DescriptionDONALD SHAW MACLAUGHLAN (Canadian/American, 1876-1938)
A group of 10 original etchings, 1899- circa 1911
Etching on various types of paper
All signed and some inscribed
THE PROPERTY OF A TEXAS COLLECTOR
Purchased from Donald Shaw MacLaughlan by Representative C. C. Bowman, Pittsburgh, Pennsylvania, circa 1911;
Collection of his son, William L. Bowman of Mount Vernon, New York;
Edythe Bowman, his widow;
Present owner, acquired from the above in 1970.
In addition to printing the "Beaumont impressions" of Rembrandt etchings, Donald Shaw MacLaughlan was a talented printmaker in his own right. Working in the picturesque tradition similar to figures Joseph Pennell and Samuel Chamberlain, MacLaughlan used a somewhat more spirited draftsmanship and bolder play of lights and darks in his etchings. This collection has descended uninterrupted in the family of C. C. Bowman, who acquired the etchings directly from MacLaughlan. One of them is inscribed by the artist "To Mr. and Mrs. Bowman." Impressions of many of these prints are in the collections of the Fogg Museum, Harvard University and the British Museum, London.
The ten etchings in this collection include: Florence, Italy (1905), inscribed in pencil lower left under print: To Mr. and Mrs. Bowman; Landscape - Pougny (1907); Rue du Chasseur, Rouen (date unknown); Ponte Ticino, Pavia (1904); Lion Column (1899); Smuggler's Cove (1906); La Fleche (St. Ouen, Rouen) (1903); Sleeping Dog (1911), which appears to be a proof earlier than the edition because it isn't signed in the plate; Quai des Grands Augustins, Paris (1906); Draught Horses (1906).
For more extended descriptions of all 10 prints please see our online catalogue.
(1) "Florence, Italy" 1905 Inscribed in pencil lower left under print: To Mr. and Mrs. Bowman Signed and possibly dated [indistinct writing following the name], in pencil, lower right under print: D. S. MacLaughlan, 1905(?) Penciled very small and faintly, in what appears to be the artist's hand lower left in pencil: 18 Plate mark (rounded corners, heavily embossed): 6 ¾ x 7 7/8 inches Chine applique (giving effect of pl Sheet: 8 /14 x 9 15/16 inches Literature: Bruette 79. Condition: Print itself in very good to fine condition. No apparent losses of any kind or foxing. Edges of the sheet bear discoloration from scotch tape residue (tape still present and brittle). Still attached on left perimeter of sheet to fragile backing sheet inscribed in a later hand both Mac #18 and "Florence." Reverse of the sheet are ink stains as well as finger prints on the perimeter, appearing to have resulted from the printing process. Almost certainly MacLaughlan's own. (2) "Landscape - Pougny" 1907 (similar to Bruette 93) Signed, inscribed and dated in the plate lower right: By MacLaughlan Pougny 1907 Pencil signed lower right under plate: D. S. MacLaughlan Titled in pencil on reverse in what appears to be artist's hand: Landscape - Pougny In pen by a later hand on reverse: "Unmounted Landscape" Etching on heavy brownish-tan wove paper. Plate with thread margins apart from bottom margin of 1/8 inch: 4 ¾ x 10 ¾ inches An impression of this print is in the collection of the British Museum, London, Condition: Generally in good condition. Top right and bottom right corners bumped; two small whitish accretions in lower right quadrant and one near upper left corner adhering to print (they look brittle and probably would be removable by a specialist); ¼ inch stain along top margin approximately two inches from right corner. (3) "Rue du Chasseur, Rouen" (date?) (find in Bruette) Etching on Chine appliqué on heavy wove paper Signed and titled and numbered in pencil: D. S. MacLaughlan (at lower right just below the platemark but on the thin Chine paper where it overlaps the platemark); titled in lower left corner of wove paper to which the etching is tipped; numbered 26 in lower right corner. Plate: 6 5/8 x 4 5/8 inches Sheet: (full margins) 7 5/8 x 5 3/8 inches An impression of this etching is in the permanent collection of the Currier Museum of Art. Condition: etching itself in very good condition. On the sheet to which the etching is applied, there are breaks in the paper at the corners where the sheet was tipped against a backing sheet by the artist-on the left, the break runs into the penciled title, and on the right the corner of the sheet is entirely detached. Backing sheet to which sheet carrying the image is tipped (irregular and torn with loss of lower left quadrant, and two pieces of masking tape on back, not interfering with the printed sheet in any way): 13 x 17 ¼ inches (4) Ponte Ticino, Pavia, 1904 Etching on heavy brownish tan wove paper Plate: 7 3/8 x 5 1/8 inches, with thread margins on top and sides Signed in pencil lower right: J. S. MacLaughlan Titled and signed in the plate lower center and right: PONTE TICINO D. S. MacLaughlan 1904 Impressions of this print are in the collections of the Harvard Art Museum, the Smithsonian American Art Museum, and the British Museum, London. Condition: Print in very good condition. Only apparent issue is a small accretion of white (glue?) near upper left corner. It appears to be on the surface rather than sunken into the paper. Print is tipped against a backing sheet on which is written in another hand in pen "Ponte Ticino (Pavia), and also in pencil "Mac. #6. The print is unhinged on left but still tipped on the right. (5) Lion Column, 1899 Etching on Chine Plate: 3 5/8 x 2 inches Sheet (tipped against paper backing at all four corners): 5 x 2 3/8 inches Signed in pencil below plate on right: D. S. MacLaughlan Numbered in corner of sheet lower left in pencil: 24 Apparently bears title verso (visible through the thin paper) An impression of this print is in the collection of the Harvard Art Museum and the British Museum, London. The column is located outside the Ducal Palace, Venice. Figures standing around column with dome of Santa Maria della Salute beyond. Condition: Tipped to backing paper on all four corners. Water/liquid stain visible in lower and right margins flowing onto backing board. Oddly it looks as though it was caused from toning of the plate? No apparent losses or inperfections in the print itself. In a later hand "Mac #22" and "The Lion Column" are written in the broad margins of the backing paper. (6) Smuggler's Cove, 1906 Etching on Chine appliqué laid on heavy buff wove paper Signed in pencil lower right below plate: D. S. MacLaughlan Numbered in pencil below the plate on left: 18 Plate: 7 x 8 5/8 inches (thread margins except for lower margin) Sheet: 7 3/8 x 9 inches Inscribed in unknown hand in pencil on backing sheet to which the print is tipped: BEST EXAMPLE OF NICE P. Condition: Very good condition. A couple spots of discoloration just left of the towering rock; a spot of possible abrasion in lower left quadrant; one ½ inch indentation near midpoint of print, possibly a scratch or flaw in the paper. Tipped to backing paper inscribed in large margin by later hand: "Smugglers Cove", "Mac #19", and KEEP. (7) La Fleche (St. Ouen, Rouen), 1903 Etching on Chine Plate: 6 ¾ x 3 inches Sheet: 7 ¾ x 3 5/8 inches Signed in pencil below the plate at right: D. S. MacLaughlan Numbered in pencil in the lower left corner of sheet: 27 Condition: Tipped to irregular sheet of backing paper in all four corners. Print itself in good condition apart from a water stain (faint) near center and into right edge, and two printers' creases. Impression of this print is in the collection of the British Museum, London. (8) Sleeping Dog, 1911 Etching on Chine perimeter mounted to buff card Plate: 2 ½ x 3 ½ inches (thread margins) Sheet: 2 5/8 x 3 5/8 inches Signed lower right in pencil below plate: D. Shaw Mac Laughlan Titled or inscribed illegibly (rubbed) lower left below plate. Impression in the British Museum is signed in the plate as well while this one isn't, suggesting perhaps it is a first state/proof. Condition: Perimeter mounted to card. Slight discoloration along perimeter, perhaps stemming from the glue. Wrinkles without creases in paper. Otherwise very good condition. (9) Quai des Grands Augustins, Paris, 1906 Etching on Chine paper Signed in pencil lower center right: D. S. MacLaughlan Titled in the plate upper right: QUAI DES GRANDS AUGUSTINS Plate: 8 7/8 x 13 5/8 inches Sheet: 9 7/8 x 15 ½ inches View overlooking River Seine towards street of tall houses, dome of the Pantheon beyond, barges and steamer in foreground. An important and major print by MacLaughlan. An impression is in the British Museum, London. Condition: Tipped on four corners to a crumbling back sheet of paper. Print is fully intact and in overall quite good condition with the only flaws being: fold through the right corner of the paper well into the print (folded part slightly a different color than rest of the plate as though folded that way for a long time; upper left corner also with fold as though it too had been folded back for a time. (10) Draught Horses, 1906 Etching on Japon paper Signed and dated in the plate upper left: D. S. Mac Laughlan 1906 Signed in pencil lower right below plate: D. S. MacLaughlan Plate: 1 x 6 ¾ inches Sheet: 1 ¼ x 7 ¾ inches Two men digging cart out of mud, with four horses. The impression in the British Museum, London is chine Colle which this is not. This is a Japon paper with more fiber and body to it than his usual Chine. Condition: Tattered paper window mat and backing paper were quite likely the artist's own since the backing paper to which the print is tipped has the title "Draught Horses" written in the artist's hand on it.
*Heritage Auctions strives to provide as much information as possible but encourages in-person inspection by bidders. Statements regarding the condition of objects are only for general guidance and should not be relied upon as complete statements of fact, and do not constitute a representation, warranty or assumption of liability by Heritage. Please note that we do not de-frame lots estimated at $1,000 or less and may not be able to provide additional details for lots valued under $500. All lots are sold "AS IS" under the Terms & Conditions of Auction.
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