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. 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, illustrator-lithographer, it was as a colorist that he chiefly excelled. Robert Blum drawings executed and produced by lithography, signed in the image. Only Published in 1891, after his sketch first executed during his trip to Japan. Text as published. This Drawn work measure 6 by 5 inches in good condition with little discoloration OUTSIDE of the art work.   « Less

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 “Mirian & Donatello” published 1860. Work measure 3.5 by 2.5 inches, in good condition on laid paper.   « 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 Fishing Boat” 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 3.25 by 2.75 inches approximate and in good condition.   « Less

Edmund Henry Garrett A well known nineteenth century American painter, etcher and illustrator, Edmund Henry Garrett studied art at the Academie Julien in Paris under Jean  More »

Edmund Henry Garrett A well known nineteenth century American painter, etcher and illustrator, Edmund Henry Garrett studied art at the Academie Julien in Paris under Jean Paul Laurens, Boulanger and Lefebvre. After residing in France for a period of about five years he returned to America and established a successful studio in Boston. During the last two decades of the nineteenth century, Edmund Garrett’s paintings and etchings were widely exhibited throughout the United States and in France at the Paris Salon. E. H. Garrett’s first original prints were in the medium of wood engraving. Under the advice of Robert Swain Gifford (1840—1905), he created his first etching in 1879. Specializing in both architectural views and landscapes, Garrett’s ensuing etchings dealt mainly with scenes of the areas around Boston, Concord and Cape Cod. The Old Manse dates from 1879 and was in fact the second etching Edmund Henry Garrett created. Yet it exhibits all the fine details and tonal values which mark his best works of art. Edmund Garrett “Doctor Grimshawes Secret” Etching measures 3 by 5 inches on antique laid paper and is 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. Robert F. Blum “Blithedale Romance” Etching as published by the Riverside Press, N.Y. 1863 and in good condition. 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, The work measures 2.25 by 1.50 inches on laid paper.   « 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. Robert F. Blum “Blithedale Romance” Etching as published by the Riverside Press, N.Y. 1863 and in good condition. 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, The work measures 2.25 by 1.50 inches on laid paper.   « 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 “Roma” 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 3.5 by 4.75 inches approximate and in good condition.   « Less

William Merritt Chase (November 1, 1849 – October 25, 1916) was an American painter known as an exponent of Impressionism and as a teacher. He was born in  More »

William Merritt Chase (November 1, 1849 – October 25, 1916) was an American painter known as an exponent of Impressionism and as a teacher. He was born in Williamsburg (now Nineveh), Indiana, to the family of a local merchant. Chase’s father moved the family to Indianapolis in 1861 and employed his son as a salesman in the family business. Chase showed an early interest in art, and studied under local, self-taught artists Barton S. Hays and Jacob Cox. After a brief stint in the Navy, Chase’s teachers urged him to travel to New York to further his artistic training. He arrived in New York in 1869, met and studied with Joseph Oriel Eaton for a short time, then enrolled in the National Academy of Design under Lemuel Wilmarth, a student of the famous French artist Jean-Léon Gérôme. In 1870 declining family fortunes forced Chase to leave New York for St. Louis, Missouri, where his family was then based. While he worked to help support his family he became active in the St. Louis art community, winning prizes for his paintings at a local exhibition. He also exhibited his first painting at the National Academy in 1871. Chase’s talent elicited the interest of wealthy St. Louis collectors who arranged for him to visit Europe for two years, in exchange for paintings and Chase’s help in securing European art for their collections. In Europe Chase settled at the Academy of Fine Arts, Munich, a long-standing center of art training that was attracting increasing numbers of Americans. He studied under Alexander Von Wagner and Karl von Piloty, and befriended American artists Walter Shirlaw, Frank Duveneck, and J(oseph) Frank Currier. Upon Chase’s death, in his Estate auction, he owned more works by Currier than any other artist. In Munich, Chase employed his rapidly burgeoning talent most often in figurative works that he painted in the loosely-brushed style popular with his instructors. In January, 1876, one of these figural works, a portrait titled “Keying Up” – The Court Jester (now in the collection of the Pennsylvania Academy of the Fine Arts) was exhibited at the Boston Art Club; later that year it was exhibited and won a medal at the Philadelphia Centennial Exposition, and this success gained Chase his first fame. Chase traveled to Venice, Italy in 1877 with Duveneck and John Henry Twachtman before returning to the United States in the summer of 1878, a highly skilled artist representing the new wave of European-educated American talent. Home in America, he exhibited his painting Ready for the Ride (collection of the Union League Club) with the newly-formed Society of American Artists in 1878. He also opened a studio in New York in the Tenth Street Studio Building, home to many of the important painters of the day. He was a member of the Tilers, a group of artists and authors, among whom were some of his notable friends: Winslow Homer, Arthur Quartley and Augustus Saint Gaudens. What a great portrait of Duve neck , from the masterful hands of William Merrit Chase! This is a etching etched after the oil conceived by William Merrit Chase and etched in etching by William Unger and published by American Art Review. Image measures 5.50 by 9.75 inches approximate. Plate signed by both Unger and Chase on laid paper. Published in 1880 by the American Art Review.   « Less

Francisco Goya Con razon o sin ella plate # 2 from Los Desastres de la Guerra, attributed to the Fourth Edition 1906, edition of 275. Inscribed with the Title and Plate  More »

Francisco Goya Con razon o sin ella plate # 2 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 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

Francisco Goya Las mugeres dan valor plate # 4 from Los Desastres de la Guerra, attributed to the Fourth Edition 1906, edition of 275. Inscribed with the Title and Plate  More »

Francisco Goya Las mugeres dan valor plate # 4 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. 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