Etchings

This is a pencil signed drypoint etching from the 1920's. Plate measures 9 1/2 x 11 3/4 inches on 13 1/2 x 16 3/4 inch medium weight wove paper.

A drypoint etching from 1920. A well inked impression with good use of plate toning. Plate measures 5 x 10 inches on 6 1/2 x 11 1/4 inch wove paper. Pencil signed in the lower right.

A drypoint etching from 1867. First state of three. Printed before lettering. Plate signed and dated in the upper left. Plate measures 9 1/4 x 6 1/2 inches on chine colle. A richly detailed print with ecstatic, intricate linework.

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.

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.

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.

A drypoint etching by French artist Jacques Beurdeley. Sagot blindstamp in the lower right. Pencil signed and plate signed in the lower right. Pencil numbered in the lower left 44 out of an edition of 50. Plate measures 7 1/8 x 10 inches on 11 x 14 1/4 inch laid paper. Beurdeley avoided the law career intended for him by his father and studied instead the École des Beaux-Arts under Fernand Cormon. He was later influenced by Paul Huet, Corot, Rousseau, and Camille Pissarro and went on to produce many etchings of the French countryside.

Drypoint etching by French artist Jacques Beurdeley. Pencil signed and plate signed in the lower right, pencil numbered 58 out of an edition of 60 in the lower left. Plate measures 7 1/4 x 11 1/2 inches on 11 x 14 inch waterproofed laid paper. Sagot blindstamp in the lower right. A very detailed impression with plate toning and a rich drypoint burr. Beurdeley avoided the law career intended for him by his father and studied instead the École des Beaux-Arts under Fernand Cormon.

Drypoint etching from 1923. Pencil signed in the lower left, pencil numbered in the lower right 30 out of an edition of 50. Sagot publisher's stamp in the lower left. Plate measures 8 1/2 x 12 1/2 inches on 11 1/2 x 14 1/2 inch Japan paper. Chahine studied at the Academia Di Belle Arti in Venice and then at the Academy Julien in Paris. He was a very well respected artist of the ‘Belle Epoch’ era, winning many awards and honors for his work, including a gold medal at the Paris Salon.