Not currently on view
In the collection of Cleveland Museum of Art, Cleveland · as of August 2026
FROM THE CLEVELAND MUSEUM OF ART’S CATALOG
The 1890s in France was not only a decade that produced marvelous color lithographs but also beautiful color etchings. This renaissance of color intaglio prints was the result of many factors, including an interest in French 18th-century etchings—an earlier period of glorious color printmaking—and the popularity of Japanese color woodcuts, introduced in France in the 1860s. Around 1885 Guérard, an inventive artist, began to experiment with color etching. In Effect of Moon at Dieppe , he realized the glow of the lights around the harbor and their reflections in the water by burnishing away etched lines on the plate so that nothing printed in these areas. The highlights, therefore, are the unprinted white paper.
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Samuel Colman (American, 1832–1920) — A Cloudy Day in Venice
James Craig Nicoll (American, 1847–1918) — Harbor Scene
Otto H. Bacher (American, 1856–1909) — Fondamenta della Zatt
Henry Farrer — Sunset on the East River
Henry Farrer (American, 1843–1903) — Evening, New York Harbo
James McNeill Whistler (American, 1834–1903) — Billingsgate
Samuel Colman (American, 1832–1920) — The Boompjes, Rotterda
Otto H. Bacher (American, 1856–1909) — Venice
James McNeill Whistler — Nocturne
Henry Farrer|New York Etching Club — Evening, New York Harbo
Otto H. Bacher (American, 1856–1909) — Shipping and the Duca
Maxime Lalanne (French, 1827–1886) — In the Bordeaux Harbor
