Elliot Daingerfield and Walter Satterlee

An Old Master at Last

Elliot Daingerfield's original etching An Old Master at Last might possibly be the only etching created by this famous American painter and muralist. This charming work of art is based upon a drawing by Daingerfield's teacher in New York, Walter Satterlee. Daingerfield first apprenticed under Satterlee in 1880 and worked in his studio for the following four years. An Old Master at Last was first exhibited at the annual New York Etching Club exhibition of 1884.

Original Etching by the American artist, Elliot Daingerfield designed by Walter Satterlee.

An Old Master at Last

View other original works of art published by White, Stokes & Allen, New York.

Some Modern Etchings: Published by White, Stokes & Allen, New York
#	Image	Title & Artist	Medium	Date	Notes	-
01.-		An Old Master at Last Elliot Daingerfield designed by Walter Satterlee	Original Etching with Sepia Plate Tone	1884	Signed and dated by Elliot Daingerfield in the plate to the lower left.	Sold
02.-		Driving the Sheep by John Austin Sands Monks	Original Etching	1884	Signed and dated in the plate by John Austin Sands Monks to the lower right.	Sold
03.-		Never too Late to Mend by James Wells Champney	Original Etching	1884	Signed and dated by James Champney in the plate to the lower right.
04.-		My Ain Fireside by Stephen G. McCutcheon	Original Etching	1884	Signed by Stephen McCutcheon and noted, "London" in the plate to the lower right.
05.-		Testing the Toledo by Frank Waller	Original Etching	1884	Signed and dated by Frank Waller in the plate to the lower right.

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Title:	An Old Master at Last
Engraver:	Daingerfield, Elliot (Harper's Ferry, VA, 1859 - Gainsborough, NC, 1932)
Designer:	Satterlee, Walter (Brooklyn, 1844 - New York, 1908)
Date:	1884
Medium:	Original Etching with Sepia Plate Tone
Publisher:	White, Stokes & Allen, New York
Note:	Elliot Daingerfield: A major painter of the American South, Elliot Daingerfield moved to New York in 1880 and apprenticed under Walter Satterlee, while also taking classes at the Art Students League. In 1884 he moved to a studio on Fifty-Fifth Street and began his close friendships with both George Inness and Albert Pinkham Ryder. From the influence of these great artists Daingerfield began to explore the more poetic and even mystic elements of landscape painting. At this time the French Barbizon School influence was also evident.
	In the 1890's Elliot Daingerfield began to produce religious paintings in a manner related to the Pre-Raphaelite movement. His best known works in this regard are his 1902 murals at the Church of Saint Mary in New York City.
	As well as working in New York City, Elliot Daingerfield held both residences and studios in North Carolina from the 1880's to his death in 1932. Apart from creating many fine landscape and religious scenes, the artist was also the author of monographs upon the art of George Inness and Ralph Albert Blakelock, and served as professor of painting at the Philadelphia School of Design for Women.
	Daingerfield was elected a full Academician of the National Academy of Design in 1902. Today the important art of Elliot Daingerfield will be found in the following collections; The Metropolitan Museum of Art, the National Gallery of Art, the Smithsonian American Art Museum, Princeton University Art Museum, Brooklyn Museum and the Los Angeles County Museum of Art. The Morris Museum, Augusta, Georgia, houses the largest collection of Daingerfield's art as well as his archives.
	Walter Satterlee: A New York City painter and etcher, Walter Satterlee studied art at the National Academy and under Leon Bonnat, in Paris. Specializing in figure studies and scenes of the Orient and Arabia, he began exhibiting his art at the National Academy in 1868. He was elected an Associate of that institution in 1878. Satterlee also sketched and painted in Italy, France and Brittany. Walter Satterlee was a full member of the American Water Color Society and the New York Etching Club.
Source:	Portfolio, Some Modern Etchings: Elliot Daingerfield's, "An old Master at Last" based upon a design by Walter Satterlee, was commissioned by the New York publisher, White Stokes & Allen, in 1884. Besides Daingerfield's etching, other original etchings included in this portfolio are "My Ain Fireside" drawn and etched by Stephen G. McCutcheon, "Never too Late to Mend" drawn and etched by James Wells Champney, "A Tramp" drawn and etched by Gabrielle D. Clements, "The Clarionet Player" by Katherine Levine based upon a design drawn by H. Kauffmann, "Driving the Sheep" drawn and etched by John Austin Sands Monks, "Testing the Toledo" drawn and etched by Frank Waller, "Portrait of Rembrandt" by F.S. King based upon Rembrandt's painting, "The Evening Star" drawn and etched by Walter Satterlee, and "The Ponte San Trinita" drawn and etched by Joseph Pennell.
Size:	11 1/2 X 8 (Sizes in inches are approximate, height preceding width of plate-mark or image.)
	Matted with 100% Archival Materials
Condition:	Printed upon hand-made, laid paper and with wide, full margins as published in New York in 1884 by White, Stokes & Allen. Signed and dated in the plate to the lower left. Containing foxing within the image and the margins, else a finely printed impression with full plate tone and in good condition. An Old Master at Last represents a fine, original example of the 19th century art of both Elliot Daingerfield and Walter Satterlee.
Subject:	Elliot Daingerfield, Walter Satterlee, An Old Master at Last, original etching with Sepia Plate Tone, artists of the American South, George Inness and Albert Pinkham Ryder, Church of Saint Mary in New York City, mystic elements of landscape painting, New York Etching Club.
Price:	Sold - The price is no longer available.
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Elliot Daingerfield & Walter Satterlee

An Old Master at Last