This is a very rare original etching by French artist Charles Emile Jacque. The title of this work is: "The Large Sheepfold (La Grande Bergerie)" It was created and printed in 1859 with an image that measures 15 1/4X20 7/8 inches. One of his largest etchings. This is the second of two states with the edition of 129. This image is made up of etching and drypoint and according to the catalog there is also some burin work in the image. Printed on a wove type paper, this etching was originally sold by Kennedy gallery in New York. There was a partial label on the back. This etching is pencil signed lower right, "Ch Jacque".....
This is an original etching by American Artist John Sloan. This etching is titled in the catalog as "Nude Sketches", it was created and printed in 1917. The etching is pencil signed, editioned as 100 proofs and also has a drawing in pencil in the lower left of a models feet. This is a rare, unique proof of this etching. The image measures
3 1/4X6 1/2 inches, the sheet size is: 9 1/2X12 1/2 inches. This image appears as number 187 of the Morse catalog.
Engraving 1805, after Raphael; Prov. Gray Coll.908; image size 18 1/4 x 12 15/16 inches; plate size 22 x 15 1/2 ; paper size 28 3/8/ x 20 3/16 inches
Etching, image size 5 7/8 x 6 1/2 inches, 1894, cat: Schwarz-7, pencil signed. Corinth began his career studying at the Academy of Fine Arts Munich and went on to study under Bouguereau at the Academie Julian in Paris. He later returned to Germany and became a member and eventually president of the Berlin "Sezession." Corinth is best known for his prints and paintings of figures and portraits.
This is a gorgeous original lithograph of ancient Greek ruins by Joseph Pennell, from his series "In the Land of Temples", based on his travels through Greece and Italy. The image size is 16 1/2 x 21 3/4 inches, published in 1913 in a very small edition of 50, printed on a watermarked wove type paper, pencil signed. In his book "In the Land of Temples", Pennell writes of this print "Swept away is everything, mysteries and all— all that remains is the great pavement on which stand the stumps of columns; yet I doubt if it was finer ever. And the long drive out over the sacred way, the long, quiet day; and the long drive back, with the Acropolis growing more and more majestic in the twilight, were perfect."
Framed etching on laid paper, image size 10 7/8 x 7 3/4 inches, 1904, cat: Tabanelli-135, plate signed, pencil signed and titled. An early signed proof, which was later published in "Revue de l'Art," 1905. From an edition of 50. Provenance Gerhard Wurzer Gallery.
This is a rare pencil signed impression by Mary Nimmo Moran, etching, roulette and mezzotint, image size 7 3/8 x 11 3/8 inches, 1883, plate signed and dated, pencil signed. A beautiful impression in sepia ink with ample margins. Mary Nimmo Moran was one of the leading women etchers of the late 19th century, and along with her husband, Thomas Moran was at the forefront of the etching revival. Known for the originality and boldness of her etchings, Mary Nimmo Moran was a member of the Society of Painter-Etchers and the only female member of the Fellows of London's Royal Society of Painter-Etchers.
A rare artist's proof by Leonard Baskin, this is an early woodcut portraying the artist dressed as a priest. The image size is 21 1/4 x 10 inches, published in 1952, cat: Fern & O'Sullivan-193, pencil signed and dated, notated 'artist's proof', framed. Baskin was an important artist in the mid 20th century, known for his evocative wood engravings, lithographs, and etchings. In the era of abstract expressionism, Baskin’s work tended toward the representational with a strong classical influence, and over the course of his long career he created many self portraits which beautifully showcase the evolution of his style.
An atmospheric scene of Rockport, Massachusetts, this is one of Wengenroth's early lithographs, published in 1935 in a small edition of 50 impressions. The image size is 7 7/8 x 12 1/4 inches, cat: Stuckey-51, pencil signed. Stow Wengenroth was one of the preeminent lithographers of 20th century America, known for his atmospheric, incredibly detailed images of the New England landscape and coastline. He studied at the Art Students League and the Grand Central School of Art in New York, and in the summers studied with John Carlson in Woodstock NY and George Ennis in Eastport ME. In 1931 he had his first one man show at the MacBeth Galleries, beginning a long and very successful artistic career.
Color aquatint and drypoint etching C. 1905. Edition of 100. Signed in orange crayon in the lower right. Plate measures 13 x 11 inches in a 23 1/4 x 20 1/5 inch gold frame. A fine impression. Catalog: Merrill Chase 125. Provenance Merrill Chase galleries, according to a label on the back. Robbe studied at the Academie Julien and the Ecole des Beaux Artes, becoming a master of the aquatint medium. He developed much of his own aquatint techniques, which enabled him to create his uniquely painterly, richly colored images.
This 1928 etching by the British printmaker Arthur Briscoe measures 7 x 11 3/8 inches, hand signed in ink and editioned as 32/75. 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. He owned his own three ton cutter which he used to sail around the Essex coast. Also crewing on a Polish ship, he sketched every aspect of life on the boat. Most of Briscoe's etchings show sailing ships and the men who sailed them. His beautifully etched images present an invaluable historical record of the workings of the last great commercial vessels.
Etching, 1909, image size: 8 5/8 x 6 1/4 inches, ed 8/8, pencil signed
Etching and aquatint in colors, image size 12 x 9 7/8 inches, c. 1920, edition of 25 in black and white, 75 in color, cat: Hardie-21, pencil signed.
Image size measures 14 3/8 x 8 1/2 inches on 18 x 12 inch wove type paper. Plate signed in the lower right of the picture, faint pencil signature in the lower right of paper. Plate titled in the lower right. C. 1893. Etching, aquatint, and drypoint. From his "Les Petits Du Ballet" series. A very stylized print that showcases the stark contrast between the somber adult figure in the doorway and the bright, energetic young dancer entering the room.
Copyright 2016· All rights reserved