“Three’s a Crowd,” Mary Vickers, 1973 etching, 16x20 in., signed and numbered 1/100.

A rare early-edition etching from 1973, Three’s a Crowd showcases Mary Vickers’ gift for tender, humorous storytelling through expressive figures and detailed linework. Depicting three elderly companions sharing a park bench—one absorbed in his newspaper while the women react with warmth and wit—the piece captures Vickers’ signature blend of Romantic sentiment and everyday human connection. Signed and numbered 1/100, this etching is from her most collectible early period and is ideal for collectors of figurative prints, British Romantic art, and mid-20th-century etchings.

Artwork Description

In Three’s a Crowd (1973), Mary Vickers shifts her Romantic lens toward a charming moment of humor and companionship among three elderly figures seated on a wooden park bench. Rendered in warm sepia tones, the composition highlights Vickers’ expressive line quality: finely etched foliage frames the trio, while soft cross-hatching models their clothing and features with sensitivity.

At the center, an elderly gentleman reads his newspaper with absorbed seriousness, oblivious to the women flanking him. On one side, a woman rests her chin in her hand, gazing toward him with affectionate amusement; on the other, another woman—cane in hand—offers an equally knowing expression. The title, Three’s a Crowd, adds a playful tension to the scene, suggesting lighthearted rivalry, shared history, or the gentle humor of aging friendships.

This work is a strong example of Vickers’ early etching style before she expanded into more stylized romantic figures later in the decade. Her ability to convey emotional nuance—here through body language, gesture, and facial expression—reinforces her long-standing commitment to portraying love, humanity, and the beauty of ordinary moments.

Signed lower right, titled at center, and numbered 1/100 lower left, this is the very first impression of the edition—an especially desirable trait for collectors.

Artist Biography

MARY VICKERS — BIOGRAPHY (British/American, born early 1940s)

Mary Vickers is a British-born Romantic figurative artist celebrated for her emotionally expressive portraits, tender human themes, and richly decorative hand-colored etchings. Born in the early 1940s in a small village outside London, Vickers demonstrated exceptional artistic sensitivity early in life, particularly in capturing the subtleties of emotion in the human face. Her childhood environment—shaped by English country life and frequent visits to London’s museums—deeply influenced her lifelong dedication to portraying love, intimacy, and human connection.

She studied at the S.E. Essex School of Art and St. Martin’s School of Art, where Romantic and Pre-Raphaelite influences became central to her style. After relocating to the United States, she continued advanced studies at the Art Students League of New York and the Pratt Institute Graphic Center, where the discovery of original printmaking transformed her artistic direction. Beginning in 1969, Vickers developed her signature method of combining delicately drawn, brushlike features with richly textured etched and lithographic surfaces—often enhanced by hand color.

During the 1970s, she rose to international prominence with exhibitions in New York, Chicago, Paris, Puerto Rico, and across the U.S. Her work entered notable private collections, including those of Sarah Churchill, the Duke & Duchess of Marlborough, Robert Alda, Peggy Lipton, and Leonardo Nierman. Her paintings were later reproduced by Josiah Wedgwood & Sons and distributed by The Bradford Exchange, who praised her as “one of the leading Romantic painters of our time.”

Her prints remain staples in vintage fine art collections and continue to be exhibited in private galleries globally. The involvement of Mitch Morse Gallery ensures clear provenance and secure attribution for collectors.Vickers’ exhibitions spanned New York, Chicago, Paris, Puerto Rico, and London, and her collectors include Sarah Churchill, Peggy Lipton, Leonardo Nierman, and the Duke & Duchess of Marlborough. Her artwork was also reproduced by Josiah Wedgwood & Sons and The Bradford Exchange, which praised her as one of the leading Romantic painters of her time.

Vickers believes that art is a vessel for love and emotional authenticity. Her subjects—lovers, families, children, and tender domestic scenes—reflect her commitment to capturing beauty as an expression of the heart. Now believed to be retired from public artistic life, Vickers’ early etchings from the late 1960s and 1970s remain the most sought-after works of her career.

Mary Vickers (British/American, b. early 1940s)
Three’s a Crowd, 1973. Etching on paper, 16 x 20 in. Signed, titled, and numbered 1/100. Warm sepia-toned figurative etching depicting three elderly friends on a park bench. Rare first impression of the edition.

CERTIFICATE OF VALUE & AUTHENTICATION
Artist: Mary Vickers
Title:Three’s a Crowd
Date: 1973
Medium: Etching
Dimensions: 16 x 20 inches
Edition: 1/100
Signature: Signed lower right; titled center; numbered lower left
Provenance: Acquired in New York City; Artfind Gallery, Washington DC
Authenticity: Verified original etching pulled from the artist’s plate and hand-signed in pencil.
Condition: Excellent
Estimated Market Value: See ranges below
Issued By: Artfind Gallery, Washington DC

Provenance Chain (Collector Format)

1. Artist: Mary Vickers

2. Acquired: New York City

3. Private Collection: NYC

4. Current Owner: Artfind Gallery, Washington DC