This etching by Anton Schutz measures 9 7/8 x 13 3/4 inches. It is pencil signed and numbered. Schutz was born in Germany and emigrated to the US in 1924 before Hitler came into power. A well-known artist in Germany, especially Munich, he started over again and enrolled in the Art Student's League in NY, working with Joseph Pennel. He became known for his portrayal of large cities along the eastern seaboard, capturing the enormity of the buildings along with the spirit of the American people.
This fine cityscape by Anton Schutz, created in 1930, measures 14 x 9 3/4 inches. It is an artist proof, second state and pencil signed. Schutz worked with Joseph Pinnell at the Art Student's League and was known for his east coast cityscapes.
"The Post Office" measures 9 3/4 x 13 3/4 inches and is pencil signed and numbered. Schutz was founder of the NY Graphic Society. Born in Germany and living there for many years, including some spent in the German Army in WW1, Schutz emigrated to the US in 1924 and attended the Art Student's League of NY, working with Joseph Pennell.
A beautiful drypoint etching by Samuel Chamberline, created in 1931, measures 14 x 9 1/2 inches. It is pencil signed, titled and numbered with the inscription " To Eliot Fletcher, with best wishes - SC" on the lower margin. Number 104 in the BPL catalog. Samuel Chamberlain was an important 20th century American architect and artist. He studied architecture at MIT, but interrupted his studies to serve in France during WWI. After the war, Chamberlain worked as an architectural draftsman in Boston before leaving the US to travel throughout France and Europe.
This lovely drypoint of the Saugus Ironworks measures 6 7/8 x 10 7/8 inches. It is pencil signed, titled and numbered. Created in 1958, this scene is near Lynn, Massachusetts, on the banks of the Saugus River, where iron was first produced in commercial quantities in 1646. After being restored, the Saugus Ironworks is now a National Hictoric Site and a unit of the National Park System of the United States. Chamberlain became well known for his carefully rendered etchings and drypoints of both European and American buildings and cityscapes as well as very detailed landscapes.
This etching by John Taylor Arms measures 14 3/8 x 7 5/8 inches. It is pencil signed and numbered, from his French Church Series #31. In the Fletcher catalog it is #241. In 1931, this print won the "Mrs. Henry F. Noyes Prize", from the Society of American Etchers, National Arts Club, NY; the Best Entry in the "Carle Blenner Prize in 1950, from the New Haven Paint and Clay Club, New Haven, Connecticut and the Best Print in the 1952 Annual Exhibition, for the Arts and Crafts Association, Meriden, Connecticut.
"Baltimore Harbor" was created in 1925 in an edition of 25. It measures 11 7/8 x 7 7/8 inches and is pencil signed and titled with an inscription to a "Mr. Wm. E. Bauer" from the artist on the lower center. Emory spent his early years as a successful businessman and lawyer while later in life took up the art of etching, studying first under Paul Roche and then traveling to England and enrolling at the Heatherly School of Art. His work was included in "100 Selected Prints" for the NY Exhibition of the Society of American Etchers.
This is a great image of the New York Stock Exchange of the 1920s, with a fantastic sense of the hustle and bustle contained within the grand architecture of the trading floor. Etching, image size 10 7/8 x 12 3/4 inches, c. 1920s, pencil signed. A rich impression on medium weight wove type paper.
"Shadows" was published in 1936 in an edition of 175 for the American College Society of Print Collectors as part of a program to distribute prints in universities and libraries. 125 went to the program and Eby kept 50 for himself. He annotated some of these proofs with "Pub. Ed. 50." which this one has on the lower margin. It measures 10 1/4 x 14 7/8 inches, is pencil signed and is #186 in the Giardina catalog. Eby was a remarkable printmaker and a member of the Cos Cob Art Colony and friends with many of the important artist of the day, including Childe Hassam and John Taylor Arms.
This etching by Leonard Baskin, c. 1965, measures 36 x 14 inches and is pencil signed and titled on the lower margin. An artist proof, printed on a hand-shaped etching plate, using a heavy weight paper. It is #522 in the Fern and O'Sullivan catalog. In the era of abstract expressionism, Baskin’s work was always representational, with a strong classical influence. Baskin attended Yale University School of Fine Arts and founded The Gehenna Press. After a three year stint in the Navy, Baskin studied art under the GI Bill, traveling to France and Italy.