Prints

Engraving after Philippe de Champagne, image size 10 3/8 x 7 3/16 inches, sheet size 10 5/8 x 7 1/2 inches, Randall 1612, Fogg Museum provenance

Etching, image size: 6 1/2 x 8 7/8 inches, inscribed: "Se vendent a Paris chez I. Van merlen rue S Iacques ala ville d'anvers avec pri: du roy 1660"

Engraving after Simon Vouet. 1646. Randall 1388. Image size 9 1/8 x 7 7/8 in, sheet 10 3/8 x 8 in. Fogg Museum provenance.

Etching, image size 6 7/8 x 9 7/8 inches, pencil signed

Wood engraving, 4 11/16 x 4 3/16 inches, unreadable pencil signature l.r.

Lithograph, B-152,lithograph on chine colle,9 7/8X6,ed.38,pencil signed

Etching, image size 8 1/4 x 10 1/4 inches, pencil signed l.r. "Paul Paeschke"

Engraving after Rembrandt, 6 3/16 x 8 inches

Engraving after H. Rigaud, image size: 2 1/1 x 2 1/4 inches, sheet size: 6 x 4 1/2 inches, Fogg Museum provenance, Gray collection #7552

Engraving after Hyacinthe Rigaud, image size 9 13/16 x 7 1/2 inches, dated '74

Etching, image size 4 1/2 x 3 1/2 inches, Bliss 286 ii/III, Malassis & Thibaudeau 67, pencil signed.

Lithograph, image size 14 1/2 x 8 3/4 inches, 1924, edition of 100, cat: BPL- 214, from the series "Vingt Lithographies du Vieux Paris," initialed and editioned in pencil.

Etching, image size 6 1/2 x 11 inches, 1925, pencil signed and numbered 6/30. Titled at the bottom of the sheet: "La Cite, vue du Pont des Arts."

Lithograph, image size 13 1/4 x 11, 1924, edition of 100, cat: BPL- 215, from the series "Vingt Lithographies du Vieux Paris," initialed and editioned in pencil.

Etching, image size 6 1/2 x 5 7/8 inches, 1913, pencil signed. Herman Webster was an American artist who moved to Paris in the early 20th century to attend the Academy Julien. There he studied under J. P. Laurens and Eugene Bejot, and was also greatly influenced by the etchings of Whistler and Meryon. He traveled extensively throughout Europe, specializing in finely detailed architectural views, cityscapes and landscapes. This is an early pencil signed proof of this etching; it was later published in a larger edition by the Gazette des Beaux-Arts in 1920.