Original pencil signed etching by American artist John Edward Costigan, the title of this work is: "Cutting Fodder" also known as Family in the Field. Costigan used his family and family farm as the subjects of his etchings. This one was created and printed in 1938 and published by Associated American Artists in New York. The image measures 8 X 11 3/4 inches. signed lower right.
A drypoint etching from 1965. Number 4 out an edition of 10. Publisher's blindstamp in the lower left. Catalog: Fern and O'Sullivan 489. Pencil editioned in the lower left, signed in the lower right. Plate measures 9 x 12 3/4 inches on 15 1/2 x 18 3/4 inch medium wove paper. Baskin was an important artist in the mid 20th century, known for his evocative wood engravings, lithographs, and etchings.
A drypoint etching of the Terminal Tower in Cleveland under construction. C. 1928. Pencil signed in the lower right. A richly inked, finely detailed etching. Plate measures 11 1/2 x 7 1/2 inches on 15 x 10 1/2 inch laid paper.
A drypoint etching C. 1927. Numbered 64 in an edition of 75. Pencil editioned in the lower left, signed in the lower right. Plate initialed and dated in the lower right. Plate measures 6 3/4 x 10 3/4 inches on 8 x 12 3/4 inch laid paper. This print has a rich drypoint burr and unique, lively linework.
A drypoint etching C. 1920. Pencil signed and dated in the lower right, plate signed and dated in the lower left. Plate measures 8 x 11 3/4 inches on 9 3/4 x 15 3/4 inch wove paper. Meyerowitz studied at the National Academy of Design in NY and is best known for his development of producing etchings in color. His work is at the Metropolitan Museum of Art; Carnegie Institute; National Academy of Design; Harvard University and the Library of Congress.
This a drypoint etching C. 1920. Plate measures 9 7/8 x 8 inches on 15 1/4 x 11 1/8 inch wove paper. Pencil signed in the lower right. A dynamic and joyful print with good use of plate toning. 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.
A drypoint etching from 1909. The scene is of Crèvecœur, as is written in the plate in the upper left alongside the date. Catalog: G 369. Pencil signed in the lower right numbered 33/40. Sagot blindstamp in the lower right just below the signature. Plate measures 9 1/4 x 11 1/4 inches on 11 1/8 x 14 3/4 inch thin wove paper. Auguste-Louis Lepere was one of the leading French printmakers of the late 19th and early 20th centuries.
A well inked drypoint etching from 1915. Plate measures 7 1/2 x 10 3/4 inches on 10 1/2 x 14 1/8 inch watermarked laid paper. Plate signed in the lower left. Pencil numbered 22/50 in the lower left with the artist's stamp next to it. Catalog: G. 433. Auguste-Louis Lepere was one of the leading French printmakers of the late 19th and early 20th centuries. He began studying printmaking at the age of 13 with Joseph Burn-Smeeton in Paris and quickly made a name for himself with his innovative style and technically brilliant etchings and wood engravings.
A drypoint etching from 1910. Catalog: G-373. Plate signed. The exquisite shading in this print exemplifies Lepere's mastery of the medium. The plate measures 7 1/8 x 9 inches on 9 7/8 x 12 1/2 inch paper. Auguste-Louis Lepere was one of the leading French printmakers of the late 19th and early 20th centuries. He began studying printmaking at the age of 13 with Joseph Burn-Smeeton in Paris and quickly made a name for himself with his innovative style and technically brilliant etchings and wood engravings.
An etching with a rich drypoint burr. Plate measures 5 x 6 3/4 inches 8 x 10 1/2 inch laid paper. Signed in the lower right, titled in the lower left.