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
Downtown
Etching, 1930, 446 x 232 mm. Fine impression on thick wove paper with full margins, titled, numbered from the edition of 25, dated and inscribed with the artist's name and countersigned with the initials G. F. (Gilda Friedlander), the artist's widow; some skinning at the top and bottom edges verso from the removal of old tape. Friedlander was an estimable etcher but he is inserted here not merely for himself, but as representative of a large group of American artists whose frequent subject was the towers of great cities, a particularly American (for obvious reasons) subject. The image here is from a height and looks southeast over lower Manhattan and toward the East River and Brooklyn, visible in the distance, the towers of lower Manhattan, particularly the Woolworth Tower, standing out. It’s a long way from the peasant cottages and farm laborers of the early Etching Revival, but it is part of the same tradition. Friedlander’s early prints are scarce.