Rona Schneider Fine Prints
  19th CENTURY PRINTS

ARTISTS A to C

All prints are in good condition, except where defects are noted.
Click print for an enlarged view.

 
  Otto Henry Bacher
(1856-1909)

  FONDAMENTA DEI TOLENTINI, 1880. Andrew, Venice set 28, first state. Signed in the plate: an early state printed in black ink on cream color chine collé and possobly printed by Bacher himself while in Venice. This is a wonderful evocation of 1880s life in an ordinary Venice neighborhood. Amazingly, the nearest building still stands, with the shop occupied by a watchmaker. This is beautifully inked and printed, with every line clear. In fine condition.
 
 
  Etching, 7 1/8 x 10 7/8 inches.
$1200.
  Venice
 
Otto Henry Bacher
(1856-1909)

  FONDAMENTA DELLE ZATTERE, 1880. Andrew, Venice set 17. (Alternate title: View in Venice.) Signed, titled, and dated in the plate. This view is looking east across the little bridge where the Rio di San Trovaso enters the Giudecca Canal, with the facade of the Church of the Gesuati beyond. Bacher always preferred to depict the ordinary places, such as this scene of commercial shipping, rather than the grand views favored by earlier generations. The Via Accademia leads to the fondamenta, which affords beautiful sunet views. This is an especially good impression, with a firm plate mark and great clarity of line. In fine condition.
 
 
  Etching, 7 x 10 1/4 inches.
SOLD.
  New Listing
 
Otto Henry Bacher
(1856-1909)

  SAILING TOY YACHTS IN CENTRAL PARK, March 1888. Andrew, Miscellaneous #15. [Alternate title: BOYS SAILING BOATS.] Signed and dated in the plate. Printed in brown-black ink on etching paper. Late 19th century images of New York City's Central Park are uncommon, and I've never seen another etching of this wonderful childhood activity. Judging by the figures and the quality of the model boats, this is not an activity for the children of the poor. This is a scarce etching, in excellent condition.
 
 
  Etching: plate, 9 x 11 1/2; image, 7 1/4 x 9 7/8 inches.
SOLD.
  DANUBE ON SATIN
 
Otto Henry Bacher
(1856-1909)

  SCHWABELWEISS, 1879. Andrew, Danube set #14. Signed with his monogram, titled, and dated in the plate. Bacher left Cleveland for studies in Munich in 1878, and this etching represents his happy experience in Germany as a youth tramping along the Danube River from one small town to another. The trip resulted in 27 etchings in his Danube Set. After his studies in Munich, Bacher went with Frank Duveneck's "boys" to Venice in 1880 where he fell under the spell of Whistler. This etching is printed on satin, a delicate process much-loved in the 1880s for the glistening effect. The survival of works on satin (silk) is not common. This is in beautiful condition.
 
 
  Etching on Satin, 3 1/8 x 8 1/8 inches.
$300.
  American Crafts
 
Otto Henry Bacher
(1856-1909)

  AT THE SPINNING WHEEL, 1884. Andrew, Miscellaneous #14. Signed in the plate, "Otto H. Bacher, Forest City," and titled "A Wheel of Three Generations in 1884" in the plate. This scarce etching was published in Selected Etchings by American Artists, Philadelphia, 1884, and expresses the late-19th century nostalgia for a fast disappearing rural way of life. In excellent condition.
 
 
  Etching, 13 5/8 x 9 1/4 inches.
SOLD.
  Otto Henry Bacher
(1856-1909)

  THREE SHIPS, 1880. Andrew, Venice set #30, second state. (Alternate title: "Vessels.") Signed in pencil and printed in brown ink on wove Japan paper. Behind the tall ships (which are a reminder of Venice's earlier importance as a commercial port), the Riva and the Doge's Palace are glimpsed in this view across the Grand Canal made from either the Salute or S. Giorgio. This print was reproduced as the frontispiece for Bacher's book, With Whistler in Venice, 1908. It was titled there as "A View from Whistler's Window" (a title Bacher later assigned to a different print).
 
 
  Etching, 6 3/4" x 5 3/4".
SOLD.
  Otto Henry Bacher
(1856-1909)

  RAINY NIGHT, VENICE, 1880. Andrew, Venice set 15. On chine collé, unsigned. His most dramatic plate, beautifully wiped. Bacher worked on etching with Whistler in the summer of 1880, learning much from the master and, in turn, assisting Whistler with the proofing of his plates. Bacher wrote a memoir of those great times in With Whistler in Venice (1908).
 
 
  Etching, 5" x 12 3/8".
SOLD.
  VENICE
 
Otto Henry Bacher
(1856-1909)

  VIA GARIBALDI, 1880. Andrew, Venice set 20. Signed in pencil, and printed on chine collé, On the Library of Congress proof, Bacher wrote: "Via Garibaldi, plate destroyed, very rare." Bacher worked on etching with Whistler when "Duveneck's boys," along with Whistler and Maude, all lived at the Casa Jankowitz, at the end of the Riva degli Schiavoni, near the Via Garibaldi. The Via Garibaldi is at the beginning of the Rio de Sta. Anna in the Castello district at the eastern end of Venice. Part of the canal has been filled in because the water has risen too high for boats to pass under the bridge. This is a fine impression of a rare print.
 
 
  Etching, 7 7/8 x 6 3/4 inches.
SOLD.
  W.C. Bauer
(fl.1884-1898)

  BENEATH A CANOPY OF SNOW, 1888. Signed in pencil. Remarque of farm house, hay ricks, and trees. Listed in the 1888 Klackner catalog: Klackner was the leading American publisher of fine art prints in the period, and published all the leading artists, including Winslow Homer. Bauer's etchings sold for $4 to $30 while Homer's prices ranged from $15 to $30! A Bauer etching is in the collection of the Parrish Art Museum, Southampton, NY.
 
 
  Etching, 9 5/8" x 13 7/8".
$250.
  New Listing
 
J. T. Bentley
(active 1880-1890)

  NEAR MANOMET [Mass.], 1887. Signed in pencil. Printed in warm brown ink. This luminist view on the west coast of Cape Cod Bay was exhibited at the New York Etching Club in 1888, An impression is in the collection of the Parrish Art Museum. Bentley was a Tenafly, NJ, artist but, like most landscapists of the 19th century, he traveled widely to find new subjects for his art work.
 
 
  Etching, 11 x 18 3/4 inches.
$600.
  Monotype
 
Albion Harris Bicknell
(1837-1915)

  ON THE FIELD, ca. 1881. Signed in the plate, and printed in brown-black ink on laid Japan paper. With a purple stamp "Insperata Floruit" in a circle, l.r. corner of sheet. Bicknell, a Bostonian, was among the first Americans to experiment with the monotype after his Parisian studies in the early 1860s. His work was innovative and in 1881 exhibitions of about 50 of his monotypes were held in Boston and New York. American monotypes form this period are very scarce. A brilliant, richly inked impression in very fine condition,
 
 
  Monotype, 10 x 18 inches.
$4000.
  New Listing
 
Albion Harris Bicknell
(1837-1915)

  [LANDSCAPE WITH HOUSE AND WOMAN AT WELL], ca. 1880. Signed in pencil and printed on Japanese paper. This is probably a scene in coastal New England, judging by the lack of trees. To me, it speaks of the hardship of rural life, but to others it is contemplative and serene. Take your pick. In fine condition except for a soft crease at the right, exagerrated in the photo but barely noticeable in person.
 
 
  Etching, 9 x 15 7/8 inches.
$300.
  New Listing
 
William Harry Warren Bicknell
(1860-1947)

  PORTRAIT OF SYLVESTER ROSA KOEHLER, 1912.. Signed in pencil, printed on fine Japan paper. Library of Congress #9. Koehler was the print curator at the National Museum (later the Smithsonian) and the Museum of Fine Arts, Boston. German born and trained, he was the patron saint of the American Etching Revival, the editor of the American Art Review, and the prime mover in developing the taste for fine art prints in the United States. Although this etching was made in 1912, I have entered it in the 19th century listings since that was the sphere of Koehler's great influence. An wonderful portrait in fine condition.
 
 
  Etching, 4 1/2 x 3 3/8 inches.
$350.
  New Listing
 
Robert Frederick Blum
(1857-1903)

  A MACARONI OF THE 18th CENTURY, 1880-1887. Signed and dated in the plate. Copyright by F. A. Stokes, 1887. This is based on an 1880 drawing for a series of sketches on 18th century American life in Yorktown and Alexandria, Virginia. "Macaroni" is a slang term for a dandy in the 18th Century--think of the words of "Yankee Doodle." Etchings by Blum, who fell under the spell of Whistler in Venice, are scarce. A beautiful impression printed in sepia ink, in very fine condition.
 
 
  Etching, 11 7/8 x 8 7/8 inches.
$475.
  New Listing
 
George Loring Brown
(1814-1889)

  THE FALLS OF TIVOLI, 1854. Signed and dated in the plate. This print is number 6 in Brown's splendid set of nine views in the Roman Campagna. The campagna was a rural area south of Rome that was a major destination for 19th century Americans on the Grand Tour. Brown lived in Rome for many years before returning to a very successful career in Boston.
 
 
  Etching, 8 x 5 3/4 inches.
$800.
  NEW LISTING
 
George Loring Brown
(1814-1889)

  VIEW NEAR ROME, 1854. Signed, titled and dated in the plate. Brown made a set of nine etchings of scenes in the Roman Campagna, an area especially favored by American landscape painters in the mid-19th century. Brown was one of the few artists also making etchings of the views: this is number nine in the set which has been documented by Thomas W. Leavitt in George Loring Brown, an exhibition catalogue for the Fleming Museum, Burlington, VT, 1973. This is a brilliant image printed in the 1880s on chine collé, in mint condition.
 
 
  Etching, 6 x 8 1/2 inches.
$900.
  Rare: New Listing
 
George Loring Brown
(1814-1889)

  VIEW OF PALAZZUOLO, LAKE ALBANO, 1853. That is the title given by Leavitt. Brown signed and titled this in pencil: "Convent of Palazuolo." Pencil signatures are very rare on G.L. Brown etchings. This is number 5 in his Roman Campagna set. A few etchings in the set were reprinted elsewhere, but this one was not, hence its extreme scarcity. Brown used ruled lines in the sky and water, a technique discarded by etchers in the 1880s. Note the tiny figures of two men and a horse in the center foreground, a stylistic device not used in the later etching revival. The extreme isolation of this convent on the rocky bluff is highly dramatic. In very good condition.
 
 
  Etching, 4 3/4 x 7 inches.
$2000.
  Early Lithography
 
George Loring Brown
(1814-1889)

  BLUE'S QUICK STEP, 1836. Signed in the stone, "G. L. Brown, Invt." Brown drew this charming military scene for Moore's (the successor to Pendleton) Lithography, Boston, to illustrate a sheet music cover, whose complete title is: "The Blue's Quick Step, as performed by the Boston Brass Band, Composed & repectfully dedicated to Capt. James Hunt, Officers and Members of the Light Infantry Company Winslow Blues/ by John Holloway." Published in Boston by John Ashton, 197 Washington St. Many of the finest American artists of the 19th century, such as Winslow Homer and Fitzhugh Lane, began their careers making illustrations for commercial lithography firms, and sheet music covers are an excellent source of early work by these artists. This is in fine condition and still has the sheet music.
 
 
  Lithograph: image, 7 1/8 x 8 1/2 inches; with lettering, 12 1/2 x 8 3/4 inches.
$350.
  New Listing
 
John G. Brown
(1831-1913)

  BUSINESS NEGLECTED, 1884. Signed in pencil, and printed in warm black ink on Japan paper. Brown was justly acclaimed for his depictions of urban waifs in the late 19th century. He was born into an impoverished English lawyer's family, and apprenticed to a glass factory at the age of 14, so his sympathy for poor was an honest one. After he emigrated to America, he studied at the NAD, becoming a skilled portraitist. This shoeshine boy playing a home-made flute is typical of his images of NYC children. In excellent condition.
 
 
  Etching, 13 3/4 x 9 1/2 inches.
$900.
  New Listing
 
Jenny Brownscombe, after
(1850-1936)

  [GIRLS DAYDREAMING], ca. 1890. This is after a painting by Brownscombe, signed in pencil by both Brownscombe and the etcher. Published by Klackner and printed on vellum.. The remarque of two bouquets of flowers echoes the flowers the girls have received. They have stopped their reading and are dreaming of romance. A fine impression in excellent condition.
 
 
  Etching, 18 1/2 x 11 inches.
$400.
  French Etching
 
Félix Buhot
(French, 1847-1898)

  LES PETITES CHAUMIÈRES, 1878. Bourcard-Goodfriend 149 iv/iv. Signed in brown ink: "Hommage à M. Frederick Keppel, Félix Buhot, Paris, 1888." (Keppel was his dealer.) Bears the small red owl stamp. Signed in the plate, "Félix Buhot." On laid paper with watermark of a partial shield enclosing "AM" and topped by a fleur de lis.
Extensive marginal ink drawings and writing. Upper left of the sheet, "Ces pt. chaumières sont le Dos des 'grandes chaumières' ou nous avon passé 3 mois, Nettie et moi, après nos marriage en 1881." "Cette est 3 ans de 1878." (The "Grandes Chaumières" was his etching of 1881. Nettie was Henrietta, his wife.) At the upper right of the sheet is a drawing of a cliff, the sea, and a sailboat, annotated "La mer était vu à droite." A figure beneath the coastal scene appears to be a monk in a long robe. (James Goodfriend commented that this figure doesn't appear in any Buhot print.) The cottages were at Quineville, Normandy, near the east coast of the Cotentin peninsula.
There is an uneven residual water stain at the left of the sheet, 2" at its largest point. Otherwise in very good condition, and richly printed.
 
 
  Etching, drypoint, aquatint & roulette: sheet, 10 7/8 x 14 7/8 inches; plate, 3 7/8 x 5 3/8 inches.
SOLD.
  See above.
 
Félix Buhot
(1847-1898)

  LES PETITES CHAUMIÈRES. Detail of above.
 
 
  See above.
See above.
  Detail. See Above.
 
Félix Buhot
(1847-1898)

  LES PETITES CHAUMIÈRES. Detail of ink drawings on above etching.
 
 
  See above.
See above.
  Will Carqueville
(1871-1946)

  LIPPINCOTT'S MAY, 1895. Color lithograph on stone, published in Les Affiches Etrangères illustrées, Paris, 1897. Lithographs by Chaix; published by Boudet & Co. These lithographs were small versions of the best posters of the 1890s commissioned by various businesses and publishers. See: American Art Posters of the 1890s, exh. cat., The Metropolitan Museum of Art, 1987, illus. p. 114; Margolin, American Poster Renaissance, 1975, illus. p. 81; Keay, American Posters, 1975, illus., p. 23.
 
 
  Color lithograph, 8 1/8" x 5 1/4".
$175.
  John W. Casilear
(1811-1893)

  A SIBYL, 1847. Engraved for the American Art-Union; after a painting by Daniel Huntington. The American Art Union was a major force in the development and promotion of American art. The print was reissued in 1880 by The American Art Review, the leading art publication of the 1880s, and a devoted supporter of the Etching Revival. A brilliant impression on chine collé.
 
 
  Engraving, 9 7/8" x 7 5/8".
$250.
  William Merritt Chase
(1840-1916)

  [MAN IN DUTCH COSTUME SMOKING A CLAY PIPE], 1882. Signed and dated in the block, printed on thin Japan tissue. No engraver's name. This is a wood engraving in the extraordinarily fine "New School" manner (so-called by W.J. Linton, the authority on late-19th century wood engraving). It is after a painting which reflects Chase's training in Munich.
 
 
  Wood engraving, 9 1/4" x 6 1/8".
SOLD.
  New Listing
 
William Merritt Chase
(1840-1916)

  PORTRAIT OF FRANK DUVENECK, 1876. Printed on etching pzper, and signed in the plate. Etched by William Unger in 1879, after Chase's portrait painting of 1876. Duveneck and Chase were students together in Munich when this painting was done. Chase posed his friend in a Dutch style hat, smoking a long Dutch clay pipe and holding a print of a portrait by the much admired Dutch painter, Franz Hals. This is an excellent impression in very good condition.
 
 
  Etching, 11 3/8 x 6 1/8 inches.
$200.
  William Merritt Chase
(1840-1916)

  [HEAD OF A SPANISH MAN], 1881. Engraved by Frederick Juengling, the leading "New School" wood engraver of the era. Signed in the block: Chase, 1881; No. 1; N.Y. '81 Frederick Juengling, Sculp. Signed in pencil by Juengling and annotated in pencil "Presented by S. P. Avery." Printed on thin Japan tissue.
 
 
  Wood engraving, 7" x 4 7/8".
SOLD.
  New Price
 
William Merritt Chase
(1840-1916)

  THE COURT JESTER, 1878. Signed in the plate. Chase studied in Munich, and this print was etched by him after his own Munich-style painting. The painting is in the collection of the Pennsylvania Academy of Fine Arts. Chase is now most famous as an American Impressionist painter. See Ronald B. Pisano, William Merritt Chase, Henry Art Gallery, University of Washington, 1983, p. 29.
This is a strong impression in very good condition.
 
 
  Etching, 7 1/4 x 4 1/2 inches.
SOLD.
  New Listing
 
William Merritt Chase
(1840-1916)

  SPANISH PEASANT, 1883. Signed in the plate, and printed in black ink on etching paper, as published in the New York Etching Club catalog, 1883. This is Chases's small version of his large etching that was included in the Club's annual exhibition. Each year 8 (9 in 1883) artists were elected to create a small etching after their large one--it was an honor to be so chosen. This is a magnificently etched image in fine condition.
 
 
  Etching, 5 7/16 x 3 inches.
$400.
  Frederick Stuart Church
(1842-1924)

  DREAMERS, 1886. Signed, titled, and dated in the plate. Printed in warm brown ink on Japan paper. Church was a noted illustrator, painter and etcher, and a founding member of the Salmagundi Club in NYC in 1871. This etching typifies his style and subject matter.
 
 
  Etching, 8 x 5 15/16 inches.
SOLD.
  New--Valentine Day
 
Frederick Stuart Church
(1842-1924)

  MARKET DAY, 1882. Signed, dated, and titled in the plate. As published in the NYEC exhibition catalogue for 1883, the small version of the larger etching he had in the exhibition. I have never seen the large version. Church was a great romantic, but never married. A strong impression in fine condition.
 
 
  Etching, 5 1/2 x 3 inches.
$180.
  Faithful Love
 
Frederick Stuart Church
(1842-1924)

  THE WANDERERS RETURN, 1887. Signed and dated in the plate. Church was cornucopia of wonderful original and romantic images, this one printed in a soft orange ink. The young woman has a vaguely Grecian hairstyle and gown. In very fine condition.
 
 
  Etching, 10 1/2 x 7 inches.
$275.
  Frederick Stuart Church
(1842-1924)

  IDYLL, 1888. (Seated Girl, and Cupid on a Tiger.) Etching, ed. 215, pencil signed on Imperial Japan paper, with remarque. Church was especially loved for his playful depictions of animals, children, and pretty women. He was praised by contemporary critics for his imagination, and one modern writer has compared Church to Odilon Redon in his use of "fantasy." A rich impression in mint condition.
 
 
  Etching, 10 9/16 x 14 inches.
$600.
  New--Rare on Satin
 
Frederick Stuart Church
(1842-1924)

  THE MERMAID, 1880. Signed and titled in the plate. Printed in green ink, which Church used to interpret his undersea subject. Church was the master of the fanciful subject, often involving unusual animals and pretty maidens. This is a good, bright impression printed on satin, in fine condition. I've never before had an impression on satin of this very popular etching.
 
 
  Etching 8 3/4 x 5 3/4 inches.
$350.
  New Listing
 
Frederick Stuart Church
(1842-1924)

  A SYMPHONY, NINETEENTH CENTURY, 1884. Signed in pencil. Printed in warm black ink on Japan paper. Signed and dated in the plate. This is an especially appealing fantasy subject--the curling vine enclosing the subject, with the empty space beyond, sets the figures in their own imaginary space. The banjo being strummed by the pretty woman for the adorable cherub is decorated with a tiny mermaid. Church never misses a chance to make his point. Beautifully printed, and in perfect condition, this is one of Church's best etchings.
 
 
  Etching, 8 3/4 x 12 1/4 inches.
$450.
  Gabrielle deVaux Clements
(1858-1948)

  AN OLD SAINT, CHARTRES CATHEDRAL, 1885. Signed in pencil. Rare. Exhibited in the "Woman Etchers of America," #59, at the Union League Club, NYC, 1888. Clements was one of the many American women dedicated to printmaking; she and Ellen Day Hale traveled together to paint and etch in France. Chartres was a major destination for artists in the period. See: Phyllis Peet, American Women of the Etching Revival, exh. cat., High Museum, Atlanta, 1988.
 
 
  Etching, 6 1/2 x 3 1/4 inches.
SOLD.
  Gabrielle deVaux Clements
(1858-1948)

  FORT DUMPLING AND BEAVERTAIL LIGHT, 1887. Signed in pencil; on Japan paper. This is a rare view of an historic site in the harbor at Newport, RI. Clements, like so many of the etchers of the era, avoided depicting scenes of wealth and high society, even in fashionable Newport. .
 
 
  Etching, 2 1/2" x 4 1/4".
SOLD.
  Chartres Sculpture
 
Gabrielle DeVaux Clements
(1858-1948)

  A SUNDIAL, CHARTRES CATHEDRAL, 1885. Signed in pencil. This is a rare print: I've only had one other in 25 years. It was exhibited at the Union League Club, NYC, in 1888, along with her other Chartres etching on this web site. Printed on a very large sheet of heavy etching paper. This is a bright impression with a few light foxing spots verso, otherwise in very fine condition.
 
 
  Etching, 4 5/8 x 3 1/8 inches.
$650.
  Gabrielle deVaux Clements
(1858-1948)

  NATIVITY SCENE, ca. 1930. Signed in pencil. Clements continued to make etchings, as well as to paint, for most of her life; this was probably done in her studio in Rockport, Mass. See: Phyllis Peet, American Women of the Etching Revival, exh. cat., High Museum, Atlanta, 1988.
 
 
  Etching, 8 3/16" x 5 1/4".
SOLD.
  New Listing
 
Gabrielle deVaux Clements
(1858-1948)

  A NEW ENGLAND ROAD, 1883. Signed, dated, and numbered "XII" in the plate. Printed on thin Japan paper, and has the Stephen Parrish estate stamp in the lower left corner. Clements and her friend, Ellen Day Hale, spent several years together in the Newport area, and later travelled in Europe. This etching has a light, feathery touch not seen in Clements' other prints. There is an impression in the Parrish Art Museum, Southampton. This is in very fine condition.
 
 
  Etching, 5 3/4 x 7 7/8 inches.
$400.
  Barbizon in America
 
J. Foxcroft Cole
(1837-1892)

  A VILLAGE STREET IN FRANCE. Etched in 1866, published in 1880 in "The American Art Review." Signed in pencil, and in the plate. Cole studied painting in France in the 1860s and was influenced by artists of the Barbizon School, especially Charles Jacque. The style of this etching is similar to Fench etchings of the period and was made long before the rise of the American Etching Revival.
 
 
  Etching, 7 5/8 x 9 1/2 inches.
$500.
  Samuel Colman
(1832-1920)

  CONWAY CASTLE, 1890. Signed in the plate, first state of two, on Japan "vellum." Published by the Society of American Etchers, a short-lived organization started by the etchers to avoid the regular publishers. (Pencil signed second state also available.) A scarce print of an uncommon subject by an important American painter.
 
 
  Etching, 7" x 10".
$550.
  New Listing
 
Samuel Colman
(1832-1920)

  JAPANESE INRO, 1883. Pencil signed lower right corner of the sheet, "For my Collection, Henry F. Voigt." Voigt was the great printer of etchings in NYC in the 1880s for all the leading artists. This print was exhibited at the NY Etching Club in 1884. The image is of one of the many pieces of Asian art in Colman's personal collection, and is one of the few examples of "Japonisme" in American printmaking of the period. A bright impression, in perfect condition. RARE.
 
 
  Etching and drypoint, 5 x 3 1/2 inches.
$750.
  Samuel Colman
(1832-1920)

  OLD MILL AT WAINSCOTT, L.I., ca. 1881. Signed in the plate, and printed in warm brown ink on laid paper. Several of these much-loved windmills still survive in the ultra-fashionable Hamptons, a reminder of the simple Dutch and English agricultural past of the area. (This photo is slightly cropped.)
 
 
  Etching, 8 7/8" x 5 7/8".
SOLD.
  Samuel Colman
(1832-1920)

  THE OLIVE TREES OF THE RIVIERA, 1884. Signed in the plate. A native of Portland, Maine, Colman spent most of his life as a very successful New York City artist, as well as building a splendid home in Newport, RI. He traveled widely in Europe and drew extensively from his experiences there to create paintings as well as etchings. See: Wayne Craven, "Samuel Colman (1832-1920): "Rediscovered Painter of Far Away Places," The American Art Journal, v. 8, no. 1 (May 1976), pp. 16-37, and Thomas P. Bruhn, American Etching: The 1880s, exh. cat., Benton Museum, Univ. of CT, 1985.
 
 
  Etching, 10 5/8 x 14 1/4".
SOLD.
  New Listing
 
Samuel Colman
(1832-1920)

  OLD MILL IN THE RIVIERA VALLEY, ca. 1884. Signed in the plate with the intertwined "SC" monogram on a scroll. Colman travelled frequently in Europe, and the Italian and French rivieras held a special attraction for him, as they still do for today's travellers. Colman's curvilinear line is unique among the American etchers. A beautifully printed impression in pristine condition.
 
 
  Etching, 5 x 7 7/8 inches.
$350.
  Belgium
 
Samuel Colman
(1832-1920)

  THE PONT DE GAND, BRUGES, 1884. Signed in the plate. Colman, like so many American artists, was entranced by the medieval and renaissance castles of Europe. The trees and riverbank are etched with the curving lines that are typical of Colman's style. For the most complete discussions of Colman's art and life, see the Craven and Bruhn publications cited in "Olive Trees of the Riviera." This is a rich impression in fine condition.
 
 
  Etching, 11 x 12 3/4 inches.
$300.
  Reginald Cleveland Coxe
(1855-ca.1926)

  HOME AGAIN, 1887. Signed in the plate and inscribed. "Copyright R. Cleveland Coxe, N.Y." Printed on Japan vellum. Remarque: anchor on bow of ship. Coxe specialized in marine scenes, and this impressive etching, along with four others, is in the collection of the Parrish Art Museum, Southampton, NY.
 
 
  Etching, plate, 16" x 23 5/8"; image, 14" x 22".
SOLD.
Artists A to C    D to G    H to O    P to Z    Main Menu
Copyright ©2002-2005 Rona Schneider Fine Prints. All rights reserved.