Etching, image size 11 3/4 x 13 3/4 in, 1927, signed in pencil, published state, edition of 150 (Paff 277), on laid paper with "ENGLAND" watermark
Pencil signed and titled. Plate measures 9 x 11 7/8 inches on 11 1/4 x 15 3/4 inch wove-type paper. Edition of 75. C. 1936.
Pencil signed in the lower right, plate signed and dated in the lower left. Plate measures 4 1/4 x 5 3/4 inches on thin 7 1/2 x 10 1/4 laid type paper. Printed in 1914. Edition 100.
Etching and Aquatint from 1940. Likely printed by David Strang. Print #1 in his Scandinavian Series. Image measures 7 1/2 x 13 1/3 inches on 11 5/8 x 18 1/4 inch watermarked laid type paper. This very sharp print has a wide tonal range and captures the patterns in the columns and floor.
A great sporting etching by American artist and member of 'The Ten', Frank W Benson. Image size 13 7/8 x 11 3/4 inches, 1928, edition of 150, cat: Ordeman-278, printed on Whatman paper, pencil signed. Frank Benson was a founding member of the Boston Guild of Artists and a long time teacher at the Museum School in Boston. In 1912, at the age of 50, Benson began his etchings and drypoints, mainly of wild fowl which he depicted with expressive lines and rich toning that exquisitely captured the life and energy of the wild birds. His etchings were in high demand from the very start, and have remained favorites for collectors ever since.
Etching by George Elbert Burr measures 11 1/4 x 9 3/4 inches, pencil signed, 1922.
Lithograph, image size 12 3/4 x 16 7/16 inches, 1936, cat: Zink-10, pencil signed. According to deMartelly's son, Michael, the figure dozing beneath the tree on the left of the image is deMartelly's friend and fellow artist Thomas Hart Benton.
A great sporting etching by Frank Benson, this image measures 14 x 10 7/8 inches, 1922, cat: Ordeman-213, pencil signed. A very rich impression on a medium weight laid type paper. Frank Benson was a very successful painter and a member of "The Ten" along with Childe Hassam and J. Alden Weir, before he began the sporting paintings and etchings for which he is most widely known. He was a founding member of the Boston Guild of Artists and a long time teacher at the Museum School in Boston. In 1912, at the age of 50, Benson began his etchings and drypoints, mainly of wild fowl which he depicted with expressive lines and rich toning that exquisitely captured the life and energy of the wild birds. His etchings were in high demand from the very start, and have remained favorites for collectors ever since.
Etching C. 1938. Catalog: Fletcher 311. 2nd state, edition of 156. Printed by David Strang. Plate measures 7 1/16 x 17 1/8 inches on 9 1/4 x 20 5/8 inch Whatman watermarked laid paper. Number two in his English Series. Plate inscription in the lower right: "John Taylor Arms 1938." Pencil signed in the lower right: John Taylor Arms 1938. Pencil numbered "II" in the lower left and inscribed "To my friends Charlotte and Richard Perry - John Taylor Arms 1938". An atmospheric and exquisitely detailed print, Arms has perfectly captured the reflections of the buildings. There is even a signpost just above the bridge that is perfectly legible, but only with a loupe tool or magnifying glass. This print has won several awards including the Purchase Prize, the Josephine Hancock Logan Prize and Medal, and the Lotus Club Print Prize. John Taylor Arms was one of the foremost American printmakers of the 20th century, known for his exquisite compositions and exacting details.
Also known as: "Sens, Cathédrale de Saint Ètienne" and "Sens, North Portal." An incredibly detailed drypoint etching with plate toning and a wide tonal range. Signed and dated 1929 in the lower right. Plate signed and dated in the lower right, plate titled in the lower left. Second and final state. Edition of 100. #25 in his French Church series. Catalog: Fletcher 218. C. 1929. Plate measures 15 x 9 inches on 17 1/8 x 11 1/2 inch laid paper. John Taylor Arms was one of the foremost American printmakers of the 20th century, known for his exquisite compositions and exacting details.
Colored etching and aquatint. Artist's proof. Pencil signed in the lower right. Edition of 200. Catalog: Fletcher 133. Plate size: 11 3/4 x 17 3/4 inches on 18 x 23 inch medium weight wove type paper. C. 1923. A dramatic and beautifully colored maritime etching.
This is a very rare original etching by American sporting artist Frank W Benson. The image size is 7 7/8 x 9 7/8 inches, published in 1921 in an edition of 100, cat: Ordeman-205, pencil signed, titled in the lower margin. There is some old masking tape residue in the margins, but this is outside of the image area and will be covered by a window mat. This print is quite scarce, and an unusual subject for Benson; in most of his images the landscape serves as a backdrop for wildfowl or hunters but in this etching he focuses on the land and river, creating an atmospheric summer scene.
This is an original handsigned woodblock print by Latvian-American artist Isac Friedlander. This work is titled: "Ghetto", it was created and printed in 1942. It is a very scarce image by this artist. It was created and printed in 1942. The image measures 9 3/4X10 7/8 inches. pencil signed titled and dated in the lower margin. This image was printed in an edition of only 26 signed proofs.. Isac Friedlander was born in 1890 in Mitau, Latvia. Those were difficult days for a captive people under the czarist yoke, but it was not long before young Isac’s assertive spirit emerged. At sixteen he was arrested and condemned to death, along with several of his classmates, for protesting compulsory uniforms and weekend curfews. His classmates were shot but his sentence was commuted to life imprisonment.
Fortunately, Friedlander’s skills in drawing and the portraits he did of his prison guards and their children came to the attention of a local functionary, who took an interest in him. In four years he was released. The war years of the 1940’s found him deeply troubled in spirit by the reports of sufferings and persecution of his people throughout Nazi-dominated Europe. Having experienced first hand in his youth the depth of man’s inhumanity to his fellow man, he now produced his heart-rending and powerful prints of the holocaust.
Friedlander’s woodcuts, wood engravings, and etchings are powerful expressions of the human condition. Death took him in 1968, but not before his spirit found renewed expression in his masterful prints of life among America’s urban blacks as the winds of social change were gathering to redress the wrongs of generations.
Lithograph from May 1960. Scene from New York, New York. Image measures 15 3/16 x 11 3/4 inches on 19 3/4 x 15 inch medium weight wove type paper. Wengenroth has captured this majestic owl at high alert against a dramatic bright sky, framed with some plate tone on the edges. Catalog: Stuckey 269.
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