“Waiting for Daddy,” Mary Vickers, 1974 etching, 19x19 in., signed and marked Artist’s Proof.

A rare 1974 Artist’s Proof etching by Mary Vickers, Waiting for Daddy reflects her signature tenderness and emotional storytelling through a serene domestic scene of a mother and child awaiting a loved one’s return. Rendered in deep blue tonal etching, this work exemplifies Vickers’ celebrated technique of expressive linework, intimate sentiment, and decorative detail. A highly collectible early-period proof for admirers of Romantic figurative art and mid-century printmaking.

Artwork Description

Waiting for Daddy (1974) is one of Mary Vickers’ most poignant early etchings, capturing the quiet emotional world of a mother and child with extraordinary sensitivity. Executed in a monochromatic indigo palette, the work radiates calm, anticipation, and gentle affection. A mother reclines against a patterned pillow, her eyes softly closed as she comforts her daughter, who rests her head on her mother’s lap with a wistful gaze. The composition is intimate yet atmospheric, anchored by a vase of flowers and a lamp that glow subtly within the textured background.

Vickers’ mastery of etching is on full display: cross-hatching defines fabric and form, while delicate linework illuminates the emotional bond between the figures. The tonal variations in the blue ink create depth and serenity, enhancing the nighttime or twilight mood implied by the subdued lighting. As an Artist’s Proof, this impression predates the numbered edition and was used by the artist to evaluate plate tones and coloration, making it especially desirable to collectors.

Signed lower right, titled center, and inscribed “Artist’s Proof” lower left, this is a quintessential expression of Vickers’ commitment to portraying love, domestic tenderness, and human connection through the etching medium.

Artist Biography

MARY VICKERS — BIOGRAPHY (British/American, born early 1940s)
Mary Vickers is a British-born Romantic figurative artist renowned for her emotionally expressive portraits, tender narratives, and richly detailed hand-colored and tonal etchings. Born in the early 1940s outside London, she displayed a natural talent for capturing emotion early in life, shaped by rural English surroundings and deep engagement with London’s museums, where Romantic and Pre-Raphaelite ideals deeply influenced her developing style.

Vickers trained at the S.E. Essex School of Art and St. Martin’s School of Art, later continuing advanced studies at the Art Students League of New York and the Graphic Center at Pratt Institute, where her discovery of original printmaking transformed her artistic direction. Beginning in 1969, she developed a signature technique combining delicately rendered faces, expressive cross-hatching, and richly textured backgrounds—often enhanced by hand coloring.

Throughout the 1970s she achieved widespread acclaim, exhibiting internationally 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, Leonardo Nierman, and Peggy Lipton. Her paintings were later reproduced by Josiah Wedgwood & Sons and distributed globally by The Bradford Exchange, who described 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.

Dedicated to portraying love, beauty, and emotional truth, Vickers’ art is grounded in her belief that a piece is not complete until it finds a viewer who loves it. Now believed to be retired, her original etchings from the late 1960s through the 1970s remain the most collectible works of her career.

Mary Vickers (British/American, b. early 1940s)
Waiting for Daddy, 1974. Tonal blue etching on paper, 19 x 19 in. Signed, titled, and inscribed “Artist’s Proof.” Tender figurative scene of mother and child. Desirable early-period AP impression.

CERTIFICATE OF VALUE & AUTHENTICATION
Artist: Mary Vickers
Title:Waiting for Daddy
Date: 1974
Medium: Etching (blue tonal print)
Dimensions: 19 x 19 inches
Edition: Artist’s Proof (AP)
Signature: Signed lower right; titled center; inscribed AP
Provenance: Acquired in New York City; Artfind Gallery, Washington DC
Authenticity: Verified original etching paper impression, printed from the artist’s plate and hand-signed.
Condition: Excellent
Estimated Market Value: See ranges below
Issued By: Artfind Gallery, Washington DC

Provenance Chain

1. Artist: Mary Vickers

2. Acquired: New York City

3. Private Collection: NYC

4. Current Owner: Artfind Gallery, Washington DC