THE ETCHING REVIVAL
France, Britain, America and Zorn
France, Britain, America and Zorn
- Jacque, Rembrandt, Etching
- Jacque, Le Chemin de Halage
- Daubigny, Le Grand Parc
- Lalanne, Richmond
- Meryon, Greniers Indigènes
- Bracquemond, Le Corbeau
- Buhot, Débarquement
- Lepère, La Route de Saint Gilles
- Legros, Le Triomphe de la Mort
- Besnard, La Mère Malade
- Leheutre, Notre-Dame de Chartres
- Legrand, Devant Sa Glace
- Brouet, Coin de Campagne
- Beaufrère, Bords de la Laïta
- Frélaut, Allée de Village
- Forain, L’Avocat Parlant
- Laboureur, Vue du Chateau
- Haden, Mytton Hall
- Whistler, Black Lion Wharf
- Strang, Eel Fishing in a Cave
- Cameron, Ben Lomond
- Bone, Culross Roofs
- McBey, Palestine: Blue Bonnets
- John, Head of Granger
- Blampied, Blessing the Waters
- Lumsden, Cliff and Cactus
- Lee-Hankey, Le Repas
- Osborne, Zierikzee
- Simpson, James Pryde
- Rushbury, On the Waveny
- Detmold, The Cock
- Brockhurst, Phemie (Marguerite)
- Nicolson, Quiet Hour
- Moran, Landscape on the Marne
- Moran, The Rapids Above
- Moran, Scrub Oaks
- Parrish, Winter in Trenton
- Platt, Deventer, Holland
- Mielatz, The Old Bridge
- Pennell, The Shot Tower, London
- Benson, Yellowlegs at Dusk
- Hassam, Madonna of the North
- Sloan, Girls Sliding
- Winkler, North End
- Arms, Stokesay Castle
- MacLaughlan, Bernese Oberland
- Friedlander, Downtown
- Eby, North Country
- Marsh, Coney Island Beach
- Zorn, Pilot – Lots
- Zorn, Portrait of Ernest Renan
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36. Mary Nimmo Moran (1842-1899) Scrub Oaks, Amagansett, Long Island, N.Y. |
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(click on image to print)

Scrub Oaks, Amagansett, Long Island, N.Y.
Etching, 1881, 189 x 252 mm., Klackner 22, Gilcrease Inst. 81. Very fine impression, with plate tone, on thick, brownish, laid paper with good margins, signed in pencil; a few spots of light foxing in the right margin. Mary Nimmo was Thomas Moran’s neighbor, pupil and eventually his wife. Like her husband, she was British born, in her case in Scotland. She was among the first, and certainly among the most eminent, of American women etchers and she had an artistic personality that, while influenced by her husband’s, was distinct from his. She had a real feeling for poetic country landscape, not of the sublime sort, and a real ability to draw trees and to distinguish one genus from another. Technically, she was straightforward, but no purist. The plate tone here is used as if it were a grain of aquatint, shading the sand dune and allowing the brighter sky to come beneath and through the trees.