Etchings

This is an etching from 1910. Edition of 30. This print has plate toning and and interesting perspective. Pencil signed in the lower right "Kerr Eby imp", the 'imp' indicating that Eby printed this impression himself. The plate measures 7 x 5 inches on 9 x 7 inch watermarked wove paper. The scene depicted was probably in the New York City vicinity, like his other early landscapes. 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 from 1883. The plate measures 6 1/2 x 11 1/2 inches on 8 1/2 x 14 1/4 inch laid paper. A well inked impression with plate toning and a rich drypoint burr. Plate signed and dated in the lower right. Clements studied with Thomas Eakins at the Pennsylvania Academy of Fine Arts and etching with Stephen Parrish before moving to Baltimore where she lived and taught for over 15 years.

Also known as "Through the Woods." C. 1948. Commemorative edition of 25, an edition of 50, and an edition of 75. Awarded the Henry B. Shope prize. Plate measures 10 3/4 x 15 inches on 14 1/2 x 18 5/8 inch wove paper. Pencil signed "John Costigan N.A." A richly inked impression.

Drypoint etching from 1921, pencil signed in the lower right. Plate measures 9 7/8 x 6 7/8 inches on 12 3/8 x 7 7/8 watermarked laid paper. Catalog: Wuerth 770. Edition of 50. A well inked impression with plate toning. Pennell was an important American etcher, lithographer and illustrator. Good friends with James McNeill Whistler, he and his wife co-authored his biography. Pennell was known for his continued experimentation with technique and style, producing cityscapes, landscapes and marine scenes. He also printed many of his own images.

This is a drypoint etching from 1912. Plate measures 13 1/4 x 9 1/2 inches in a 21 1/2 x 17 1/2 inch gold frame. Edition of 200, from the Paris series. Signed in the plate in the lower right, with the publisher's blindstamp, le Cercle Moderne, in the lower left. Probably printed by the artist in black ink on cream wove paper with full margins, as issued. A fine impression with a rich drypoint burr.

This etching is plate initialed in the lower left. Plate measures 3 3/8 x 5 7/8 inches in a 10 1/2 x 12 1/2 inch black frame from Kennedy & Co, label on back. A well inked impression with plate toning. Sir David Cameron was considered one of the greatest British etchers of the early 20th century. He was born in Glasgow, Scotland and began studying art at the Glasgow Art School before moving on to the Edinburgh School of Art. He was a member of the Royal Academy, the Royal Society of Painter-Etchers, the Royal Society of Painters in Water-Colours, and the Royal Scottish Academy.

This etching is plate initialed in the lower left. Plate measures 3 3/4 x 5 3/4 inches in a 10 1/2 x 12 1/2 inch black frame from Kennedy & Co, label on back. A well inked impression with plate toning.

This is a drypoint etching from 1939. #40 in his "French Church" series. Catalog: Fletcher 317. Edition of 312, an early proof of the second and final state. The blue paper and inky fingerprints on the back of the paper indicate that this is likely a trial proof. Plate measures 14 3/4 x 12 inches on blue watermarked laid paper. Alternatively titled "The North Portal of Chartres Cathedral." Pencil signed and dated in the lower right. Winner of the Artist Member Prize, Annual Exhibition, Baltimore Water Color Club, The Baltimore Museum of Art, 1939.

Drypoint etching from 1909. Edition of 48. Pencil signed in the lower right and inscribed "to Herman A. Webster." Plate monogrammed in the lower left. Plate measures 8 x 6 inches on 10 1/4 by 8 inch watermarked laid paper.

Drypoint etching from 1911. Plate signed in the lower left. Edition of 56. Red stamp of the publisher, Gustave Pellet, in the lower right. Catalog: A 412. Plate measures 8 1/2 x 6 1/8 inches in a gold 18 1/4 x 22 1/2 inch gold frame. An intimate portrait with plate toning and a rich drypoint burr.