20th Century American Prints

This is a drypoint etching from April 1931. Edition of 100. Catalog: BPL 105. Pencil signed in the lower right, pencil numbered 3 out of 100 in the lower left. Plate measures 11 x 12 inches on 14 x 15 inch Rives watermarked wove paper. Chamberlain captures this brightly lit scene with breathtaking detail. Samuel Chamberlain 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. During his time overseas, Chamberlain began sketching the countryside and architecture, eventually studying at the Royal College of Art in London. He became well known for his carefully rendered etchings and drypoints of both European and American buildings and cityscapes.

Etching, BPL 114, plate destroyed, Characters from French art culture of 1925; Scene features Heintzleman, left, bending over table, the Parisian model, Kiki who appears in Planche aux Cinq Croquis. To her right, Fredie, subject in Fredie du Cafe "Le Lapin Agile" and of Le Poete, regarded by Heintzleman as the last of the great Montmartre singers. Young man with guitar is Fredie's son.

This is a drypoint etching from February 1931. Edition of 100. Catalog: BPL 104. Pencil signed in the lower right, pencil numbered 35 out of 100 in the lower left. Plate measures 14 1/4 x 9 1/2 inches on 16 1/2 x 11 1/2 inch Rives watermarked wove paper. A well inked, exquisitely detailed etching. Samuel Chamberlain 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. During his time overseas, Chamberlain began sketching the countryside and architecture, eventually studying at the Royal College of Art in London. He became well known for his carefully rendered etchings and drypoints of both European and American buildings and cityscapes.

Etching, image size: 3 1/2 x 4 1/4 inches, 1948, # 49 of the French Church Series, cat. Fletcher-411, pencil signed, Nicely framed with archival boards.

Lithograph, 1946,image size,13 3/4X9",Edition of 250,published by Associated American Artists,Printed by George Miller,pencil signed

Drypoint etching, image size: 12 x 9 1/4 inches, 1926, cat. Smith-128, edition of 80, pencil signed lower right. Heintzelman's skill captures this tender moment between a mother and child. A fine impression with ample margins. Provenance: Baldwin-Wallace College.

This c. 1920 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.

Lithograph, image size: 10 7/8 x 13 11/16 inches, pencil signed lower right

Pencil signed in the lower right. An inscription in the lower left of the paper reads "Wine Shop at Royalbourne," a possible title. Plate size measures 10 7/8 x 8 7/8 inches on 16 3/4 x 12 1/4 inch medium-weight wove-type paper.

This is an original pencil signed etching by American artist Louis Orr. The title of this work is : "Fort St. Andre", created circa 1930, this etching has an image size of 9 1/2X11 1/2 inches.
A very rich impression printed on a medium weight laid type paper.

Lithograph, 11 1/8x8 12/16", pencil signed

Etching, image size 6 7/8 x 9 7/8 inches, 1928, pencil signed and dated

Etching, dry point, image size 10 7/8 x 9 3/8 inches, ca. 1936, signed and titled in pencil, also plate signed. Edition of 25 for the NYC WPA. "Federal Art Project/NYC WPA" stamped in l.l.

Drypoint from 1929. Plate size 8½ x 11-3/8 inches on 16 1/2 x 13 3/4 inch laid type paper. Editioned in pencil in the lower left, signed in the lower right. Edition of 75. The subject is the artist's wife, Katherine Sloman Heintzelman. Catalog: Smith 142.

Etching of Léon, Spain. Trial proof. Pencil signed and dated 1923 in the lower right corner. Print measures 7 1/8 by 11 1/4 inches in a 16 x 19 inch gold frame. #1 in his Spanish Church Series. Catalog: Fletcher 140. Printed by Frederick Reynolds. This plate was done with the assistance of Kerr Eby. This atmospheric print showcases the artist's incredible eye for detail.