Rona Schneider Fine Prints
  19th CENTURY PRINTS

ARTISTS H to O

All prints are in good condition, except where defects are noted.
Click print for an enlarged view.

 
  New Listing: British
 
Sir Francis Seymour Haden
(1818-1910)

  GREENWICH. 1879. Schneiderman 187, Harrington 207, Drake 184. Signed in pencil; signed and dated in the plate. It is impossible to overstate the enthusiasm for Haden's etchings in the USA in the 1880s. Frederick Keppel declared that "By common consent Seymour Haden ranks as the greatest of modern etchers." Artists and the public here agreed. Haden was a major influence on American etchers, and when he gave lectures on etching here during 1882-1884, he drew audiences of nearly 800 people. Greenwich is one of Haden's most spectacular etchings. In excellent condition.
 
 
  Etching, 13 1/4 x 20 7/16 inches.
SOLD.
  Ellen Day Hale
(1855-1940)

  PONTE DELGADA, AZORES, 1921. Signed in pencil; on simili Japan paper. Signed and dated in the plate. Hale was an important figure in the late 19th century etching revival, and she continued to work with, and influence, groups of women etchers well into the 20th century. Her etchings are very scarce. Hale's art has received considerable attention in the past few years, but the best source of information about her prints is still Phyllis Peet, American Women of the Etching Revival, exh. cat., High Museum, Atlanta, 1988.
 
 
  Etching, 4" x 5".
SOLD.
  New Listing
 
Louis K. Harlow
(1850-1913)

  [LAKE SHORE SCENE], 1889. Signed in pencil and copyrighted by Klackner, Beautifully printed in warm black ink on simili Japan paper.
Harlow was noted as a watercolorist as well as a printmaker, and he used the long, horizontal format to great effect in his landscape views. In very fine condition.
 
 
  Etching, image: 4 x 14 7/8 inches.
SOLD.
  William St. John Harper
(1851-1910)

  REVERY, 1888. Signed in pencil. A remarque proof in mint condition on Imperial Japan paper. Since Harper lived in East Hampton for many years, this is probably his wife near the shore. The languid pose of an elegant woman daydreaming over a book is a typical 1880s female representation. Harper studied at the NAD with Chase and Shirlaw, and also in Paris. He was president of the Art Students' League in 1881, and exhibited with the NY Etching Club.
 
 
  Etching and drypoint, 8" x 12".
SOLD.
  New Price
 
John Henry Hill
(1839-1922)

  [TWO MEN IN A SAILBOAT IN A ROUGH SEA], 1886. Signed in pencil, on Japanese paper. Published by Klackner. This image is seemingly based on a work by Otis Weber, a popular marine painter of the 1880s. J.H. Hill's father and grandfather were also noted 19th century artists. For a good account of Hill family, see Ferber and Gerdts, The New Path, the Brooklyn Museum, 1985.
 
 
  Etching, 14 1/4 x 18 1/4 inches.
$700.
  New listing
 
Winslow Homer
(1836-1910)

  THE DRIVE IN CENTRAL PARK, NEW YORK, SEPTEMBER, 1860. Beam 73 (he gives the wrong size). Signed "W Homer" in the lower right corner of the block. Double page center-fold spread, Harper's Weekly, Sept. 15, 1860. Frederick Law Olmsted and Calvert Vaux designed Central Park, and work began in 1857. This view of the 3-year-old park, before the trees and plantings matured, looks rather barren, but even then people flocked delightedly to their new park. Aside from slight darkening at the fold line, in very good condition.
 
 
  Wood engraving, 13 3/4 x 20 1/2 inches.
$500.
  Price slashed
 
Winslow Homer
(1836-1910)

  A PARISIAN BALL--DANCING AT THE MABILLE, PARIS, 1867. Initialed "W.H." in the block. Engraver unknown. As published in Harper's Weekly, Nov. 23, 1867. Homer left for Europe on Dec. 5, 1866, and returned on Dec. 17, 1867. He stayed in Paris, where two of his paintings were shown at the Exposition, which opened April 1, 1867. This extremely lively image was considered here to be a bit racy, but it did get published.
 
 
  Wood engraving, 9 1/8" x 13 3/4".
$300.
  (After) Winslow Homer
(1836-1910)

  A VOICE FROM THE CLIFFS, 1886. Etched and signed in pencil by James David Smillie. On Japan paper, in mint condition. Smillie made this etching directly from the original watercolor, and Homer signed about ten proofs as indication of his approval of the etching. Homer later made his own etching of tis subject. David Tatham, Winslow Homer in the 1880s, Everson Museum, Syracuse, 1984, p. 21, wrote: "In 1886, with Homer's blessing, James D. Smillie made a skillful reproductive etching of the watercolor for use as a plate in S.R. Koehler's American Art." For more information, see Witthoft's catalogue raisonné, #42.
 
 
  Etching, 6 3/4" x 9 7/8".
$600.
  Thomas Hovenden
(1840-1895)

  THE OLD SHAVER, 1887. Signed in pencil, on simili Japan paper. With remarque of shaving mug and brush. The model was Archie Lane; see Terhune, Yount & Woods, Thomas Hovenden: American Painter of Hearth and Homeland, Woodmere Art Museum, Philadelphia, 1995, p. 26 and p.33, n. 24. Hovenden’s etching is nearly the same size as his painting of this subject. Hovenden, a Philadelphia artist, was one of the few American artists who depicted dignified and honest images of African-Americans in the 19th century.
 
 
  Etching: plate, 23 x 17; image, 19 1/2 x 13 3/4 inches.
SOLD.
  F. Leo Hunter
(1862 - after 1943)

  CAPE BRETON FISHING VILLAGE, 1887. Signed in pencil. Published by Klackner. Remarque proof. Exhibited at the New York Etching Club, 1888. Although Hunter was noted for his NYC images, he, like most of the landscape artists of the period, traveled each summer searching for new subject matter in “exotic” locales in Canada and Europe.
 
 
  Etching, 15 3/4" x 23 1/2".
$500.
  Leigh Hunt, M.D.
(1858-1937)

  [SLOOPS AT MOORING], 1887. Signed in pencil and in the plate. The print was created in London, but published here by Fischel, Adler & Schwartz. An impression is in the collection of the Parrish Art Museum.
 
 
  Etching, 9 1/2" x 15 1/4".
SOLD.
  French Etching
 
Jules-Ferdinand Jacquemart
(1837-1880)

  ARTISTIC DECORATION--SAUCER WITH RICH ENAMELLED GROUND, AND MEDALLION REPRESENTING THE GODDESS KOUANIN, ca. 1870. Published in his book, History of the Ceramic Art, 1877, p. 92. Signed in the plate and inscribed "Del. et Sc." Jacquemart was an important figure in the French etching revival. A delicate etching, richly printed on laid paper, and in very good condition.
 
 
  Etching: plate, 7 1/2 x 5 1/8 inches; image, 4 inches diameter.
$150.
  Ulster County
 
Hendrik Dirk Kruseman van Elten
(1829-1904)

  A BYPATH NEAR NAPANACH, ULSTER COUNTY, NY, 1881. Signed in pencil, on laid Japan paper. Bears the estate stamp of fellow etcher, Stephen Parrish. Exhibited at the NY Etching Club. Kruseman, born in Holland, was close in spirit to his Dutch forbears, and this view near Ellenville could just as well be Holland.
 
 
  Etching, 5 1/2 x 8 5/16 inches.
$300.
  William Langson Lathrop
(1859-1938)

  AN EVENING WALK, 1886. Signed in pencil, on Japan paper. This scene of lovers strolling at twilight in an atmospheric landscape is probably in the New Hope area of Pennsylvania. Lathrop founded the New Hope Art Colony there in the late 19th century..
 
 
  Etching, 18 x 15 inches.
$500.
  The Joy of Wine
 
Joseph Lauber
(1855-1948)

  THE HARVEST, 1887. Signed in pencil, on simili Japan paper. Copyright by Klackner, 1887. Lauber, German born, was a painter and sculptor who made many etchings between 1887 and 1894, but was best known as a muralist during his long and distinguished career. This etching was one in his series of this joyous subject, a popular theme in murals deriving from the cheerful putti adorning grape harvest scenes in countless European palaces.
 
 
  Etching, 4 1/4 x 12 1/8 inches.
$225.
  Anna Massey Lea Merritt
(1844-1930)

  EVE (Eve repentant), 1887. Signed in pencil, on Japan paper. Remarque proof, printed in sepia. This was her "diploma" plate for election to the London Society of Etchers. See: Peet, American Women of the Etching Revival, High Museum, Atlanta, 1988. Impressions of this etching are in several museum collections, including the Metropolitan Museum of Art.
 
 
  Etching, 13 1/8" x 18 7/8".
$900.
  New--on Satin
 
Anna Lea Merritt
(1844-1930)

  OPHELIA, 1880. Signed, dated, and inscribed in the margin "pinxit et aqua fortis." This is a portrait of the great English actress in the Shakespearean role of Ophelia. Merritt was a Philadelphian but went to Europe to study, married there, and spent the rest of her long and successful career as a painter and etcher in England. This is printed on satin and in very fine condition.
 
 
  Etching, 9 x 7 inches.
$200.
  New Listing
 
Charles Frederick William Mielatz
(1864-1919)

  A NEW ENGLAND POND, 1888. Signed in pencil. Remarque of a fisherman. Published by Klackner. This is a typical Mielatz subject until New York City captivated him in the 1890s. This is a crisp impresssion, on Japan vellum, in fine condition.
 
 
  Etching, 12 x 17 3/4 inches.
$350.
  New----Windmill
 
Charles Frederick William Mielatz
(1864-1919)

  OLD MILL, NEAR NEWPORT, R.I., 1887. Signed and dated in the plate. This is a depiction of the unfashionable part of Newport--a simple farm road, with a haystack and a house, but dominated by a large working windmill. In excellent condition. By the turn of the century, Mielatz abandoned rural scenery in favor of depicting life in New York City.
 
 
  Etching, 9 x 6 7/8 inches.
SOLD.
  New Listing--SHEEP
 
John Austin Sands Monks
(1850-1917)

  RETURN FROM PASTURE, 1884. Signed and dated in the plate. A printed title in the margin of the plate, below image. This phtograph is a detail, showing just the central, main part of the very long image. Monks worked in Connecticut, Massachusetts, and Rhode Island. His landscape etchings and watercolors always included domestic farm animals, usually sheep. He even had a special covered wagon built so that he could draw animals in the field in any weather. His obituary in "American Art News" on March 24, 1917, declared "The American painter of sheep par excellence....the American Jacque." Great praise, since Charles Jacque was the renowned and universally admired Barbizon "animalier." In good condition; a 1/4 inch tear in right margin, well away from the image.
 
 
  Etching, 10 1/4 x 17 3/4 inches.
$180.
  Orientalism
 
John Leon Moran
(1864-1941)

  A JAPANESE FANTASY, 1884. Signed in the plate, a brilliant impression on "Holland" paper. Library of Congress #1. John Leon, a nephew of Thomas Moran, studied in Europe in the 1870s, returned to Philadephia in 1879, and moved to New York in 1883. He shared the late 19th century passion for beautiful women in exotic costumes. "Orientalism" encompassed images of Spain, North Africa, the mid-East, and the far East. Long out of favor, Orientalism has come to be appreciated again.
 
 
  Etching, 11 1/2 x 8 1/4 inches.
$600.
  Moran Family
 
John Leon Moran (after)
(1864-1941)

  A MOUNTAIN GIRL, 1888. Signed in pencil by Moran's cousin, etcher Jean Leon Gerome Ferris (1863-1930). Ferris (the etcher) and Moran (the painter) both signed the plate. Published by Klackner. The remarque is a sprig of wildflowers. On simili Japan, in very good condition. This country girl was a relatively exotic figure for these Philadelphia city-bred artists.
 
 
  Etching, 11 3/4 x 7 3/4 inches.
$500.
  John Leon Moran (after)
(1864-1941)

  YOUNG ANGLERS, 1886. Signed in pencil by both the painter, Moran, and the etcher, James S. King (1852-1925). A remarque proof on vellum. Copyright by Klackner, who sold the edition of 25 on vellum for $30 each, the same price as Winslow Homer's "Eight Bells" edition of 25 on vellum. This evocative image was exhibited at the NY Etching Club in 1887. This brilliant impression is trimmed to the plate mark on 3 sides, but still has margins of 1 1/4 inches or more beyond the image.
 
 
  Etching: plate, 13 5/8 x 19; image, 11 1/2 x 17 3/4 inches.
SOLD.
  John Leon Moran
(1864-1941)

  [A COLONIAL ROMANCE], ca. 1885. Signed in pencil. Copyright by Klackner. After the Centennial celebration, there was a vogue for colonial revival subject matter, and this detailed rendering of a scene in a colonial kitchen is a prefect example.
 
 
  Etching, 8 3/4 x 12 3/4 inches.
SOLD.
  THE HAMPTONS
 
Mary Nimmo Moran
(1842-1899)

  GARDINER'S BAY, LONG ISLAND, SEEN FROM FRESH POND, 1884. Klackner 34. Signed in pencil. Printed in warm black ink on very fine Japan paper. Moran, with her husband Thomas, spent many summers on eastern Long Island, and most of her etchings derive from that Hamptons scenery. She was one of the few women to be elected to the NY Etching Club and was also made a fellow of the London Society of Painter-Etchers. This is a brilliant impression in superb condition.
 
 
  Etching, 7 13/16 x11 1/2 inches.
$1800.
  MORAN IN WALES
 
Mary Nimmo Moran
(1842-1899)

  A GLIMPSE OF CONWAY, WALES, 1882, Klackner 27. Gilcrease 1426.90. Signed in pencil, "M. Nimmo Moran." She often used this name to disguise the fact that she was a woman, since there was a disdainful attitude towards women artists. Moran was born in Scotland, and she and Thomas made several trips to Great Britain. This is a typical view for Moran, who liked to show a distant view through foreground trees. She gave it this alternate title: "Under the Trees, Conway Castle, Wales." It is an especially strong impression printed on thin Japan paper and in marvelous condition
 
 
  Etching, 9 1/2 x 6 3/8 inches.
SOLD.
  Mary Nimmo Moran
(1842-1899)

  THE HAUNT OF THE MUSKRAT, EAST HAMPTON, 1884. Klackner 38. Signed and dated in the plate. A brilliant impression, in fine condition. Mary Moran and her husband, Thomas Moran, spent many years making etchings of the unspoiled scenery of the Hamptons. She was considered by many to be a better etcher than Thomas.
 
 
  Etching, 4 7/8" x 11 3/8".
$900.
  The Hamptons
 
Mary Moran
(1842-1899)

  HOOK POND, EASTHAMPTON, 1885. Signed in the plate. As published in the NY Etching Club catalog, 1885, etched by Moran after her large version in the exhibition. It was an honor to be requested to make an etching in the catalogue. Mary Moran was the most successful and respected artist in NY in this decade. In fine condition.
 
 
  3 3/8 x 5 1/2 inches.
$400.
  CALIFORNIA
 
Mary Moran
(1842-1899)

  INTERIOR OF A CALIFORNIA FOREST, 1888. Klackner 57. Signed in the plate. This etching was made after a sketch by her husband, Thomas Moran. It was commissioned for publication in "Picturesque California," a monumental two-volume publication of great renown. (The complete book, edited by John Muir, the great environmentalist, is also available for $1400.) This is a rich impression in very good condition.
 
 
  Etching, 13 x 9 inches.
$500.
  New Listing
 
Mary Nimmo Moran
(1842-1899)

  LANE NEAR FONTAINEBLEAU, 1886. This was an etching after a painting by N. Diaz, a well-known French landscape painter. Mary Moran's own style so closly matched Diaz's that this print looks like Moran's own subject. It was commissioned to illustrate the sumptuous Mary Morgan Auction Catalogue. A fine impression in fine condition.
 
 
  Etching, 5 5/16 x 6 15/16 inches.
$250.
  Mary Nimmo Moran
(1842-1889)

  POINT ISABEL, COAST OF FLORIDA, 1887. Initialed and dated in the plate. Small version of Klackner 52. Mary and husband Thomas traveled to Florida several times, but unfortunately made only a few etchings of the area around St. Augustine and the St. John River. Views of Florida in the late 19th century are uncommon.
 
 
  Etching, 3 1/8" x 6".
$550.
  New Listing
 
Mary Nimmo Moran
(1842-1899)

  SOLITUDE, 1880. Klackner 9. Initialed and dated in the plate. This was published by invitation in the American Art Review, 1880. It was a great honor to be published in the most important American art periodical of the late 19th century. Mary Moran was a master of the etched landscape. A very rich impression in fine condition.
 
 
  Etching, 5 3/4 x 7 5/8 inches.
$600.
  A HAMPTONS WINDMILL
 
Mary Nimmo Moran
(1842-1899)

  SUMMER, SUFFOLK COUNTY, NY, 1884. Klackner 30A. Signed in the plate "M.N.M." This is the small version (of her larger etching) commissioned by the NY Etching Club for inclusion in their 1884 exhibition catalog. Those commissions were an honor, since only eight etchings were included in each of the annual catalogues. Moran made numerous etchings of the scenery of her summer home landscape, and they often included the windmills then so typical of the eastern end of Long Island. Only a few windmills have survived, and they are much treasurred. Printed in warm black ink, and in very good condition.
 
 
  Etching, 6 x 4 inches.
$325.
  Mary Nimmo Moran
(1842-1899)

  TWILIGHT, EAST HAMPTON, 1880. Klackner 10. Signed in pencil for Mary Moran by Thomas Moran (who added his own signature), since this early etching had been left unsigned at the time of her unexpected death. It is a beautifully wiped, dramatic image. Thomas had been her teacher and they worked closely together all the years of their happy marriage. This etching was exhibited at the first independent show of the NY Etching Club (1882), and Mary was given the honor of creating a small version of the image for inclusion in their illustrated catalog. (An impression of the small version is also available.)
 
 
  Etching, 7 15/16" x 11 3/4".
SOLD.
  NEW
 
Mary Nimmo Moran
(1842-1899)

  TWILIGHT [AN EASTHAMPTON SCENE], 1880. Klackner 10. Signed in the plate. This was Moran's small version of her larger plate in the NY Etching Club 1882 exhibition. It was chosen for use in the catalog, an especialy great honor for a woman artist. In 1882 a leading critic wrote in Century Magazine, "Mrs. Moran is, as yet, the only woman who is a member of the New York Etching Club, and no name stands higher on its roll...[Her work is] direct, emphatic, bold, exceeding in these qualities, perhaps, any of her male co-workers." An excellent impression in fine condition.
 
 
  Etching and roulette, 3 1/16 x 5 3/8 inches.
$400.
  New Listing
 
Mary Nimmo Moran
(1842-1899)

  THE "HOME SWEET HOME" OF JOHN HOWARD PAYNE, EAST HAMPTON, 1885. Klackner 41. Signed in pencil and printed on fine Japanese paper. Published by Klackner in 1886. Statements of edition numbers vary between 100 and 200. Mary Moran delighted in depicting the scenery of eastern Long Island. This house was a beloved landmark there, and the picturesque old building and the foliage merge in a manner that is typical of Mary Moran's work. This is a brilliant impression in fine condition.
 
 
  Etching, 16 1/2 x 13 1/2 inches.
SOLD.
  New---on Satin!
 
Peter Moran
(1841-1914)

  A BURRO TRAIN, NEW MEXICO, 1880. White1, Keppel 30. Signed in the plate. See Robert R. White, "The Southwestern Etchings of Peter Moran: A History and Catalog," IMPRINT, vol. 19, no. 1, Spring 1994, pp. 11-28. This is an excellent catalogue of all his southwestern etchings: Moran was the first etcher to depict this unknown region. A brilliant impression printed on satin, which is rare to find in this pristine condition.
 
 
  Etching on satin, 6 5/8 x 9 3/8 inches.
$700.
  New Listing
 
Peter Moran
1841-1914

  CHURCH OF SAN MIGUEL AND PUEBLO HOUSE, SANTA FE, NEW MEXICO, 1881-82. Keppel 75, White 6. Signed in pencil. The pencil signature makes this a rare print. The church is still in use, and the house is said to be the oldest house in the United States. Professionally conserved: on thin Japan backed with rice paper, marginal tears repaired, and a barely visible old tape stain, u.l. This is an amazing document of the old west by the first etcher to get to New Mexico.
 
 
  Etching, 4 7/8 x 6 3/4 inches.
$900..
  New Listing
 
Peter Moran
(1841-1914)

  THE EDGE OF THE SWAMP, 1886. Signed in pencil by Moran, who was commissioned by S.R. Koehler to make this etching for AMERICAN ART, 1886, an elegant portfolio published with oroginal etchings. Moran's etching was after a painting by William Lamb Picknell now at the Pennsylvania Academy of Fine Arts. This impression is from the "deluxe edition" issued apart from the book. A brilliant impression on fine Japan paper.
 
 
  Etching, 11 3/4 x 8 1/2 inches.
$500.
  NEW MEXICO
 
Peter Moran
(1841-1914)

  A BURRO TRAIN, NEW MEXICO, 1880. White #1. Moran was one of the first "fine" artists to travel to New Mexico, spending the summers of 1880, 1881, and 1883, soon after the completion of the railroad into this remote territory. His are the first etchings we have of this area: he made a total of 15, many of which are rare. This is magnificently printed on chine colle and is in mint condition.
 
 
  Etching, 6 5/8 x 9 3/8 inches.
$550.
  Peter Moran
(1841-1914)

  CHURCH OF OUR LADY OF GUADELUPE, SANTA FE, NEW MEXICO, 1882. White 9 (small version of Keppel 11). This is Moran's accurate, small version of the subject, commissioned by the NY Etching Club for inclusion in their 1882 exhibition catalog. It shows a Spanish colonial church (built 1808-1821; still in use) and men with burros in the (then higher) dry bed of the Santa Fe River. Moran was one of the first "fine" artists to travel to New Mexico, spending the summers of 1880, 1881, and 1883 there, soon after the completion of the railroad into this exotic territory. According to Clinton Adams (1991), "Peter Moran ...appears to have been the first artist to make etchings of New Mexican subjects." Moran made a total of 15, and many are rare.
 
 
  Etching, 3 x 5 5/8 inches.
$350.
  INDIANS--NEW MEXICO
 
Peter Moran
(1841-1914)

  HARVEST IN SAN JUAN, NEW MEXICO, 1883. This is a detail of the larger etching shown below.
 
 
  See larger etching.
See below.
  INDIANS--NEW MEXICO
 
Peter Moran
(1841-1914)

  HARVEST IN SAN JUAN, NM, 1883. White 11, Keppel 74, Liibrary of Congress 9. Signed in the plate. A brilliant impression in fine condition. Moran, in his paintings, drawings, and etchings, was one of the first artists to record life in New Mexico. He also made a painting (Eulich Coll., Dallas, TX) and a watercolor (Amon Carter Museum) of this extraordinary scene of Indians using horses to thresh wheat at the San Juan Pueblo on the Rio Grande about 30 miles north of Santa Fe. See detail above.
 
 
  Etching, 6 1/4 x 12 1/2 inches.
$1600.
  New Listing
 
Peter Moran
(1841-1914)

  MOWING, 1887. Signed in pencil. On Japan "vellum." Keppel 87. Klackner copyright. Remarque of three ducks and a small butterfly (over the grass at the right), emblematic of the subject of the main view. Peter Moran was the leading "animalier" etcher of the Etching Revival.
 
 
  Etching: plate, 16 1/2 x 22 3/4; image, 13 7/8 x 20 1/2 inches.
SOLD.
  Peacable Kingdom
 
Peter Moran
(1841-1914)

  A NOON DAY REST, 1877. Keppel 19, Library of Congres 19. Moran used domestic animals in landscapes or barnyard settings from the start of his career as our leading American "animalier." He made this etching after his own watercolor that had been shown in the 1878 Water Color Exhibition in NYC. The etching recieved the honor of publication in 1880 in the AMERICAN ART REVIEW, edited by S.R. Koehler, the short-lived but most important art publication in the USA in the 1880s. The peaceful co-existence of horses, dogs, and chickens in this rustic barnyard is a philosophical statement. Printed on satin, and in exceptionally good condition since satin often has a poor survival rate.
 
 
  Etching on satin, 3 5/8 x 5 3/4 inches.
$175.
  Peter Moran
(1841-1914)

  ON THE ROAD TO SANTA FE, 1884. White 13; Keppel 5. Signed in the plate. A bright impression of a print published in a rare portfolio in Philadelphia in 1884. The fortitude of adventurous artists out west never fails to amaze me. See Robert R. White, "The Southwestern Etchings of Peter Moran: A History and Catalog," Imprint, v.19, no. 1, Spring 1994, pp. 11-28. This is Moran's largest southwestern etching.
 
 
  Etching, 11 1/2" x 17 1/2".
SOLD.
  New Listing
 
Peter Moran
(1841-1914)

  THROUGH THE MEADOWS, 1886. Signed in pencil. Published by Klackner, and printed on simili Japan. Each artist member of the talented Moran family carved out his or her own artistic area. Peter chose the countryside, populated by the domestic animals he portrayed so naturalistically and seemingly without effort. A beautiful impression in fine condition.
 
 
  Etching, 13 x 19 7/8 inches.
SOLD.
  Thomas Moran
 
Thomas Moran
(1837-1926)

  VALLEY OF THE BABBLING WATERS, UTAH, 1874. Gilcrease 93. Monogram of Moran and last name of the wood engraver, Bogert, in the block. Joni L. Kinsey, "Moran and the Art of Publishing," in Thomas Moran, National Gallery of Art, 1997, p. 312: "His wood engravings in The Aldine, for example, are among his most beautiful prints." This image derives from the 1873 sketches he made while on the John Wesley Powell expedition in Zion National Park. Moran used this image again, almost identically, in one of his chromolithographs for the 1876 Prang publication on the Yellowstone region. An extraordinary work in fine condition by one of our greatest American artists.
 
 
  Wood engraving, 8 7/8 x 12 3/4 inches.
SOLD.
  New Listing
 
Thomas Moran
(1837-1926)

  DETAIL OF "COMING TO ANCHOR," 1885. Signed in pencil by both the etcher, Thomas Moran, and the marine painter, Harry Chase (1853-1889). Gilcrease 51, iii/iii. Klackner 43. Printed on chine colle. The remarque of an anchor comments on the main subject. Moran did little reproductive work, but this print demonstrates how successful it can be when there is a good match between the sensibilities of the painter and the etcher.
 
 
  Etching, roulette, and sandpaper ground, plate: 14 7/8 x 29 3/4 inches.
$Detail of following print.
  New Listing
 
Thomas Moran
(1837-1926)

  COMING TO ANCHOR, 1885. Signed in pencil by both the etcher, Thomas Moran, and the marine painter, Harry Chase (1853-1889). Gilcrease 51, iii/iii. Klackner 43. Printed on chine colle. Remarque of an anchor, a comment on the main subject. The long horizontal format is especially suitable for a seascape. Moran did little reproductive work, but this print demonstrates how successful it can be when there is a good match between the sensibilities of the painter and the etcher. A good impression in good condition.
 
 
  Etching, roulette, and sandpaper ground, plate: 14 7/8 x 29 3/4 inches.
SOLD.
  Thomas Moran
(1837-1926)

  THE HALF-DOME--VIEW FROM MORAN POINT (or THE SOUTH DOME, YOSEMITE VALLEY), 1887. Klackner 60. Not in Gilcrease. Signed and dated in the plate. Fine impression. Yosemite was declared a National Park in 1890, thanks in large part to the art of Thomas Moran, who came to be known as the "father" of the national park system. (Moran is one of the few artists to have a mountain named after him.) He and his wife, Mary, visited Yosemite from 24 August to 5 October 1872. His 1873 watercolor of the Half-Dome is at the Cooper-Hewitt Museum. This 1887 etching derives from that watercolor, but expands upon it to increase the drama and sense of huge space.
 
 
  Etching, 12 7/8" x 9".
$900.
  19th c. INDUSTRIAL
 
Thomas Moran
(1837-1926)

  COMMUNIPAW, NJ, 1885. Klackner 42, Gilcrease 50.This is Moran's small version of his larger etching on exhibit at the NY Etching Club in 1886. Moran was selected to make this small version for the annual catalogue. Only eight artists were chosen each year to illustrate their prestigious catalogue. Signed in the plate with the monogram. In excellent condition.
 
 
  Etching, 3 1/4 x 5 inches.
$400.
  SCOTLAND
 
Thomas Moran
(1837-1926)

  [ BRIDGE IN] THE PASS OF GLENCOE [SCOTLAND]. 1882. Klackner 31. This is Moran's small version of his larger etching in the 1883 NY Etching Club exhibition. It was one of the nine etchings chosen for the catalogue. This subject derives from a trip Thomas and Mary Moran made to their native Scotland in Spring, 1882. It is one of his most dramatic and romantic images.
 
 
  Etching, 3 5/8 x 5 7/8 inches.
$400.
  ARIZONA
 
Thomas Moran
(1837-1926)

  TWILIGHT IN ARIZONA, 1880. Klackner 27a, Gilcrease 36. Signed in the plate with the large monogram. Moran made many trips to the west, one of the first non-documentary artists to do so. This is printed with highly dramatic retroussage inking. When the plate is printed without retroussage it is considerably less dramatic: an impression is available, and very useful for understanding the etching process. A rich impression in excellent condition.
 
 
  Etching, 5 3/4 x 8 3/4 inches.
SOLD.
  Thomas Moran
(1837-1926)

  LAKE GEORGE, 1874. Not in Gilcrease. Moran's monogram and engraver C. Maurand's name in the block. The National Gallery of Art exhibition catalog on Moran states (pp. 312-313): "His wood engravings in The Aldine, for example, are among his most beautiful prints...[Moran wrote] 'the best pieces of engraving that have ever been made from my drawings'." Moran did a series of Lake George views (many are available) which are among "his most dramatic compositions." Such work heped open this area of the Adirondacks to tourism. This is a superb example of American wood engraving, in fine condition.
 
 
  Wood engraving, 8 7/8" x 12 3/4".
$350.
  Thomas Moran
(1837-1926)

  MORNING ON THE ST. JOHNS, FLORIDA, 1886. Klackner 56. Signed in pencil, on Japan paper. Illustrated on cover of: Thomas P. Bruhn, American Etching: The 1880s, ex. cat., Benton Museum, Univ. of CT, 1985; and in the Gilcrease Institute's essay in the book on their Moran collection. Thomas Moran is now the most sought-after artist of the Etching Revival and in this image he has managed to make Florida look as romantic as Venice. Images of Florida in this period are scarce.
 
 
  Etching, 5 7/8 x 8 3/4 inches.
$2200.
  THE HAMPTONS
 
Thomas Moran
(1837-1926)

  MULFORD'S ORCHARD, EAST HAMPTON, SEPT. 21st, 1883. Klackner 36 . Gilcrease 45. Signed in pencil. Signed, titled (written in reverse) and dated in the plate, On chine collé, printed in warm brown ink with rich plate tone. The original publisher gave it the descriptive title, "An Apple Orchard, East Hampton, L.I." Mulford was an early settler of the area, and the Morans started summering there in the early 1880s. The Gilcrease Museum catalogue states that this is "one of his greatest prints." Moran himself described it as "A close study of the peculiarly distorted and picturesque forms of fruit trees warped by the sea winds." A glowing image but it has a few very small scrapes around the edges of the image and several areas of gray mold, noticeable only in the upper left corner, about 3 x 1 inches. The print has been professionally conserved so the mold will not increase. Otherwise, a wonderful etching with the important central image unaffected by these problems. .
 
 
  Etching, 12 x 17 3/4 inches.
SOLD.
  EARLY THOMAS MORAN
 
Thomas Moran
(1837-1926)

  PASSAIC MEADOWS, 1879. Klackner 15, Gilcrease 24. Signed in the plate with the monogram. Alternate title: "In the Newark Meadows." In 1879 Moran still lived in New Jersey and executed several subjects there. Printed on chine collé, from the first printing in the American Art Review in 1879. This is very richly etched, with strong contrast between the trees, grasses, posts and the water. In pristine condition.
 
 
  Etching, 5 3/4 x 8 7/8 inches.
$500.
  New Listing
 
Thomas Moran
(1837-1926)

  THE RAINBOW, 1880. Klackner 18, Gilcrease 27. Signed in the plate, and inscribed in the plate, in reverse, "THREE MILE HARBOR" and L.I. 1880," l.c. This is one of Moran's early plates of the scenery of eastern Long Island, not far from his Easthampton home. A bright impression in fine condition.
 
 
  Etching, 4 x 7 7/8 inches.
$350.
  HAMPTONS HUNTER
 
Thomas Moran
(1837-1926)

  A SOUTHERLY WIND, 1880. Klackner 22, Gilcrease 30. Signed in the plate with his TM monogram, lower left. Moran and his wife, Mary, spent all their summers in Easthampton, when it was rural enough for a hunter to be searching for game in the rolling sand dunes with their scrub pine. In very good condition.
 
 
  Etching, 4 1/2 x 7 1/8 inches.
$300.
  THE HAMPTONS--NEW
 
Thomas Moran
(1837-1926)

  SUNRISE---THE POND, EASTHAMPTON, L.I, 1880. Klackner 39. Alternative title: "Morning (An Easthampton Scene)." Moran was the master of the American landscape etching, and in this tiny scene he even has a distant ocean view with 3 ships on the horizon. Printed on satin, in wonderful condition, and inspection with a lens reveals great claity of detail.
 
 
  Etching, 4 1/2 x 7 1/8 inches.
$700.
  NEW LISTING
 
Thomas Moran
(1837-1926)

  TOWER OF CORTEZ, MEXICO, 1883. Klackner 35, Gilcrease 44. Signed and dated in the plate, and titled "A Tower of Cortes, Mexico" in reverse script in the plate. As published by S.R. Koehler in "Original Etchings by American Artists," in 1883, one of the finest etching portfolios of the decade. Moran made his first trip to Mexico in 1883, and created this etching after his own watercolor of that year, which is now at the Mead Art Museum, Amherst College, Amherst, MA. Moran's tremendous skill in combining great clarity of line with dramatic shadows is extraordinary. This rich impression is in perfect condition.
 
 
  Etching, drypoint and roulette, 12 x 8 3/4 inches.
$1100.
  Andrew Jackson
 
[New Orleans Subject] Artist Unknown: American or British.
(Date of the work, 1836)

  THE DEBILITATED SITUATION OF A MONARCHAL GOVERNMENT, 1836. On the left shore is King Louis Philippe of France, near a chest full of debts, whose text reads: "The debilitated situation of a monarchal Government when puffed up by pride and self-importance, whose resources must be wrung from the people's hands. The difficulties to which such a State must ever be exposed." On the right shore stands Andrew Jackson holding the Treaty of 1831 which the French have ignored. The American side shows every sign of wealth (bags of money), victory (the ships Constitution and New Orleans), and a happy citizenry. Their text reads: "The flourishing condition of a well-formed industrious Republic. The willingness displayed by the citizen of a free State to serve his country with his blood and fortune." There are many other symbols, discussed by Bernard Reilly, in Political Prints in the Library of Congress. He also comments, "The print is well-drawn for an American print of the period and, considering the lack of an imprint, may have been produced in England." It had a center fold; otherwise in very good condition.
 
 
  Lithograph on wove paper, image: 12 x 16 5/8 inches.
$800.
  New Listing
 
James Craig Nicoll
(1847-1918)

  FISHERMEN ANCHORED FOR THE NIGHT (Gloucester, MA harbor), 1886. Signed in the plate. This is a remarque proof, and the remarque, which is literally a "remark" on the subject, identifies the harbor as Gloucester harbor, one of the finest in New England and famed for its fishing fleet. Night scenes are very difficult to execute in a black and white medium, but Nicoll was one of a handful of printmakers who specialized in them. This large etching is an excellent impression in fine condition.
 
 
  Etching, 14 1/2 x 20 1/4 inches.
$450.
  James Craig Nicoll
(1847-1918)

  HARBOR SCENE [NEW YORK CITY], 1884. Library of Congress 3, illustrated. Signed in pencil. On Japan paper. Nicoll was noted for his many etchings of New York harbor. This is a view from the East River looking at the famous Havemeyer & Elder sugar refinery in Brooklyn. It was the largest in the world, all the buildings were of fireproof brick and stone, had fire escapes, electric lights, and were to have Otis elevators. It was a major landmark which fascinated Nicoll and inspired a series of his etchings.
 
 
  Etching, 9 3/8" x 12 1/2".
$600.
  Ellen Oakford
(active 1880-1890s)

  TWILIGHT, ca. 1887. Pencil signed, on Japan paper. Exhibited at the N. Y. Etching Club, 1888. See: Peet, American Women of the Etching Revival, High Museum, Atlanta, 1988. The many talented women etchers of the 1880s are being rediscovered and with this evocative image Oakford clearly deserves to be in that group.
 
 
  Etching, 6 5/8" x 10 3/4".
$400.
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