This c. 1930 drypoint etching by the American artist, Warren Davis, measures 7 7/8 x 4 7/8 inches and is pencil signed on the lower right. Warren Davis studied at the Art Students League in New York and became known for his etchings of idealized female figures, many of which were used on the covers of Vanity Fair and Life magazines. Later in his career Davis exhibited in Europe and the United States including the Pennsylvania Academy and the Salmagundi Club.
A richly inked original etching, image size 5 7/8 x 5 1/8 inches, c. 1930s, inscribed in pencil possibly by another hand. An excellent impression on a medium weight watermarked laid type paper.
This is a very dramatic original etching by British Marine artist Arthur Briscoe. The image size is 8 3/8 x 15 3/8 inches, 1926, edition of 75, hand signed and numbered in ink. This etching is tastefully framed with what appear to be archival materials, provenance Egon and Joan Teichert Fine Prints, NY, label on the back of the frame. Briscoe studied at the Slade Art School and the Academy Julian in Paris and then spent the rest of his time sailing, becoming one of the most prominent British marine artists of the 20th century.
This is an evocative original etching by Kathe Kollwitz, image size 7 3/8 x 5 5/8 inches, created in 1892, published by Von der Becke c. 1945 and sold by the Associated American Artists, New York, framed, with the AAA label on the back. Kollwitz was a German Expressionist artist known for her dramatic images of the poor, especially women and children, and the stark realities of poverty and war.
A tender image of a mother and her young child by German Expressionist Kathe Kollwitz, this etching measures 7 5/8 x 4 7/8 inches, published by Von der Becke in 1910, sold by the Associated American Artists, New York, framed, with the original AAA label on the back. Kollwitz was a German Expressionist artist known for her dramatic images of the poor, especially women and children, and the stark realities of poverty and war.
This is a great original etching of the Art-Deco building in St. Paul, Minnesota by New Yorker illustrator and WPA artist Theodore G Haupt. This etching was published in 1931, the same year that the building was constructed. The image size is 8 1/2 x 8 1/2 inches, plate signed and dated, pencil signed. A rich impression on a laid type paper.
This is a very fine etching by Stephen Parrish after a painting by Henry Ward Ranger. The image size is 18 x 23 3/4 inches, published by Klackner in 1887, cat: Schneider-124, with a remarque in the lower center margin, pencil signed by both Parrish and Ranger. In her description of this etching, Schneider writes that "there is a good match between the sensibilities of the painter, Henry Ward Ranger (1858-1916), and the printmaker, Parrish, so the result is a masterful etching."
Etching with drypoint, image size 5 7/8 x 8 7/8 inches, c. 1930s, pencil signed. Philip Kappel was born in Hartford, CT, and educated at the Pratt Institute in New York. He was employed as an artist for several shipping companies and much of his work documents these ships and their sailors. At age 26, Kappel was the youngest person ever admitted to "Who's Who in America."
A beautiful original etching of Gloucester Harbor, this image measures 13 1/2 x 21 3/4 inches, 1887, published by Radke, Lauckner & Co, New York, cat: Schneider- 131, pencil signed. Stephen Parrish was one of the leading American etchers of the late 19th century, known for his atmospheric images of the rugged New England and Nova Scotia coastlines. This etching of fishing boats in Gloucester Harbor features a richly inked impression on parchment with a remarque of a fisherman's shack in the lower margin.
This is a very rare original etching by Southern Regionalist artist James Fowler Cooper. The image size is 8 1/8 x 8 3/4 inches, c. 1940, pencil signed and titled. Born in Williamsburg County, South Carolina, Cooper graduated from the University of South Carolina, then went to New York to study at the Art Students League under George Bridgeman and Boardman Robinson. In 1930 he returned to his family farm, where he began creating his distinctive etchings of everyday life in the rural south.