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  More »

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 “Lady Eleanor Mantle” published 1860. Work measure 4 by 6 inches, in good condition on laid paper.   « Less

William H. W. Bicknell was Born Winchester, Massachusetts, July 12, 1860 and was education at Boston Museum School of Fine Arts with Otto Grundmann and Frederic  More »

William H. W. Bicknell was Born Winchester, Massachusetts, July 12, 1860 and was education at Boston Museum School of Fine Arts with Otto Grundmann and Frederic Crowinshield. He became a student of Copley School; Exhibited 1860 Chicago Sesquicentennial Exhibition; Provincetown Area Artists; Winchester Area Artists, St. Louis Expo 1904. He was a much noted member of the American Print revival, along with artists, Homer, Moran, and others. The artist’s works are in the collection of Rochester Memorial Art Gallery; Boston Museum of Fine Arts; New York Public Library; Art Institute of Chicago and numerous others. These images are all signed work measures 3 by 5.75 inches approximate. This was published in a limited edition (469) AND Pencil signed by the artist, on Vellum Finish Paper. The dimension is 4.25 by 5.25 inches and all in good condition.   « Less

Robert Frederick Blum (July 9, 1857 — June 8, 1903) was an American artist born in Cincinnati, Ohio, on the 9th of July 1857. He was employed for a time in a  More »

Robert Frederick Blum (July 9, 1857 — June 8, 1903) was an American artist born in Cincinnati, Ohio, on the 9th of July 1857. He was employed for a time in a lithographic shop, and studied at the McMicken Art School of Design in Cincinnati, and at the Pennsylvania Academy of Fine Artsin Philadelphia, but he was practically self-taught, and early showed great and original talent. He settled in New York in 1879, and his first published sketches of Japanese jugglers appeared in St. Nicholas. His most important work is a large frieze in the Mendelssohn Music Hall, New York, Music and the Dance (1895). His pen-and-ink work for the Century Magazine attracted wide attention, as did his illustrations for Sir Edwin Arnold’s Japonica. In the country and art of Japan he had been interested for many years. A Daughter of Japan, drawn by Blum and W. J. Baer, was the cover of Scribner’s Magazine for May 1893, and was one of the earliest pieces of color printing for an American magazine. In Scribner’s for 1893 appeared also his Artist’s Letters from Japan. He was an admirer of Fortuny, whose methods somewhat influenced his work. Blum’s Venetian pictures, such as A Bright Day at Venice (1882), had lively charm and beauty. He died on the 8th of June 1903 in New York City. He was a member of the National Academy of Design, being elected after his exhibition in 1892 of The Ameya; and was president of the Painters in Pastel. Although an excellent draughtsman and etcher, it was as a colorist that he chiefly excelled. A beautiful impression printed in sepia ink, in very fine condition. “A Macaroni of the 18th Century”, 1880—1887. Signed and dated in the plate. Copyright by F. A. Stokes, 1887. This is based on an 1880 drawing for a series of sketches on 18th century American life in Yorktown and Alexandria, Virginia. “Macaroni” is a slang term for a dandy in the 18th Century—think of the words of “Yankee Doodle.” Etchings by Blum, who fell under the spell of Whistler in Venice, are scarce. A beautiful impression printed in sepia ink, in very fine condition. Etching, 11 7/8 x 8 7/8 inches on laid paper.   « Less

Peter Moran One of America’s leading nineteenth century etchers of animals and landscapes, Peter Moran immigrated with his family to the United States at the age of  More »

Peter Moran One of America’s leading nineteenth century etchers of animals and landscapes, Peter Moran immigrated with his family to the United States at the age of three. At the age of sixteen he was apprenticed to the lithographic firm of Herline and Hersel, drawing mostly advertisements. A year later he began to study art under his elder brothers, Edward (1829 — 1901) and Thomas (1837 — 1926). Thomas Moran and his wife, Mary Nimmo Moran, both became very influential etchers. Peter Moran concluded his education by visiting England in 1863. He was particularly influenced there by the animal and landscape art of Edwin Landseer, Rosa Bonheur and Constant Troyon. Peter Moran was a full member of the New York Etching Club and the Philadelphia Art Club. He also served as President of the American Society of Etchers. Peter Moran first gained national recognition in 1864 when he visited the territory of New Mexico. He was in fact the first non-native artist to portray aspects of the life and culture of the Pueblo Indians. During the 1870’s and 1880’s he returned to both New Mexico and Arizona, creating a great legacy of both paintings and etchings of these areas. In 1890 Peter Moran traveled as the official artist for the Bureau of Indian Affairs. This etching measures 8.50” x 7” and the paper size is 8.5” x 12”. Inscribed below the etched work left (Van Marcke, pinx.). The etcher is acknowledged lower right (Peter Moran SC). The etching is titled in the center Landscape and Cattle. Below that is from the Original in the Collection of Henry C. Gibson, Esq. Philadelphia. It’s a great image offered at a low opening price and no reserve. “Cattle in a Landscape” is an Etching by Peter Moran after painting by Van Marc from the Collection of Henry C. Gibson, Esq. Philadelphia.   « Less

Jacques Callot (1592—1633), a native of Nancy, France, trained in Florence, “taking up etching and introducing the technical innovation of using a very hard  More »

Jacques 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

John P. Knight, R.A. “Cavaliers in a Tavern” Etching John Prescott Knight, R.A. (March 9, 1803 — March 26, 1881) Stafford, Staffordshire,  More »

John P. Knight, R.A. “Cavaliers in a Tavern” Etching John Prescott Knight, R.A. (March 9, 1803 — March 26, 1881) Stafford, Staffordshire, England. John Prescott Knight attended and Royal Academy student from August 15, 1823. Elected A.R.A: November 7, 1836, Elected R.A: 10 Feb 1844 and Secretary from 1847—1873. Best know for etched works published in Etching and Etchers. John P. Knight, R.A. “Cavaliers in a Tavern” Etching. Etched work measures 3.25 by 5 inches. Inscribed below the image JOHN P. KNIGHT R.A.   « Less

William H. W. Bicknell “Reading Homer” Etching “Reading Homer” American master painter William H. W. Bicknell, etcher and watercolorist and Print  More »

William H. W. Bicknell “Reading Homer” Etching “Reading Homer” American master painter William H. W. Bicknell, etcher and watercolorist and Print Revival of the early 19th century and founder of the New York Etching Club. The image signed work measures 3 by 5.75 inches approximate. This is dated in the plate 1883. These works are listed, on the net at $100.00 to $300.00 range. This is in good Art Institute of Chicago and many others Public and private collections.   « Less

Paulus Potter “The Bull” Etching Engraving conceived by the artist and etched by Armand Durand and pulled from the copper plate in 1868 edition of  More »

Paulus Potter “The Bull” Etching Engraving conceived by the artist and etched by Armand Durand and pulled from the copper plate in 1868 edition of “Etching and Etchers” impression on laid paper with margins. Etched work measures 5.5 by 8 inches. This is in good condition with a slight wave to the paper (that can be flattened when matted correctly). Library stamp of “School of the Museum of Fine Arts Boston” on verso NOT affecting the work. Paulus Potter (baptised on November 20, 1625 in Enkhuizen – buried on January 17, 1654 in Amsterdam) was a Dutch painter and etcher , specialized in animals in landscapes, usually with a low point of view. Before Potter died of tuberculosis, 28-years old, he succeeded in producing about a hundred paintings, working continuously.   « 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 “The Seventh Plague”, Engraved by J. Godfrey and Published by Barrie, New York. The work measure 7.50 by 10.75 inches approximate and in good condition.   « Less

Ross Sterling Turner An American Impressionist painter, watercolorist and etcher, Ross Turner first worked as a mechanical draftsman, in Alexandria, Virginia, and for the  More »

Ross Sterling Turner An American Impressionist painter, watercolorist and etcher, Ross Turner first worked as a mechanical draftsman, in Alexandria, Virginia, and for the U. S. Patent Office, Washington, D. C. In 1876 he went to Europe, initially studying in Paris and then at the Academy in Munich where he came into contact with such fellow American artists as William Merritt Chase and Frank Duveneck. In 1879 Turner traveled in Italy and worked in Florence, Rome and Venice. At this point his art became increasingly concerned with the shifting effects of light, color and tonal values; those elements which are associated with Impressionism. Ross Turner contributed four original etchings to The Hawthorne Portfolio. These are entitled, The Old Manse, St. Botolph’s Church, Roma and Florence. Each of these etchings explores Turner’s concerns with the effects of light and shade and thus represent early examples of American Impressionism in this medium. Roma (Rome) was commissioned by the publisher to illustrate Hawthorne’s, French and Italian Note-Books. With its striking tonal contrasts it ranks among Turner’s finest etchings. Ross Turner “The Old Manse” Etching original etching is printed upon fine Laid paper and with large, full margins as published in the limited edition of one hundred and twenty five impressions in The Hawthorne Portfolio in 1884 measuring 3.75 by 5.50 inches approximate and in good condition.   « Less