Original etchings by American Artists

I’ve posted before about Sylvester Rosa Koehler and his role as godfather of the American Etching Revival – the revival that consolidated (in the late 1870s and 1880s) around the New York Etching Club. Now I have a copy of one of his rarest and most sought-after publications, Original Etchings by American Artists, published in 1883 by Cassell and Company. There is no indication that I can see of any limitation, but the print-run must have been quite small, both because the book is so rare now and because it is very large and would have inevitably have been extremely expensive when issued. I say book, but my copy has completely disintegrated, mostly through time, and also because 4 of the 20 original etchings have been previously removed. Luckily, the remaining etchings are all in very good condition, and I also have all of Koehler’s informative if sometimes rather waffly text. The four missing plates are The Inner Harbor, Gloucester by Stephen Parrish; The Ponte Vecchio by Joseph Pennell; A Cloudy Day in Venice by Samuel Colman; and A Tower of Cortes by Thomas Moran. Fortunately the rest of the Moran clan have been left for me, so I have a highly atmospheric Long Island landscape by Thomas’s wife Mary Nimmo Moran (with a wincingly twee title, taken from a Scottish ballad), and a true masterpiece by his brother Peter, Harvest at San Juan, New Mexico.

Mary Nimmo Moran, "'Tween the Gloamin' and the Mirk, When the Kye Come Hame"

Etching, 1883

Henry Farrer, Winter Evening

Etching, 1883

John Austin Sands Monks, Twilight

Etching, 1883

Of the three twilight scenes above, that of Mary Nimmo Moran is my favourite. Despite the Scottish title, the scene is on Long Island, where Thomas and Mary Nimmo Moran habitually spent their summers.

Kruseman van Elten, The Deserted Mill

Etching, 1883

R. Swain Gifford, The Mouth of the Apponigansett

Etching, 1883

James D. Smillie, At Marblehead Neck

(also known as A Bit at Marblehead Neck)

Etching, 1883

James Craig Nicoll, The Smugglers' Landing Place

Etching, 1883

George H. Smillie, An Old New England Orchard

Etching, 1883

J. Foxcroft Cole, The Three Cows

Etching, 1883

Original Etchings by American Artists shows a snapshot of American printmaking at a crucial time; all of the etchings were made especially for this work, and many are dated 1883 in the plate. The artistic and technical skill on display is very impressive, even if Koehler’s insistence that each etching is a masterpiece needs to be taken with a pinch of salt. Impressionism hasn’t yet made any impact, and the key influence on the American landscapes, which predominate, is the plein-air Barbizon School. There are a couple of whimsical subjects: Church’s take on an Aesop fable and Gaugengigl’s faux-Meissonier fiddler. There are also four European scenes, one in Florence and one in Venice that have been removed, plus scenes in London and the Hague by Platt and de Haas. Of these, Platt's Whistler-esque scene of barges on the Thames at Woolwich seems to me particularly noteworthy.

Frederick Stuart Church, The Lion in Love

Etching, 1883

Ignaz Marcel Gaugengigl, And Drive Dull Care Away

Etching, 1883

Charles Adams Platt, Canal Boats on the Thames

Etching, 1883

Mauritz Frederick Hendrik de Haas, Fishing Boats on the Beach at Scheveningen

Etching, 1883

There are also three plates of particular interest for American social life and culture rather than landscape. Frederick Dielman’s The Mora Players, shows Italian immigrant children playing the ancient finger-counting game of mora or morra, in which the winner is the one who correctly guesses the total number of fingers simultaneously displayed by the two players. Koehler writes, “Italian bootblacks playing ‘mora,’ and yet a thoroughly American scene, enacted on a New York sidewalk!”

Frederick Dielman, The Mora Players

Etching, 1883

Thomas Waterson Wood, His Own Doctor

Etching, 1883

Thomas Waterson Wood’s His Own Doctor shows “an exhorter in a Methodist church and a ‘professor’ of white-washing” self-medicating against a fever. Wood’s African-American scenes show him to have had a keen sympathy with his subjects. However, to me his portrait of an infirm elderly African-American overplays the comic element. The hint of caricature detracts from the sharp observation of details such as the quilt robe.

Peter Moran Harvest at San Juan, New Mexico

(also known as Threshing Grain at San Juan Pueblo, New Mexico Territory)

Etching, 1883

Peter Moran’s Harvest at San Juan is to me an incredibly beautiful, important, and moving work. Peter Moran was one of the first artists to come to terms with the American Southwest, and in this etching he responds with grace and respect to the ancient cultures of the Pueblos. There is nothing here of the comedy to be found in Thomas Waterman Wood’s His Own Doctor. Nor is there any false romanticism. Sentimentality and guilt have no place in this etching, which focuses completely on the spiritual weight of the here and now. The centripetal force of this composition intrigues and delights me. Sylvester Rosa Kohler explains the scene thus: “The Indians use horses instead of oxen to thresh their wheat, and they are just driving them into the threshing circle indicated by the upright poles. The ground occupied by the horses is the cleaning floor, the raised ground which forms part of a circle in the foreground, is the earth banked up in levelling the floor, and the refuse of several years threshing.” Peter Moran seems to have instinctually understood that he was observing something with more meaning than a simple harvest, for he invests the scene with a thrilling sense of significance. The traditional method of threshing depicted seems to have been discontinued from 1920, replaced by the use of a threshing machine.

The setting for Harvest at San Juan is the New Mexican Pueblo now officially known by its Tewa name of Ohkay Owingeh (“place of the strong people”). This was the birthplace of the great 17th-century Pueblo spiritual and political leader Po’pay (or Popé), who briefly united the Pueblos against Spanish rule. I have, quite separately from my print collecting and dealing, a strong interest in Native American culture, and Peter Moran’s etching speaks eloquently to me—as eloquently as the Tewa “Song of the Sky Loom”, as translated by Herbert Joseph Spinden in his Songs of the Tewa:

Oh our Mother the Earth, oh our Father the Sky,
Your children are we, and with tired backs
We bring you the gifts that you love.
Then weave for us a garment of brightness;
May the warp be the white light of morning,
May the weft be the red light of evening,
May the fringes be the falling rain,
May the border be the standing rainbow.
Thus weave for us a garment of brightness
That we may walk fittingly where birds sing,
That we may walk fittingly where grass is green,
Oh our Mother the Earth, oh our Father the Sky!

New York Etching Club: Frederick W. Freer

The painter and etcher Frederick Warren Freer was born in 1849 in Kennicott's Grove, Illinois, now part of Chicago. He studied art in Chicago before attending the Munich Academy under Wagner and Diez. Well-respected in his own day, Freer seems to be largely forgotten now, but I rank him among the most interesting of the New York Etching Club artists.

Frederick W. Freer, At Polling

Etching, 1888

My only print by Frederick W. Freer is an evocative and tranquil scene in Polling, Bavaria, where Freer joined Frank Duveneck and his students in the summer of 1879. It is executed largely in drypoint, with great subtlety of tone. So far as I can tell Freer's preferred subjects in his paintings were intimate interiors with a mother and child, using his own wife and children as models, but he also painted landscapes. Freer returned to the USA in 1880, living in New York until 1890 when he returned to Chicago to become President of the Chicago Academy of Design. He died in Chicago in 1908.

New York Etching Club: The Moran clan

Today, the best-known figure of the American Painter-Etcher movement is undoubtedly Thomas Moran. Along with his wife Mary Nimmo Moran and brother Peter Moran, Thomas was a towering figure in American art - so much so that he even had a mountain named after him, Mount Moran in Wyoming. Although they were members of the New York Etching Club and its offshoot the American Society of Etchers, the Morans were based in Philadelphia, and stood a little aside from the core coterie of New York etchers. My sole etching by Thomas Moran is one of the most dramatic and striking of all the American etchings of the 1870s/1880s that I have seen. I believe the title of it is The Sounding Sea. Moran's 1884 painting The Much-Resounding Sea is now in the National Gallery of Art in Washington; he also made an etching after this painting, which is reproduced as plate 47 in Alicia G. Longwell, First Impressions: Nineteenth-Century American Master Prints. This earlier image of breaking waves is much more exciting, in my view, with glimpses of both Hokusai and Courbet in an etching that makes the coast off Long Island as exciting as anything off Japan or France.

Thomas Moran, The Sounding Sea

Etching, 1880

Thomas Sidney Moran was born in Bolton, England, in 1837, but emigrated with his family to the USA in 1844, eventually settling in Crescentville, Pennsylvania. The young Thomas showed a talent for drawing, and was apprenticed to a Philadelphia wood-engraving firm, Scattergood and Telfer, from 1853-55, during which time Thomas learned to paint in oils and watercolour under the tutelage of his elder brother Edward Moran. In 1862 Edward and Thomas travelled to England, where their encounter with the art of Turner had a profound effect on Thomas Moran's artistic formation. Thomas Moran was elected an Academician of the National Academy of Design in 1884. Moran made his first etching in 1856, but did not take it up seriously until 1878. In all he made around 100 etchings, alongside his many paintings of the American landscape. He died in 1926.

Mary Nimmo Moran, Conwy Castle, Wales

Etching, 1885

As soon as Thomas had mastered the art he taught it to his wife, the artist Mary Nimmo Moran. Mary Nimmo was born in Strathavon, Scotland, in 1842, but emigrated to the USA in 1847. The Nimmo family settled in Crescentville, Pennsylvania. There Mary met Thomas Moran, five years her senior, who was the son of the Nimmo family's neighbours. Mary took art lessons with Thomas from the age of 18, and married him two years later. Homemaking and taking care of their three children stopped Mary continuing with her painting, but in 1879 Thomas taught her how to etch. Mary proved an apt pupil, and became celebrated as "the most prominent of the (American) women etchers in the late nineteenth century". Mary Nimmo Moran was elected to the Society of Painter-Etchers of New York, and was the only woman among the 65 original Fellows of the Royal Society of Painter-Etchers in London. John Ruskin was among those who collected and praised her prints, which were regarded by critics as on a par with those of her husband. Nevertheless Mary worked as M. Nimmo Moran, to avoid unsettling the buying public by declaring her gender too openly. From 1884 till her death from typhoid fever in 1899, Mary and Thomas Moran lived on Long Island, which furnished the motifs for many of Mary Nimmo Moran's etchings.

Peter Moran, The Noonday Rest

Etching, 1877

Peter Moran, Landscape and Cattle

Etching after Émile van Marcke de Lummen, 1889

Peter Moran was the youngest of the three Moran brothers, born in 1841. Like his brothers, Peter Moran was born in England, but emigrated to the USA in 1844. Peter Moran was apprenticed at the age of 16 to the firm of lithographic printers Herline and Hersel, for whom he drew advertisements. The following year he began to study with his brothers Edward and Thomas. Peter Moran is particularly noted for his landscapes with cattle, which show the influence of Rosa Bonheur and Constant Troyon, and for his scenes of Pueblo life in New Mexico. Peter Moran was married to the artist Emily Moran, and taught painting and etching at the Philadelphia School of Design for Women. He died in 1914.

Stephen J. Ferris, Mrs. Philip Nicklin

Etching after Gilbert Stuart, 1879

Stephen J. Ferris, Mrs J. Coleman Drayton

Etching after Daniel Huntington, 1881

Stephen J. Ferris, Devil's Way, Algiers

Etching after Adolphe Mouilleron, 1879

Stephen J. Ferris, The Old-Clothes Dealer, Cairo

Etching after Jean-Léon Gérôme, 1880

The influential Moran clan was further extended by the marriage of Elizabeth Moran, sister to the three brothers, to the artist Stephen J. Ferris. Stephen James Ferris was a highly-accomplished etcher who devoted himself chiefly to interpretational etchings of the paintings of others - or, at least, I haven't come across any original works by him. He was born in Plattsburg, N.Y., in 1835, and studied at the Pennsylvania Academy and then in Paris under Gérôme. Stephen and Elizabeth named their son after this teacher, and Jean Leon Gerome Ferris also became a notable etcher.

New York Etching Club: Henry Farrer

Although the first meeting of the New York Etching Club in 1877 was in the studio of J. D. Smillie, the meetings soon moved their regular venue to the studio of Henry Farrer, one of the club's co-founders and most active members. Etchings were printed on a press built by Farrer himself. Of all the Etching Club artists, I think Farrer is my favourite. Unlike R. Swain Gifford, the subject of my last post, Farrer did not favour a less-is-more economy of line. Instead his moody landscapes and seascapes are intensely worked, deeply bitten, and often almost impenetrably dark with cross-hatched lines.

Henry Farrer, On New York Bay

Etching, 1879

Henry Farrer, Marine

Etching, 1880

Henry Farrer was born in London in 1843. He emigrated to the USA in 1863 at the age of twenty. Farrer was very much a driving force in the American etching revival. Most of his etchings are seascapes or landscapes, though the first, made in 1868, were views of New York buildings.

Henry Farrer, The Lighthouse

Etching, 1881

Henry Farrer, Sunset, Gowanus Bay

Etching, 1880

Most of Henry Farrer's seascapes are views of New York Harbor, a subject he rendered with great vigour and great sensitivity.

Henry Farrer, Sunset, New York Harbor

Etching, 1879

Henry Farrer, Twilight

Etching, 1880

Farrer loved the mysterious time of twilight, when the world hovers between daylight and darkness, and returned to sunset scenes time and again.

Henry Farrer, Woods in Winter

Etching, 1880

Henry Farrer, December

Etching, 1879

Wintry scenes were another staple of Henry Farrer's art. Something in him responded to the dying months of the year just as it did to the last rays of the setting sun.

Henry Farrer, The Last Walk in Autumn

Etching, 1881

Henry Farrer's older brother, Thomas Charles Farrer, was also an artist, who studied under John Ruskin and Dante Gabriel Rossetti. In America, Thomas founded the idealistic, Pre-Raphaelite, Society for the Advancement of Art and Truth, of which Henry became a member. However, Henry Farrer soon went beyond his brother's Pre-Raphaelite influence, adopting a tonalist approach in his watercolours and etchings. As well as the New York Etching Club, Henry Farrer also co-founded the American Watercolor Society. Henry Farrer died in 1903.

New York Etching Club: R. Swain Gifford

The first meeting of the New York Etching Club was convened on 2 May 1877 at the studio of James David Smillie. About twenty artists were present, half of whom had never etched before. The centerpiece of the evening was therefore a practical demonstration. Smillie laid a ground onto a small etching plate, on which an Algerian landscape was drawn with an etching needle by Robert Swain Gifford, the image was bitten into the plate by immersion in a tray of mordant, and then the plate was printed by the physician and amateur etcher Leroy Milton Yale. James D. Smillie remembered the occasion in a note in the first illustrated catalogue issued by the club: "The smear of thick, pasty ink was deftly rubbed into the lines just corroded, and as deftly cleansed from the polished surface; the damped sheet of thin, silky Japan paper was spread upon the gently warmed plate; the heavy steel roller of the printing press, with its triple facing of thick, soft blanket, was slowly rolled over it, and in another moment, finding scant room in the pressing crowd, the first-born of the New York Etching Club was being tenderly passed from hand to hand."

R. Swain Gifford, Algerian Landscape

(The first plate etched at the New York Etching Club)

Etching, 1877

The moment when that "first-born" proof emerged from Smillie's press heralded the dawn of the American Etching Revival, or the American Painter-Etcher Movement, which saw a craze for both making and collecting etchings sweep across the USA in the 1880s. The New York Etching Club was pre-eminent in this movement. Many of its members quickly established international reputations, and were also Fellows of Francis Seymour Haden's Society of Painter-Etchers, which was founded in 1880, and in 1888 became the Royal Society of Painter-Etchers (now Painter-Printmakers). Within the USA, their reputations were sealed by publication of their etchings in the American Art Review, edited by Sylvester Rosa Koehler from 1879-1881. So although there were other active local organisations, including the Philadelphia Society of Etchers, the Brooklyn Scratchers Club, the Chicago Society of Etchers and so on, the name of the New York Etching Club has understandably been applied retrospectively to the whole American Etching Revival. Although an early proposal to change the name of the club to the Society of American Etchers was rejected, it would have been a sensible move. When a separate Society of American Etchers was formed in 1888, its 20 members were all also members of the New York Etching Club.

R. Swain Gifford, Summer Storm

Etching, 1879

I've been developing an interest in the artists of the New York Etching Club, and intend to devote individual posts to several of them. It seems to me that in embracing the art of etching, with its intrinsic affinity with a more sketchy and impressionistic style of art, these artists laid one of the foundation stones of American Impressionism (and, indeed, they were very shortly joined by such giants of that movement as John Henry Twachtman and J. Alden Weir). They were not, however, looking to the Impressionists for inspiration; instead, their artistic models were the painter-etchers of the earlier Barbizon School, themselves precursors of Impressionism.

R. Swain Gifford, A Woodland Pasture

Etching, 1888

It seems appropriate to start these posts with the artist who etched that "first-born" plate, R. Swain Gifford. Robert Swain Gifford was born on Naushon Island off Cape Cod in 1840, but when he was very young his family moved to New Bedford, Massachussetts. Showing an early talent for art, he studied under the Dutch marine painter Albert van Beest, then resident in New Bedford. Working as R. Swain Gifford, he achieved an international reputation for his oils, watercolors, and etchings.

R. Swain Gifford, Flowers

Etching, 1880

Gifford produced his first etchings in 1865 or 1866, but like many etchers of this date his interest petered out. Etching materials were hard to come by, there were no specialist printers, no community of interest, and no market for the end result.

R. Swain Gifford, Palestine

Etching, 1880

Despite travels to England, France, Spain, Italy, and perhaps most importantly North Africa and the Sahara Desert, R. Swain Gifford remains best known for his studies of his native New England. The etching "Coal-Pockets at New Bedford", for instance, was one of many local studies produced in the summer months when Gifford retreated from the city to his residence in Nonquitt, six miles from his childhood home of New Bedford.

R. Swain Gifford, Coal-Pockets at New Bedford, Mass.

Etching, 1879

One interesting feature of the Coal-Pockets etching is Gifford's choice of an industrial subject. Although the aesthetics of the image treat the coal storage tower as if it were a lonely windmill or ruined castle, it is still refreshing to find the modern world, and the world of work, represented in a New York Etching Club etching. Despite the name of the club, the city of New York had to wait for the Ashcan artists to be preferred as subject matter over the New York Etchers' endless romantic landscapes and seascapes.

R. Swain Gifford, The Path by the Shore

Etching, 1879

For all their conservative ideas about artistic subjects, the etchers of the New York Etching Club introduced a new rhythmic freedom of line and a new freshness of treatment into American art. The critic Sylvester Rosa Koehler wrote of R. Swain Gifford's etchings that, "He has learned to a high degree the art of saying much with little, and therefore makes every line tell." Gifford shows himself at his best, I think, in the atmospheric Summer Storm, and at his least interesting in the facile romanticism of The Baron of St. Castine.

R. Swain Gifford, The Baron of St. Castine

Etching, 1979

Robert Swain Gifford died in 1905.