19th Century American Prints

The Patriarch


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.

Daniel Webster With Bust of Washington


A very fine original engraving of Daniel Webster, after the painting by Thomas B. Lawson, image size 26 1/2 x 18 inches, 1852, engraved and printed by C. E. Wagstaff and Jos. Andrews, in what appears to be the original frame. Daniel Webster was a noted Senator, lawyer and politician from New Hampshire, who also served as secretary of state twice, under the administrations of William Henry Harrison, John Tyler and Millard Fillmore.

George Washington


Engraving by Cornelius Tiebout (1770-1830) after Stuart, image size 20 1/8 x 13 inches, sheet size 25 x 18 inches. This engraving is after the "Landsdowne" portrait, named for the British nobleman who commissioned the original painting by Stuart. It was first published by Tiebout in 1801. This is a later re-strike issued by William Smith, Philadelphia, c. 1865.

A Wheel of Three Generations in 1884


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.

Morning on the St. Johns, Florida


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.

A Voice From the Cliffs


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.