C. 1932. Initialed and dated on stone in the lower right, pencil signed in the lower right. Edition of 55. Catalog: Barker 122. Plate measures 8 3/4 x 7 1/2 on 14 x 11 1/2 inch watermarked wove type paper. The dark outline of the barn, with its modernistic texture and shadows, contrasts with the luminous winter sky. One of Barker's best prints.
This is perhaps the best known etching by American Regionalist, John E. Costigan. The title is: Fishermen Three, it was created and printed in 1938 and sold by Associated American Artists in New York. This etching has an image size of 8 7/8X11 7/8 inches Hand signed in pencil lower border. This image appears in the book, A Treasury of American Prints by Craven.
Etching from June 1931. Edition of 100, with 5 working proofs. Pencil editioned in the lower left, signed in the lower right. Image measures 5 3/4 x 8 1/4 inches in a 12 3/4 x 15 1/2 inch gold frame. An incredibly detailed scene with plate toning and a rich drypoint burr.
Drypoint, 1959, first prize graphic arts, Salamagundi Club award,
image size: 10 3/4 X 13 3/4" inches, pencil signed
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. This image is a great example of Davis' use of delicate lines and simple compositions to elegantly capture the beauty of the female figure.
This is an original large etching by American artist and illustrator Alan James Robinson. This image is titled: Green Turtle, it is an artist proof and hand signed in pencil. The image measures 18X23 1/2 inches. Richly printed on a thick wove type sheet, Robinson is best known for his animal illustrations.
A beautiful architectural cityscape by master printmaker, Joseph Pennell. Measuring 8 x 11 inches, it is pencil signed, publishers label included. Created in 1905 in an edition of probably 75, cat: Wuerth #379. 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.
Etching, image size 9 7/8 x 7 inches, 1924, edition of 75, cat: Wuerth-847, as "Orange Street, Brooklyn," plate signed in reverse, titled in pencil at the bottom of the sheet, pencil signed.
This is a remarkable architectural etching by American artist Hopper Emory. Image size 14 7/8 x 11 3/4 inches, c. 1930, edition of 250, pencil signed, with the original label. Hopper Emory was born in Baltimore, Maryland and had a successful career in banking before he turned exclusively to his artwork. He traveled to England where he studied at the Heatherly School of Art in London, then returned to Maryland where he became known for his delicately rendered architectural and maritime etchings.
Etching,1929,Edition of 100,image size:9 1/2X11 1/4 inches,Bpl 153,pencil signed
A wood engraving from 1940. Numbered 8 out an edition of 12. Pencil signed and dated in the lower right. Pencil titled and editioned in the lower left. Plate measures 8 x 10 inches on 10 1/2 x 12 inch thin laid paper.
Drypoint etching, image size 6 1/2 x 11 inches, 1931, edition 75/100, cat. Chamberlain and Kingsland-107, pencil signed, numbered and titled. This scene of Bellefontaine, Ile-de-France, exhibits Chamberlain's ability to create subtle gradations in plate tone.
Etching and drypoint, image size 4 7/8 x 13 1/8 inches, 1912, printed on cream wove paper. Addams was born in New Jersey and attended the Drexel Institute there. He won a Philadelphia Academy Cresson Traveling Scholarship and entered Whistler’s Academy in Paris in 1899. In the 1900′s, London’s working class Italian Soho district was the subject of many artists of the day including Whistler's shop-front prints such as T.A. Nash’s Fruit Shop. The horizontal format and the density of the etching work is comparable to many of Whistler Amsterdam prints.
Etching, image size 8 x 5 3/4 inches, pencil signed l.r. "Warren Davis" on wove paper. Davis studied at the Art Students League in New York and became known for his etchings of idealized female figures. Many 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.
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