19th Century American

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.

Drypoint from 1885. Catalog: Rice 70. An etching of the covered bridge with the Statehouse in the distance. Plate measures 11 1/2 x 17 1/2 inches on 19 1/2 x 25 1/4 inch handmade Japan paper. Pencil signed in the lower right, plate signed, titled, and dated in the lower left. This print has good plate toning and a rich drypoint burr. C. A. Platt was born in New York and studied art at the National Academy of Design, the Art Students League and the Academie Julian. He was a very successful painter and etcher, known for his delicately rendered New England landscapes and harbor scenes.

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.

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.

Etching, image size 9 5/8 x 13 1/2 inches on 13 1/2 x 19 1/4 inch japan paper, plate signed and dated l.l. "Stephen Parrish 1883". Pencil signed in the lower right.

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.

Etching and drypoint from 1880. This is a rare image, not found in the Gilcrease catalog. Monogramed in the plate lower left. Plate measures 3 1/2 x 7 1/2 inches on 9 x 12 inch laid type paper. Minor tears on edges of sheet, well away from the image. This print has a beautiful composition and fine details, a rich impression of this scarce etching.

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.