19th Century American Prints

The Forge

$1875.00

Drypoint etching from 1861. State 4 of 6. This image was part of the Thames set published in 1871. Catalog: Glasgow 86. The location is a forge in the small town of Perros-Guirec in Brittany. Plate signed and dated in the lower right. Plate measures 7 1/2 x 12 3/8 on 9 x 14 2/8 inch laid type paper A well-inked impression with a a rich drypoint burr.

Soupe a Trois Sous

$1850.00

This is an original etching by American artist James Abbott McNeil Whistler. The title of this image is "Soupe A Trois Sous", It was created and printed in 1859 and according to the Glascow catalog this image was never published. The etching measures 5 7/8X8 7/8 inches, printed on a thin Japan laid paper, very fine condition, nice use of plate tone in the foreground. Soupe à trois sous ' is French for 'Soup for three sous', which was very cheap soup, and implies that the restaurant was a very basic café/bar. Whistler's first title, 'Café des Pieds Monilles' implies a particular café. 'Café des Pieds Monilles' is almost certainly a garbled reference to the Parisian Café des Pieds-Humides ('Café of the Wet Feet'). However, this title seems to have been immediately rejected in favour of the more familiar ' Soupe à trois sous '.(glascow)

Hulingham

$1850.00

This is a fine impression of the original etching by James Abbott McNeill Whistler titled: "Hurlingham", it was created and printed circa 1879. This etching is the 4th state of 4. The image measures 5 3/8X7 7/8 inches, printed on a medium weight laid type paper with watermark. This is a rich image with fine use of plate tone in the sky and water.
superb condition apart from two old pieces of tape residue upper corners, well away from the image area. Hurlingham is on the river Thames in Fulham, west London, across the river from Wandsworth. Hurlingham Park looks south, across the river, to Wandsworth Park. It was a site where both amateur and professional activities overlapped. Thames barges, boats and tugs as well as rowboats and skiffs crowded the broad river. Hurlingham itself was a sporting venue for London Society, including Royalty, to watch and play polo, while the public could watch boat races from the riverbank. This etching appears in the Kennedy catalog as image number 181.

The Adam and Eve, Old Chelsea

$1850.00

Drypoint etching from 1878. Edition of 92. State III/III. Catalog: Glascow 175. Plate measures 6 3/4 x 11 3/4 inches in a black and gold frame. Printed in warm toned ink on antique watermarked laid paper. Plate signed with Whistler's trademark butterfly monogram in the upper left. A magnificently detailed print with good plate tone and rich inking.

Coming to Anchor

$1800.00

Etching from 1885 after Harry Chase. Pencil signed by both. Printed on chine-collé. Remarqué of an anchor in the lower left. Catalog: Gilcrease 51, Klackner 43, iii/iii. roulette and sandpaper ground. Some even light toning. A well-inked impression of this rare early American etching. Plate size measures 14 7/8 x 29 3/4 inches in a 20 3/4 x 35 1/2 inch frame.

Sara Smiling

$1450.00

Colored drypoint from 1904. Catalog: Breeskin 195. This is the only known state, some impressions in color (like this one). A delicate portrait that captures the subject well. Plate measures 8 3/4 x 6 inches on 10 x 7 1/2 inch wove paper. Cassatt originally only pulled one or two proofs from these plates. Cassatt tried to have them printed 20 years after their creation, but a patron of hers insisted that she had printed them before and they should be dated, as they were a second edition. Cassatt insisted that they were a first edition and, suspecting the patron of trying to get the prints for less money, refused to sign or date them, which is why this print has neither a date nor a signature. Mary Cassatt was one of three women to exhibit with the Impressionists group, as well as being the only American. She is best known for her portraits of mothers and children in their daily life. Cassatt studied at the Pennsylvania Academy of Fine Arts from 1861 to 1865, and moved to France in 1866, where she painted alongside Renoir, Degas, and Sisley.

Hurlingham

$1450.00

This is a drypoint etching from 1879, plate signed with Whistler's trademark butterfly monogram in the lower left corner. Catalog: Kennedy 181. State IV/IV. Plate measures 5 3/8 x 7 7/8 on 8 7/8 x 11 1/2 inch antique laid type paper with a grape watermark. Provenance: Harlow, McDonald & Co, 667 Fifth Avenue, New York. The Athenaeum referred to this print as "View Near Fulham" in 1879, which caused some confusion. A fine impression of one of Whistler's attractive depictions of sailing vessels on the Thames, just up the river from where Whistler lived in Chelsea.

A Gloucester Wharf

$1125.00

This is one of the most impressive etchings by American artist Stephen Parrish. It is titled: "A GLOUCESTER WHARF", it was created and printed in 1886. It was one of three plates that Parrish did exclusively in dry point. The image is quite large, measuring 17 7/8X11 7/8 inches, printed on a medium weight wove type hard paper, A beautiful impression with extensive use of plate tone in the sky and sea. Printed with brown ink, fine condition. The Oil,Sounds & Livers advertised on the building are important fisheries products. Sounds are fish air bladders ground up for use in making isinglass. Parrish made very few etchings in a vertical format. (rona schneider)

Evening in Brittany

$975.00

Etching, plate size: 15 5/8 x 23 5/8 inches, image size: 13 3/8 x 21 5/8 inches, 1887-1888, cat. Schneider-133, remarque lower left, inscribed lower right: "Selected for Mr. E. Q. Kennedy", printed by H. Wunderlich & Co., New York, on parchment, pencil signed lower right.

Tween the Gloaming and the Mirk, When the Kye Came Hame

$925.00

This is a rare pencil signed impression by Mary Nimmo Moran, etching, roulette and mezzotint, image size 7 3/8 x 11 3/8 inches, 1883, plate signed and dated, pencil signed. A beautiful impression in sepia ink with ample margins. Mary Nimmo Moran was one of the leading women etchers of the late 19th century, and along with her husband, Thomas Moran was at the forefront of the etching revival. Known for the originality and boldness of her etchings, Mary Nimmo Moran was a member of the Society of Painter-Etchers and the only female member of the Fellows of London's Royal Society of Painter-Etchers.

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