Description: We offer a tranquil etching by Otto Bacher. The plate is 9 ¾” x 6” on ivory wove paper (12” x 9”), pencil signed at the lower left under the plate line and signed and inscribed in the plate at the bottom: “Royal Farden Schleissheim, Otto.” A fine impression with softened drypoint burr that poetically conveys the feeling of twilight, we barely see the outline of the rustic fence and its reflection. On a sprawling Bavarian palace known for its manicured gardens and highly symmetrical architecture, Bacher, it seems, felt more at ease with a subtle and provincial natural landscape; a pair of poplar trees reflected in a pond, rather than clipped hedgs of boxwood. Item #PR00173.
Otto Bacher (1856-1909) was born in Cleveland, Ohio to a family of German immigrants. At 16 he studied under De Scott Evans, learning trompe l'oeil and still life genre painting. He moved to Munich in 1878 and enrolled at the Royal Academy but left, along with a few other young artists, to travel and study with the American (and Royal Academy graduate) Frank Duveneck. Together they were known as the “Duveneck Boys” and the group established studios at the Casa Jankovitz in Venice. Bacher had his press moved from Munich and taught his circle of expatriates etching and monoprinting. That circle expanded to include James McNeill Whistler, and the two shared new techniques and developments with each other readily. In 1908 he published With Whistler in Venice, a memoir of his time with the venerable artist. Bacher moved frequently from Cleveland to Paris and then back to Venice in 1886. He settled permanently in New York in 1888. He continued his artistic practice and occasionally worked as a commercial illustrator for newspapers and books. His works were exhibited at the Society of American Artists and the National Academy of Design. He died in Bronxville, New York in 1906.
Condition: The paper is evenly toned, there is a small ¼” tear at the bottom left margin, well away from the image and diagonal crease at the upper left corner that regrettably goes into the plate (but not the image) by ½”, otherwise the print is in good presentable condition.