Woodblock print, image size 13 5/8 x 12 1/4 inches, This print is titled: "Ship Building, Nova Scotia". and was created and printed by Albert Potter c. 1930...This is an unsigned proof.
This etching by Charles Mielatz measures 3 x 4 1/2 inches. Created in 1907, it is plate signed and dated and also pencil signed on the lower margin. Mielatz was born in Germany in 1864. After arriving in the US he attended the Chicago School of Design. Meilatz studied different artistic mediums but after an introduction to etching by J.J. Callahan he came to love the etching process and devoted his time exclusively to it. For fifteen years he was the chief Instructor in etching at the National Academy of Design in NY.
This fine 1912 etching by Sears Gallagher measures 5 3/4 x 12 1/4 inches. It is pencil signed on the lower left margin. Born in Boston, Gallagher studied drawing and watercolor locally, later refining his skills at the Academie Julian in Paris. Gallagher became one of America's leading etchers and watercolorists, known for his New England landscapes, historic Boston landmarks as well as views of New York, Venice and England's Cornish seacoast.
Chiaroscuro woodblock, image size 7 x 5 inches, 1937, plate signed, pencil signed and dated. As is typical with this artist, he hand signed and dated his images on the paper window mat rather than the sheet itself.
This wood engraving by Barry Moser is one of 25 from his "Gold Rush" series. Published in 1985 in an edition of 350, it measures 4 x 7 inches and is pencil signed by the artist on the lower margin. This series portrayed gold mining activities from America, Africa and Australia. Moser, from Tennessee, became a graphic artist and printmaker studying under Leonard Baskin and Jack Coughlin. In 1990 he became the "head of studio art" at the Rhode Island School of Design and his prints have been exhibited at the Berkshire Museum, the Los Angeles National Print Show and the Library of Congress National Print Exhibit. Moser states in his description of the images in this series of the "consumate dilemma" between the mining and the owning of gold, the high price politically, physically and spiritually that these men and their families paid for their dreams of a better life.
Woodblock, image size 4 x 6 1/2 inches, 1937, initialed in the plate, pencil signed and dated. As is typical with this artist, he hand signed and dated his images on the paper window mat rather than the sheet itself.
Woodblock, image size 4 x 6 inches, 1937, initialed in the plate, pencil signed and dated. As is typical with this artist, he hand signed and dated his images on the paper window mat, rather than the sheet itself.
This Melvin Wire etching measures 7 3/4 x 9 7/8 inches and is pencil signed and titled. Wire was a landscape impressionist creating over 30 etchings of abandoned barns and unpopulated landscapes. Belonging to no organized group of painters, Wire was a solitary figure using impressionist style to express his feelings about the land he loved.
Etching C. 1925. Pencil signed in the lower right and titled in the lower left: "The Old Homestead of Calvin Coolidge." Plate measures 9 x 10 7/8 inches on 10 1/2 x 12 1/2 inch paper. Good use of line and plate toning. The scene depicted is of Plymouth, Vermont.
This wood engraving by Barry Moser is one of 25 from his "Gold Rush" series. Published in 1985 in an edition of 350, it measures 7 x 4 inches and is pencil signed by the artist on the lower margin. This series portrayed gold mining activities from America, Africa and Australia. Moser, from Tennessee, became a graphic artist and printmaker studying under Leonard Baskin and Jack Coughlin. In 1990 he became the "head of studio art" at the Rhode Island School of Design and his prints have been exhibited at the Berkshire Museum, the Los Angeles National Print Show and the Library of Congress National Print Exhibit. Moser states in his description of the images in this series of the "consumate dilemma" between the mining and the owning of gold, the high price politically, physically and spiritually that these men and their families paid for their dreams of a better life.
This wood engraving by Barry Moser is one of 25 prints from his "Gold Rush" series. Published in 1985 in an edition of 350, it measures 7 x 4 inches and is pencil signed by the artist on the lower margin. The "Gold Rush" series were images portraying gold mining activities from America, Africa and Australia. Moser, from Tennessee, became a graphic artist and printmaker, studying under Leonard Baskin and Jack Coughlin.
Etching, image size 8 3/4 x 11 7/8 inches, 1947, published by the Associated American Artists, pencil signed.
This wood engraving by Barry Moser is one of 25 images from his "Gold Rush" series. Published in 1985 in an edition of 350, it measures 7 x 4 inches and is pencil signed by the artist on the lower margin. These images all portrayed gold mining activities from America, Africa and Australia. Moser, from Tennessee, became a graphic artist and printmaker studying under Leonard Baskin and Jack Coughlin. In 1990 he became the "head of studio art" at the Rhode Island School of Design and his prints have been exhibited at the Berkshire Museum, the Los Angeles National Print Show and the Library of Congress National Print Exhibit. Moser states in his description of these images of the "consumate dilemma" between the mining and the owning of gold, the high price politically, physically and spiritually that these men and their families pay for their dreams of a better life.
This wood engraving by Barry Moser is one of 25 prints from his "Gold Rush" series. Published in 1985 in an edition of 350, it measures 7 x 4 inches and is pencil signed by the artist on the lower margin. The "Gold Rush" series were images portraying gold mining activities from America, Africa and Australia. Moser, from Tennessee, became a graphic artist and printmaker, studying under Leonard Baskin and Jack Coughlin.
Lithograph, image size: 14 1/2 x 11 inches, numbered 7/20, blind stamp lower left, pencil signed indistinctly lower right
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