This etching by American artist James McNeill Whistler was titled: Alderney Street,London. It was created and printed in 1881, this second state of three was published by Gazette des Beaux-Arts, printed by Cadart Paris. The image measures 7X4 3/8 inches, has the artists butterfly monogram in the upper right side of the image. Printed on a medium weight laid type paper. The publisher's name in type setting in the lower margin. This is a street view in London in the vicinity of where Whistler lived for a short time after his return from Venice.
Etching, image size: 5 7/8 x 9 7/8 inches, 1881, #52, Cat. Schneider, edition of 38, pencil signed lower right
This is an extremely large hand colored engraving by William Overend Geller, after the painting by Baron Jolly. This engraving is titled: "Franklin at the Court of France, 1778". It was published in Philadelphia in 1853. The image measures 27 1/2X 37 3/4 inches on a sheet size of 31 1/2X40 inches. This engraving was originally sold with the edition of hand coloring in watercolor. The colors are very rich, the sheet is linen backed but in very good condition. Sold unframed.
This is an original pencil signed etching by American artist Charles Adams Platt. The title of this work is "Pier at Larmor". It was created and printed in 1885. The image measrues 14 1/8X8 1/2 inches. One of a series of Dutch etchings that he created during this period of travel in Europe. This is included in the Platt catalog as image number P-55. Framed.
This is an atmospheric marine etching by J. Henry Hill, after the painting by Otis Weber. The image measures 14 1/2 x 18 1/2 inches, published in 1886 by Klackner, New York, pencil signed on the lower right margin. Hill came from a family of artists and became a well known landscape and marine painter keeping with the pre-raphaelite tradition, influenced by John Ruskin and David Johnson.
This 1887 etching by the Irish American artist, Thomas Hovenden, measures 19 1/2 x 13 3/4 inches, pencil signed, remarque on l.l. of shaving mug with brush, copyright info on l.c. Thomas Hovenden was born in Cork, Ireland, studying at the Cork School of Design before emigrating to the US at age 23, enrolling at the National Academy of Design in NYC and working as an illustrator for Harper's magazine. He went on to study in Paris at the Ecole des Beaux Arts under Alexander Cabanel before settling back in the US in the Pennsylvania area. Known for his portrayal of African-Americans going about everyday life, during a time when they were treated less than fairly. His wife's family were abolitionists and his studio was previously used as a stop for the underground railroad.
Rare print with remarque from 1883, plate signed in the lower left. Catalog: Schneider 78. Edition of 30 with remarque. Plate measures 9 1/2 x 16 3/4 inches on 15 x 22 inch wove type paper. This is an atmospheric print with lovely plate tone.
Etching, image size 5 1/4 x 8 1/8 inches, 1882, plate signed l.l. "S Parrish" and "68" l.r., pencil signed l.r. "Stephen Parrish". This etching was made by Parrish after his painting, "A Fishing Hamlet, Bay of Fundy--Evening, which was shown at the National Academy of Design in March 1882.
Etching, image size 11 1/8 x 15 7/8 inches, plate signed, inscribed "etched by Mielatz"
This is an original etching by American 19th century printmaker, Stephen Parrish. The title is: A Showery Day, St. Augustine This image was created and printed in 1884. The image measures 5 5/8X9 5/8 inches. It is hand signed in pencil and has the title written in the artists hand in the lower margin. Printed on a medium weight wove type paper. This image appears in the Schneider catalog as image number 100.
Etching on chine colle, image size 16 3/4 x 12 inches, published by Klackner, pencil signed.
This beautifully etched image by Thomas Moran measures 11 5/8 x 8 inches, is plate signed and dated. Thomas Moran was a leading artist of the American etching revival, and in 1877 was one of the founders of the New York Etching Club. Moran was known for his experimentation in all aspects of the etching process, and his ability to beautifully capture the atmosphere and energy of the American landscape. This view of the rugged landscape of Half Dome, the plunging depth of the valley and the towering height of the mountains is accentuated by Moran's richly inked rugged foreground and the contrasting, lightly etched lines of the background giving one the sense of the hostility of the environment.
Copyright 2021· All rights reserved