A finely detailed original etching of a French village street, this etching measures 6 7/8 x 3 3/4 inches, published in 1927, cat: Fletcher-203, pencil signed and dated.
A very fine sporting etching by Frank Benson, this image measures 9 3/4 x 14 3/4 inches, published in 1924, cat: Ordeman-231, pencil signed below the image, titled on the lower edge of the sheet. Benson was a very successful painter and a member of "The Ten" along with Childe Hassam and J. Alden Weir, before he began his sporting paintings and etchings for which he is most widely known. 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.
A rare working proof by American sporting artist Frank Benson, this etching measures 9 7/8 x 7 7/8 inches, published in 1922, cat: Ordeman-165, proof C-2, pencil signed below the image, titled "Black Ducks No 2" and inscribed "C-2" in the lower margin. 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.
This is an atmospheric original etching by British artist Sir Francis Seymour Haden, overlooking the river from Whistler's window. It is a pencil signed working proof, 1863, state IV/XII, cat: Schneiderman-48. This etching was created when Haden and Whistler were close friends, often working together on their etchings. Although the official title of this etching is "Battersea Reach", there is an inscription in the plate that reads "Old Chelsea out of Whistler's Window, Seymour Haden 1863" A rich impression on a medium weight laid type paper.
This wonderful moonlit scene by Charles Henry Gifford measures 5 7/8 x 5 3/4 inches, signed in the lower right, c. 1870 and appears to be in it's original gilt frame. Charles Henry Gifford (American Luminist) was a marine, landscape and portrait painter in the style of the Hudson River School. His interest in painting began at an early age and was heavily influenced by the New Bedford artists Albert Bierstadt, William Bradford and Albertus van Beest, instilling a love of painting in Gifford that was to last the rest of his life. He was best known as a luminist painter.
This lovely atmospheric image by Arthur Vidal Diehl measures 6 x 10 inches and is signed on the lower left. A beautifully done, sunset harbor scene created c. 1920. Oil on board, framed. Arthur Diehl was born in England but lived most of his adult life in the United States on the Cape. In his early twenties he traveled throughout Europe, studying and painting the Old World master works. He exhibited at the Royal Academy in 1899. Diehl didn't belong to any particular group and didn't profess to any one style but his images tended towards realism with a slant towards impressionism.
An original etching by Piranesi from his 'Vedute di Roma' series, this image measures 17 7/8 x 27 1/4 inches, state V/V, 1766, cat: Hind-78. From the 'Regia Calcographia' edition c. 1870s, with the blindstamp in the lower right corner. Piranesi was an Italian artist and designer, best known for his series of etchings of Ancient Roman ruins, the "Vedute di Roma". These striking, monumental images of the ancient grandeur of the Roman Empire provided inspiration for many of the artists of the Neoclassical movement in the late 18th and early 19th centuries.
This is a vibrant lithograph in colors by French Modernist artist Maurice de Vlaminck. The image size is 18 1/2 x 25 inches, published in 1921 in an edition of 100, cat: Walterskirchen-164, pencil signed and numbered. Along with Henri Matisse and Andre Derain, Vlaminck was a central figure in the Fauvist movement of the early 20th century. Heavily influenced by Impressionism, Vlaminck was known for his expressive use of color and form, creating very lively, energetic images.
This is a rare original etching by American marine artist Gordon Grant. The image size is 7 7/8 x 9 3/4 inches, published c. 1940, pencil signed. Grant was well known for his images of Gloucester and the North Shore of Massachusetts, but worked primarily in lithography. This is one of his very few etchings, and features a very richly inked impression with beautiful plate tone on a fine wove type paper with ample margins.
1935 - ?, American
This original oil on canvas, c. 1950, by Robert Moskowitz mesures 12 x 16 inches. It is signed on the lower right and is framed. Moskowitz was heavily influenced by abstract expressionism and the work of Jasper Johns. Studying at the Pratt Institute of Art under Bradley Walker Tomlin and Adolph Gottlieb, he worked mainly in oils and pastels with architectural themes. His work has been exhibited at the Museum of Modern Art and the Hirshhorn Museum in Washington.
1935 - ?, American
This original oil on canvas, c. 1950, by Robert Mokowitz measures 12 x 16 inches and is signed on the lower right and is framed. Moskowitz was heavily influenced by abstract expressionism and the work of Jasper Johns. Studying at the Pratt Institute of Art under Bradley Walker Tomlin and Adolph Gottlieb, he worked mainly in oils and pastels with architectural themes. His work has been exhibited at the Museum of Modern Art and the Hirshhorn Museum in Washington.
This is an early etching by Peter Moran, image size 3 x 5 1/8 inches, published in 1875, cat: Wright-6, pencil signed. Peter Moran was a well known American painter and etcher and one of the foremost artists of the American etching revival of the late 19th century. He was known for his images of cows and farm animals, as well as his atmospheric scenes of the American Southwest. According to Wright, this image was most likely one of the fifteen etchings that Moran exhibited at the 1876 Centennial Exhibition in Philadelphia.
This is a very fine original painting, watercolor on paper, sight size 15 1/2 x 21 inches, signed in the lower left corner, framed. Although the signature is hard to discern, we believe it to read "Enneking 92", and the style and palette of this painting certainly reflect the elder Enneking's work.
Etching, image size is 7 x 11 7/8 inches, published in 1942 by the Associated American artists, cat: Embury-73, pencil signed, with the original AAA label. Lucioni was known for his incredibly detailed, textural etchings of the New England landscape, such as this beautiful image of an old barn beneath a sky of quickly moving fairweather clouds.
Etching, image size 7 3/4 x 10 3/4 inches, pencil signed and titled, published by the Associated American Artists with the original label.
Etching, image size 7 1/2 x 11 1/2 inches, pencil signed and titled, published by the Associated American Artists, with the original label.
Etching, image size 7 3/4 x 10 3/4 inches, c. 1940, pencil signed and titled, published by the Associated American Artists, with the original label.
From Pennells' "Panama Canal Series", this lithograph measures 17 1/2 x 22 inches. Cat: Weurth 233. Pencil signed. From January, 1912 to March of that year, Pennell spent sketching in the depths of the final construction of this massive undertaking. At times he wondered if its' vastness was possible to capture on paper. He was allowed to venture wherever he wanted and the men working around him were just as much interested in his work as they were in their own. He treasured his time spent there.
This is a beautiful dusky farmyard scene by Belgian artist Eugene Remy Maes, painted in oil on canvas, 15 3/4 x 23 3/4 inches, c. 1890, signed "Th van Sluys"(a pseudonym of Maes') in the lower right corner. An inscription on the back reads "Je soussigné declare aroir pacint le tableau ci contre -Th van Sluys". This painting comes in a remarkable period frame that has been recently regilded. Maes was born in the small village of Puurs, Belgium and moved to Antwerp as a young man. He specialized in images of farm animals, such as this twilight pastoral scene.
This is a luminous original etching of a rural watermill at twilight by American artist Charles Mielatz. The image size is 19 3/4 x 11 3/4 inches, published in 1886 by Fishel, Adler & Schwartz, remarque in the lower margin, pencil signed. Mielatz was born in Germany but came to the United States as a young boy, studying at the Chicago School of Design, although much of his etching technique was self taught. Mielatz was a member of New York Etching Club and was one of the first etchers elected to the National Academy of Design, where he was also the chief instructor of etching for many years.