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Clifford Isaac Addams Landscape Prints

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Artist: Clifford Isaac Addams
House on Cliff Walk, Newport, Rhode Island
By Clifford Isaac Addams
Located in Storrs, CT
House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg catalog 13 state .i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression pr...
Category

Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Drypoint, Etching

Bailey's Beach, Newport, Rhode Island.
By Clifford Isaac Addams
Located in Storrs, CT
Bailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg catalog 126 state vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed on cream wove paper ...
Category

Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Drypoint, Etching

Bailey's Beach, Newport, Rhode Island.
By Clifford Isaac Addams
Located in Storrs, CT
Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126 state v/vi. Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with extensive plate tone with plate tone on 'Va...
Category

Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Drypoint, Etching

Caprice, or House on Cliff Walk, Newport, Rhode Island
By Clifford Isaac Addams
Located in Storrs, CT
House on Cliff Walk, Newport, Rhode Island or Caprice, Newport, Rhode Island.. 1931/33. Etching. Hausberg catalog 138 state ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression ...
Category

Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Drypoint, Etching

Old Colony Statehouse, Newport, Rhode Island
By Clifford Isaac Addams
Located in Storrs, CT
Old Colony Statehouse, Newport, Rhode Island. c. 1931-1933. Etching. Hausberg 187. iii. 7 7/8 x 6 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream wove paper with deckle ed...
Category

Early 20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Etching

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Guardians of the Spire; Amiens Cathedral Number 2
By John Taylor Arms
Located in Middletown, NY
Guardians of the Spire; Amiens Cathedral Number 2 New York: 1937. Etching and drypoint on watermarked F.J. Head cream-colored, antique laid paper, 6 3/4 ...
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Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

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Palazzo dell'Angelo
By John Taylor Arms
Located in Middletown, NY
Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...
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1930s American Modern Clifford Isaac Addams Landscape Prints

Materials

Etching, Drypoint

Shadows of Venice
By John Taylor Arms
Located in Middletown, NY
Etching and aquatint on antique laid paper, wide margins. Signed, dated and inscribed "Edition of 100" in pencil, lower margin. Second state (of 2)....
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Mid-20th Century American Modern Clifford Isaac Addams Landscape Prints

Materials

Aquatint, Laid Paper, Etching

Venice from the Sea
By Joseph Pennell
Located in Middletown, NY
A serene landscape of the Venetian skyline at twilight. Etching on watermarked W King cream wove paper, 3 7/8x 8 7/8 inches (97 x 212mm), full margins. An excellent and well inked i...
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Comanche Dance, Ildefonso Pueblo, New Mexico Southwest Framed Etching
By Gene Kloss
Located in Denver, CO
Comanche Dance at San Ildefonso Pueblo (New Mexico). Etching and drypoint, artist's proof from an edition of 50 prints. Presented in a custom frame, outer dimensions measure 22 ¼ x 18 ½ x ½ inches. Image size is 11 ¾ x 14 ½ inches. Print is clean and in very good vintage condition - please contact us for a detailed condition report. Expedited and international shipping is available - please contact us for a quote. About the Artist: Gene (Alice Geneva) Kloss is considered one of America’s master printmakers. She was born in Oakland, California and established herself as an artist on the West coast. Kloss was introduced to etching by Perham Nahl while at UC Berkley. She graduated in 1924, and in 1925 married poet Phillips Kloss. In her late twenties, Kloss moved to Taos, New Mexico and began her life’s work of the New Mexican landscape and peoples. It was at this time that she received national acclaim. Her artwork exudes an unmistakable content and style. Enchanted by the architecture, mountainous landscapes and rituals of the inhabitants, Kloss captured the beauty of the Southwest and surrounding areas. Her style was bold yet deftly simple, masterfully expressing the elusive Southwestern light...
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Low Country (South Carolina)
By Elizabeth Verner
Located in Middletown, NY
An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...
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Early 20th Century American Modern Clifford Isaac Addams Landscape Prints

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Early 20th Century American Modern Clifford Isaac Addams Landscape Prints

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Early 20th Century American Modern Clifford Isaac Addams Landscape Prints

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1930s Modern Clifford Isaac Addams Landscape Prints

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Clifford Isaac Addams landscape prints for sale on 1stDibs.

Find a wide variety of authentic Clifford Isaac Addams landscape prints available for sale on 1stDibs. You can also browse by medium to find art by Clifford Isaac Addams in etching, drypoint, engraving and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Clifford Isaac Addams landscape prints, so small editions measuring 6 inches across are available. Customers who are interested in this artist might also find the work of Lawrence Wilbur, Samuel Chamberlain, and Albert Abramovitz. Clifford Isaac Addams landscape prints prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $200 and tops out at $200, while the average work can sell for $200.

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