Etchings

A drypoint etching C. 1920. Pencil signed in the lower left. Plate measure 7 1/4 x 9 1/4 inches on 11 x 15 1/4 inch laid paper. Wyllie uses plate toning and delicate lines to expertly capture the waves in this print. Wyllie was a well known marine painter and printmaker, studying at the Heatherley School of Fine Art and then at the at the Royal Academy. At the age of 18, Wyllie won the Turner Gold Medal for his painting "Dawn After A Storm". He went on to have a long artistic career, specializing in paintings and etchings of the sea and the city of London.

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 colored drypoint, aquatint, and soft-ground etching from 1910. The plate measures 14 3/4 x 18 1/2 inches on 19 x 24 1/2 inch watermarked Arches laid paper. Pencil signed in the lower right. Edition of 200. This print is a fine example of Raffaëlli's impressionistic tendencies, with th subtle lighting and the atmospheric sky.

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 richly inked etching from 1879. Pencil signed in the lower left. Andrew Danube set #18. Plate monogrammed in the lower right, plate titled and dated in the lower left. Image measures 6 x 10 3/4 inches, plate measures 6 3/4 x 11 3/4 inches on 11 1/2 x 17 1/4 inch wove paper. Andrew Danube set #18. Bacher began etching in Cleveland in 1876 and continued his art in Munich, Paris and Venice.

Color aquatint and drypoint etching C. 1907. Edition of 100. Pencil signed in the lower right. Plate measures 10 1/2 x 8 3/8 inches on deckled 18 x 13 inch watermarked laid paper. A well inked impression with a rich drypoint burr. 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 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.

This is a drypoint etching from 1925. The plate measures 9 x 14 1/8 inches on 10 x 16 5/8 inch Van Gelder Zonen watermarked laid paper. An atmospheric print with excellent use of plate toning. Plate signed, titled, and dated in the lower left. Pencil signed in the lower right "Kerr Eby imp," the "imp" indicating that the artist printed it himself. Edition of 90. Catalog: Giardina 104. The setting is the town of Porthleven, Cornwall, an important 18th and 19th century port that was used as a harbor of refuge as it was a dangerous place to sail around.

This is a drypoint etching from 1925. Alternatively titled "Harbor Scene." Catalog: Giardina 103. Pencil signed in the lower right with the word "imp," indicating that the artist printed it himself. Very rare, unpublished 2nd state. Plate measures 7 x 10 1/8 inches on 10 1/8 x 14 inch wove paper. The setting is likely in Cornwall, where Eby visited in 1924 and 1925. A well inked impression with plate toning. 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.

A drypoint etching by Giovanni Piranesi. Image measures 14 3/4 x 9 1/2 inches on 22 1/4 x 16 inch paper. The full title is "Parte della gran Muraglia, la quale circondava la grand'Area dell'Ustrino," meaning "Part of the wall which surrounded the crematorium." Original Ferdinand Roten label on mat! From the series, "Le Antichita Romane." C. 1784. Catalog: Ficacci 281. From a later edition. III/IV. Piranesi was an Italian artist and designer, best known for his series of etchings of Ancient Roman ruins, the "Vedute di Roma".