Samuel Colman: A Catalogue Raisonné of Etchings

Little is known about this small etching, which was likely one of Colman’s first. It is titled and dated in S.R. Koehler’s 1880 article about Colman, which also describes it as “from nature”. It also appears in the catalogue of an 1881 exhibition at the Museum of Fine Arts in Boston. The museum also holds the only known impression, though sadly it has not been photographed. It was given to the museum as part of a gift from the artist in 1885.

Mt. Desert itself is an island northeast of Colman’s hometown of Portland, Maine. A plein air watercolor of Mt. Desert, also dated 1877, was sold at Grogan and Company in 2019 and is likely from the same visit to the island.

TK need to review this thesis

This etching is likely one of Colman’s earliest. It’s mentioned in S.R. Koehler’s 1880 article about Colman, as well as in two articles referencing exhibitions in New York (1879) and London (1881) and. There are only two copies known.

TK

“etched from nature”

This etching was exhibited at the 1891 exhibition of the New York Etching Club where it was described as “etched from nature”. The Museum of Fine Arts at Boston holds the only copy known today. They refer to it as “Barn Yard at East Hampton, Long Island” but this are almost certainly the same image. It’s also very likely this is one of the two etchings referred to only as “Etched from Nature” and “Long Island Study” in the 1881 exhibition of the British Society of Painter Etchers.

While there is no way to conclusively date this image, it seems likely all three of Colman’s etching of Long Island were made around a similar time.

TK - no public domain image

This nondescript etching exists in only one public collection: the Rona and Martin Schneider Collection at Syracuse University. I’ve seen just two other copies for sale online. Syracuse University dates it to 1882, but it must be earlier since it is mentioned in Samuel Rosa Koehler’s article about Colman from 1880. The content of that article suggests it may have been created in 1877 when Colman “etched several more plates from nature.” All located copies are hand-signed, suggesting it was printed in a very limited number of impressions and never widely published.

A prepatory sketch for this drawing is in the Cooper Hewitt. It is inscribed “Below the Maple masses meet.”

TK confirm unit of dimensions

Though known through a single, untitled impression held at the Smithsonian Musuem of American Art, it’s very likely this etching of ducks in a farm yard is the third of three etchings of Long Island that Colman exhibited together in the 1881 exhibition of the British Society of Painter Etchers — most likely the one referred to as “Long Island Study”.

While there is no way to conclusively date this image, it seems likely all three of Colman’s etching of Long Island were made around a similar time.

Colman likely drew this scene during his first trip to California in 1870 and etched it later in the decade. Of his early etchings, it is one of the most evocative and a significant, early example of his sinuous style of drawing landscapes.

Despite it’s scarcity today, Colman seems to have been proud to show this etching. It is listed in S.R. Koehler’s 1880 article about Colman and was exhibited at The British Society of Painter-Etchers (1881), The Museum of Fine Arts in Boston (1881), and The New York Etching Club (1882).

Today the only known impression of this image is in The National Gallery of Art. A undated, preparatory sketch for it is in The Cooper Hewitt.

Of all Colman’s etchings, this one probably has the most complete surviving history. This is thanks to a series of eight working proofs given to the Museum of Fine Arts, Boston by art historian Sylvester Rosa Koehler. Koehler was the editor of the Original Etchings by American Artists, where this etching was first published, and also authored a brief, but important article about Colman in The American Art Review. Sadly none of the museum’s proofs have been digitized, though another signed proof in the Rona and Martin Schneider Collection at Syracuse University has.

This quaint view of Durham Castle is probably Colman’s most widely circulated image. It was published as an original etching in at least three different books, under two different titles.

TK quote about this image

TK additional museums

TK

TK is the second state just foul biting?

TK

TK additional limited editions were printed on China and Japan paper. At least the Japan paper editions were hand-signed.

TK do I have this right?

TK There is a copy of this for sale on ebay right now

Tk

This rare etching is the subject of a letter Colman wrote to “Mrs. Moran” that is archived at the University of Birmingham. (TK presumably the wife of Thomas Moran, a close friend) The Museum of Fine Arts, Boston, which holds the only two known impressions of this etching, dates it to 1883. Whether it was etched at that time, or later in 1885 when the letter was written, it’s likely it was based on a drawing from one of Colman’s earlier trips to Europe.

TK Colman the collector. Japonisme

Colman’s etchings of Japanese carvings are among the hardest to definitively pin down. An etching titled Japanese Inro and Netsukes first appears in the 1884 exhibition of The New York Etching Club. Much later, the 1891 exhibition of The New York Etching Club included Japanese Turo and Netsukies. Two years later the World’s Columbian Exhibition in 1893 included two prints, titled Japanese Inro with Netzukies and Japanese Inro with Netzukies (No. 2). Only one etching of and into with netsukes has been definitively located, which is catalogued here, however, an 1894 article by Colman’s friend James D. Smillie features a partial image of another Colman etching title Japanese Inro and Netsuke, which is almost certainly the same as No. 2 from the World’s Columbian Exhibition.

Further confusing things, The Museum of Fine Arts at Boston has unphotographed etchings catalogued under the titles Japanese Inro and Netsukes, Japanese Netsukes, and Japanese Inro but all dated 1880. Presumably these are the same three prints catalogued here, but it’s difficult to be certain.

See Japanese Inro and Netsukes.

See Japanese Inro and Netsukes.

The only known impression of this etching was given to The Museum of Fine Arts, Boston by Colman in 1885. It’s unknown if any other impressions were made.

The only known impression of this etching is part of the Rona and Martin Schneider Collection at Syracuse University. Colman refers to it as Olive Grove & Mill, San Remo in 1891 and Olive Grove & Mill, Bordighera, Italy in 1893. The Syracuse University Art Museum refers to it as Old Mill in the Riviera Valley, though the origin of this name is unknown.

TK

TK confirm publication

TK

TK

TK publication per Syracuse

This is the first of three etchings created by Colman for the “Zuyder Zee Edition” of Holland and Its People by Edmondo de Amicis. (Google Books) It appears opposite page 48.

This is the second of three etchings created by Colman for the “Zuyder Zee Edition” of Holland and Its People by Edmondo de Amicis. (Google Books) It appears opposite page 246.

The 1891 exhibition of The New York Exhibition Club included an etching titled Old Tower at Amsterdam. This is presumed to be the same print catalogued here.

It’s also likely, though not certain that this is Amsterdam, Holland which was shown in the 1880 exhibition of the American Watercolor Society.

This is the third of three etchings created by Colman for the “Zuyder Zee Edition” of Holland and Its People by Edmondo de Amicis. (Google Books) It appears opposite page 250.

It’s likely that this is New Amsterdam, Holland which was shown in the 1880 exhibition of the American Watercolor Society.

One of five etchings published in Alice Durand Field’s Palermo: A Christmas Story.

One of five etchings published in Alice Durand Field’s Palermo: A Christmas Story.

One of five etchings published in Alice Durand Field’s Palermo: A Christmas Story.

One of five etchings published in Alice Durand Field’s Palermo: A Christmas Story.

One of five etchings published in Alice Durand Field’s Palermo: A Christmas Story.

This etching is known only through a single proof in the Syracuse University Art Museum. That proof has Colman’s edits in brown ink, which may suggest that the print was never completed to his satisfaction.

This etching is known only through a single proof in the Syracuse University Art Museum.

Tk