Designer	-
01.-		Little Bo-Peep by James Scott and Louise Jane Jopling	Original Mixed Method Engraving	1885	Louise Jane Jopling
02.-		Miss Farren by Eugene Tily	Original Etching & Stipple Engraving	1898	Eugene James Tily	Sold
03.-		The Angel's Whisper by Edward Goodall and Frederick Goodall	Original Mezzotint and Engraving	1849	Frederick Goodall	Sold
04.-		The Soldier's Dream of Home by Edward Goodall and Frederick Goodall	Original Hand-Coloured Mezzotint & Engraving	1855	Frederick Goodall

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Title:	The Soldier's Dream of Home
Engraver:	Goodall, Edward (Leeds, 1795 - London, 1870)
Designer:	Goodall, Frederick (British, 19th c.)
Date:	1855
Medium:	Original Hand-Coloured Mezzotint & Engraving
Publisher:	Henry Graves, London
Note:	Edward Goodall is considered to be one of England's greatest early and mid-nineteenth century engravers. Almost entirely self-taught, he practised painting as well as engraving early in his career. None other than J. M. W. Turner noticed his talents at an 1822 Royal Academy Exhibition and offered him as many engravings after his own landscape designs as he could undertake. Goodall thus worked closely with Turner during the following two decades.
	In the 1840's, the large Victorian engraving first emerged as a distinct form of art. Edward Goodall was at the vanguard of this demanding medium and created many of the finest early works. Some, such as this original example, were the result of a collaboration with his eldest son, Frederick Goodall (1822-1904). At the early age of fourteen, Frederick Goodall had established a strong reputation for his paintings and was later elected a full member of the prestigious Royal Academy.
	Victorian engraving Perhaps the most technically demanding form of original printmaking of any era, the Victorian engraving reached its summit during the last half of the nineteenth century. Highly skilled engravers would often devote more than a full year's labour to one large engraving, combining such complex methods as mezzotinting, aquatinting, stippling, etching and engraving to produce remarkable effects in black and white. When combined these methods would produce the most delicate tones and hues. During the mid and late nineteenth century these large engravings became the driving force of the Victorian art world.
Edition:	George C. Williamson, Bryan's Dictionary of Painters and Engravers, This is an original, proof impression mezzotint engraving. It is listed as one of his best, Vol. II, p. 261.
Size:	24 X 29 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
Buy Now	Price: $395.00 US
	UnMatted
Condition:	Printed upon mid nineteenth century china paper and impressed onto a large sheet of wove paper. Published in London by Henry Graves in 1855. Contains several marginal tears, which do not intrude into the image with margins cropped near the plate-mark. Signed and dated in the plate along the right side of the image. It is a fine, bright Proof impression retaining all the tones and values of its original printing.
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