Thomas Moran “In Newark Meadows” Etching


Thomas Moran (February 12, 1837 — August 25, 1926) from Bolton, England was an artist of the Hudson River School , lithographer and etcher. Thomas Moran’s vision of the Western landscape was critical to the creation of Yellowstone National Park.

His pencil and watercolor field sketches and paintings captured the grandeur and documented the extraordinary terrain and natural features of the Yellowstone region. Moran’s artwork was presented to members of Congress by park proponents.

These powerful images of Yellowstone fired the imagination and helped inspire Congress to establish the National Park System.

Thomas Moran “In Newark Meadows” Etching 1879. Klackner 15, Gilcrease 24. Signed in the plate with the monogram. Alternate title: “In the Newark Meadows.” In 1879 Moran still lived in New Jersey and executed several subjects there. Printed on laid paper from the American Art Review in 1879.

This is very richly etched, with strong contrast between the trees, grasses, posts and the water. In pristine condition.

1879. Klackner 15, Gilcrease 24. Signed in the plate with the monogram. Alternate title: “In the Newark Meadows.” In 1879 Moran still lived in New Jersey and executed several subjects there. Printed on hand made laid paper, from The American Art Review in 1879. This is very richly etched, with strong contrast between the trees, grasses, posts and the water. Etching, 5 3/4 x 8 7/8 inches and In pristine condition.


The American Art Review


The American Art Review: Inspired by the European etched art of Whistler, Meryon, Haden and others, a large number of American artists became seriously interested in the art of etching by 1875.

A primary catalyst to the etching revival in America was the journal, “American Art Review” (1879—1881). Founded and edited by Sylvester Rosa Koehler it commissioned American artists for original etchings and wood engravings Contributing artists included such notable artists as Thomas and Peter Moran, Otto Bacher, J. M. Falconer, F. S. Church, Robert Swain Gifford, Henry Farrer, Samuel Coleman, Alfred Brennan, Anna Lea Merritt and S. J. Ferris.

Due mostly to its lavish production costs the journal lasted only slightly over two years. The finely printed etchings it produced, however, served as a cornerstone for the many great American etching.