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 on chine colle, image size 16 3/4 x 12 inches, published by Klackner, pencil signed.
Etching, image size: 8 3/4 x 11 3/4 inches, 1884, second state, cat. Schneider-104, pencil signed lower right.
Etching, 7 1/4 X 12 3/4", 1884, pencil signed.
Original Plate signed etching by American Artist Thomas Moran. The title of this work is: "The Castle of San Juan de Ulua ,Vera Cruz" It was created and printed in 1884. This etching has an image size of 11 X 9 1/2 inches. Nice use of plate tone in the sky and water. Printed on a medium weight wove type paper, full borders all around, illustrated in the Gilcrease catalog as image number 49, 3rd state of 3, from the Cassell portfolio "Twenty American etchings".. 1884 This fortress guards the entrance to the harbor of Vera Cruz.
This is an original etching by American artist Thomas Moran. The title of this work is: "A Tower of Cortes, Mexico", it was created and printed in 1883. The image measures 12X9 3/4 inches. Very rich impression, plate signed only. This etching was printed on a medium weight buff toned wove type paper.
This is a luminous original etching of a rural watermill at twilight by American artist Charles Mielatz. The image size is 19 3/4 x 11 3/4 inches, published in 1886 by Fishel, Adler & Schwartz, remarque in the lower margin, pencil signed. Mielatz was born in Germany but came to the United States as a young boy, studying at the Chicago School of Design, although much of his etching technique was self taught. Mielatz was a member of New York Etching Club and was one of the first etchers elected to the National Academy of Design, where he was also the chief instructor of etching for many years. This is one of Mielatz's early etchings, which like most of his early work is done in the American painter-etcher style with a tonalist inspired sense of fading light.
This is an original etching by American artist Peter Moran. The title is: "Harvest at San Juan Pueblo", this etching was created and printed in 1883. The image measures 6X12 1/4 inches. This image is not pencil signed. A scene of the Pueblo Indians of New Mexico Herding horses.
Printed on a buff toned wove type paper, very good condition.
This is a beautiful, richly inked original etching by Peter Moran, image size 13 x 19 7/8 inches, published in 1886 by Klackner. It is state IV/IV, cat: Wright-92, pencil signed and titled on the lower margin. This image is listed with the title "Through the Meadow Stream" in the Wright catalog, although there are several alternate titles including the one that appears on this impression.
This richly inked and finely detailed Moran etching measures 7 7/8 x 11 5/8 inches. Pencil signed with frog remarque on lower right margin. Cat: Wright-70, fourth state. Part of the "Twenty Original American Etchings" series published by the Cassell Publishing Co. Peter Moran was a well known American painter and etcher and one of the foremost artists of the American etching revival of the late 19th century. He was known for his images of cows and farm animals, as well as his atmospheric scenes of the American Southwest. His brother, Thomas Moran, was also a well-known etcher and founder of the New York Etching Society.
This is a very fine original etching, image size 5 1/8 x 7 3/4 inches, 1879, from Bacher's Danube Set, pencil signed. A very richly inked impression beautiful plate tone on a fine wove type paper with ample margins.
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.
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