This is a drypoint etching from 1881. Plate signed in the lower right, titled and dated in the lower left. Plate measures 15 1/4 x 13 1/4 inches on 17 1/2 x 15 1/2 inch laid paper. Catalog: Platt 26. An atmospheric print with a rich drypoint burr.
19th Century American
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.
Drypoint etching after Rudolf F. Bunner. Plate monogrammed by Share in the lower right, signed by Bunner in the lower left. Pencil signed by both. Plate measures 10 1/2 x 16 1/2 inches on 15 x 19 inch laid paper. Inscribed in the lower left: "Copyright 1886 by C. Klackner, 17 E. 17th St, N.Y." This print has excellent detail, plate toning, and a rich drypoint burr.
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.
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.
Drypoint etching C. 1885. Plate signed and dated in the lower left."The Bridge of Saragossa" inscribed in the lower right. Catalog: Rice 67. Plate measures 4 x 5 7/8 inches on 7 5/8 x 10 3/4 inch wove paper. Printed in brown-toned ink, with plate toning and fine detail.
Etching measures 6 1/2 x 4 3/8 inches on 12 x 9 inch laid type paper. Unsigned. A well inked impression in sepia ink.
Etching measures 3 1/2 x 7 inches on 9 x 12 inch laid paper. C. 1883. Signed and dated August 1883 in the plate in the lower left. Plate titled in the lower right. A well inked etching with extensive use of plate tone.
Etching measures 5 1/2 x 7 1/2 inches in an 11 1/4 12 7/8 inch black frame. C. 1880. Plate initialed and dated in the lower right. Catalog: Klackner 9. Published in 1880 by the American Art Review. A dark and detailed print with a rich drypoint burr. 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.
After painting by W.M Hunt. Made in June 1882. State ii/iii. From the head of the harbor, looking south. Catalog reference: Schneider 74. Image size measures 13 1/8 x 19 7/8 inches, plate size measures 16 x 21 5/8 inches, on 17 7/8 x 23 3/4 inch paper, on chine-collé. W.M.H monogrammed in the plate in the lower left. Pencil signed in the lower right, plate signed "S. Parrish aq. ft" in the lower left. Remarque of a ship in the lower left: this is Parrish's first etching with a remarque. A well inked print with good tonal range.