Rona Schneider Fine Prints
  19th CENTURY PRINTS

ARTISTS D to G

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

 
  FAMED EXPLORER
 
T. de Mare and G.P.A. Healy
1813-1894

  PORTRAIT OF HENRY M. STANLEY, 1879. Etched by T. de Mare after painting by the American G.P.A. Healy. Signed by all three, thus: "T. de Mare, sculpt./Geo.P.A. Healy, pinxt./Faithfully yours, Henry M. Stanley/Paris Jan.25th 1879." Published in London, and in the USA by Knoedler, both in 1879. Henry Morton Stanley was the Anglo-American journalist who located the famed explorer, Dr. David Livingstone at Lake Tanganyika in 1871. Stanley went on to lead several more expeditions to the Congo and Uganda. There is a large body of writings on Stanley's life and adventures, and he was knighted in 1899. He was famous for the line, "Dr. Livingstone, I presume?"
 
 
  Etching: image, 8 1/2 x 5 3/4 inches.
$500.
  TEXAS MISSION
 
Herman F. Deigendesch
(1858-1921)

  THE MISSION OF SAN JOSE DE AGUAYO, TEXAS, 1890. Signed in the plate. This beautiful old Spanish Mission church was begun in 1718, but by 1868 in was in ruins. It has been restored and is now one of the prime attractions of the San Antonio area. This image was commissioned for an important publication that attempted to document all the most historic churches of America. A fine impression in excellent condition.
 
 
  Etching, 8 x 10 7/8 inches.
$600.
  New Listing
 
Frank Duveneck
(1848-1918)

  LAGUNA VENETA, 1881. Poole 11. Ed. ca. 40, plate destroyed. Printed on chine collé and signed in the plate with the monogram. Published by Robert Dunthorne, London, 1882, titled "View of Shipping from the Riva [degli Shiavone]." Poole, in the Print Collectors' Quarterly, wrote that Duveneck's "Three fine plates of the Riva" were famously confused for Whistlers at an exhibition in London. These were Poole 11, 12, and 13, and are considered the best and most Whistlerian of Duveneck's etchings. In very good condition, and beautifully printed.
 
 
  Etching, 7 3/4 x 13 7/16 inches.
SOLD.
  Frank Duveneck
(1848-1919)

  THE BRIDGE OF SIGHS, 1883: "First Plate." Poole 14. Signed with the monogram and dated in the plate, l.r. Stamped verso: "Cincinnati Museum Association/Printed by L.H. Meakin." Meakin had worked with Duveneck at the Art Academy of Cincinnati, and after Duveneck donated ten plates to the Cincinnati Art Museum in 1915, Meakin did the printing. Duveneck's etchings are in the collections of most of the major American museums. This etching was made in the period when "Duveneck's Boys" were working with Whistler in Venice. All of Duveneck's etchings are scarce.
 
 
  Etching, 10 7/8" x 8 5/8".
SOLD.
  New listing
 
Lemuel D. Eldred
(1848-1921)

  ENTRANCE TO THE GRAND CANAL, VENICE, 1888. Signed in pencil, and printed on Japan paper. In very good condition and finely printed by Klackner, NYC. This has been professionally conserved. An impression is at the Parrish Art Museum, Southampton, NY.
 
 
  Etching, 3 7/8 x 6 3/4 inches.
$400.
  New listing
 
George E. Essig
(1838-1923)

  SUNSET, MAURICE RIVER, N.J., ca. 1887. Signed and titled in the plate. The Philadelphia Maritime Museum had an Essig exhibition in 1994. This serene view is in southern New Jersey, a primary locale for Essig. He was active in the art life of Philadelphia as a painter, watercolorist, and etcher, but his etchings are very scarce. See: William Patterson, "The Philadelphia Society of Etchers, " Imprint, Autumn 1994.
 
 
  Etching, image 8 1/8 x 12 inches.
SOLD.
  Erwin Faber
(1866-1939)

  CHURCH OF NOTRE-DAME DES VICTOIRES, LOWER TOWN OF QUEBEC, CANADA, 1890. Signed in the plate. Views of Quebec were not common in the 19th century. Faber, a Philadelphia artist, did several in this series on the churches of North America.
 
 
  Etching, 13" x 9".
$125.
  John Mackie Falconer
(1820-1903)

  THOMAS COLE'S FIRST STUDIO AT CATSKILL, NY, 1881. Signed in the plate. Each year the New York Etching Club selected the eight best etchings of their annual exhibition to be reproduced by the artist in a small version for use in the catalog. This was published in the first NYEC Catalog, 1882. Falconer was a devoted admirer of Cole and did a number of etchings devoted to Cole's life and work. See: Linda S. Ferber, "Our Mr. John M. Falconer," Brooklyn Before the Bridge, exh. cat., Brooklyn Museum, 1982.
 
 
  Etching, 4 13/16" x 3 3/8".
$150.
  John Mackie Falconer
(1820-1903)

  NEGRO HUTS IN NO. CAROLINA, 1880. Signed in the plate. Although primarily a Long Island landscapist, Falconer's travels in the Deep South inspired several poignant genre etchings of Black life. He especially loved the look of antiquated houses in his landscapes. See: Linda S. Ferber, "Our Mr. John M. Falconer," Brooklyn Before the Bridge, exh. cat., Brooklyn Museum, 1982. She notes that "Falconer was a central figure in the cultural life of nineteenth-century Brooklyn" and that "he counted among his good friends such eminent American artists as Thomas Cole, Asher B. Durand" and others.
 
 
  Etching, 4" x 6".
$150.
  Henry Farrer
(1843-1903)

  HAY RICKS, 1879. Signed and dated in the plate. This image was reproduced as a wood engraving in the Century Magazine, 1883, for a seminal article on "American Etchers," by Mariana van Rensselaer, a leading art critic of the era.
 
 
  Etching, 5 1/4" x 10 1/4".
$300.
  New----on Satin
 
Henry Farrer
(1843-1903)

  ON NEW YORK BAY, 1879. Signed and dated in the plate. Beautifully printed on satin. This is not a scarce print, except that I've never had one on satin before. Satin is a wonderful print surface, and a Victorian favorite, but usually found in poor condition. This one couldn't be brighter or cleaner. Farrer specialized in images of the NY waterfront--this is typical.
 
 
  Etching, 4 7 16 x 7 1/8 inches.
$275.
  Henry Farrer
(1843-1903)

  A SEASIDE RESIDENCE, 1882. Signed in pencil, printed in warm brown ink on Japanese paper. This view is probably at Gowanus Bay, Farrer's favorite Brooklyn locale, looking out to N.Y. harbor. An impression of this etching is in the Library of Congress, titled "An Old Boathouse." See: Beall, American Prints in the Library of Congress, 1970.
 
 
  Etching, 6 1/4" x 12".
$400.
  Henry Farrer
(1843-1903)

  THE TOW, 1886. (New York harbor.) Signed in the plate. On Japan paper. Farrer was born in England, but emigrated at the age of 19, and there is no record of his ever having returned to Europe. This quintessential American artist chose northeastern landscapes and marine views, usually at sunrise or twilight, as his favored subject matter. This etching is a paradigm of Farrer's wonderful images of New York harbor.
 
 
  Etching, 6" x 8 1/4".
SOLD.
  New Listing
 
Henry Farrer
(1843-1903)

  THE TOW, 1881. Signed and dated in the plate. There is a water color of this subject titled SUNSET, GOWANUS BAY, NEW YORK, 32 x 40 inches, which was exhibited in 1881at the NAD and appeared in the past decade on the NYC art market. There is also a small version which was published in the 1882 NY Etching Club catalog, the same year in which this large version was shown. Clearly Farrer loved this image of a tug boat, a paddle wheeler, and a sailboat: the drama of shipping in NY harbor is continually fascinating. (He later used the same title for an 1886 etching, which you can see in the previous entry.) This one is a beautifully inked impression in fine condition.
 
 
  Etching, 11 1/2 x 16 inches.
$950.
  Henry Farrer
(1843-1903)

  THE WASHERWOMAN, 1877. Signed in the plate, on Japan paper. (Also available on laid paper.) This print, done by Farrer from his pencil drawing, was made early in his etching career when many American artists were heavily influenced by the Barbizon tradition. This American washerwoman (probably in Brooklyn) was inspired by images of French peasants of the period.
 
 
  Etching, 4 3/4" x 3 3/8".
$300.
  South Carolina
 
Charles Fenderich
(1805-1887)

  WADDY THOMPSON, JR., 1842. Signed and dated in the stone as "From Life on Stone" and lithographed by P.S. Duval, Philadelphia's leading lithographic firm. Thomas Bruhn, The American Print: Originality and Experimentation, 1790-1890, p. 57, wrote that his "portraits overcome the conventions of the genre owing to Fenderich's compelling depiction of the sitter's physical presence." Two professionally mended marginal tears. Artistic lithography from this period is scarce.

This lithograph is from Fenderich's series of living American statesmen portraits. Waddy Thompson (1798-1868), a Whig congressman from 1835 to 1841, was from Greenville, South Carolina. He became the minister to Mexico from 1842-1844 and worked for a peaceful settlement of the Texas and California disputes. Thompson was adamantly against both the Mexican War and secession from the Union, and withdrew from public life rather than compromise his principles.
 

 
  Lithograph, 12 1/4" x 10 7/8".
SOLD.
  Philadelphian
 
Stephen James Ferris
(1835-1915)

  PORTRAIT OF WILLIAM SPOHN BAKER, 1882. Signed and dated in the plate, on chine collé. Signed and dedicated in pencil: "S. R. Koehler from W. S. Baker. Nov. 1882." Verso: the Koehler blue ink collector's stamp. Koehler was the first curator of prints at the Smithsonian and the Boston Museum of Fine Arts, and the "patron saint" of the American Etching Revival.

Stephen James Ferris and Elizabeth Moran were the parents of Jean Leon Gerome Ferris. Stephen, unlike most of the Morans, was a painter and etcher of portraits rather than landscapes. Baker was a leading critic and collector in Philadelphia, and author of several books on prints (two signed and dedicated books by Baker are also available for sale; please inquire).
 

 
  Etching, 10 x 7 1/2 inches.
$250.
  Jean Leon Gerome Ferris
(1863-1930)

  FEEDING THE RABBITS, 1888. Signed in pencil. Copyright by Klackner, 1888. Remarque of overturned flower pot. This pretty girl seated in a courtyard is either in southern Spain or Spanish Morocco, both of which yielded incredibly popular subject matter for 19th century artists.
 
 
  Etching, 16 3/4 x 11 3/4 inches.
SOLD.
  Jean Leon Gerome Ferris
(1863-1930)

  GRANADA, 1881. Signed, dated, and titled in the plate. Exhibited at the Phila. Society of Etchers in 1883, as #69 "Spanish Water Carrier." Spain was ranked as an exotic location in the period. Ferris (named for the acclaimed French "Orientalist" painter) was one of the nephews of Thomas Moran: the Moran family was the artistic dynasty of late 19th-century Philadelphia. See: Barbara Mitnick, Jean Leon Gerome Ferris, 1863-1930: American Painter Historian, Lauren Rogers Museum, Laurel, Miss., 1985.
 
 
  Etching, 9" x 5 7/8".
$200.
  Orientalism
 
Jean Leon Gerome Ferris
(1863-1930)

  MOORISH INCENSE BURNER, 1886. Signed in pencil. A remarque proof printed in brown-black ink. This beautiful young woman in Moorish costume, holding a large incense burner, reflects the late-19th century fascination with the exotic culture of North Africa. A brilliant impression in mint condition,
 
 
  Etching, 12 x 8 1/2 inches.
$600.
  New Listing
 
Edwin Forbes
(1839-1895)

  FORDING A RIVER/TWENTY MINUTES WAIT, 1876. Signed in pencil, and with text written in pencil, l.c. margin. This plate has two separate scenes, one over the other, a format Forbes used in several of his plates. On chine collé. Rare thus. This image was Plate 38 in his set of 40 etchings published as Life Studies of the Great Army, 1876, but this version: pencil signed, on chine collé, and before lettering, was apart from the published set. In excellent condition.
 
 
  Etching, 12 3/8 x 17 1/2 inches.
$675.
  New Listing
 
Edwin Forbes
(1839-1895)

  COMING INTO THE LINES, 1876. Signed in pencil by Forbes, and printed on chine collé. The text, in pencil, is in l.c. margin : "A party of slaves have taken massa's old schooner (wagon) and with a 'spike' team have started for the Union lines. They are passing the picket post. On the distant hill some laggards appear in sight, one waving his hat for joy...[at the] sight of Massa Linkums sodgers." Rare thus, apart from the plain paper edtition of the set of 40 etchings published as Life Studies of the Great Army, 1876. In very fine condition.
 
 
  Etching: plate, 13 x 18 inches; image, 10 7/8 x 15 1/2 inches.
$850.
  New Listing
 
Edwin Forbes
(1839-1895)

  THE SANCTUARY, 1876. Signed in pencil by Forbes, and printed on chine collé. The text is in pencil: "A negro family has just come in sight of the fortified lines of the Union army. The old mother has thrown herself on her knees praising the Lord while the rest of the family are grouped behind, contemplating the scene in silent wonder." Rare thus. Apart from the plain paper edition of the set, Life Studies of the Great Army, 1876. In fine condition.
 
 
  Etching: plate, 13 1/8 x 17 3/4 inches; image, 10 7/8 x 15 1/2 inches.
$850.
  New--Drypoint.
 
Frederick W. Freer
(1849-1908)

  HONEYSUCKLE, 1887. Unsigned. Freer made this print after his own painting of 1886-87, and then decided to etch it. At first he tried to do it in silverpoint but that wasn't satisfactory, so he sharpened a darning needle to do the drypoint, commenting that it "takes muscle." The effect of the sheer veil over the model's face is masterly. Freer was born in Chicago, studied in Europe, and later became the President of the Chicago Academy of Design. In very good condition.
 
 
  Etching & drypoint, 9 x 7 1/8 inches.
$225.
  Frederick W. Freer
(1849-1930)

  AT POLLING, 1888. Signed in pencil. A remarque proof in mint condition on Imperial Japan paper. Polling was a Bavarian village where Freer studied with Duveneck in the summer of 1879. Freer later returned to a distinguished career in Chicago, where he became President of the Chicago Academy of Design. (See the following listing for a detail of the remarque.)
 
 
  Etching, drypoint, and roulette, 9 3/4" x 12 7/8".
$550.
  Frederick W. Freer
(1849-1930)

  THE WHITE ROSE, 1886. Signed in pencil. A remarque proof on Japan paper. This exquisite image of a beautiful woman in elegant clothing epitomizes the ideal American woman in the Victorian era. After his European studies, Freer became a leading artist in Chicago. (See the following picture for a detail of the remarque.)
 
 
  Etching, 11 3/8" x 8".
SOLD.
  Woman Etcher
 
Edith Loring Getchell
(1855-1940)

  (BEACHED SKIFFS), SALEM, MAY 26, 1887. Signed in pencil, "Edith Loring Getchell." After studying etching in Philadelphia with Stephen Parrish, Edith Loring Peirce Getchell traveled in 1884 to France, Germany and England, but she continued to favor American landscapes. All of her prints are scarce. See Phyllis Peet, "American Women of the Etching Revival," exh. cat., High Museum, Atlanta, 1988.
 
 
  Etching and drypoint, 7 x 12 inches.
SOLD.
  New Listing
 
R. Swain Gifford
(1840-1905)

  COAL POCKETS AT NEW BEDFORD (MASS.), 1879. Wright 21. Signed in the plate. This is a very fine impression, printed on chine collé especially for the publisher's deluxe edition of the American Art Review , the finest art publication of the late-19th century. This was later printed in a very large edition, but later impressions are often very poor in quality. See David G. Wright, R. Swain Gifford: A Catalogue of Etchings, 1865-1891, New Bedford, MA, 2002.
 
 
  Etching, 8 1/2 x 5 7/8 inches.
$300.
  Robert Swain Gifford
(1840-1905)

  NEAR THE COAST, 1885-6. Wright 69. Ed. 250. Signed in pencil. A superb impression on Japanese paper. This etching, which Gifford made after his own painting, was commissioned by S.R. Koehler for American Art, 1886. The original oil painting now hangs in the collection of The Metropolitan Museum of Art, NYC: it won a $2500 prize at an exhibition in 1885 and was promptly purchased by the MMA. The mood of this image is reflected in Gifford's alternative title, "Solitude." See David G. Wright, R. Swain Gifford: A Catalogue of Etchings: 1865-1891, New Bedford, MA, 2002.
 
 
  Etching, 8 5/8" x 12".
$425.
  New Arrival
 
Robert Swain Gifford
(1840-1905)

  NEAPOLITAN FISHING BOATS RETURNING HOME, 1884. Signed and dated in the plate. Wright 51. This large, highly dramatic image was not typical for Gifford, best known for his somber coastal views in Massachusetts. Perhaps the drama of life in Naples brought unusual animation to his mood while he traveled.
 
 
  Etching, 10 3/4 x 15 3/8 inches.
SOLD.
  Clement Rollins Grant
(1849-1893)

  AFTERNOON LIGHT [woman seated at window, reading], 1890. Remarque proof, signed in pencil. Copyright by Klackner. This is Grant's etched version of his oil painting, 21 1/4" x 17 1/4", which recently appeared on the art market. Grant has been rediscovered as an estimable figurative painter and etcher of the late-19th century.
 
 
  Etching, 16 1/2" x 13".
$600.
  New Listing
 
Clement Rollins Grant
(1849-1893)

  THE FERRY, 1890. Signed in pencil. Published by Klackner in 1890. This has a remarque of two figures in a rowboat, signifying the moments before the beau has left the pretty young woman on the shore of the pond. Printed on a full sheet of Japan "vellum." Slight smudges at the plate mark do not affect the image; otherwise a beautifully printed image in fine condition.
 
 
  Etching, 15 x 11 5/8 inches.
$400.
  Clement Rollins Grant
(1849-1893)

  WATCHING AND WAITING, 1888. Signed in pencil. Copyright 1888, C. Klackner. Exhibited New York Etching Club 1889, #45. Although Boston-born, Grant spent most of his art career in New York City. An impression of this etching is in the Parrish Art Museum collection, Southampton, NY, and is illustrated in their 1984 catalog, The American Painter-Etcher Movement.
 
 
  Etching, 7 3/4" x 4 1/4".
$200.
  Eliza Pratt Greatorex
(1819-1897)

  OLD BLOOMINGDALE CHURCH, 1875. Signed and dated in the plate, Oct. 20, 1868, on chine collé. Greatorex made a series of heliotypes after her pen and ink drawings to illustrate several of her books. This one was made for a deluxe edition of her Old New York, from the Battery to Bloomingdale. Greatorex was one of the most active and successsful women artists of the period; after her husband died, she raised three small children by selling her art and teaching. For a full account of her energetic life, see Phyllis Peet, American Women of the Etching Revival, exh. cat., High Museum, Atlanta, 1988.
 
 
  Heliotype etching, 6 3/8" x 4 3/4".
SOLD.
  New Listing
 
Eliza Greatorex
(1820-1897)

  THE WHITE COTTAGE, 34th ST. & 11th AVE., 1870. Signed, titled and dated in the plate. (See listing above for more information.) Printed on chine collé and published in 1875. The house was really the Rapelyea Farm House, but was popularly called the White Cottage. Built at the end of the 18th century, it had a fine view of the Hudson River (then called the North River) but the house was in an advanced state of decay by the 1860s. Greatorex rushed to record Old New York before it entirely disappeared. Light foxing in one margin, otherwise in very good condition. A crisp image.
 
 
  Heliotype etching of her pen & ink drawing, image: 4 1/2 x 7 1/2 inches.
SOLD.
  Frank M. Gregory
(1848--?)

  MADISON SQUARE, NEW YORK CITY, 1887. Signed in the plate. Exhibited at the NY Etching Club in 1888, #63. Gregory's work is in the collections of the Library of Congress, the NY Public Library, and others. This is a rare image of a lively street scene around the square at 23rd Street on the east side of Manhattan.
 
 
  Etching, 8 15/16 x 13 7/8 inches.
SOLD.
  Wall Street
 
Frank M. Gregory
(1848--??)

  OLD TRINITY AND WALL STREET, 1886. Unsigned. Printed on laid Japan paper. This was exhibited at the NY Etching Club in 1887 (#70) and an impression is now in the Reba and Dave Williams Print Collection. Gregory's work is also in the collections of the Library of Congress and the NY Public Library. This is an evocative image of the financial district as it looked over a century ago, with the tall spire of Trinity Church dominating the end of Wall Street, above-ground telephone and telegraph wires, and a newboy hawking papers. In very good condition.
 
 
  Etching, 12 x 6 3/4 inches.
$950.
  Oliver Dennett Grover
(1861-1927)

  THE LIDO, VENICE, 1888. Signed in pencil and in the plate. Printed in brown ink on Japan "vellum." Grover, a Chicago artist, studied with Duveneck in Munich, and was the youngest of the "Duveneck boys" who went as a group to Florence and Venice from 1879 to 1882. All of them were strongly influenced by Whistler in Venice. Grover was elected ANA in 1913.
 
 
  Etching, 8 15/16 x 14 3/8 inches.
SOLD.
  Victorian family
 
Seymour Joseph Guy
(1824-1910)

  LOOK, MAMMA, 1886. Signed in pencil, on Japan paper. Commissioned by S.R. Koehler for publication in American Art, 1886. Guy made this highly finished, richly printed etching after his own painting. Guy is noted for his portraits and genre scenes: the Metropolitan Museum of Art in NY city purchased one of his oils for $650,000 in 1992. "Look, Mamma" is illustrated in American Prints in the Library of Congress. In mint condition.
 
 
  Etching, 11 1/8 x 9 5/8 inches.
$200.
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