This is an incredibly detailed original etching, image size 7 3/8 x 10 3/4 inches, 1660, cat: Bartsch-3. Jacob van Ruisdale was one of the foremost Dutch landscape artists of the 17th century. He was known for his dramatic images and his use of trees as central figures in his compositions, as can be seen in the lush branches that seem to spill forth from this etching.
16th Century, Italian
This is a spectacular wood engraving with chiaroscuro effect by Niccolo Boldrini after a painting by Titian. The image size is 14 1/8 x 19 7/8 inches, c. 1535, wood engraving with early applied wash, see "Titian and the Venetian Woodcut" pages 176-178. The six saints in this image are Sebastian, Francisco, Anthony of Padua, Peter, Nicholas and Catherine.
A spectacular original copper engraving, this image measures 11 7/8 x 17 1/8 inches, printed on a watermarked laid type paper with thread margins, cat: Bartsch-37. The plate was engraved in 1513, this impression printed c. 1580, as identified on the back of the sheet. Provenance: Achenbach Foundation for Graphic Arts, stamp on verso. Lucas van Leyden was one of the preeminent engravers of the Renaissance period, and was a colleague and friendly rival of Albrecht Durer. This engraving is included in the collections of the National Gallery, Washington D.C. and the Museum of Fine Arts, Boston.
16th Century, French
This engraving is a contemporary copy c. 1532-34, after French artist Pierre Milan. The image size is 11 x 15 3/4 inches, printed on an antique paper with thread margins and lettering in Latin below the image. Another impression of this engraving is included in the collection of the National Gallery of Art in Washington D. C.
This is an early chiaroscuro wood engraving by Dutch artist Frederik Bloemaert. The image size is 7 1/4 x 5 7/8 inches, from the 3rd edition, published in 1720.
16th Century, Italian
An original wood engraving by Italian Renaissance artist Niccolo Boldrini, after a pen and ink drawing by Titian. The image size is 10 3/4 x 15 5/8 inches, created c. 1525, cat: Mauroner-20, original lifetime impression. This image of monkeys battling snakes is based on Titian's drawing "Parody of Laocoon", which mocked the vast influence of the ancient Roman Laocoon statue after it was unearthed in 1506.
An original engraving by Jean Jacques Avril after the painting by Dutch artist Nicolaes Berchem (1620-1683). The image size is 18 5/8 x 26 5/8 inches, printed by C Weisbrod in 1776, with thread margins.
This color lithograph in red ink by the renowned French Post-Impressionist artist Henri de Toulouse-Lautrec was created in 1896, originally printed in a very small edition of 12 impressions on a thin laid paper, cat: Adhemar-211. This impression is a later restrike printed on a cream colored wove type paper, with a monogram in the plate lower left, framed.
This etching by Anton Schutz measures 9 7/8 x 13 3/4 inches. It is pencil signed and numbered. Schutz was born in Germany and emigrated to the US in 1924 before Hitler came into power. A well-known artist in Germany, especially Munich, he started over again and enrolled in the Art Student's League in NY, working with Joseph Pennel. He became known for his portrayal of large cities along the eastern seaboard, capturing the enormity of the buildings along with the spirit of the American people.
This fine cityscape by Anton Schutz, created in 1930, measures 14 x 9 3/4 inches. It is an artist proof, second state and pencil signed. Schutz worked with Joseph Pennell at the Art Student's League and was known for his east coast cityscapes.
"The Post Office" measures 9 3/4 x 13 3/4 inches and is pencil signed and numbered. Schutz was founder of the NY Graphic Society. Born in Germany and living there for many years, including some spent in the German Army in WW1, Schutz emigrated to the US in 1924 and attended the Art Student's League of NY, working with Joseph Pennell.
A beautiful drypoint etching by Samuel Chamberline, created in 1931, measures 14 x 9 1/2 inches. It is pencil signed, titled and numbered with the inscription " To Eliot Fletcher, with best wishes - SC" on the lower margin. Number 104 in the BPL catalog. Samuel Chamberlain was an important 20th century American architect and artist. He 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.
This lovely drypoint of the Saugus Ironworks measures 6 7/8 x 10 7/8 inches. It is pencil signed, titled and numbered. Created in 1958, this scene is near Lynn, Massachusetts, on the banks of the Saugus River, where iron was first produced in commercial quantities in 1646. After being restored, the Saugus Ironworks is now a National Hictoric Site and a unit of the National Park System of the United States. Chamberlain became well known for his carefully rendered etchings and drypoints of both European and American buildings and cityscapes as well as very detailed landscapes.
This etching by John Taylor Arms measures 14 3/8 x 7 5/8 inches. It is pencil signed and numbered, from his French Church Series #31. In the Fletcher catalog it is #241. In 1931, this print won the "Mrs. Henry F. Noyes Prize", from the Society of American Etchers, National Arts Club, NY; the Best Entry in the "Carle Blenner Prize in 1950, from the New Haven Paint and Clay Club, New Haven, Connecticut and the Best Print in the 1952 Annual Exhibition, for the Arts and Crafts Association, Meriden, Connecticut.
"Baltimore Harbor" was created in 1925 in an edition of 25. It measures 11 7/8 x 7 7/8 inches and is pencil signed and titled with an inscription to a "Mr. Wm. E. Bauer" from the artist on the lower center. Emory spent his early years as a successful businessman and lawyer while later in life took up the art of etching, studying first under Paul Roche and then traveling to England and enrolling at the Heatherly School of Art. His work was included in "100 Selected Prints" for the NY Exhibition of the Society of American Etchers.
This is a great image of the New York Stock Exchange of the 1920s, with a fantastic sense of the hustle and bustle contained within the grand architecture of the trading floor. Etching, image size 10 7/8 x 12 3/4 inches, c. 1920s, pencil signed. A rich impression on medium weight wove type paper.
This is an atmospheric landscape of a marshy riverbank, with several ducks nesting in the tall grasses. Watercolor on paper, sight size 5 1/2 x 9 3/8 inches, signed lower left, in a tasteful gilt frame.
A fine image of sailboats along the shore of Cape Cod, painted in watercolor on paper, sight size 12 3/4 x 16 1/2 inches, signed lower left, framed. Laurence Sisson was born in Maine and after serving in Japan in WWII, studied at the Yale Summer School. He became known for his seascapes of the New England coast as well as images of the American southwest.
This is a vibrant original watercolor by American artist Gordon Grant. The sight size is 14 1/2 x 21 1/4 inches, signed lower left, in a very fine gilt frame, identified with a label from Vose Galleries on the back of the frame. Gordon Grant was born in California and sent to Great Britain for his education. He worked as a staff artist for New York World and Harper's Weekly, covering both the Boer War and the Mexican Revolution, but became most widely known for his marine paintings and lithographs.
A beautiful dusky landscape by noted American Tonalist artist John Francis Murphy. Painted in oil on chamfered panel, this landscape measures 8 1/8 x 11 1/8 inches, 1921, indistinctly signed lower right, signed or identified and dated on the back, in a period gilt frame. John Francis Murphy was one of the leading artists of the American Tonalist movement in the late 19th and early 20th centuries.