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 on thin Japan,1900,image size 6 7/8X4 1/2",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.
Drypoint, 1959, first prize graphic arts, Salamagundi Club award,
image size: 10 3/4 X 13 3/4" inches, pencil signed
Etching Dry-Point, image size 4 5/8 x 6 3/8 inches, Hardie 157, 1919, edition of 100, blind stamp, pencil signed.
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 a drypoint etching from November 1929. Edition of 100. Catalog: BPL 88. Pencil signed in the lower right, pencil numbered 59 out of 100 in the lower left. Plate measures 13 1/2 x 8 1/4 inches on 16 x 11 inch Rives watermarked wove paper. Samuel Chamberlain studied architecture at MIT, but interrupted his studies to serve in France during WWI. After the war, Chamberlain worked as an architectural draftsman in Boston before leaving the US to travel throughout France and Europe. During his time overseas, Chamberlain began sketching the countryside and architecture, eventually studying at the Royal College of Art in London. He became well known for his carefully rendered etchings and drypoints of both European and American buildings and cityscapes.
Engraving, after Raphael; also called La Benediction; later state without engraver's address;
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.
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, 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.
Etching on laid-type paper, printed in brown-toned ink. Pencil signed in the lower right. C. 1925.
Image measures 9 3/4 x 7 inches, sheet size measures 15 x 12 inches.
Color woodblock print c. 1859. From the series "Miracles of Kannon," a large series that pairs miracles performed by Kannon, the Buddhist Goddess of Mercy, with scenes of temples in the Western, Central, and Eastern provinces of Japan. Print measures 13 1/2 x 9 inches on 13 7/8 x 9 3/4 inch handmade japan paper. A very detailed print with embossing in the white clouds.
A delicately rendered original etching with drypoint, plate size 5 3/8 x 7 3/8 inches, published in 1923, cat: Dickins-78, pencil signed. Walcot was born in Russia, the son of a British father and Russian mother. His family traveled extensively throughout Europe as well as South America, and Walcot was educated in Paris and Russia, graduating with a degree in architecture from the Imperial Academy of the Arts in Moscow. He worked as an architect briefly in Russia before moving to England in 1906. He became well known for his etchings which portray an impressive knowledge of architectural details along with a distinctive impressionistic influence in the atmosphere and immediacy of the images. This scene of York Minster is a great example of this sense of light and atmosphere, the delicate details of the cathedral contrasting with the quickly rendered people in the foreground.
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