Etched in 1863. On the left is Lindsay Row, in which Whistler’s house is indicated by a small stellated
mark above the chimney. To the right is old Chelsea Church and Battersea Bridge
Size of the original etching, 6⅞ × 13 inches
Haden. Battersea Reach
A view of the Thames at Battersea, etched in 1863, looking out of Whistler’s window
Size of the original etching, 5⅞ × 8⅞ inches
The feud between Seymour Haden and Whistler was known throughout Europe. Whistler loathed Haden and Haden detested Whistler. But Sir Seymour drew a distinction between the man whom he abominated and the artist whom he greatly admired. This admiration led him to make a notable collection of Whistler’s prints. On one occasion Sir Seymour said to me that if he were forced to part with his Rembrandt etchings or with his Whistlers he would find it hard to determine which master’s works he must let go. Later on I repeated this saying to Whistler and that modest gentleman calmly remarked: “Why, Haden should first part with his Rembrandts, of course.”
Among the historic questions which can never be definitely determined is the one—whether Seymour Haden was the man who kicked Whistler down-stairs or whether it was Whistler who administered this violent treatment to Haden. I have heard the story from both, and each of these eminent men stoutly maintained that he had been the kicker and his adversary the kicked one.
As president of the Royal Society of Painter-Etchers Sir Seymour did a great work in maintaining sound doctrine in etching. Nothing was admitted which was “commercial” in character, and etchings which were done after paintings by other hands were rigorously ruled out.
The membership comprised foreign as well as British artists, and membership was eagerly sought for,—so much so that many famous etchers never were elected, although they tried hard to be.