This is an original etching by American artist Edith Loring Peirce Getchell (1855-1940) The title of this work is: "The Overflow", Ulster County New York. The image is plate signed lower left corner. It was created and printed in 1882. The image measures 8X13 3/4 inches. Nice use of plate tone in the sky and land.
Etching, image size: 3 7/8 x 5 inches, 1888, cat. schneider-145, pencil signed lower right.
This is a very fine original etching by Massachusetts artist John Austin Sands Monks. The image size is 13 5/8 x 12 5/8 inches, 1885, pencil signed. Monks studied etching with George Cass and painting with George Inness, becoming well known for his New England landscapes and images of sheep.
A very fine original etching by American artist Stephen Parrish, this image is one of three images Parrish created of Chester, a small walled town near Liverpool, England. The image size is 9 1/4 x 7 3/8 inches, 1884, state I/II, before the remarque in the lower margin, cat: Schneider- 107, pencil signed.
Etching in sepia toned ink, image size 7 3/8 x 11 1/4, 1883, plate signed and dated, l.l.
This engraving by James Smillie measures 15 x 22 3/4 inches. Created after four paintings by Hudson River School founder Thomas Cole, this early lettered proof impression, published in Boston by L.A. Elliot, reads, "From the original Painting by Thomas Cole, in the possession of Rev.d Gorham D. Abbott, Spingler Institute, New York", under the title on the lower margin. Also included on the lower margin is a poem by J.H. Daniels. In 1842 Thomas Cole did a series of paintings that represented an allegory for the four stages of life; childhood, youth, manhood, and old age. Each phase accompanied by a guardian angel. In "Old Age" the voyager is looking across the river of life towards an angel filled sky, ready to enter the kingdom of heaven. Cole's paintings were converted to engravings after his death and widely distributed during "The Third Awakening", a period of religious activism from the late 1850's to the early 1900's.
Etching, 1884, image size 10 1/2 X 16 1/4 inches, plate signed "R. Swain Gifford 1884" l.r.
C. 1886. An etching by James David Smillie directly from the watercolor by Winslow Homer. Inscribed in the plate in the lower right: "Winslow Homer 1883." Catalog: Witthoft 42. Signed by Smillie in the upper left and inscribed "Aqua fortis 1886." Plate measures 6 5/8 x 10 inches on 11 1/2 x 14 3/4 inch wove type paper. A beautifully detailed and accurate rendition of the painting.
Etching, image size 13 5/8 x 9 1/4 inches, plate size 15 x 10 inches, 1884, printed on medium weight laid paper, plate signed "Otto H. Bacher Forest City", "A Wheel Of Three Generations In 1884" on bottom of print. Bacher began etching in Cleveland in 1876 and continued his art in Munich, Paris and Venice.
Etching, image size 5 x 8 7/8 inches, 1880, Schneider #39, plate signed l.l. "S. Parrish" and "39" l.r.
This is an original etching by American artist Charles Adams Platt. The title of this work is :"The East River Bridge" - Brooklyn Bridge It was created and printed in 1888 and published by Frederick Stokes New York. The image measures 6 3/4X10 7/8 inches. It is signed and dated in the plate and also pencil signed lower right border.
Etching, image size: 7 3/16 x 9 3/4 inches, 1888, plate signed lower right
Etching, image size 10 3/4 x 14 1/2 inches, 1884, artist's monogram within the plate, pencil signed, l.r, printed on Japan paper.
Drypoint etching by Thomas Moran. Plate signed and dated in the lower right, 1881. Plate measures 5 1/2 x 8 1/2 inches on 11 1/2 x 14 3/4 inch medium weight wove type paper. An atmospheric print with good use of plate tone. 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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