■■ Iff l .is. CKLACKNER-- 5: EAST* i 7 TH ? m NEW- York- © P A CATALOGUE OF THE COMPLETE ETCHED WORKS THOMAS MORAN, N. A. AND M. NIMMO MORAN, S. P. E. ON EXHIBITION AT C. KLACKNER’S ii\ 5 East 17 th Street, New York. March, 1889. THOMAS MORAN, N. A. MARY NIMMO MORAN. HEN John Ruskin singled out in London a plate, by Thomas Moran for special commendation, in his usual blunt and « uncompromising terms, as the best etching that had come out of America, and one of the best that modern art had produced, he did his subject only simple justice. Mr. Moran maintains his supremacy among the artist-etchers of America, in spite of the flight of time and the mutations of methods. As the art has advanced, he has led the van of it. He has aided in advancing it, not rested con¬ tent in being helped along by its advance. To-day, as ten years ago, he is still the master, whose hand has grown in cunning with prac¬ tice, whose resources have amplified with experiment,' and whose foot, ever ready to tread upon untried ground, still pioneers the way of his brethren in the art to the exploration of new domains, the conquest of new victories, and the solution of problems once held to be impossible of accomplishment, and in which he only recognizes an invitation to attack with triumph. It is the sturdy feaxon spirit of adventure and progressiveness, expanded by the influence of the land which he has adopted as his own, that has sent this artistic leader to the head of the phalanx that has given to art in America the place of honor and of dignity which is its due. Born of an Irish father and an English mother, at Bolton, Lancashire, England, in 1837, and removed to this coun¬ try as a boy of seven, Thomas Moran has become as thoroughly native to America as if he had drawn his first breath on its soil. For, indeed, the inspiration of the soil has entered into him. In him American landscape has found its most eloquent historian, and American art its most intrepid champion. During all the long- battle he has waged with life, since he began as a wood engraver’s apprentice in Philadelphia, lie has never wavered from his duty to himself or faltered in his contest with circumstances that would have disheartened many, and difficulties that would have defeated most men. His artistic education may be said to have begun and 3 ended with his service in this wood engraver’s office. When, after three years’ experience, he left it, to launch himself upon the tide of fortune, it was to fight his way along with no special counsellor but his own common sense, and no special help save from his own indomitable will. He devoted himself to water color painting from the start, receiving some encouragement and advice from James Hamilton, the marine painter, a man of extraordinary gifts, not always most effectively applied, who was a next door neighbor to the Morans, in Philadelphia, and who now and then —with the characteristic enthusiasm of the artist—out of his own not over well-stocked purse spared the price of some of the young straggler’s drawings, at moments when he needed encouragement. At the age of twenty- three young Moran, finding his strength outgrowing the feebler medium of expression, took up painting in oils, and at twenty-five (in 1862) he had accumulated sufficient capital to carry him to Eng¬ land, where he devoted himself largely to the study of Turner’s works, in the National Gallery, several of which he copied with loving care. For some years his paintings showed the influence of the great Englishman’s example very strongly, both in color and in methods of composition and treatment. But in time he worked out a style for himself, that, with certain modifications in one direction and expansions in another, remains his to-day. Great and growing popularity, as an illustrator of books and magazines in winch employment he has produced several thousands of draw¬ ings—led him to remove his studio to New York, where it has since been located, and where his greatest pictures have been produced. After a second trip to Europe—which involved a tour of France, Italy and Germany, in 1866—he made journeys in 1871, 1872, 187.* and 1874 to the great West and Southwest, and to California, the result of which was the production of his “Grand Canon of the Yellowstone,” and “ The Chasm of the Colorado,” which were pur¬ chased by the Government, and are now in the Capitol at Wash¬ ington; his “Mountain of the Holy Cross,” his “Ponce de Leon, in Florida,” and other magnificent canvases. Then he turned his attention extensively to etching, in connection with which he had experimented as long before as 1857, and in which walk he was destined to reap a fame second only to that which he enjoyed as a pain ter^ extraordinar ^ s pi]} as a draughtsman stood him in good stead in his new art, as did also his mastery over the technique of the various processes of engraving. His first plate, etched in 1857, was a small plate after a wood cut by Birket Foster. It is a long step from this little experimental effort to his magnificent “Gate of Venice,” etched in 1888, after one of his own pictures painted during a visit to Italy, in 1886, and which is one of the completest as well as one of the largest drawings upon copper ever executed. Always an experimentalist and an inventor of ways and means in art, he pursued his earlier labors in etching rather as a diversion from his work in color and in black and white, than as a special mission. But, as he advanced, the fascination of the work grew upon him. The limitless possibilities of the needle and acid appealed to his nervous and progressive nature with a special charm. To complete one plate was but to master new methods and processes by which another might be better produced; and so the abundant collection which constitutes his etched work of the present, grew into existence. Success encouraged him in his labors. At every exhibition where they were shown, his etchings won fresh laurels for him. They were accepted by the cognoscenti at their proper value, and hailed by the critics with the applause that was their due. The hard fight which his brush had won, had made the new campaign easier for him, and its result was to secure for Thomas Moran, the etcher, a position commensurate with that which Mr. Moran, the painter, held. No artist in America—if, indeed, in the world—so completely unites the qualities of the artist and the etcher as Mr. Moran. The same hand which gives us, with the spirited touch of original inspi¬ ration, plates in which the delicate poetry, the robust picturesque¬ ness and the superb animation of nature are interpreted by a master, gives us also etchings of the reproductive class, in which the sentiment and feeling of another artist are translated, with a fidelity at once rare in itself and remarkable in its revelations. The versa¬ tility of Mr. Moran is on a par with his technical ability and with his sensitiveness to all that is beautiful in art and nature. His original compositions run the gamut of subjects, from placid pasture lands and somnolent old homesteads to the frowning splendor of pinnacled crags, the monstrous magnificence of towering mountain chains, and the tremendous swing and illimitable vastness of the sea. And on each subject that he sets his hand to he also sets his seal. We recognize the symbol of his genius in the fluent lines of the boiling breakers, in the rugged escarpments of the beetling bluffs, and in the tufted masses of verdure which turn the forest arches into the aisles of a temple, and stand in guard upon the landscape like fortresses of nature. Being a great painter, as well as a great draughtsman, Mr. Moran brings to his etching the double qualities of color and of form. In his etchings we find a splendid glow of color and a flash of light associated with the substance of nature, to which color, air and light give movement and life. In the actual forms of nature he revels in the plenitude of power. The character of a tree; the formation of a rock; the movement of water over a shallow bed, or its sullen swirl in a deep whirlpool; the piling up of fleecy vapors in an airless sky, or the skurry of clouds rent and shattered by the storm, are all to him means for the revelation of his artistic 5 resources, and invitations to an essay of Ms strength. His is an eye that notes everything, and that remembers everything ; a spirit to which difficulties are but a challenge, and the impossible a super¬ stition to be defied; a resolution that admits of no opposition or defeat, and, above all, a hand schooled to the best lessons of art, tender as a woman’s, sensitive as a poet’s, and in its energy and will firm as a soldier’s, clasping the brush or the pencil, instead of the sword. The success of Mrs. Mary Nimmo Moran as an etcher is due entirely to her devoted study of nature. Her fidelity to her eternal model is inviolate. Her research into its beauties is profound. In every line she traces upon the copper, her subtle sympathy with nature is revealed. She has not only contemplated the surface, but has fathomed the depths of her material, and learned to reduce the most complicated combinations to organic foundations, and to represent them with a noble simplicity of touch which, while full of power, is also replete with delicate suggestiveness. One notes in her etchings not only the large lines and imposing masses of a landscape, analyzed and simplified to its fundamental dignity, but also a hint, in touches full of exquisite feeling, at the splendid embroidery in which nature garnishes herself. Where feebler and more laborious hands would give us mechanical combinations of lines, as futile substitutes for foliage and sky, she gives us real ver¬ dure and sunlight, apparently without an effort, because her knowl¬ edge aids her in that most perfect of all arts, the art of concealing labor while achieving its perfected fruits. Mrs. Moran, like her husband, is foreign by birth, and wholly American in feeling. She dates her nativity from the vicinity of Glasgow (at Strathaven), Scotland. Brought to this country as a child, her artistic tastes lay dormant until her marriage, when con¬ stant association and familiarity with her husband’s work, aroused in her the latent love for art, winch steadily increased until she found herself impelled beyond any power of resistance she might have exercised to the active gratification of her passion. For years her domestic obligations prevented any but the most desultory and insufficient sacrifices of time to her easel; but, in due course, her husband’s visits to England, France and Italy, on which she accom¬ panied him, and his tours of the West, afforded her ampler oppor¬ tunities for experience and consequent development. Devoting herself to work in oils and water colors at first, it was not until late in the ’70’s that she gave any attention to etching. Her husband’s experiments in this direction having aroused her interest, she com¬ menced to devote some of her own time to the art, and the results of her essays were astonishingly successful. Even her earliest plates are strong in poetic feeling, and characterized, as has been critically remarked, by the touch of the true etcher: “nervous, vigorous and rapid, and bitten with a thorough appreciation of the 1 ’elations of the needle and acid, preferring robustness of line to extreme deli¬ cacy.” Commencing with work on a small scale, Mrs. Moran has advanced to the accomplishment of large and exacting compositions on the copper, in which her art is exhibited with constantly growing power and completeness, until to-day the signature “M. N. M.” to a proof is one of those which the connoisseur and the collector of etchings esteems among the most precious that can be secured for the enrichment of his portfolios. Both Mr. and Mrs. Moran are members of the New York Etch¬ ing Club, and of the British Society of Painter-Etchers. Mr. Moran is also a member of the National Academy of Design, The Amer¬ ican Water Color Society, and the Salmagundi Club, and is an active and powerful participator in all the artistic movements of the day. New York, March, 1889. Alfred Trttmble. 7 THOMAS MORAN, N. A. A LANDSCAPE. 1856. Mr. Moran's first plate. Etched after a wood cut by Birket Foster. 3J4X3M A LANDSCAPE, i860. After Muller. Second experiment, being a copy of a sketch by Muller. 3?£x5J4 8 A PAH-UTE GIRL. 1878. From a sketch by the artist in Southern Utah. Never before printed. 8J4 x 5% g oo 9 THE EMPTY CRADLE. 1878. A Pah-Ute woman mourning at the cradle of her dead baby From a photograph from life made by the etcher in Utah. 7^4 x 654 8.00 10 THE HEAD OF THE YELLOWSTONE RIVER. 1878. This plate has never before been shown. 6J4 X 8% 5.00 11 A RUSTIC BRIDGE. 1879. An unfinished plate of a pastoral landscape on a showery day, with rainbow. 5 x 5.00 12 A STUDY OF WILLOWS. 1879. Etched from a sketch from nature. Printed with a tone for cloud effects. 13 2% x 6% 2 .00 THE LIGHTHOUSE. 1879. A curious experiment of a very dramatic subject, made by etching on the back of another plate. The spots in the print are imperfections m the surface of the plate. Printed for the first time. 1C% x 7% g.OO 14 CONWAY CASTLE. 1879. After J. M. W. Turner. The original painting, in oii, of this picture is in the possession of the etcher. It was painted in 1812-14. This plate, though etched in 1879, is now published for the first time. 16 x 20% 30.00 15 IN THE NEWARK MEADOWS. 1879. 5 34 X 856 5.00 16 LOOKING OVER THE SAND DUNES—EAST- HAMPTON. 1880. 6 x u % 10.00 17 THREE-MILE HARBOR. 1880 soo 18 THE RAINBOW, i860. Remarkably delicate plate. 35ix754 5.00 10 19 20 21 MONTAUK PONDS, isso. A plate that is particularly noticeable for its purity of line. 3Mx7^ MONTAUK POINT, isso. 5%s7M “THE RESOUNDING SEA.” isso. An etching from nature. 5-Mxll^ 5.00 5.00 10.00 22 23 24 25 26 27 A SOUTHERLY WIND. 1880. A study at East Hampton, L. I., etched from nature. 4M x 7 5.00 A ROAD NEAR THE SEA — EASTHAMPTON. 1880. 8 X11J4 10.00 AN EAST HAMPTON FIRE-PLACE. 1880. 534 s 8/4 5 - 00 TOWER FALLS—YELLOWSTONE PARK. 1880. From an original sketch by the artist. A plate with a simple and remarkably vigorous foreground, and the brilliancy of a sunburst mingling with the mist from the fall. 11 x 7M 10.00 TOWER FALLS, isso. 6x834 2.50 ON THE SAND HILLS — EASTHAMPTON. 1880. An experiment on a German silver plate. Unfinished. 5% x &% 5.00 27a THE COYOTE-ARIZONA, i860. A combination of mezzotint and etching published in S. B. Koehler’s. “Etching.” (Cassell & Co.) Six copies only are for sale. m x 8M 8.00 28 CHURCH OF SAN JUAN — NEW MEXICO, 1881- An old mission church in the Pueblo country, with figures of Indians. 7M x 1134 10.00 29 BRIDGE IN THE PASS OF GLENCOE—SCOTLAND. 1882 Combination of mezzotint and etching. Five impressions. 9M x 11J4 10.00 30 STRATHAVEN CASTLE —SCOTLAND. 1882. 5MX7M 5.00 31 BRIDGE IN PASS OF GLENCOE, 1882. Small plate lor the catalogue of the N. Y. E. C. The etcher has also made a large plate of this subject from original paintings in oil and water colors by himself. 32 PORT MADOC-WALES. 1882. 8x12 32a HARLECH CASTLE—WALES. 1882. A clean impression of the first state of the plate, showing the foundation In etched lines. No impressions for sale. 7^x11^ 33 HARLECH CASTLE—WALES. 2d State. 1882 . Only one impression. m 34 HARLECH CASTLE. 3d State. 1888 . This shows the plate fully mezzotinted, rich in color, and vivid In effect. VA x 11% 35 A TOWER OF CORTEZ—MEXICO. 1883. ll^x9K 35a AN ENGLISH RIVER. i 883 . 36 AN APPLE ORCHARD—EASTHAMPTON, L. I. i 883 . Etched directly from Nature. A close study of the peculiarly distorted and picturesque forms of fruit trees warped by sea winds. Only five impressions for sale, One satin Impression, - Eour on Japanese paper, ------ a 11M x 17J4 37 THE BEACH—FRESH PONDS, L. I. ms. Etched directly from Nature. A scene on the beach, looking In-shore. 12x18 38 STUDY OF BUTTONWOOD AND APPLE TREES. 1883. 9J4X6J4 39 SUNRISE—THE POND, EASTHAMPON, L. I. i 88 3. An impression from an unfinished plate. Published In the American Art Review. 4K x7 40 LANDSCAPE. 1888. After John Linnell. 4^x5% 12 2.50 10.00 10.00 10.00 10.00 10.00 25.00 20.00 15.00 .00 2.50 THE CASTLE OF SAN JUAN D’ULLOA, VERA CRUZ, MEX. 1884. This fortress guards the entrance to the harbor of Yera Cruz, and is one of the most picturesque ob'jeets to be found on the American coast¬ line. The castle is of ancient origin. The etching is from a picture in water-colors by the artist. Five impressions. im x 10 m COMMUNIPAW, A copy of the artist’s picture, executed partly in aquatint. 10 x 1134 COMING TO ANCHOR. 1885. After a painting by Harry Chase. Published by C. Klackner. Remark Proof on Parchment (all sold) Remark Proofs on India paper (all sold) - - Artist’s Proofs on India paper (all sold) India Prints, - - - 44 NIAGARA—FROM THE CANADIAN SIDE. 45 46 834 x “THE MUCH RESOUNDING SEA.” 1886. From the original painting by T. Moran, in the possession of the Palma Club. Published by C. Klackner in several states. Remark Proofs on Parchment (all sold).$75 00 Remark Proofs on Satin (all sold) - Remark ProofB on Japanese paper, - Artist’s Proof on Japanese paper, 14%x32% LANDSCAPE. 1886. Etched from the painting by Rousseau, in the Morgan Collection, 75.00 45.00 30.00 47 48 49 50 LANDSCAPE. 1886. After Daubigny. Etched from the original for the catalogue of the Stewart Collection. 5%xl LANDSCAPE, isse. Etched from the painting by Daubigny in the Morgan Collection, A WRECK—MONT AUK. 1886. From a painting in oil by T. Moran. Published in the catalogue of the artist’s sale in 1886. 6x7% THE PASS OF GLENCOE. 1886. From a painting in oil by T. Moran. 5%x7M 51 1886. % 51 THE RAPIDS ABOVE NIAGARA, isse. From a painting in oil by T. Moran. A study of the great wave of the rapids; remarkably vivid in effect. 6x8 5.00 52 GREEN RIVER, WYOMING TERRITORY. 1886. Ftoui a painting in oil by the etcher. 5M x 7M 5.00 53 THE HARBOR OP VERA CRUZ, MEXICO. 1886. The remark on this plate is a copy of an old vase of the period of Montezuma. Published by C. Klackner and can be obtained in several grades. Remark Proof on Parchment, 12 impressions, - $45.00 Remark Proofs on Japanese paper, 50 impressions, - 30.00 Artist’s Proofs on Japanese paper, 100 impressions. - 20.00 54 MORNING. 1886. A brilliant sunrise effect. The scene is from a point overlooking Hook Pond, at Easthampton, L. I., with the Atlantic bounding the horizon. This was the prize plate for the Rembrandt Club of Brooklyn in 1886. The plate is the property of the club, one proof having been given to each member, and no proofs are for sale. 11 x 17 55 LAKE GEOKGE. 1886. After J. F. Kensett. 5^x834 56 ST. JOHN’S RIVER, FLORIDA 1886. From a painting in oil by the etcher. This plate is executed mainly in dry point, and translates the subtleties of effect in the original with remarkable delicacy and fidelity. Ten impressions. 5%x5% @ 500 57 VENICE. 1887. After A. F. Bunner. Etched from the original painting. The view is taken at San Nicoletto, opposite Venice, looking out on the sea. This plate is published by C. Klackner. Remark proofs on parchment,.S30 00 Remark proofs on Japanese paper, 20 00 Artist’s proofs on Japanese paper, ..... 8 x 23J4 58 DORDRECHT. 1887. After A. F. Banner. Etched from the original painting in oil. The exact scene is Pappendrecht, which is one of the suburbs of Dordrecht This plate is owned and published by C. Klackner. Remark proofs on parchment, Remark proofs on Japanese paper, - . Artist’s proofs on Japanese paper, .... ' 8x23}4 ' ° 14 59 A BIT OF OLD JERSEY. 1887. With remark, “The Oranges.” Etched as a special ticket of admission to the Loan Exhibition of Etchings, held under the auspices of the Young Men’s Christian Association of The Oranges, N. J., March, 1888. 334 * 5 % 60 THE SOUTH DOME — YOSEMITE VALLEY. 1887. A portion of the Valley seen from one of the cliffs. This plate is published in “ Picturesque California.” Three proofs only are for sale. 11% x 834 10-00 61 THE GATE OF VENICE. 1888. The original picture was painted in 1886, when the artist visited the City of the Sea, and attracted universal attention at the Academy of Design, where it was first exhibited. The etching began immediately thereafter, occupied the artist upwards of two years, and is by far the most important and completely artistic and elaborate plate that he has produced. Mr. Moran has achieved an extraordinary degree of success in the preservation of the subtle qualities of color and the brilliant luminosity of his painting. Remark Proofs on Parchment, limited to 75 Impressions, (all sold) - $75.00 Remark Proofs on Japanese paper, limited to 150 Impressions, (all sold) 45.00 Artist’s Proofs on Japanese paper, limited to 150 Impressions, - - 30.00 PLATE TO BE DESTROYED. 18x31% 62 THE MOUNTAIN OF THE HOLY CROSS, COLORADO. 1888. Etched after Mr. Moran’s original picture in the possession of A. W. Bell, of Colorado. Remark proofs on parchment, - - $75.00 Remark proofs on Japan, - ... 60.00 Artist’s proofs on Japan, ------- 45.00 1834x26J4 63 LANDSCAPE. 1888. After Geo. Inness. A combination of mezzotint and acid line admirably calculated to reproduce the rich color scheme of the original picture. Eive copies for sale ------- @ 5% x 7% 64 65 66 A TURKISH RUIN. 1883. Etched from a painting by N. Diaz. 4%x7 WOMAN SEWING. 1888. Etched from a painting by J. E. Miller 5x7 CATTLE ON THE COAST. 1888. Etched from a painting by C. Wiggins 4)4x634 15 - JriHKH 67 THE GATE OF VENICE. 1888. A small etching of the large plate by the artist, after his own picture, which is published by C. Klackner. A few signed proofs. 3x6 2.50 68 THE PASS OF GLENCOE. Mezzotinted in 1888. The same plate as No. 50 Etched from a painting in oil. 5 Vs x 5.00 69 A WRECK —MONTAUE. The same plate as No. 49. Mezzotinted in 1888. 5$4x734 5.00 70 LANDSCAPE. 1888. After Daubigny. A reproduction, by the etcher, of the original in the Collection of James H. Stebbins, Esq., of New York City. 4Mx8^ 71 PORTRAIT OF THOMAS MORAN. Etched by S. J. Ferris, 1879. 16 M. NIMMO MORAN, S. P. E. All numbers marked thus * are by Mrs. Moran. Note.—W ith hut few exceptions, all of Mrs. Moran’s plates have been etched directly from nature. *1 THE ST. JOHN’S EIYER. 1879. First experiment. Etched on the hack of a visiting card plate. 1%x4M *2 BRIDGE OVER THE BUSKILL, EASTON, PA. 1879. This is Mrs. Moran’s second experiment in etching. Her advance is shown in it in the confidence of her line, almost worthy of an experienced etcher. *3 BRIDGE OVER THE DELAWARE, EASTON, PA. 1879. A covered bridge of the older type, with a railroad bridge seen beyond it. The plate lacks the decision characteristic of the artist’s later work, but its very hesitancy of touch lends it a special charm. It is one of the plates most esteemed by the etcher herself. 5.00 10.00 *4 EASTHAMPTON BARRENS. 1879. The rapid growth of the etcher’s technique is distinctly marked in this plate. 6MxlOJ4 10.00 *5 NEWARK, N. J., PROM THE PASSAIC. 1879. 3% x 6M 5.00 *6 HAY-RICKS—NEWARK MEADOWS. 1879. 3% x 6M 5.00 *7 SPRING-TIME—EASTHAMPTON. 1882. A fork of the roads at the edge of a stunted wood. Excellent indication of the comparative barrenness of the season. 7Mx7M 17 5.00 *8 THREE-MILE HARBOR—L. I. 1880. 4^x7 5.00 *9 SOLITUDE. 1880. Etched for the American Art Review. Only three impressions. 5 %x7« 5.00 HO TWILIGHT—EASTHAMPTON. isso. Combination of etching and Scotch stone tint. One of the most noteworthy of the artist’s Long Island sketches. The treatment of the road in the foreground is a masterpiece of observation and technique. 7M x 11M 10-00 *10a TWILIGHT - -SMALL PLATE. 3x5M 1880. 2.50 *11 SANDY PATHS—EASTHAMPTON, L. I. 1880. 11MX7M 10.00 *12 AN OLD HOMESTEAD—EASTHAMPTON, L. I. isso. The gahle end of an ancient Long Island homestead, with a portion of the orchard and the barns. ?MxllM 10.00 *13 NEAR THE BEACH — EASTHAMPTON. mi. 5.00 04 THE CLIFF DWELLERS OF NEW YORK. issi. A Reminiscence of “ Shanty Town.” 8 x 12 10.00 A CITY FARM—NEW YORK. issi. *15 A plate which represents the space between 56th and 57th street, on Twelfth avenue at a period when the builders were invading “Shanty town,” and setting up Erench flats by the block. This plate was reproduced in Harper's Weekly. 6 x 10J4 10, 00 *16 THE GOOSE POND — EASTHAMPTON. 1881. A place which did much to earn the etcher her first fame. Upon the merits of this plate, in 1882, Mrs. Moran was elected one of the original fellows of the Society of Painter-Etchers, of London. 7x9 8.00 *17 FROM A HILL-TOP—EASTHAMPTON. 1881. 5.00 *17a FOUR-ARCHED BRIDGE — EASTON, PA. issi. A rustic stone bridge over the Bushkffl Creek. Drawn in midsummer. 6J^ x 7M 5 .oo 18 *18 BETWEEN THE SAND DUNES, isai. 454 x 7 5.00 *19 MOUNT PARNASSUS — EASTON, PA. issi. 5 x 7M 5 00 *20 “A WILLOWY BROOK ” —EASTON, PA. mm. 11M X 5% 10.00 *21 EVENING — EASTHAMPTON. mm. A charming study, with a colorful effect of the setting sun. 7 % x 454 5.00 *22 STUDY OP SCRUB OAK — A.MAGANSETT. mm. Especially noteworthy is the simple yet effective indication of the fore¬ ground of sand, with tussocks of beach grass. 754x10 8.00 *23 THE PASSAIC MEADOWS. 1881. A typical New Jersey landscape, under a cloudy evening effect. After a painting by herself. 554 x 8M 5.00 *24 “COCHRANES, O’ THE CRAIG” — STRATHAVEN, SCOTLAND. 1882. The first state of a picturesque subject, etched with much force. 9M X 12 10.00 *25 “COCHRANES, O’ THE CRAIG” — STRATHAVEN, SCOTLAND. 1882. 2d State, m x 12 10.00 *26 CONWAY CASTLE—WALES. 1882. large and dignified masses, treated with great firmness and strength. The castle is seen over a beach at low tide, on which boats are stranded. 654x954 8.00 *27 A GLIMPSE OP CONWAY, issa. Conway Castle, viewed from the causeway through a vista of trees. The roulette has been used to enrich the effect of the strong etched line. 654x954 5.00 *28 EVENING ON THE ST. JOHN’S RIVER, FLORIDA. 1882. A sunset with the coppery sun declining in banks of cloud. A flower boat is in the foreground and in the distance the town is dimly seen. 554 x 11% 19 10.00 1883. *29 “’TWEEN THE GLOAMING AND THE MIRE.” This is one of the finest plates the artist has produced. It shows in a most marked degree the intense appreciation of those hroad and simple qualities that especially distinguish the works of the true painter-etcher. The combination of mezzotint with etching is shown in this plate in its very best form and use. *00 SUMMER — EASTHAMPTON. 1883. A very vigorous study from nature. One of the etcher’s plates most esteemed among artists and connoisseurs as being completely expressive of her ability. 11% x 934 *31 A SASSAFRAS GROVE —EASTHAMPTON, L. I. 1883. A vigorous study of picturesque ground and tree forms, with a glimpse of sky, relieved by light clouds. 1 *32 MY NEIGHBOR'S HOME — EASTHAMPTON. 1883. 714 X ll^g 1 °- 00 *33 A STORMY EVENING—EASTHAMPTON. 1883. This plate is unfinished, but is full of the best qualities of the etcher’s work, and in its present state is very interesting to collectors for that reason. 9^x11 10.00 *34 GARDINER’S BAY —FROM FRESH PONDS, L. 1. 1884. 8 x 11M 10.00 *35 ROUND POND —BRIDGEHAMPTON, L. I. 1884. In this plate the touch of the etcher is seen at her best. In foreground, middle distance and sky her command of the forms and suggestions of nature is completely shown. The plate is intended to be com¬ pleted as a moonlight, and only six proofs will be sold in this State. 10 x 11)4 10.00 *36 LOOKING, SEAWARD — LONG LANE, EAST¬ HAMPTON, L. I. 1884. A country road in the foreground with pond's and the sea beyond, the village showing in the middle distance on the left. This plate is a very fine example of the etcher’s breadth and simplicity of treatment. 8)4 x 17)4 15.00 *37 HOOK POND — EASTHAMPTON, L. I. 1884. One of the many ponds that indent the coast. Remarkable for the fine natural balance of the masses of the subject and for the simple and characteristic treatment of the foreground. 9M x 11)4 10.00 20 *38 THE HAUNT OF THE MUSKRAT — EASTHAMPTON. 1884. This plate was wisely selected for Mr. Koehler’s work on “Etching” as a line example of pure line. Only twelve copies are for sale. 4J4 x 11M *39 SWAMP GRASSES-EASTHAMPTON. i 88 4. *40 THE MONTAUK HILLS, LONG ISLAND. i 8 s4. A view taken from near the lighthouse on a cloudy day. The horizon is lighted up and the sea catches a brilliant gleam from it. The rolling ground is expressed in large masses and simple lines. m*l 114 *41 “HOME, SWEET HOME.” i 88 5. The home of John Howard Payne, Easthampton, L. I. Published by C. Klackner. 15% x 13 *42 GEORGICA POND —LOOKING SEAWARD. i 88 5. Published by C. Klackner. 10M x 16J4. *43 THE EDGE OF GEORGICA POND, L. I. 188 5. An exceptionally fine example of pure line; especially subtle and effective in the simplicity of its details. Published by C. Klackner. 734x1134 *44 OLD LINDENS —NEAR EASTHAMPTON. i 88 5. A powerful study from nature, full of local color and spirit. The value and capacity of pure etching is fully illustrated in it. Published by C. Klackner. 734x1134 *45 “WHERE THROUGH THE WILLOWS CREAKING LOUD, IS HEARD THE BUSY MILL.” i 88 6. 1934x29}4 *46 THE HAUNTED HOUSE — EASTHAMPTON. isse. A plate full of romantic sentiment and pathetic feeling. The sense of weird desolation is strikingly expressed. The decay and ruin of man have touched the landscape and left their impress there. The compo¬ sition is t full of the feeling of nature, and is a line example of the artist’s skill. 1534 X 19 *47 THE BATHERS. 1886. Prom a painting by Thos. Moran. Made for the catalogue of Mr. Moran’s sale in 1886. 6Mx5M 8.00 6.00 10.00 15.00 15.00 7.50 7.50 80.00 15.00 2.50 21 *48 THE EDGE OP THE FOREST, isse. After Thos. Moran. This plate was executed for the catalogue of Mr. Moran’s sale in 1886. m x 5M 2.50 *49 LANDSCAPE. 1886. After Diaz. 5%x7 *50 WOODED LANDSCAPE, isse. Etched from a painting by Thos. Moran. 5M x 7M 2.50 *51 UNDER THE OAKS — GEORGICA POND. 1887. (OLD OAK TREES) EABTHAMPTOST. A powerful study from nature of a characteristic long Island landscape, etched with great boldness and vigor. This is in composition and execution the most important plate Mrs. Moran has produced, and the most comprehensive in its exhibition of the qualities and resources of her art as an etcher. Remark Proofs on Parchment, limited to 25 impressions, - - $60.00 Remark Proofs on Japanese paper, limited to 100 impressions, - - 30.00 Artist’s Proofs on Japanese paper, limited to 100 impressions, - 20.00 PLATE DESTROYED. 19J4 x30M *52 POINT ISABEL, FLORIDA. 1887. A beach road, with a lagoon on one hand protected by a reef, and the ocean, with a steamship on the horizon, and on the other a line of sand dunes, crowned with palmettoes. 10 x 19 i5.oo *53 POINT ISABEL, FLORIDA. i 8S 7. 3 x 6 2.50 *54 A FLORIDA FOREST. i 887 . 17Mxl4J£ 15.00 *55 THE BORDERS OF LAKE ISABEL — FLORIDA. 1887. 1(1% X 19M 15.00 *56 THE ROSE WALK—VILLA ALEXANDRIA, FLORIDA. 1887. A characteristic Florida landscape. Admirably rendered. m x 5% 5.00 22 A CALIFORNIA FOREST, isss. After tile painting by T. Moran. A translation of tlie original re-enforced with the roulette into a close suggestion of the rich color of the painting, notable for the firmness of the drawing and the refined delicacy of the etched line. Of this plate four copies only are for sale. im x 8 . ■ LANDSCAPE, isss. Etched from a painting by T. Roussean. GETTY CENTEr'uBRARY F1,ANC " W - CLARK AET ,NST1TUTE LtmiAiiY ^illiamstown, Massachusetts 3 3125 00593 0462