Rona Schneider Fine Prints
  19th CENTURY PRINTS

ARTISTS P to Z

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

 
  New Listing
 
Stephen Parrish
(1846-1938)

  ANNISQUAM, 1881. Schneider 54. Signed, titled, and numbered in the plate. Parrish, often in the company of his friend, Charles Adams Platt, spent many summers on Cape Ann, which is on the eastern coast of Massachusetts. Parrish especially excelled at harbor, river, and coastal scenes, and he had a large, adoring audience for them. It was printed in a good-size edition but is surprisingly seldom available. This is beautifully printed in a warm brown-black ink, in excellent condition.
 
 
  Etching, 6 1/2 x 11 7/8 inches.
$800.
  Stephen Parrish
(1846-1938)

  A SHOWERY DAY, ST. AUGUSTINE, 1884. Schneider 100. Signed in the plate and printed on simili Japan paper. This rare view of old Florida was made while Parrish traveled there in February of 1884. In many letters home he expressed his amazement at the people, places, and living history he felt privileged to witness. See: Thomas Bruhn, American Etching: The 1880s, exh. cat., Benton Museum, Univ. of CT, 1985; and Rona Schneider, American Painter Etchings, 1853-1908, Grolier Club, 1989.
 
 
  Etching on Japan, 5 5/8 x 9 5/8 inches.
$1100.
  New Listing
 
Stephen Parrish
(1846-1938)

  THE HARBOR OF CANNES, 1886. Schneider 116. Signed in pencil, and annotated "To Mr. Henry E. F. Voigt--with compliments of Stephen Parrish." Kimmel & Voigt were the splendid printers of etchings in NYC; without them the etching revival could not have succeeded. Also signed, titled, dated, and numbered in the plate. Parrish traveled in Europe from 1884 to 1886, and this etching was one of the few he actually completed there. He found the harbor of Cannes very beautiful but, he wrote, the city was too "swell and expensive" for them so the family stayed in St. Raphael, near Cannes, "a place frequented more by artists." A rich impression on fine Japan paper in excellent condition.
 
 
  Etching and drypoint, 11 7/8 x 18 5/8 inches.
SOLD.
  New Listing-Cape Ann
 
Stephen Parrish
(1846-1938)

  DRIFTING, 1881. Schneider 58, i/ii. Signed in pencil. Signed and numbered in the plate. There is a tremendous sense of serenity in this calm scene of still boats reflected in totally calm water. A small edition in the first state. In very good condition.
 
 
  Etching, 3 1/2 x 5 3/4 inches.
$750.
  ON VELLUM
 
Stephen Parrish
(1846-1938)

  FISHERMEN'S HOUSES, CAPE ANN, 1881. Schneider 49. Signed in pencil. This large etching was Parrish's most popular, and depicts all the elements that made him a leading printmaker of the period. Printed on vellum, a true animal skin, it displays the typical waviness of that printing surface, with some slight marginal foxing. It has been professionally conserved.. The resulting image is utterly subtle and glowing. Vellum was highly prized in the late 19th century: the images on vellum were made in very small editions and were much more expensive than prints on more standard surfaces.
 
 
  Etching on vellum, 12 x 19 inches.
SOLD.
  NORMANDY COAST
 
Stephen Parrish
(1846-1938)

  A GALE AT FECAMP, NORMANDIE, 1886. Schneider 117, i/ii. Signed in pencil. There is no other print in the Etching Revival that is comparable to this spectacular etching with its surround of remarques. Parrish loved the cold, exciting weather that horrifies some people but he was convinced that it was good for the health. This print was shown in autumn 1888 at the first exhibition of the Society of American Etchers. This unusual etching received good reviews and much attention. Printed on simili Japan paper and in fine condition. See below for a detail of the remarques.
 
 
  Etching, 13 3/4 x 15 3/4 inches.
$2500.
  New Listing
 
Stephen Parrish
(1846-1938)

  A GALE AT FECAMP, NORMANDIE, 1886.. Schneider 117. Detail of the lower right corner of the large etching.
 
 
  Etching, detail of the 13 3/4 x 15 3/4 inch etching.
See above.
  GLOUCESTER, MASS.
 
Stephen Parrish
(1846-1938)

  GLOUCESTER FERRY, 1881. Schneider 47. Signed in pencil. This large version of the subject is extremely rare---it's the only one I've had in 25 years. There was a later edition printed on a heavy paper, but this one is on the very thin Japan paper used for the early printing. It has been professionally mounted on Japanese mulberry paper. Parrish made dozens of Cape Ann subjects, all reflecting his love of the region. No examples of the steep-roofed net drying building at the center have survived in Gloucester. A rich impression in very good condition.
 
 
  Etching, 9 3/8 x 14 5/8 inches.
SOLD.
  Stephen Parrish
(1846-1938)

  GLOUCESTER FERRY, NO. 2, 1882. Schneider 60. Signed in the plate. This is his small version of the subject; it was commissioned for the NY Etching Club exhibition catalog. Gloucester, an important fishing port on Cape Ann, was the scene of dozens of Parrish's atmospheric etchings. The tall, narow building was used for hanging huge fishing nets to dry. (Several of his Cape Ann scenes are available.)
 
 
  Etching, 2 3/4" x 5 3/16".
$200.
  United Kingdom
 
Stephen Parrish
(1846-1938)

  HASTINGS, ENGLAND, 1885. Schneider 113. Signed in the plate. A rich impression. This view has all the elements favored by Parrish: large rocks, a harbor at low tide, beached ships, many workers, and clustered buildings of a port town. Parrish spent over a month in Hastings in autumn 1884, and during the winter he was commissioned to make this etching for the prestigious London Portfolio.
 
 
  Etching, 5 1/2" x 10 3/4".
SOLD.
  New Listing--LONDON
 
Stephen Parrish
(1846-1938)

  LONDON BRIDGE, 1884-85. Schneider 109. Signed, titled, and dated in the plate. The foreground boat is named "Kent/ No. 109." Please look at the detail photographs in the next two entries to appreciate Parrish's wonder at this scene and his skill at drawing all of it. He wrote to his father, "The Thames alone is a treasure house for an artist, and the scene below London Bridge a never ending delight to one fond of water-craft & shipping." Printed on laid paper, and bears the Parrish Estate stamp verso.In fine condition except for some marginal smudges.

 
 
  Etching, 12 1/8 x 19 inches.
SOLD.
  The Thames
 
Stephen Parrish
(1846-1938)

  LONDON BRIDGE, NO. 2, 1885. Parrish 115. Signed in the plate. This is the small version (of his large print) made for the 1886 NY Etching Club exhibition catalog. It was always an honor to be invited to contribute an etching to one of the annual catalogs. Parrish was in London in 1884 when he created these prints. (Kent 109 on the boat refers to the number of the large version.) It is rare to find one of the small versions printed on Japan "vellum" and signed in pencil.
 
 
  Etching, 3 7/8 x 6 1/8 inches.
$250.
  New Listing
 
Stephen Parrish
(1846-1938)

  LONDON BRIDGE, 1884-85..Schneider 109. Detail of the left side of this large etching.
 
 
  Detail of the 12 1/8 x 19 inches etching.
See above.
  New Listing
 
Stephen Parrish
(1846-1938)

  LONDON BRIDGE, 1884-85. Detail of right side of the large etching above.
 
 
  Etching, Detail 12 1/8 x 19 etching above.
See above.
  New--on Satin
 
Stephen Parrish
(1846-1938)

  NOVEMBER, 1880. Schneider 12. This was published in the prestigious "American Art Review" in Nov. 1880. This scene of sheep in front of a combination barn and house is the essence of an autumnal scene in the northeastern USA. It was incredibly popular, and was printed over and over by the publisher until the edges of the plate began to degrade., The results can be seen in this wonderful image, beautifully printed on satin but whose lower edge has lost the faint original plate signature. Otherwise in excellent condition.
 
 
  Etching on satin, 6 x 10 7/8 inches.
$400.
  BRITTANY
 
Stephen Parrish
(1846-1938)

  ON THE RANCE--- BRITTANY, 1887. Schneider 127. Signed in pencil. Signed, and identified "Dinan/ 127" in the plate. The Rance River runs through Dinan on its way north to its mouth at the coastal city of St. Malo, in Brittany. One impression was exhibited at the Columbian Exposition in Chicago in 1893. This is a scarce print on fine condition.
 
 
  Etching, 4 3/4 x 9 1/4 inches.
$975.
  Stephen Parrish
(1846-1938)

  THE PORT OF DIEPPE, 1887. Schneider 123. Signed in pencil. A remarque proof on simili Japan vellum. Signed in the plate. Trimmed to the plate mark but there are still wide margins beyond the image. Otherwise in fine condition. This is one of a substantial group of views of French towns and harbors inspired by Parrish's sojourn in France from June 1884 to July 1886. This is a spectacular image, one of his best harbor views.
 
 
  Etching: plate, 19 x 23 1/2; image, 15 7/8 x 21 7/8 inches.
SOLD.
  Stephen Parrish
(1846-1938)

  A SPRING DAY IN AN OLD SUBURB, 1882. Schneider 69. Signed in pencil and printed on simili Japan paper. Also signed and numbered in the plate. Parrish, a native Philadelphian, made only a few local etchings, such as this one, before he traveled widely in a constant search for new landscapes. He was the most esteemed American etcher of the 1880s. A beautiful impression, in mint condition.
 
 
  Etching, 8 x 14 7/8 inches.
$1600.
  New Listing--CANADA
 
Stephen Parrish
(1846-1938)

  A WINTER'S DAY, WINDSOR, N.S., 1887. Schneider 125, ii/ii. Signed and numbered in the plate. This plate was commissioned by Frederick A. Stokes, with Parrish being free to choose his own subject. By 1887 Parrish was so popular that publishers would buy anything he offered. Parrish worked from the drawings made on earlier trips to Canada, altering his summer views into a snowy winter scene. This is an excellent impression, done before the plate degraded. In very good condition.
 
 
  Etching, 6 x 8 inches.
$400.
  New Listing
 
Edith Loring Peirce
1855 - 1940

  OLD BUILDINGS, HIGH FALLS, NEW YORK, 1883. Signed in pencil as Edith Loring Peirce. Etching on Japan paper. Made before her marriage in 1885, at which time she took the name Getchell. Image of boats in a canal in Belgium.
 
 
  5 5/8 x 9 5/8 inches.
$950.
  Woman Etcher
 
Edith Penman
(1860-1929)

  [AN OLD ORCHARD], 1890. Signed in pencil. Klackner copyright 1890. The round fomat is unusual, but effective, as if looking at the scene through a telescope. London born, Penman trained at the Cooper Union, NYC, 1879-80. She was an active painter-etcher from 1887 until 1926, and her work was included in exhibitions such as at the Columbian Exposition, the NYEC, the NAD, and many others. Largely forgotten, her etchings were featured in the landmark exhibition, "American Women of the Etching Revival," 1988, at the High Museum, Atlanta. Bears a blue Klackner stamp, 7117, in the lower left corner of the sheet. In perfect condition.
 
 
  Etching, 6 7/8 inches diameter.
$350.
  Edith Penman
(1860-1929)

  [TWO HEADS OF WINGED CHERUBS, ONE IN PROFILE], 1890. Signed in pencil, printed in brownish ink, and copyrighted by Klackner, 1890. Such images as this one often were comforting Victorian memorials showing their reverence for childhood. On Penman, see Peet, American Women of the Etching Revival, High Museum, Atlanta, 1988.


 
 
  Etching, 5 11/16 x 7 3/4 inches.
$150.
  New Listing
 
Joseph Pennell
(1857-1926)

  CHARING CROSS STATION, ca. 1887. Signed "Jo Pennell," l.r. This was commissioned to illustrate Henry James' article on London in The Century, Dec. 1888, where it was reproduced by wood engraving on p. 221. Pennell did all the illustrations for the 20-page article, but this one, the best of the lot, was given a full page. Pennell also included it on p. 263 of his Adventures of an Illustrator, 1925, where he captioned it: "Charing Cross Station--Wash Drawing for James' Article on London--In the Century 1888--Wood Engraving Unsigned--Drawn in the Old Station." A sign in the station reads "To the Continental Mainline/North Kent Loop Line Train." This is richly drawn in brown, black and gray watercolor. It shows an animated scene of passengers, guards, and five tracks with trains, all beneath the soaring ceiling of the open-air station, with the city faintly seen in the distance. It captures all the drama of an old European train station. Mounted on illustration board; otherwise in good condition.
 
 
  Watercolor: sheet, 22 3/4 x 16 3/8 inches; image, 20 5/16 x 13 7/8 inches.
SOLD.
  Rare print
 
Joseph Pennell
(1857-1926)

  BRIDGE AT HARRISBURG [Pennsylvania], 1882. Wuerth 40. Signed in pencil: "Jo Pennell imp./ Mr Grant's proof." Signed and dated in the plate. This strange old wooden bridge is delineated with rushing perspective in the Japanese manner. The print was exhibited at the NY Etching Club in 1882. Even at this early stage of his career, Pennell worked this plate with sandpaper, roulette, drypoint, and elaborate wiping, and he later became a teacher and leader in American printmaking. This is a very rare print, and is in excellent condition.
 
 
  Etching, 5 3/4 x 18 inches.
SOLD.
  New Listing
 
Joseph Pennell
(1857-1926)

  LANDING PLACE, LEGHORN [Livorno], 1883. Wuerth 65. Signed in pencil by Pennell in his early florid 19th century hand, and inscribed, possibly in another hand, "To Frederick Paul Keppel/Paris 1893." This is a richly inked impression of a very uncommon etching by Pennell, the only one I have seen for sale in 25 years. The dimensions given in Wuerth may be incorrect, since the impression at the Library of Congress, printed on "official Tuscan paper," is 17 x 19 cm. and was donated to them directly by Pennell. A rich impression in fine condition.
 
 
  Etching, 6 5/8 x 7 1/8 inches.
SOLD.
  NEW LISTING
 
Joseph Pennell
(1857-1926)

  AT LYNCHBURG, VIRGINIA, 1882. Weurth 42. Signed in pencil, and annotated "Pennell's model proof for the printer" and "Coll. Wm' A. Drake/At Lynchburg." Pennell made the drawing for this etching en route to an illustrating assignment in New Orleans for Century Magazine. Pennell learned etching from Stephen Ferris, a Moran brother-in-law, in his native Philadelphia. This etching is scarce on many counts, especially as a very early work by Pennell before he left for Europe in 1884, and as a view of the South, not a common subject in the American Etching Revival. On antique laid paper, and a rich impression in excellent condition.
 
 
  Etching, 13 3/4 x 10 1/8 inches.
SOLD.
  New Listing
 
Joseph Pennell
(1857-1926)

  AT LYNCHBURG. Detail of the larger etching above.
 
 
  Detail.
As above.
  Miss. Delta Rarity
 
Joseph Pennell
(1857-1926)

  TWILIGHT, PILOT TOWN, LOUSIANA, 1882. Wuerth 41. Signed in pencil and printed on thin Japanese paper. As you can see in the photo, there are tiny paper losses in the image and waviness in the upper right corner. This is arguably Pennell's rarest etching--it's the only one I've owned after 25 years in pursuit of etchings. Pennell was on assignment for Century Magazine when he created a group of scenes in New Orleans, but the stars of the trip were his two views of Pilot Town, the location in the Mississippi where the river pilot was replaced by the Gulf pilot. The exotic atmosphere and the rich, dark etching make this print among the greatest of the Etching Revival.
 
 
  Etching, 8 x 15 inches.
SOLD.
  New Listing
 
Joseph Pennell
(1857-1926)

  PONTE VECCHIO, FLORENCE, 1883. Wuerth 54. Ed. less than 50. Signed, titled, and dated in the plate. Lined with shops, this bridge across the Arno River is the most beloved tourist attraction in Florence. Pennell, like so many Americans, fell in love with Italy. This is a spirited rendition of the bridge, in fine condition.
 
 
  Etching, 9 3/4 x 8 inches.
$500.
  Ballerinas
 
Rodolphe Piguet
(1840-1915; Swiss)

  BALLERINAS PLAYING CARDS, ca. 1892. Etching after a painting by Pierre Carrier-Belleuse. Signed in pencil by both painter and etcher. Published by Klackner, with a remarque of a woman in a large hat, and printed on vellum. The margins are smudged, and vellum is very hard to clean, but with good matting that fosuses attention on the main subject, this is a striking work.
 
 
  Etching, image, 10 3/4 x 14 3/4 inches.
$600.
  New Listing
 
Rodolphe Piguet
(1840-1915)

  BALLERINAS READING, 1892.. After an 1891 painting by Pierre Carrier-Belleuse. Signed in pencil by both the painter and the etcher. Published by Klackner in NYC, 1892, with a remarque of a ballerina seated on a stool, and printed on vellum. The margins are lightly smudged, but with good matting, this is a truly eye-catching etching. It will make a wonderful pair with the "Ballerinas Playing Cards."
 
 
  Etching, 10 3/4 x 14 1/2 inches.
$550.
  New Listing
 
Charles Adams Platt
(1861-1933)

  BROOKLYN BRIDGE, 1888. Rice 98ii/ii.Signed and dated in the plate. Published by Frederick A. Stokes & Brother, and printed in warm black ink on etching paper. This is a delicate, Whistlerian etching in Platt's late style, made just five years after the completion of the amazing bridge which linked Brooklyn to Manhattan. In very fine condition.
 
 
  Etching, 6 3/4 x 11 inches.
SOLD.
  New Listing
 
Charles Adams Platt
(1861-1933)

  OLD HOUSES NEAR BRUGES (Belgium), 1884-88. Signed in pencil. Signed and dated in the plate. Platt spent several years in Europe, and all of his prints then included many buildings. This scene is enriched by the liberal use of drypoint. It is illustrated on p. 41 in the Hood Museum catalogue on Platt (see my other entries for the full citation). A richly printed impression in fine condition.
 
 
  Etching & drypoint, 10 1/8 x 17 1/16 inches.
SOLD.
  FRANCE
 
Charles Adams Platt
(1861-1933)

  DIEPPE, 1887. Rice 89. Signed in pencil. This is the published state, printed on fine laid paper, and signed and dated in the plate. "Dieppe" demonstrates Platt's increasingly Whistlerian handling of the medium. In very fine condition. After a decade of success as a painter-etcher, Platt went on to great success as an architect, designing many fine private homes and several public buildings, the best known of these being the Freer Gallery in Washington, DC. HIs career is documented in Morgan, "Shaping an American Landscape: The Art & Architecture of Charles A. Platt," Hood Art Museum, Dartmouth, NH, 1995.
 
 
  Etching, 10 x 13 7/8 inches.
SOLD.
  New Listing--RARE
 
Charles Adams Platt
(1861-1933)

  THE LITTLE RIVER, HARTFORD, 1881. Rice 18. Signed, dated, numbered ""19," and titled in the plate. This is a small tributary, probably into the Connecticut River, with a neighborhood of old wooden houses reflected in the placid water along both shores. Laundry hangs on lines between buildings, people are pursuing their daily activities as two men prepare to go fishing in a small rowboat, and the large, imposing dome of the Connecticut state house is seen beyond the bridge that crosses the river. This is the only impression I've ever had of this etching, and I think it's one of Platt's most admirable on many counts. A rich impression in wonderful condition.
 
 
  Etching, 7 3/4 x 13 3/4 inches.
$1850.
  Charles Adams Platt
(1861-1933)

  MUD BOATS ON THE THAMES, 1883. Rice 44. Signed and dated in the plate, printed in warm black ink. This is a product of Platt's first trip to England, when he was still a landscape etcher. After a decade of etching, he turned to landscape architecture and then to architecture, becoming a leading figure in both of those areas.
 
 
  Etching, 6 1/8" x 11".
$200.
  PARIS
 
Charles Adams Platt
(1861-1933)

  RUE DE MONT CENIS, MONTMARTRE [PARIS], 1884. Rice 50. Signed, dated, titled, and numbered (52) in the plate. Platt had rented a studio in Paris in the mid-1880s, and his close friend, Stephen Parrish, visited him there. They had a lively artist's circle in Paris--angst and suffering weren't their style. Rue de Mont Cenis is one of the small streets in the Montmartre area and can still be found on Paris maps. This is beautifully drawn and a strong impression, in perfect condition.
 
 
  Etching, 5 3/8 x 8 1/4 inches.
SOLD.
  Charles Adams Platt
(1861-1933)

  RYE, SUSSEX, 1884. Rice 52. Signed in the plate. An image such as this presages Platt's future as a leading architect, noted for his fine residential designs as well as such grand public buildings as the Freer Gallery in Washington, D.C. See Shaping an American Landscape: The Art and Architecture of Charles A. Platt, Hood Art Museum, 1995. A crisp impression in fine condition
 
 
  Etching, 6 x 9 inches.
$300.
  Charles Adams Platt
(1861-1933)

  WILLIAMSBURG FROM THE BRIDGE (SKETCH), 1889. Rice #106. Signed in pencil; on laid Japan paper,. This view is looking up the East River from the Brooklyn Bridge. After his return from Europe and before he moved to Cornish, New Hampshire, Platt depicted New York views in most of his etchings. See Keith N. Morgan, Shaping an American Landscape: The Art & Architecture of Charles A. Platt, Hood Art Museum, Dartmouth, 1995.
 
 
  Etching and drypoint, 6 1/8 x 9 3/8 inches.
$1100.
  Charles Adams Platt
(1861-1933)

  WINDSOR (NOVA SCOTIA), 1882. Rice 35. Signed, dated and numbered in the plate. This strong little etching derives from the trip Platt made with his mentor, Stephen Parrish, to Canada in Sept. 1881. They both were attracted to the homely vernacular architecture of the coastal fishing villages.
 
 
  Etching, 4 1/8" x 8 5/8".
$300.
  NEW--CANADA
 
Henry Mortikai Rosenberg
(1858-1947)

  ROSPORDEN, 1885. Signed in pencil, on thin laid paper. Rosenberg was one of the "Duveneck boys" who spent the summer of 1880 in Venice being inspired by Whistler's etchings. This image, and a few others, are the product of that influence, but after Rosenberg moved to Nova Scotia in 1897 he had no equipment to do any further etching. See: Rosemarie Tovell, A New Class of Art: The Artist's Print in Canadian Art, 1877-1920, National Gallery of Canada, 1996, pp. 129-30, illus. fig. 144. In fine condition.
 
 
  Etching, 10 3/4 x 7 inches.
SOLD.
  A NEW VENUS
 
Walter Satterlee
(1844-1908)

  THE EVENING STAR, 1884. Signed in the plate. This fantasy imagery is similar to the subjects of Frederick Stuart Church, although Church never showed a bare breast. The title alludes to any very bright planet seen in the west in early evening, especially Venus. The figure is sufficiently alluring to represent Venus. Printed in blue ink, and in excellent condition. See below for a detail of the torso.

Etching, 13 1/2 x 7 7/8 inches.
$200.

 
 
  Etching, 13 1/2 x 7 7/8 inches.
$275.
  VENUS
 
Walter Satterlee
(1844-1908)

  THE EVENING STAR, 1884. Signed in the plate. This fantasy imagery is similar to the subjects of Frederick Stuart Church, although Church never showed a bare breast. The title alludes to any very bright planet seen in the west in early evening, especially Venus. The Parrish Art Museum in Southampton, NY, owns 5 other Satterlee etchings, all in the same mood as this one. There are 6 more inches of the woman's figure not shown in my photograph: the rest of her legs wrapped in the swirling fabric of her long robe, with her bare feet exposed. Printed in blue ink, and in excellent condition. DETAIL.
 
 
  Etching, 13 1/2 x 7 7/8 inches.
See above.
  New Listing
 
Stephen Alonzo Schoff
(1818-1904)

  PORTRAIT OF GENERAL CHARLES DEVENS, 1886. After a painting by Frederic P. Vinton of Boston. Signed in pencil and printed on fine Japanese paper. Ed. 225. Commissioned by S.R. Koehler for American Art, one of the grand art books of the era. Devens was Attorney General under President Rutherford Hayes.
 
 
  Etching, 10 5/8 x 7 1/2 inches.
$125.
  Stephen Alonzo Schoff
(1818-1904)

  THE PRELUDE, 1886. Signed in pencil, on Japan paper, a brilliant impression in mint condition. After a painting by Charles Sprague Pearce (which won a prize at the 1883 Paris Salon and is now in a private collection). There is also a preparatory drawing by Pearce in the collection of the Munson Williams Proctor Institute Museum. Although Schoff was trained as a banknote engraver, he was able to overcome the strictures of that medium in order to execute this fluid, graceful etching. In it, he captured the painting's dark tonality, which perfectly suits the image of the beautiful young Spanish guitarrista. This is a rich interpretation of the painting.
 
 
  Etching, 11 3/4" x 9".
$325.
  Prosper Louis Senat
(1852-1925)

  QUOGUE BEACH, 1885. Signed in pencil, on simili Japan paper, in mint condition. Signed, dated, numbered and titled in the plate. This is a view of one of the flat, sandy beaches characteristic of eastern Long Island. Senat, a Philadelphia artist, was drawn to the scenery of the Long Island and New England coasts.
 
 
  Etching, 5" x 6 13/16".
SOLD.
  GIRL WITH DOG
 
Henry Pruett Share
(1853-1905)

  COMPANIONS, 1888. Signed in the plate with a monogram, and dated. Share was a founder of the Salmagundi Club in 1871 and remained a member until his death. He is represented in the club's 1881 portfolio of etchings. Share was born in Los Angeles but moved to NYC as a young man, a necessary move for an aspiring artist. He exhibited with the NY etching Club in 1886, 1887, and 1888, becoming a resident member in 1888. He had the honor of being invited to contribute to the annual catalogue a small etched version of a larger print he showed that year. I have never seen the large version of this delightful etching. It is clearly a sunny summer day and depicts a happy little girl in her sailor dress and large hat smiling down at her loyal dog. A fine image of childhood without being soppy, in fine condition.
 
 
  Etching & drypoint, 6 3/4 x 4 7/8 inches.
$150.
  New Listing
 
Walter Shirlaw
(1838-1910)

  ITALIA, 1883. Shirlaw was a member of the NY Etching Club, but exhibited with them only twice. This etching is a small version of the larger etching he showed there in 1883. He was primarily a figure painter, as is clear in this beautiful, romantic image of a female musician and her dog. He was elected to the NAD in 1888 and exhibited actively there for deveral decades.
 
 
  Etching, 2 7/8 x 5 3/8 inches.
$125.
  James David Smillie
(1833-1909)

  A GLASS WITH THE SQUIRE, after a painting by Eastman Johnson. Witthoft 45. Signed in pencil, on Japan paper, in mint condition. Johnson was very pleased with Smillie's beautifully etched interpretation of the painting, which was one of his series of Nantucket scenes. In this antique filled interior there is a map of Nantucket on the wall, and the older man is the Captain Myrick who appears in many of Johnson's Nantucket paintings. Ths Winterthur Museum owns a copy of this etching, but their interest in it is primarily as a record of American decorative art objects: prints can be desired for a myriad of reasons. The Brooklyn Museum also has an impression of this etching.
 
 
  Etching, 10 3/8 x 8 1/2 inches.
$400.
  New Listing
 
James David Smillie
(1833-1909)

  NOCTURNE:BELLAGIO, May 1881. Witthoft20. Signed in pencil. Signed, numbered (No. 17), and dated in the plate. Printed on Japan paper. Smillie occasionally revealed a romantic spirit, perhaps because this was drawn shortly after his wedding. It was published in "Poets and Etchers" in 1881, but this impression is apart from the book edition, and the plate was destroyed shortly thereafter. Smillie was equally good with landscapes, figures, and portratis in his etchings. He has set this image near one of the Italian Lakes, See: Rona Schneider, "The Career of James David Smillie," The American Art Journal, vol. XVI, no. 1 (Winter 1984), pp. 4-33. Impressions are at the NYPL and the Boston MFA, among others. A brilliant impression in fine condition.
 
 
  Etching, 7 3/4 x 5 7/8 inches.
$400.
  Rare
 
James David Smillie
(1833-1909)

  POPPIES--GOODNIGHT AND SWEET DREAMS, 1888. Witthoft 51, first state of two. Ed. ca. 20 in this state. Titled and signed in pencil, on wove Japan paper. Signed and dated in the plate. Two very slight horizontal creases in the upper part of the image. This is the first and finest in Smillie's series of splendid flower prints. Smillie was a leader in the American Etching Revival, and the first teacher of printmaking at the National Academy of Design in New York City. RARE.
 
 
  Drypoint and etching, 9 3/4 x 6 15/16 inches.
$1600.
  James David Smillie
(1833-1909)

  ROUGH SPORT IN THE YOSEMITE (A FRAGMENT), Nov. 1885. Witthoft 39. Signed, dated, titled, and numbered in the plate. Commissioned by the NY Etching Club (small version of his large etching) for their 1886 exhibition catalog. Smillie had been to Yosemite in 1871 and the etching is based on his several paintings and watercolors of this extraordinary scene of a wild, bareback, no-holds-barred horse race, accompanied by generous drinking, profanity, and gambling. The conservative, gentlemanly Smillie must have been amazed, and the scene inspired the most vigorous, exciting subject he ever depicted.
 
 
  Etching, 3 1/8 x 5 inches.
$175.
  CHILDREN
 
James David Smillie
(1833-1909)

  WHAT O'CLOCK IS IT?, 1888. Witthoft 49. Signed and numbered (38) in the plate. Witthoft has identified the children as Smillie's son, James, age 3, with a friend. They are blowing dandelion seeds, an old children's game in which the remaining number of seeds tells the time of day. A fine impression of a charming scene in excellent condtiiton.
 
 
  Etching, 8 7/8 x 7 3/16 inches.
$400.
  New Listing
 
F. M. Spiegle
(active 1880-1895)

  THE REHEARSAL, 1888. Signed in pencil. Copyright by Klackner. The remarque of a violin and sheet music are a direct comment on the subject. In this unusually large etching, the figure of the pretty young singer is dramatically silhouetted against a rich black background.
 
 
  Etching, 23 x 14 3/4 inches.
SOLD.
  John Henry Twachtman
(1853-1902)

  AUTUMN LANDSCAPE (or AUTUMN AVONDALE), 1879-1880. Baskett 4. Unsigned. In fine condition. From the Keppel 1921 edition on paper watermarked "Barcelona-Catalunya, Spain." There are 20 known impressions of this etching; this is one of the 4 Keppel impressions still in private hands. Baskett notes that this may be either Cincinnati or the East Coast (probably CT). This is a richly inked impression.
 
 
  Etching, 4 3/8" x 6 5/8".
SOLD.
  John Henry Twachtman
(1853-1902)

  EVENING (or EVENING, DORDRECHT), 1881. Baskett 11. Signed in pencil, "JHT per AT." In very fine condition. From the 1921 Keppel edition, on paper watermarked "Barcelona-Catalunya, Spain." Baskett located 21 impressions; only 9 Keppel ones are still in private hands. (Illustrated in Getscher, Oberlin,1977.) This may be a scene in Dordrecht, where the Twachtmans honeymooned in 1881-82, or simply in Holland, but it is arguably one of his most wonderful etchings. Note the ghostly sketch of the inverted church tower in the water, indicating his reuse of an old etching plate.
 
 
  Etching, 4 13/16" x 7 7/16".
SOLD.
  Impressionism
 
John Henry Twachtman
(1853-1902)

  HARBOR WITH BARGES, 1879-1880. Baskett 2. Signed in pencil, "J.H.T. per A.T." This is one of only 29 known impressions. This is from the 1921 Keppel edition; only 13 of that edition of18 remain in private hands. Baskett and Robert H. Getscher have noted that "the abrupt cropping of the foreground boats ...is similar to Whistler's approach in some of his Thames etchings of the late 1850s." The influence of Whistler on so many of the American Etching Revival artists was pervasive. This in in very fine condition.
 
 
  Etching, 4 7/8 x 6 11/16 inches.
$2500.
  Impressionism
 
John Henry Twachtman
(1853-1902)

  MILL CREEK, CINCINNATI, 1878-80. Baskett 6. Unsigned. In very fine condition. On watermarked paper: " Barcelona-Catalunya, Spain." One of only 35 known impressions from the Keppel edition of 1921; only 16 from that edition are still in private hands. Twachtman was one of our leading Impressionist painters, and this small, sketchy etching reflects both that painting style and the pervasive influence of Whistler.
 
 
  Etching, 4 x 5 1/8 inches.
SOLD.
  John Henry Twachtman
(1853-1902)

  DOCK AT NEWPORT, 1893. Baskett 29. Initialed in the plate. A life-time impression, as published in the N.Y. Etching Club catalog, 1893. Life-time impressions of etchings by this major American Impressionist painter are scarce. Robert Getscher in The Stamp of Whistler (1977) gives a clear explanation of the influence of Whistler’s etchings on Twachtman’s "small and carefree sketches... [which have]...no more than a few telling lines."
 
 
  Etching, 4 3/4 x 6 3/4 inches.
$2000.
  Martha Scudder Twachtman
(1861-1936)

  [VILLAGE COTTAGES], 1883-1893. Signed in pencil, "M.S. Twachtman." Baskett, in her catalog raisonné of John Twachtman's etchings, includes a supplement listing the etchings of his wife. Mattie Twachtman's work is extremely rare, and usually is without a pencil signature; there is a distinct possibility that John signed this for his wife. This is probably either the etching "DUTCH COTTAGES" (listed in the 1883 NY Etching Club catalog) or "HOUSES IN HOLLAND" (listed in the 1893 NY Etching Club catalog). Both are unlocated. The Twachtmans honeymooned in Holland in 1881-82, but Mattie later abandoned her art work to raise their children, a not uncommon occurrence.
 
 
  Etching, 4 7/8" x 7".
SOLD.
  Charles Alvah Walker
(1848-1925)

  PORTRAIT OF WILLIAM MORRIS HUNT, 1880. Signed and dated in the plate. On chine collé. A very rich impression; insignificant marginal foxing. This is an unusually fine etched portrait of a major American 19th century artist by Helen Mary Knowlton, Hunt's pupil at his Magnolia Art Colony school.
 
 
  Etching, 7 5/16" x 4 7/8".
$350.
  Whistler-New Listing
 
James Abbott McNeill Whistler
(1834-1903)

  A STREET IN LONDON, [Alderney Street], 1880-81. Kennedy 238. This etching was printed with the title "Alderney Street," by Cadart for publication in the "Gazette des Beaux Arts" in April 1881. An electrotype was made of this for Sylvester Rosa Koehler to publish in his magnificent book, "Etching," in 1885 with the title "A Street in London." This is a charming small Whistler etching in very good condition.
 
 
  Etching, 6 7/8 x 4 3/8 inches.
$300.
  New Listing
 
Charles Herbert Woodbury
(1864-1940)

  HARBOR VIEW ON CAPE ANN, MASS., CA. 1889. Signed in pencil and in the plate. In the lower left margin there is a remarque of a different harbor. This is one of Woodbury's largest prints of the New England beach and coastal views that were his specialty. Woodbury, an MIT graduate, was an important figure in the Boston art world and a revered teacher at his summer home in Ogunquit, Marine. His work is in such collections as the Library of Congress. Bosston Museum of Fine Arts, and the Worcester Museum. Aside from a faint shadow of small creases in the lower right corner, in good condition.
 
 
  Etching, 11 1/2 x 16 3/4 inches.
$500.
  Rural Life
 
Thomas Waterman Wood
(1823-1903)

  FRESH EGGS, 1883. This is the small version by Wood of the large etching he exhibited at the NY Etching Club in 1883. It was an honor to be invited to contribute one of the eight etchings published in the catalogue each year. This genre image of life in rural Vermont shows a trip to the barn each morning to gather fresh eggs for the day, a job assigned to a young child. After eight years of training in Europe, Wood returned to the USA and had a successful career as a figure and portrait painter, and his paintings and prints also were a clear exposition of life in rural Vermont. A crisp impression in very good condition.
 
 
  Etching, 6 x 3 3/4 inches.
$125.
  Poverty
 
Thomas Waterman Wood
(1823-1903)

  HIS OWN DOCTOR, 1883. Signed and dated in the plate. This is a dignified depiction of an impoverished but resilient African-American elder. After the Civil War, Wood became a leading genre painter . He took a particular interest in American "types," which included respectful genre portraits of blacks. His work in paintings, watercolors, and etchings is best seen at the Wood Art Gallery in Montpelier, Vermont. See Thomas Waterman Wood, exh. cat. and Paul Worman, Catalogue Raisonné, both for the Wood Art Gallery.l This is a brilliant impression in mint condition.
 
 
  Etching, 11 9 /16 x 7 7/8 inches.
$1400.
  Thomas Waterman Wood
(1823-1903)

  THINKING IT OVER, 1884. Signed in pencil. Signed and dated in the plate. This is one of Wood's political series: here, a carpenter in his New England workshop is deciding, after reading a Boston newspaper, who will get his vote. The definitive collection of Wood's work is in the Wood Art Gallery, Montpelier, VT, although his etchings are also in many museum collections. A fine impression in good condition.
 
 
  Etching, 14 x 9 3/4 inches.
$700.
  POLITICS
 
Thomas Waterman Wood
(1823-1903)

  THE DAY BEFORE ELECTION, 1887. Signed in the plate. The remarque shows a man putting a ballot in the box, with the whiskered man watching--these are the same two men as in the main print, but the there positions are reversed. The theme of democratic elections concerned Wood, as is evident by "Thinking It Over," also an election print. A crisp image, in excellent condition.
 
 
  Etching: plate, 22 x 17; image, 17 3/4 x 14 inches.
$800.
  New Listing
 
Thomas Waterman Wood
(1823-1903)

  THE DAY BEFORE ELECTION, 1887. This is a detail of the preceding print, with a close-up of what Wood caled an "American type."
 
 
  See above.
$See above.
  New Listing
 
Thomas Waterman Wood (after)
(1823-1903)

  UNCLE NED AND I, ca. 1882, after a painting by Wood. Signed in pencil by Wood, the painter, and John Angel James Wilcox (1835-ca. 1908), the etcher. This is a proof before letters, on chine collé, published by Klackner. After the Civil War, Wood became one of the leading genre painters in America. This is a touching portrait of a kindly older African-American man and his relationship with the Caucasian child who loves and trusts him. A fine impression in good condition.
 
 
  Etching and engraving: plate, 29 7/8 x 19 3/4; image, 24 3/4 x 16 5/8 inches.
SOLD.
  CIVIL WAR
 
Michael Angelo Woolf
(1837-1899)

  DISUNION, 1860. This is a caricature of James Gordon Bennett, publisher of the "Herald," fanning the flames of the Civil War. As Murrell notes in his "American Graphic Humor," Woolf's pen and ink style of drawing is very modern and communicates the message with great clarity. The caption from Shakespeare reads, "Good my lord, what is the cause of your distemper?....Sir, I lack advancement." An impression of this is in the collection of the American Antiquarian Society.
 
 
  Lithograph, 10 1/8 x 13 1/4 inches.
$500.
  Theodore Wust
(active 1875-1890)

  SEASHORE, 1887. Signed in pencil, on Japan paper. Published by Klackner, the leading NYC print publisher, in 1888. Wust was a political caricaturist and cartoonist for The Daily Graphic in NYC in the last quarter of the 19th century. This figure of a young girl certainly has a humorous quality.
 
 
  Etching, 6 1/4" x 4 1/2".
$125.
  Architecture--New!
 
Leroy Milton Yale, M.D.
(1841-1906)

  TOUR DE VISIGOTH ET DE L'INQUISITION, CARCASSONNE, 1883. Signed in pencil and printed on Japan paper. The towers were built by the Visigoths in the 6th century, making Carassonne a pigrimage site for architects to this day. In Yale's MS (#165) he noted that this was "made from a photograph" for C. Scribner's Sons, commissioned for Marvin R. Vincent, In the Shadow of the Pyrénées from Basque-Land to Carcassonne, 1883. Yale noted that it was "very badly printed in the book edition." This is a very fine impression, not from the book edition, and is in excellent condition.
 
 
  Etching, 5 1/8 x 3 1/8 inches.
$375.
  New Listing
 
Leroy Milton Yale, M.D.
(1841-1906)

  EAST ROCKAWAY, 1904. Signed in pencil: "To Mr. Rogers, 04/xii/3. Leroy Milton Yale," and in the plate "L.M. Yale--1904 x 30--To J.L.R." Yale MS #225. Yale was a medical doctor and ardent etcher, in the tradition of Seymour Haden. The view of the Queens shoreline indicates how rural that part of NYC once was. This is printed on slightly cockled Japan paper, otherwise in good condition. It is a very rich impression of a rare print.
 
 
  Etching, 4 1/8 x 7 1/4 inches.
$400.
  New Listing
 
Leroy Milton Yale, M.D.
(1841-1906)

  OLD BRIDGE NEAR NEWBURYPORT, 1883. Signed in pencil, and signed in the plate "Newburyport, Aug. 25, 1882. L.M.Yale." Yale MS #157, "on copper from nature." In that statement Yale is living up to the Etching Revival ideal of etching a plate outdoors directly on the copper plate, rather than from a drawing in the studio. This was published in the deluxe edition of Notable Etchings by American Artists, 1886, the only Yale etching to appear in one of the portfolios of the era. In excellent condition. .
 
 
  Etchings, 5 7/8 x 9 1/16 inches.
$500.
  New Listing
 
Leroy Milton Yale, M.D.
(1841-1906)

  POPLARS AT KEW BRIDGE, 1877. Signed in pencil with initials, and titled in the plate. Yale MS #56: "on zinc." This is a rare print made during Yale's travels in England and France. He was one of the three founders of the New York Etching Club in 1877, the year this print was made. Yale managed to have time to be a printmaking pioneer as well as a medical doctor. In very good condition.
 
 
  Etching, 5 7/8 x 5 13/16 inches.
SOLD.
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