Jacopo Robusti Tintoretto “Portrait of Der Dodge Nicolo da Ponte” Etching Jacopo Robusti Tintoretto (real name Jacopo Comin), 1518—1594,was one of the  More »

Jacopo Robusti Tintoretto “Portrait of Der Dodge Nicolo da Ponte” Etching Jacopo Robusti Tintoretto (real name Jacopo Comin), 1518—1594,was one of the greatest painters of the Venetian school and probably the last great painter of the Italian Renaissance. In his youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspective space and special lighting effects make him a precursor of baroque art. For the Scuola della Trinity he painted four subjects from Genesis. Two of these, are “Adam and Eve” and the “Death of Abel”, both noble works of high mastery, which leave us in no doubt that Tintoretto was by this time a consummate painter - one of the few who have attained to the highest eminence in the absence of any formal training. Towards 1546 Tintoretto painted for the church of the Madonna dell’Orto three of his leading works: “Worship of the Golden Calf”, the “Presentation of the Virgin in the Temple”, and the “Last Judgment”. In 1548 he was commissioned for four pictures in the Scuola di S. Marco: the “Finding of the body of St Mark in Alexandria”, the “Saint’s Body brought to Venice, a Votary of the Saint delivered by invoking him from an Unclean Spirit”, and the highly and justly celebrated “Miracle of the Slave”. The last presents one of the chief glories of the Venetian Academy. Jacopo Robusti Tintoretto “Portrait of Der Dodge Nicolo da Ponte” Etching. First executed in oil by Tintoretto and etched by the Master Etcher William Unger. This is a rare impression on Japon paper before the regular edition (usually 100 impressions from what was considered a deluxe edition before the larger edition was printed on regular paper. The etched work measure 8.50 by 13.25 inches (plate mark). This has been professionally cleaned and is a great impression with full margins as originally published in Viena (Wein) at the turn of the 19th Century. William Unger The long-lived William Unger is important not only as an etcher but as an influential scholar and teacher. Serving as professor of graphic arts at the Vienna Academy he taught etching techniques to many of the finest Austrian, German and French artists of the early twentieth century. He was also a founder of Zeitschrift fur Bildendekunst (1866), an important journal which promoted etching, engraving and lithography. Unger’s autobiography, Aus meinen leben, was published in Vienna in 1928.
 William Unger began his formal art studies in 1854 as a student of Joseph Keller, in Dusseldorf. He then finished his studies at the Academy in Leipzig. During his successful career as an etcher Unger received numerous awards including medals from expositions in Paris (1878), Vienna (1888) and Berlin (1891). Unger became most famous for his etchings after the paintings of both old masters and contemporary artists, and these reproductive works occupied most of his career.   « Less

Nichols signed “Tomatos Boats; Capri” Etching, signed “By Nichols” is an original etching on wove paper measuring 8.25 by 10.25 inches and is a  More »

Nichols signed “Tomatos Boats; Capri” Etching, signed “By Nichols” is an original etching on wove paper measuring 8.25 by 10.25 inches and is a well executed work in good condition, recently cleaned professionally and ready to be framed for many years of enjoyment. Harley DeWitt Nichols (1859 — 1939) Landscape painter, etcher, illustrator. Born in Barton, WI on Feb. 3, 1859. Nichols studied at ASL in NYC and with Heckel in Munich (1886). From 1894 he appears to have divided his time between Brooklyn, NY and southern California. The art community in Los Angeles was in its infancy when he arrived there in 1894. His first job was teaching at the Echo Mountain Summer School. He led a peripatetic existence in search of subject matter as an illustrator for Harper’s and Century magazines.   « Less

Walter Shirlaw “Twice Told Tales” Etching Walter Shirlaw Born in Scotland Walter Shirlaw came to the United States at the age of two or three. He was  More »

Walter Shirlaw “Twice Told Tales” Etching Walter Shirlaw Born in Scotland Walter Shirlaw came to the United States at the age of two or three. He was apprenticed as an engraver at the age of twelve to the Western Bank Note Company, Chicago. He worked in that city until 1870 and then journeyed to Germany to study at the Munich Academy. He remained there for seven years studying painting and etching techniques under such masters as Raab, Wagner, Lindenschmit and Von Ramberg. Shirlaw’s first paintings were exhibited there and in Paris, where he received an honorable mention in 1878. Walter Shirlaw “Twice Told Tales” published 1860. Work measure 2.5 by 3 inches, in good condition on laid paper.   « Less

Rare Philip J. de Loutherbourg “Battle of Bosworth Field” Engraving The Battle of Bosworth Field was the penultimate battle in the Wars of the Roses, a civil  More »

Rare Philip J. de Loutherbourg “Battle of Bosworth Field” Engraving The Battle of Bosworth Field was the penultimate battle in the Wars of the Roses, a civil war between the House of Lancaster and the House of York that raged across England in the 15th century. Fought on 22 August 1485, the battle was won by Lancastrian Henry Tudor, Earl of Richmond, who by his victory and subsequent marriage to a Yorkist princess became the first English monarch of the Tudor dynasty. His opponent Richard III, the last King of England from the House of York, was killed during the battle. Historians consider the battle to mark the end of the Plantagenet dynasty, making it one of the defining moments of English history. Literature, from the 15th to 18th centuries, glamorized the conflict as a victory of good over evil—the battle forms the finale of William Shakespeare’s play about Richard’s rise and fall. Richard’s reign over England began in 1483 when he seized the throne from his twelve-year-old nephew Edward V. The boy and his younger brother, Richard of Shrewsbury, soon disappeared, and the people of southern and western England suspected Richard III had murdered his nephews. In the north, support for Richard was eroded by rumours of his involvement in the death of his wife, Anne Neville. Across the English Channel, Henry, a descendant of the greatly diminished House of Lancaster, used his tenuous link to English royalty to lay claim on the throne. Several hundred Englishmen left their country to join Henry in exile, and revive the fortunes of the House of Lancaster. Henry’s first invasion of England (1484) floundered in a storm, and he launched his next attempt on 1 August 1485. Landing unopposed on the southwest shores of Wales, his army marched inland, growing in strength as it gathered followers. Richard hurriedly gathered troops and intercepted Henry’s army near Ambion Hill, south of the town of Market Bosworth in Leicestershire. Lord Stanley and Sir William Stanley were at the battlefield, considering which side would be more advantageous to them to support. Richard’s forces outnumbered Henry’s, however Richard divided his army into three groups, each smaller than Henry’s total force. Henry concentrated most of his army into one group and handed its command to the experienced John de Vere, 13th Earl of Oxford. Richard’s vanguard struggled against Oxford’s group, and on seeing the inaction of his other group’s commander, Henry Percy, 4th Earl of Northumberland, the Yorkist king decided to risk a charge across the battlefield to kill Henry and end the fight. But the Stanleys intervened and Sir William led his men to Henry’s aid, surrounding and killing Richard. After the battle, Henry was crowned king on Crown Hill. Henry hired chroniclers to portray his reign in a good light; the Battle of Bosworth Field was popularized to represent his Tudor dynasty as the start of a new age, marking the end of the Middle Ages for England. Plays, stories, and schoolbook texts were based on the Tudor historians’ version of events. Philip James de Loutherbourg, also seen as Philippe-Jacques and Philipp Jakob and with the appellation the Younger (October 31, 1740 — March 11, 1812) was an English artist of French origin. He was born in Strasbourg, where his father, the representative of a Polish family, practiced miniature painting; but he spent the greater part of his life in London, where he was naturalized, and exerted a considerable influence on the scenery of the English stage, as well as on the artists of the following generation. De Loutherbourg was intended for the Lutheran ministry, and was educated at the University of Strasbourg. As the calling, however, was foreign to his nature, he insisted on being a painter, and placed himself under Charles-André van Loo in Paris. The result was an immediate and precocious development of his powers, and he became a figure in the fashionable society of that day. In 1767 he was elected into the French Academy below the age required by the law of the institution, and painted landscapes, sea storms, battles, all of which had a celebrity above those of the specialists then working in Paris. Rare Philip James de Loutherbourg “Battle of Bosworth Field” Engraving. Engraved and published in E Boyer Historical Gallery, London 1802. This is with good margins and over all good condition with a few creases and minute foxing spots in the outer margins. The engraving is a slight larger than the scanner could scan and has text on the bottom as seen in the second image. Work measure 9.50 by 12 inches plus margins.   « Less

Karel Dujardin (September 27, 1626, Amsterdam — November 20, 1678, Venice), Dutch animal and landscape painter-etcher. After training with Nicolaes Berchem, he  More »

Karel Dujardin (September 27, 1626, Amsterdam — November 20, 1678, Venice), Dutch animal and landscape painter-etcher. After training with Nicolaes Berchem, he went to Italy when young, and became a member of the Society of Painters at Rome, among whom, he was known as ‘Barba di Becco’. In Rome, his works met with general approbation. According to some sources, on his way back to his native country, he contracted considerable debts at Lyon, to free himself from which, he married his old and rich landlady. He went with her to Amsterdam, where his pictures were valued very highly. He soon secretly left his home in that city, probably from dislike of his wife, and went back to Rome in 1675, where he was welcomed by his old friends and admirers, and lived at great expense. After a visit to Tangier he went to Venice, where he died in 1678. Most of his paintings and etchings of Italianate landscapes and or with farm animals and peasants. His landscapes have spirit and harmony, his figures expression, and his color the brilliancy which distinguishes his school. His paintings are rare and command a high price. He also published fifty-two etchings of similar subjects, with great spirit and ease. Karel Dujardin “The Shepard” Etching measure 5.50 by 7.50 inches, unsigned on antique laid paper from a edition of etching and etchers, 1880. Take note, Hamerton was very particular in print excellent quality impression from several Old Masters Copper plate for this rare edition, fast becoming rarer.   « Less

Frank Duveneck - TRialto bridge - Etching Dry-point unsigned impression pulled from original plate by the master printer-teacher Charles Meakins at the Cincinnati at  More »

Frank Duveneck - TRialto bridge - Etching Dry-point unsigned impression pulled from original plate by the master printer-teacher Charles Meakins at the Cincinnati at the Cincinnati on antique Laid paper. The large work, beautifully etched of the famous landmark measures 10.25" x 17.75" plus narrow margins. Recorded in the Poole Catalogue of Duvenecks Works as # 23 final State. This work needs some living restoration; seems like it was torn and rejoined (can be redone professionally for a reasonable cost). See all images Sold As Is, please ask all questions before purchase. The images of frank Duveneck hardly ever come up in the market. Here is the time to make a move with a reasonable offer. Frank Duveneck (October 9, 1848 – January 3, 1919) was an American figure and portrait painter. His work, at first ignored, when shown in Boston and elsewhere about 1875, attracted great attention, and many pupils flocked to him in Germany and Italy, where he made long visits. Henry James called him "the unsuspected genius" and at the age of 27 he was a celebrated artist. In 1878 Duveneck opened a school in Munich, and in the village of Polling in Bavaria. His students, known as the "Duveneck Boys", included Twachtman, Otto Bacher, Julius Rolshoven, and Herman Wessel.   « Less

Francisco Goya Fristes Presentimietos de lo ha he acontecer plate # 1 from Los Desastres de la Guerra, attributed to the Fourth Edition 1906, edition of 275. Inscribed  More »

Francisco Goya Fristes Presentimietos de lo ha he acontecer plate # 1 from Los Desastres de la Guerra, attributed to the Fourth Edition 1906, edition of 275. Inscribed with the Title and Plate Number outside of the engraved area with a good plate mark. The etched work measures 7.25 by 5.75 inches and plate mark measures 6.50 by 8 inches and in good condition. The first edition Los Desastres de la Guerra was first printed posthumous in 1863, some 35 years after Goya's Death. The Second edition appeared in 1892, the third in 1903 and the fourth appeared in 1906. Several others appeared after till the Spanish Civil War in 1935, often with the Blind stamp of Goya profile in the print totaling seven editions. The Fourth Edition impressions are referred to being better quality than the third Edition. Printed by Calcografia, Madrid, Spain. Here is a links to view the collection ; http://www.franciscodegoya.net/search Provenance: Private Palm Beach, FL Collection Craddock & Barnard, London, England 1969. The Disasters of War (Spanish: Los Desastres de la Guerra) are a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. Francisco José de Goya y Lucientes (30 March 1746 – 16 April 1828) was a Spanish romantic painter and printmaker regarded both as the last of the Old Masters and the first of the moderns. Goya was a court painter to the Spanish Crown, and through his works was both a commentator on and chronicler of his era. The subversive and imaginative 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, Picasso and Francis Bacon.   « Less

Pablo Picasso “Color Sketch Profile” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman  More »

Pablo Picasso “Color Sketch Profile” Lithograph 
Pablo Ruiz Picasso (October 25, 1881 — April 8, 1973) was a Spanish painter, draughtsman etcher, lithographer and sculptor.

As one of the most recognized figures in twentieth-century art, he is best known for co-founding the Cubist movement and for the wide variety of styles embodied in his work. Among his most famous works are the proto-Cubist Les Demoiselles d’Avignon (1907) and his depiction of the German bombing of Guernica during the Spanish Civil War, Guernica (1937). The work measure 13 by 9 inches approximate (image). Framed in a lovely gold frame, double matted with plexiglass. Frames size is 19 by 23 inches. This is published during the artist’s lifetime with his supervision and in good condition. This and the other four are recorded works, in the Cramer catalogue Resume, Goeppert/Cramer, edition of 666. Printed-published by Cercle d’Art, Paris. Publication issued in 1970. There is no CoA. Numbered 506 / 666 in pencil. Sold as is.   « Less

Amand-Durand (after Rembrandt) Bourgmestre Six; Jan Six Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in  More »

Amand-Durand (after Rembrandt) Bourgmestre Six; Jan Six Etching OriGreat image conceived by Rembrandt and etched by Armand Durand and pulled from the copper plate in late 19th century impression on arches laid paper with margins. Etched work measures approximately 7.25" by 10". This is in mint condition. Rembrandt created his etchings in the 1600's, but by the 1800's the plates for the etchings were worn and in poor condition. Armand Durand, a well respected engraver, dedicated the major part of his life re-creating Rembrandt's 347 etchings in exacting detail. Armand-Durand used as his guide, not the worn and flat plates, but the first and second state etchings of the master's original works. Durand's original etchings were so well respected they were purchased by major collectors throughout Europe, and as well as the Louvre Museum in Paris and the French Biblioteque Nationale. Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age. Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In his paintings and prints he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."   « Less

Thomas Gainsborough “Lady Spencer” Color Mezzotint Engraving Thomas Gainsborough (christened 14 May 1727 — 2 August 1788) was one of the most famous  More »

Thomas Gainsborough “Lady Spencer” Color Mezzotint Engraving Thomas Gainsborough (christened 14 May 1727 — 2 August 1788) was one of the most famous portrait and landscape painters’ etcher and draughtsman of 18th century Britain. Thomas Gainsborough was born in Sudbury, Suffolk, England. His father was a weaver involved with the wool trade. At the age of thirteen he impressed his father with his penciling skills so that he let him go to London to study art in 1740. In London he first trained under engraver Hubert Gravelot but eventually became associated with William Hogarth and his school. Year later he would work in executing a small numbers of original etched work of landscape studies. Thomas Gainsborough “Lady Spencer” first pained in 1748—52 and later engraved by Clifford R. James. Published in a rare and limited edition of Color Mezzotint Engraving, London 1923. This treasure measures 12 by 15 approximately and in good condition. Little discoloration on verso with a light spot of foxing, not visible on the front side of the art work. Pencil signed by the engraver. Clifford R. James was among a handful of mezzotint engravers of the earlier 20th Century mezzotint engravers and was considered among one of the best of the period.   « Less