Thomas Gainsborough “Sketch of a Woman” Lithograph Thomas Gainsborough (christened May 14, 1727 — August 2, 1788) was one of the most famous portrait  More »

Thomas Gainsborough “Sketch of a Woman” Lithograph Thomas Gainsborough (christened May 14, 1727 — August 2, 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. Published by Richard Lane (1828) with English Portraits Sketches from a series of many of the artists’ sketches owned by Gainsborough Grandson. “Lithographic Imitations of Sketches of Modern Masters”, produced by a very recent invention of lithography. This rare and beautiful work is 10 by 13 inches sheet, unsigned and in good clean condition.   « Less

John Martin (July 19, 1789 — February 17, 1854) was an important and influential English Romantic painter of the nineteenth century. Martin was born at Haydon  More »

John Martin (July 19, 1789 — February 17, 1854) was an important and influential English Romantic painter of the nineteenth century. Martin was born at Haydon Bridge, near Hexham in Northumberland. He was apprenticed by his father to a coachbuilder in Newcastle upon Tyne to learn heraldic painting, but owing to a quarrel the indentures were canceled, and he was placed under Bonifacio Musso, an Italian artist, father of the enamel painter Charles Muss. With his master, Martin removed from Newcastle to London in 1806, where he married at the age of nineteen, and supported himself by giving drawing lessons, and by painting in water colors, and on china and glass. His leisure was occupied in the study of perspective and architecture. In addition to being a painter, John Martin was a major mezzotint engraver and for significant periods of his life he earned more from his engravings than his paintings. In 1823, Martin was commissioned by Samuel Prowett, an American publisher, to illustrate John Milton’s Paradise Lost, for which he was paid 2000 pounds. However, before the first 24 engravings were completed he was paid a further 1500 pounds for a second set of 24 engravings on smaller plates. Two of the more notable prints include Pandæmonium and Satan Presiding at the Infernal Council, remarkable for the science fiction element visible in the depicted architecture. others were engraved after his oils and widely distributed in the 19th century. John Martin “Fall of Nineveh” Engraved Engraving. Published-engraved by By Greatbach, in good condition (little discoloration on far corner of the upper right corner of sheet — far from the engraved work). The work measures 6 by 9 inches plus nice margins.   « Less

Rembrandt “Self Portrait with His Wife Saskia” Etching Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 1669) was a Dutch painter and  More »

Rembrandt “Self Portrait with His Wife Saskia” Etching Rembrandt Harmenszoon van Rijn (July 15, 1606 — October 4, 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 hardship. Yet his drawings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt’s greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. The self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. In both painting and printmaking he exhibited a complete 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 the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called “one of the great prophets of civilization.” John Burnet 1781—1868. Scottish painter and engraver, son of the Surveyor-General of Excise for Scotland. Burnet was apprenticed to the engraver Robert Scott and later trained at the Trustees Academy. He became established as a painter of portraits, landscapes and rural genre scenes and exhibited at the Royal Academy, the British Institution and with the Society of British Artists. A skilful engraver, etched this AFTER the work in reverse by Rembrandt. This wonderful etching was published etching from an 1859 “Rembrandt and His Works”, on wove paper measuring 3.75 by 4 inches 9 on uneven margins and trimmed inside of the three sides of the plate, still a very fine work.   « Less

Joseph Pennell “Italian Street Scene” Etching Joseph Pennell (July 4, 1857 — April 23, 1926) was an American artist and author. Pennell was born in  More »

Joseph Pennell “Italian Street Scene” Etching Joseph Pennell (July 4, 1857 — April 23, 1926) was an American artist and author. Pennell was born in Philadelphia, and first studied there, but like his compatriot and friend, James McNeill Whistler, he afterwards went to Europe and made his home in London. He produced numerous books (many of them in collaboration with his wife, Elizabeth Robins Pennell), but his chief distinction is as an original etcher and lithographer, and notably as an illustrator. Their close acquaintance with Whistler led the Pennells to undertake a biography of that artist in 1906, and, after some litigation with his executrix on the right to use his letters, the book was published in 1908. Pennell visited San Francisco in March of 1912 where he undertook a series of so-called “municipal subjects”. These were exhibited in December 1912 at “The Prestigious Gallery of Vickery, Atkins & Torrey”, according to Mary Millman and Dave Bohn, authors of The Master of Line: John W. Winkler, American Etcher, (Capra Press: Santa Barbara, CA, 1994). It is possible that Pennell’s visit inspired San Francisco printmakers Robert Harshe and Pedro Lemos, along with sculptor Ralph Stackpole and painter Gottardo Piazzoni, to found the California Society of Etchers in 1912, now the California Society of Printmakers. Longtime members of California Society of Printmakers believe that Pennell was a member of the New York Etchers Club, established in 1877, although his membership in the New York Etchers Club is not confirmed. Pennell did the poster for the fourth Liberty Loans campaign of 1918. It showed the entrance to the New York City harbor under aerial and naval bombardment, with New York in flames and the Statue of Liberty partly destroyed her head and her torch blown off. Joseph Pennell “Italian Street Scene” Plate #XXL, Etching is a dark impression laid paper printed in 1914. This measures 5.75 by 3.50 inches. This is plate signed and in good condition.   « Less

Harry Chase “Rising Tide, Dutch Coast” Etching Harry Chase (born in Woodstock, VT 1853; died 1889) Chase studied at The Hague and in Paris. In his return  More »

Harry Chase “Rising Tide, Dutch Coast” Etching Harry Chase (born in Woodstock, VT 1853; died 1889) Chase studied at The Hague and in Paris. In his return to America, he opened a studio in New York City and was elected associated of the National Academy in 1883. Best noted for his wonderful Seascapes and many were etched after his works by leading Etchers including Thomas Moran and Ritchie. Harry Chase “Rising Tide, Dutch Coast” conceived by Chase and etched by Ritchie. This measures 3 by 5.50 inches (plate mark) on laid paper and in good condition.   « Less

Henry Pruett Share “A White Wall of Venice” Etching Henry Pruett Share Well-known engraver, Henry Pruett Share. A talented etcher as well as an illustrator,  More »

Henry Pruett Share “A White Wall of Venice” Etching Henry Pruett Share Well-known engraver, Henry Pruett Share. A talented etcher as well as an illustrator, he was a full member of the influential New York Etching Club and contributed a number of fine etchings to national exhibitions before the turn of the century. A White wall of venice is a collaboration between Henry Pruett Share’s talents and those of the American landscape and genre painter, Nicholas landscape designs have often been grouped with American Impressionist. Henry Pruett Share “A White Wall of Venice” Etching after the work by Rhonda Nicholas. This measures 3 by 5.50 inches (plate mark) on laid paper and in good condition with uneven margins.   « Less

Adrian van Ostade “Baker Blowing His Horn” Etching Adriaen van Ostade December 10, 1610 — bur. May 2, 1685) was a Dutch genre painter and a gifted  More »

Adrian van Ostade “Baker Blowing His Horn” Etching Adriaen van Ostade December 10, 1610 — bur. May 2, 1685) was a Dutch genre painter and a gifted etcher-print-maker. He was the eldest son of Jan Hendricx Ostade, a weaver from the town of Ostade near Eindhoven. Although Adriaen and his brother Isaack were born in Haarlem, they adopted the name “van Ostade” as painters. Adrian van Ostade work pulled from the plate in approximate 1800. Etching, final state on early wove paper. Plate measures 4 by 3.50 inches approximate with margins and in good condition. Plate signed.   « Less

Robert Swain Gifford “Along the Shore” Etching Robert Swain Gifford One of America’s most influential etchers of the nineteenth century, Robert Swain  More »

Robert Swain Gifford “Along the Shore” Etching Robert Swain Gifford One of America’s most influential etchers of the nineteenth century, Robert Swain Gifford first studied art under Albert Van Beest in New Bedford. In 1864 he moved to Boston and two years later moved to New York where he established his studio. Gifford first exhibited his art at the prestigious National Academy of Design in 1864 and was elected an Associate in 1867 and an Academician in 1878. A leading educator, Robert Swain Gifford taught at New York’s Cooper Union from 1877 to 1896. Robert Swain Gifford was a full member of the Society of American Artists, the American Water Color Society, the National Arts Club, and the Royal Society of Painters and Etchers, London, England. Along with James D. Smilie, Robert Swain Gifford co-founded the long lived New York Etching Club in 1879. Robert Swain Gifford first experimented with the art of etching as early as 1857. During the following years Gifford traveled extensively and both painted and etched scenes in Oregon, Alaska, Europe and North Africa. Robert Swain Gifford “Along the Shore” Etching measuring 3.5 by 5 inches on laid paper and in good condition. Previous owner's name was written in the back; otherwise in good condition.   « Less

Otto Bacher’s “Schwabelweiss” Etching Schwabelweiss, 1879. Andrew, Danube set #14. Signed with his monogram, titled, and dated in the plate. Bacher  More »

Otto Bacher’s “Schwabelweiss” Etching Schwabelweiss, 1879. Andrew, Danube set #14. Signed with his monogram, titled, and dated in the plate. Bacher left Cleveland for studies in Munich in 1878, and this etching represents his happy experience in Germany as a youth tramping along the Danube River from one small town to another. The trip resulted in 27 etchings in his Danube Set. After his studies in Munich, Bacher went with Frank Duveneck’s “boys” to Venice in 1880 where he fell under the spell of Whistler. This etching is printed on satin, a delicate process much-loved in the 1880s for the glistening effect. This is in beautiful condition. Plate signed etching dated Sept 1879 and Plate-mark measures 9 by 3 inches. Limited edition (general considered by most professional American prints Dealers to be 500 approximate) NOT number, that practice was not used till 1940’s so do not ask. Etching in good condition and published by The American Art Review in 1880.   « Less

Otto Bacher’s “Auf-Staufa-Bruck (On Staufa Bridge)” Etching Schwabelweiss, 1879. Andrew, Danube set #14. Signed with his monogram, titled, and dated  More »

Otto Bacher’s “Auf-Staufa-Bruck (On Staufa Bridge)” Etching Schwabelweiss, 1879. Andrew, Danube set #14. Signed with his monogram, titled, and dated in the plate. Bacher left Cleveland for studies in Munich in 1878, and this etching represents his happy experience in Germany as a youth tramping along the Danube River from one small town to another. The trip resulted in 27 etchings in his Danube Set. After his studies in Munich, Bacher went with Frank Duveneck’s “boys” to Venice in 1880 where he fell under the spell of Whistler. This etching is printed on satin, a delicate process much-loved in the 1880s for the glistening effect. This is in beautiful condition. Plate signed etching dated Sept 1879 and Plate-mark measures 8 by 2.75 inches. Limited edition ( general considered by most professional American prints Dealers to be 500 approximate). NOT numbered, that practice was not used till 1940’s so do not ask. Etching in good condition and published by The American Art Review in 1880.   « Less