Julian Alden Weir
J. Alden Weir, Amer., (1852-1919), The Picture Book, Etching, ca. 1890, Z.56, Original Ed. unknown, 1927 Ed. 25 plus proofs, 6-15/16 x 5, signed with reversed initials in the plate lower left, on cream laid simili japan paper with substantial margins, slightest toning within mat opening, original dry masking tape hinges recto. An unsigned proof printed by Weir's daughter Caro Weir Ely, outside the edition of 25 signed & numbered in pencil by her in 1927, and exhibited the same year at Keppel & Co. in New York City. A beautiful impression of this tender and delicate image showing Weir's focus on the quality of light from a window illuminating an interior while his daughter sits absorbed in the pleasures of a large book. $1,100
Drypoint, 1891, ed.small, but at least 10, Z. 58, F. 23, this impression would appear to be a new and undescribed state between Z. V & VI, 10-1/2 x 7-13/16, signed twice, titled & dated in the plate, and signed in pencil in the image lower left. On cream laid paper, trimmed within the platemark; probably by the artist, but at least 1/4 outside the ruled border all around. Traces of old hinges and glue at top edge and bottom corners verso from a previous mount. A small thin spot upper left corner, verso, one small speck in the image at left center from a metal inclusion in the paper. A beautiful impression, possibly unique in this state, showing Weir's great skills as a draftsman and portraitist. That the best of Weir's portrait prints can stand beside those of Whistler is no coincidence as the two sustained a friendship and no doubt Whistler's prints made a strong impression on Weir, reinforced by their association and Weir's having grown up with access to his own father's fine collection of prints, which in cluded examples by Rembrandt. In fact, The elder Weir was the art instructor at West point during Whistler's brief time as a cadet there. The sitter of this drypoint portrait was a relation of Weir's. From a private Connecticut collection formed nearly a century ago.