Artist
Alexander Runciman(Scottish, 1736–1785)Scottish, 1736–1785
CultureScottish
Titles
- Fingal Encounters Carbon Carglass
Datec. 1774
MediumEtching on cream wove paper, state I/I
DimensionsPlate (no visible platemark): 6 1/4 × 9 11/16 in. (15.9 × 24.6 cm)
Sheet: 6 3/8 x 9 15/16 in. (16.2 x 25.2 cm)
Frame (outer): 15 11/16 x 19 11/16 in. (39.8 x 50 cm)
Sheet: 6 3/8 x 9 15/16 in. (16.2 x 25.2 cm)
Frame (outer): 15 11/16 x 19 11/16 in. (39.8 x 50 cm)
Credit LineGift of Dr. Marjorie G. Horning
Object number2013.591
Non exposé
Explore Further
Department
Prints and DrawingsObject Type
Exhibition History"Vignettes: Masterworks on Paper 1520 to 1870," The Museum of Fine Arts, Houston, January 14—April 16, 2017.
Inscriptions, Signatures and Marks
Inscribed in pencil, on mat below sheet:"ALEXANDER RUNCIMAN Edinburgh 1736 - 1785 Edinburgh / Perseus and Andromeda, the large plate. / Etching; c. 1774.
Signed in pencil, probably by / Runciman himself - the hand appears to be the same as that on one / of Runciman drawings at the British Museum. / Printing (??) the very faint second signature still visible at lower left, to / the left of the visible monogram. This faint signature disappears in later / impressions, eg the 1826 impressions for "Two Hundred Etchings" * / Printed on Whatman wove paper consistent with a date of the 1770s."
Inscribed in pencil, lower right corner of mat: " * those 1826 impressions were printed on extremely fine / laid paper and always trimmed within the platemark / and usually to the image on three sides. / The impression here shows the blank space around / the image / On verso, in ink, "104" $9500-"
Signed in pencil, probably by / Runciman himself - the hand appears to be the same as that on one / of Runciman drawings at the British Museum. / Printing (??) the very faint second signature still visible at lower left, to / the left of the visible monogram. This faint signature disappears in later / impressions, eg the 1826 impressions for "Two Hundred Etchings" * / Printed on Whatman wove paper consistent with a date of the 1770s."
Inscribed in pencil, lower right corner of mat: " * those 1826 impressions were printed on extremely fine / laid paper and always trimmed within the platemark / and usually to the image on three sides. / The impression here shows the blank space around / the image / On verso, in ink, "104" $9500-"
Recto: Inscribed, in plate: AR fecit
Watermark: [none]
Cataloguing data may change with further research.
If you have questions about this work of art or the MFAH Online Collection please contact us.
James Abbott McNeill Whistler
1896
Transfer lithograph, drawn on transfer paper with a grained-stone texture, printed in black ink on cream laid paper, state I/I, lifetime edition of 15
2017.421
Andrea Andreani
c. 1593–1599
Chiaroscuro woodcut in light, medium and dark greenish gray, and black inks from four blocks on cream laid paper, state I/I
2013.683
Jacques Callot
1622
Etching with engraving on cream laid paper, state I/II, 2nd plate etched in Nancy
2014.255
Paul-Albert Besnard
1887
Etching and drypoint on wove paper, state I/I
2020.218
Brice Marden
1986
Sugar lift aquatint with scraping and etching on wove paper, artist's proof II/X, state I/I
96.29.4
Brice Marden
1986
Sugar lift aquatint and etching on wove paper, artist's proof II/X, state I/I
96.29.2
Brice Marden
1986
Sugar lift aquatint and etching on wove paper, artist's proof II/X, state I/I
96.29.1
Guido Reni
c. 1596
Etching on cream laid paper, I/II
2013.684
Caroline Helena Armington
1918
Etching on laid paper, state I/I, edition 83/100
2022.707
Jean-François Millet
1856
Etching on beige Japanese paper, state I/I
2014.906
Master I. O. V. (possibly Jean Viset)
c. 1537
Etching on laid paper, state I/I
94.93