Here we have a great Baul Baum “Aus Sluis” Original Etching , scarce work for the first edition of Die kunst des radierens (The Art of Etching) by Hermann  More »

Here we have a great Baul Baum “Aus Sluis” Original Etching , scarce work for the first edition of Die kunst des radierens (The Art of Etching) by Hermann Struck. Printed on high quality wove paper by Pan-Presse and was published by Paul Cassirer in 1918. It is in good condition with minute spots of foxing outside of the etched work. The etching measures 4 by 5.75 inches on laid paper. E-bayer take note: This is list at $200.00 range by the internet dealers. Paul Baum (1859—1932) was a Post-Impressionist painter and printmaker, almost exclusively of landscapes. Paul Baum was born at Meissen. He studied at the Academy in Dresden, then in the atelier of the landscape painter Friedrich Peller, and then under Theodor Hagen in the Weimer School of Art. Baum exhibited from 1880. The art of Paul Baum shows the influence of Pointillism in its technique and approach.   « Less

Winslow Homer “Snap the Whip” Engraving Winslow Homer (February 24, 1836 — September 29, 1910) was an American landscape painter and printmaker, best  More »

Winslow Homer “Snap the Whip” Engraving Winslow Homer (February 24, 1836 — September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art. Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders. His mother was a gifted amateur watercolorist and Homer’s first teacher, and she and her son had a close relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature; her dry sense of humor; and her artistic talented. Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was an average student, but his art talent was on display early. Homer’s father was a volatile, restless businessman who was always looking to “make a killing”. When Homer was thirteen, Charles gave up the hardware store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other get-rich-quick schemes that didn’t materialize. After Homer’s high school graduation, his father saw an ad in the newspaper and arranged for an apprenticeship. Homer’s apprenticeship to a Boston commercial lithographer at the age of 19, was a formative but “treadmill experience”. He worked repetitively on sheet music covers and other commercial work for two years. By 1857, his freelance career was underway after he turned down an offer to join the staff of Harper’s Weekly. “From the time I took my nose off that lithographic stone”, Homer later stated, “I have had no master, and never shall have any.” Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou’s Pictorial and Harper’s Weekly, at a time when the market for illustrations was growing rapidly, and when fads and fashions were changing quickly. His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving. Winslow Homer “Snap the Whip” Engraving is a limited edition, published by the “Homer Collection” at the Bowdoin College, Brunswick, Maine. In good condition with NO text on verso and very light crease in the our side of the sheet NOT noticeable when correctly matted. The image measures 9 by 13.50 inches. Note the image is slightly larger than the scanner would pick up. This is not a trimmed work on vellum finish smooth paper, much finer quality than the wood pulp paper the larger ones are printed on. Take Note: This is NOT the larger version of the Doudle page that appeared in the Harpers Weekly.   « Less

Sir David Wilkie (November 18, 1785 — June 1, 1841) was a Scottish painter-etcher. Wilkie was the son of the parish minister of Cults in Fife. He developed a love for  More »

Sir David Wilkie (November 18, 1785 — June 1, 1841) was a Scottish painter-etcher. Wilkie was the son of the parish minister of Cults in Fife. He developed a love for art at an early age. In 1799, after he had attended school at Pitlessie, Kettle and Cupar, his father reluctantly agreed to his becoming a painter. Through the influence of the Earl of Leven Wilkie was admitted to the Trustees’ Academy in Edinburgh, and began the study of art under John Graham. From William Allan (afterwards Sir William Allan and president of the Royal Scottish Academy) and John Burnet, the engraver of Wilkie’s works, we have an interesting account of his early studies, of his indomitable perseverance and power of close application, of his habit of haunting fairs and marketplaces, and transferring to his sketchbook all that struck him as characteristic and telling in figure or incident, and of his admiration for the works of Carse and David Allan, two Scottish painters of scenes from humble life. Among his pictures of this period are mentioned a subject from Macbeth, Ceres in Search of Proserpine, and Diana and Calisto, which in 1803 gained a premium of ten guineas at the Trustees’ Academy, while his pencil portraits of himself and his mother, dated that year, and now in the possession of the Duke of Buccleuch, prove that Wilkie had already attained considerable certainty of touch and power of rendering character. A scene from Allan Ramsay, and a sketch from Macneill’s ballad of Scotland’s Skaith, afterwards developed into the well-known Village Politicians, were the first subjects in which his true artistic individuality began to assert itself. In 1804 Wilkie returned to Cults, established himself in the manse, and began his first important subject-picture, Pitlessie Fair, which includes about 140 figures, and in which he introduced portraits of his neighbors and of several members of his family circle. In addition to this elaborate figure-piece, Wilkie was much employed at the time upon portraits, both at home and in Kinghorn, St Andrews and Aberdeen. In the spring of 1805 he left Scotland for London, carrying with him his Bounty-Money, or the Village Recruit, which he soon disposed of for £6, and began to study in the schools of the Royal Academy. One of his first patrons in London was Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager-countess of Mansfield. This lady’s son was the purchaser of the Village Politicians, which attracted great attention when it was exhibited in the Royal Academy of 1806, where it was followed in the succeeding year by the Blind Fiddler, a commission from the painter’s lifelong friend Sir George Beaumont. Sir David Wilkie “Arrival of the Rich Relatives” is a etching measuring 8.50 by 10 inches (plate-mark) printed in a soft sepia brown ink in good condition and is unsigned.   « Less

Cornelis Bega “Soup For the Sick” Etching Cornelis Bega’s Dutch painter and etcher ,mother inherited half the estate of her renowned Mannerist artist  More »

Cornelis Bega “Soup For the Sick” Etching Cornelis Bega’s Dutch painter and etcher ,mother inherited half the estate of her renowned Mannerist artist father, and Bega’s father was a goldsmith and silversmith: such was Bega’s prosperous, artistic Haarlem family. He studied with genre painter Adriaen van Ostade, and his early works recall his teacher’s dark, freely executed, many-figured subjects, though Bega often showed more psychological insight. From 1653 to 1654 he visited Germany, Switzerland, and France, then returned to Haarlem to join the Guild of Saint Luke. His life was probably cut short by the plague. Bega’s principal subjects were taverns, domestic interiors, and villages, with characters ranging from nursing mothers and prostitutes to gamblers and alchemists. Between about 1660 and 1664, his genre scenes became more colorful, less populated, more emotionally expressive, and more focused on the fine details of object textures. Among those influenced by Bega was Jan Steen. Later European artists imitated Bega’s style and borrowed characters from his dramas. Bega also drew, etched, and made counterproofs in a variety of materials. Here we have an impression on early wove paper, in good condition and measure 5 by 6.50 inches.   « Less

Jacques Callot “Saint Cleo; Calendar of Saints” Etching Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching  More »

Jacques Callot “Saint Cleo; Calendar of Saints” Etching Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard ground on the plate, thus making it possible to vary the thickness of the line, modeling it along its whole course with a dependable ground to work on, he became the first specialist virtuoso etcher … [this work provides] the first unromantic pictures of war, exposing its impersonal cruelty, casual violence, and senseless destruction his records of war-torture, rape, burning at the stake, the firing squad-are strikingly believable because he observed decorum, viewed events as dispassionately as only a Frenchman can, and made his figures move as delicately and precisely as deadly insects. Through his technical innovations and the excellence of his drawing he exerted an influence more profound than that of many greater artists” Here we have one etching from Calendar of Saints — One of a collection of 16, being offered from the “Calendar of Saints”, originally c. 1636, this is a later state, c. 18th century. Etching on chained lined paper, archival mat. Oval cartouche with image, printed on trimmed, Laid paper measuring 3-13/16” x 2-1/16” and in good condition. These were conceived and created by Callot. These were Published by Israel Silvestre (Nancy, 13 August 1621 — 11 October 1691 in Paris), called the Younger to distinguish him from his father, was a prolific French draftsman, etcher and print dealer who specialized in topographical views and perspectives of famous buildings. Orphaned at an early age, he was taken in by his uncle in Paris, Israel Henriet, an etcher and printseller, and friend of Jacques Callot. Between 1630 and 1650 Silvestre travelled widely in France and Italy, which he visited three times, and later worked up his sketches as etchings, which were sold singly and in series. His work, especially of Venetian subjects published in the 1660s, influenced eighteenth-century painters of vedute such as Luca Carlevaris and Canaletto, who adapted his compositions. In 1661 he inherited the stock of plates of his uncle, the print seller Israel Henriet, among which was a large part of the works of Callot, and many of those of Stefano della Bella. In 1662 he was appointed dessinateur et graveur du Roi and in 1673 he was appointed drawing-master to Louis, le Grand Dauphin. From 1668 he was granted workshop space in the galleries of the Louvre, where the practice of housing eminent artists and craftsmen was a tradition that was originated under Henri IV. Silvestre’s atelier was large: he had at least two pupils who had separate careers as engravers, François Noblesse and Meunier. In 1670 Charles Le Brun recommended him for membership in the Académie royale de peinture et de sculpture. In 1675 his son, the artist Louis Silvestre, was born at Sceaux. .   « Less

Mortimer Menpes “A Breton Beggar” Etching-Drypoint Mortimer Luddington Menpes (February 22, 1855 Port Adelaide, South Australia — April 1, 1938  More »

Mortimer Menpes “A Breton Beggar” Etching-Drypoint Mortimer Luddington Menpes (February 22, 1855 Port Adelaide, South Australia — April 1, 1938 Pangbourne), was a war artist and engraver, author, printmaker and illustrator. Menpes was born at Port Adelaide on 22 February 1855, the second son of property developer James Menpes, who with his wife, Ann, had settled in Australia in 1839. Educated at a private school, he attended classes at the Adelaide school of design, but his formal art training began at the South Kensington School of Art in 1878, after his family had moved back to England in 1875. Edward Poynter was a fellow student at the school. Menpes first exhibited at a Royal Academy exhibition in 1880. Over the following 20 years 35 of his paintings and etchings appeared at the Academy. He set off on a sketching tour of Brittany in 1880 and thereby met James McNeill Whistler, becoming his pupil and at one stage sharing a flat with him at Cheyne Walk on the Embankment in London. Here he was taught etching by Whistler, whose influence, together with that of Japanese design, is evident in his later work. His 1887 trip to Japan led to his first one-man exhibition at Dowdeswell’s Gallery (1878-1912) in London. Menpes bought a property at 25 Cadogan Gardens in Sloane Square in 1888 and decorated it in the Japanese style. Whistler and Menpes quarreled in 1888 over the interior design of the house, which Whistler felt was a brazen copying of his own ideas. The house was sold in 1900, and Menpes retired to Kent. In 1900, after the outbreak of the Boer War, Menpes was sent to South Africa as a war artist for the weekly Black and White. With the war’s end in 1902 he travelled widely, visiting Burma, Egypt, France, India, Italy, Japan, Kashmir, Mexico, Morocco, and Spain and producing illustrated books of those countries. His book on the Delhi Darbar of illustrated Curzon’s grand spectacle of 1903. He married Rosa Mary Grosse in London in 1875. She too, was from Australia and died 23 August 1936. They produced a son, Mortimer James (b. 1879) and two daughters, Rose Maud Goodwin and Dorothy Whistler. Dorothy, Whistler’s godchild, married a Mr. Flower and died in Minehead in July 1973 aged 89. For the last 30 years of his life, Menpes retired to Iris Court, Pangbourne from where he managed his Purley-on-Thames business, “Menpes Fruit Farms”. He built 40 large greenhouses in which to grow carnations and 8 cottages to accommodate the farm workers. Here we have a great impression of Mortimer Menpes “A Breton Beggar” original etching drypoint on cream laid paper. Etched work (image) measures 8.50 by 5.50 inches with good margins. Published in “The Portfolio”, 1883, signed in the plate and in good condition.   « Less

Charles Henri Toussaint (Paris 1849 — 1911) A nineteenth century French painter, illustrator and etcher, Charles Henri Toussaint gained his highest reputation for  More »

Charles Henri Toussaint (Paris 1849 — 1911) A nineteenth century French painter, illustrator and etcher, Charles Henri Toussaint gained his highest reputation for his architectural studies of Paris, the French provinces, Oxford and Cambridge. Charles Toussaint studied painting in Paris under Gaucherel and Andre and etching under Brunet-Desbaines. He first exhibited his art at the Paris Salon in 1874 and during the following years received numerous awards, including medals from the Exposition Universalle in 1876, 1884, 1899 and 1900. Here we have a lovely Original Etching by H. Toussaint etched after the oil by Jules Dupre’s 1889, image measuring 9.5 by 5.5 inches and in good condition, Plate signed.   « Less

Francisco José de Goya y Lucientes (March 30, 1746 — April 16, 1828) was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish  More »

Francisco José de Goya y Lucientes (March 30, 1746 — April 16, 1828) was an Aragonese Spanish painter and printmaker. Goya was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso. 
The engraved images that make up Goya’s most important series of prints, Los Caprichos (1799), have long been recognized as one of the supreme monuments of European art. Goya, royal painter to the kings of Spain during the late eighteenth-early nineteenth centuries, eventually died in exile, both of his major print series having been “donated” to the crown to protect him from the Inquisition. A believer in the potential power of reason, his works show what happens when reason is trampled underfoot by individual human follies and corrupt social customs. In these works Goya looks at his country and memorializes it as a monument to desperation, folly, arrogance, incompetence, and the need that some of his subjects have to try to control the uncontrollable. Here we are offering a very lovely image of Francisco Goya “La Jeune Fille a La Rose” Etching. First executed in oil by Goya and etched after the work by the French 19th century Master French etcher, E D Hedouin and published in the French Art publication “Gazatte des Beaux-arts” and printed by S. Salmon. The etched work on laid paper measure 5 by 6.5 inches in good condition.   « Less

Washington Allston “The Prophet Elijah” Etching Washington Allston (November 5, 1779 — July 9, 1843) was an American poet and influential painter,  More »

Washington Allston “The Prophet Elijah” Etching Washington Allston (November 5, 1779 — July 9, 1843) was an American poet and influential painter, born in Waccamaw, South Carolina. Allston pioneered America’s Romantic movement of landscape painting. He was well known during his lifetime for his experiments with dramatic subject matter and his bold use of light and atmospheric color. Allston was born on a plantation on the Waccamaw River near Georgetown, South Carolina. His mother Rachel Moore had married Captain William Allston in 1775, though her husband died in 1781, shortly after the Battle of Cowpens. Moore remarried to Dr. Henry C. Flagg, the son of a wealthy shipping merchant from Newport, Rhode Island. Allston graduated from Harvard College in 1800 and moved to Charleston, South Carolina for a short time before sailing to England in May 1801.He was admitted to the Royal Academy in London in September, when painter Benjamin West was then the president. From 1803 to 1808 he visited the great museums of Paris and then for several years those of Italy, where he met Washington Irving in Rome, and Coleridge, his lifelong friend. In 1809 Allston married Ann Channing, sister of William Ellery Channing.[Samuel F. B. Morse was one of Allston’s art pupils and accompanied Allston to Europe in 1811. After traveling throughout western Europe, Allston finally settled in London, where he won fame and prizes for his pictures. Allston was also a published writer. In London in 1813, he published The Sylphs of the Seasons, with Other Poems, republished in Boston, Massachusetts later that year. His wife died in February 1815, leaving him saddened, lonely, and homesick for America. In 1818 he returned to the United States and lived in Cambridge, Massachusetts for 25 years. He was the uncle of the artists George Whiting Flagg and Jared Bradley Flagg, both of whom studied painting under him. In 1841 he published Monaldi, a romance illustrating Italian life, and in 1850, a volume of his Lectures on Art, and Poems. Allston died on July 9, 1843, at age 64. Allston is buried in Harvard Square, in “the Old Burying Ground” between the First Parish Church and Christ Church. Washington Allston “The Prophet Elijah” Etching, etched from The Prophet Elijah oil in the collection of the Museum of Fine Arts, Boston and etched by Kimberly. The work measures 6.50 by 8.50 inches and in good condition.   « Less

Carloline Armington “Sea of Galilee” Original Etching In 1905, Caroline Armington (1875—1939) made Paris her permanent home. Over the next three  More »

Carloline Armington “Sea of Galilee” Original Etching In 1905, Caroline Armington (1875—1939) made Paris her permanent home. Over the next three decades, She and her fellow artist Artist-husband (Frank) worked tirelessly to build parallel careers, each producing an impressive and widely collected body of paintings, etchings, and in Frank’s case, lithographs. Inspired by the enduring qualities of Gothic architecture and an earlier generation of artists including the Impressionists, James McNeill Whistler, and Charles Meryon, the Armingtons’ views of Paris are timeless records of their love for their adoptive home and technical mastery of their chosen media. Here we have one of two rare images by the French Canadian artist, Caroline Armington Henri IV from her images while traveling in the Middle East in 1936. Original etching, signed and date in the plate and pencil signed on wove paper measuring 3.25 by 3.25 inches in the original mat and in excellent condition.   « Less