This is a drypoint etching from November 1929. Edition of 100. Catalog: BPL 88. Pencil signed in the lower right, pencil numbered 59 out of 100 in the lower left. Plate measures 13 1/2 x 8 1/4 inches on 16 x 11 inch Rives watermarked wove paper. 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.
A drypoint etching from May 1925. Edition of 75. Catalog: Derrydale No. 18. The scene was sketched on the spot. Pencil signed in the lower right. Plate measures 4 1/4 x 5 1/2 inches on 8 1/4 x 9 1/2 inch wove watermarked Van Gelder Zonen paper. A fine impression with plate toning and a rich drypoint burr.
This is a 1963 lithograph of a scene from Colorado. Catalog 618. Published by the Associated American Artists, edition of 250. Pencil signed in the lower right. The plate measures 9 1/2 x 13 on 12 3/4 x 16 3/4 inch wove paper.
An excellent impression that exemplifies his mastery of tone and texture.
This is an etching from 1921. Catalog: Giardina 52. Plate measures 7 x 13 1/2 inches on 9 1/2 x 15 3/4 inch wove paper. A well inked impression. Pencil signed "Kerr Eby imp" in the lower right, the "imp" indicating that Eby printed this impression himself. Edition of 90.
A beautifully detailed etching and aquatint with good use of plate toning. Pencil signed in the lower right. Plate measures 5 x 4 inches on 8 x 7 inch cream laid paper.
An etching from 1915 with a rich drypoint burr. Catalog: Wuerth 668. Edition of 80. Tab pencil signature. Plate measures 7 1/4 x 11 7/8 inches on 7 1/4 x 11 7/8 watermarked laid paper. Pennell was one of the foremost American printmakers of the early 20th century, and was close friends with James McNeill Whistler, whose influence is evident in many of Pennell's images as well as his sense of experimentation with etching technique. Pennell was especially known for his images of cityscapes and architecture.
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.
This is a well inked etching with plate toning and a rich drypoint burr. C. 1920. Plate measures 10 x 8 inches on 4 1/4 x 10 1/4 inch wove paper. Pencil signed in the lower left. Catalog: Ordeman 183. Edition of 150. 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.
A lithograph from 1932. Barker No. 118, edition of 40. Pencil signed in the lower right, editioned in the lower left. Stone measures 13 1/4 x 10 3/8 inches on 18 x 14 1/4 inch Rives watermarked wove paper.
This is a drypoint etching from 1921. Edition of 75. Catalog: Giardina 62. Plate measures 6 3/8 x 11 1/4 inches on 9 3/4 x 14 3/8 inch laid paper. Pencil signed in the lower right "Kerr Eby imp," the "imp" indicating that the artist printed it himself. Arles is a Provence. The scene depicted was based on Eby's visit to France during 1920 to 1921. A richly inked, finely detailed impression. Kerr Eby was a remarkable printmaker and a member of the Cos Cob Art Colony and friends with many of the important artists of the day, including Childe Hassam and John Taylor Arms.
Copyright 2021· All rights reserved
