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.
Etching after Goya, image size: 7 3/8 x 5 3/8 inches, plate size: 9 x 7 inches, plate signed l.c., pencil signed "W Wuernle" lower left
Plate measures 5 x 11 1/4 inches on 10 1/4 x 16 1/2 inch wove type paper. Pencil signed in the lower right, plate signed in the lower left. This simple etching has suggested distance and good plate toning.
Engraving, image size 10 5/16 x 8 1/16 inches, c. 1966, plate signed l.c.
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.
Plate measure 5 x 11 inches on 10 3/4 x 16 7/8 inch wove type paper. Pencil signed in the lower right. This print uses minimal lines and plate toning to suggest water and the silhouette of a coastline.
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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