Etchings

Drypoint etching from 1924. A well inked impression with incredible detail. Second State. This is a rare early pencil signed proof, prior to the Louvre publication. Plate measures 15 x 16 inches on 16 7/8 x 19 1/8 inch wove type paper.

A richly inked drypoint from 1919. Catalog reference: Gaunt 245. Edition of 54. Pencil signed in the lower right. Plate measures 19 x 20 3/4 inches on 24 1/2 x 29 1/2 inch wove type paper. Sir Frank Brangwyn was one of the most important British artists of the early 20th century. A member of the Royal Academy, the Royal Watercolor Society, and the Royal Society of British Artists, he was knighted in 1924.

A richly inked drypoint etching from 1926. Catalog reference: Gaunt 325. Edition of 53. Pencil signed in the lower right. Plate measures 11 3/4 x 16 3/4 inches on 18 1/4 x 23 1/2 inch wove type paper. Sir Frank Brangwyn was one of the most important British artists of the early 20th century. A member of the Royal Academy, the Royal Watercolor Society, and the Royal Society of British Artists, he was knighted in 1924.

Drypoint from 1885. Catalog: Rice 70. An etching of the covered bridge with the Statehouse in the distance. Plate measures 11 1/2 x 17 1/2 inches on 19 1/2 x 25 1/4 inch handmade Japan paper. Pencil signed in the lower right, plate signed, titled, and dated in the lower left. This print has good plate toning and a rich drypoint burr. C. A. Platt was born in New York and studied art at the National Academy of Design, the Art Students League and the Academie Julian. He was a very successful painter and etcher, known for his delicately rendered New England landscapes and harbor scenes.

C. 1886. An etching by James David Smillie directly from the watercolor by Winslow Homer. Inscribed in the plate in the lower right: "Winslow Homer 1883." Catalog: Witthoft 42. Signed by Smillie in the upper left and inscribed "Aqua fortis 1886." Plate measures 6 5/8 x 10 inches on 11 1/2 x 14 3/4 inch wove type paper. A beautifully detailed and accurate rendition of the painting.

Drypoint etching by Thomas Moran. Plate signed and dated in the lower right, 1881. Plate measures 5 1/2 x 8 1/2 inches on 11 1/2 x 14 3/4 inch medium weight wove type paper. An atmospheric print with good use of plate tone. Thomas Moran was a leading artist of the American etching revival, and in 1877 was one of the founders of the New York Etching Club. Moran was known for his experimentation in all aspects of the etching process, and his ability to beautifully capture the atmosphere and energy of the American landscape.

4 3/4 x 3 1/2 inch colored etching on 4 7/8 x 3 3/4 inch paper.

Etching with a rich drypoint burr and good use of plate tone. Plate measures 8 3/4 x 6 inches on 9 7/8 x 6 1/4 inch thin paper. Pencil signed in the lower right.

Etching published by Francis Robertson, publisher's stamp embossed in the bottom of the page. Pencil signed in the lower right. Plate measures 6 x 7 7/8 inches on 11 1/2 x 13 inch wove type paper. This delicate etching captures the graceful s-curve of the female figure. Warren Davis studied at the Art Students League in New York and became known for his etchings of idealized female figures, many of which were used on the covers of Vanity Fair and Life magazines. Later in his career Davis exhibited in Europe and the United States including the Pennsylvania Academy and the Salmagundi Club.

C. 1941. Etching and sandpaper ground. Edition of 100. The scene depicted was in the Berkshire Hills in western Massachusetts. Catalog: Giardina 203. Plate measures 10 1/2 x 14 5/8 inches on 13 7/8 x 18 1/4 inch wove type paper. Pencil signed "Kerr Eby imp" in the lower right, indicating that the artist printed it himself. This print has a good use of plate tone in the sky. This image shows his impressive use of highlighting and shadow to show the snow fields at night.