Art Werger

New Morning (Flying over New York City / black and white edition of just 5)

2022

Born in Greenwich, Connecticut, Jack Coughlin studied at the Rhode Island School of Design in Providence and the Art Students League of New York. He is b...

Waiting for my Train is #55 from edition of 100. "Waiting for my train" is the stop right before the tracks cross, and create Chicago's famous "Loop", on the above ground EL. The M...

"Moonlight Glade", a small intimate etching of a New England graveyard, is a remembrance of the artist's roots. There is a quiet reverent calm to this moonlit scene,. William Woodward, born in Seekonk, Massachusetts, received his art training at the Rhode Island School of Design and the Massachusetts Normal Art School. He taught at the Rhode Island School of Design while still a student there. At the behest of William Preston...

This French Quarter garden is a serene haven with a lighted statue of Christ that exists not very far from the raucous revelry of New Orleans' Bourbon S...

Moody, mysterious, majestic – these are some of the ways to describe the mezzotints of Frederick Mershimer. His images travel through the serenity of a Brooklyn neighborhood on a sti...

The image depicts a restaurant on New York's Mott Street with ornamental iron work on the balconies. There are six figures in the scene in various stages of contrast. Mott Street is considered the unofficial Main Street of New York's Chinatown. Ella Fitzgerald sang it best: “And tell me what street compares with Mott Street in July? Sweet pushcarts gently gliding by.” CFW Mielatz was an early influence on the drypoints and etchings of Martin Lewis. This piece was created in 1906 and it is signed in pencil. It is part of the collection of New York's Metropolitan Museum of Art C.F.W. Mielatz American, 1860-1919 Born in Bredding, Germany in 1864, Mielatz emigrated to the United States as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching...

September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...

c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on countermarked French wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another impression is in the Library of Congress. Housed in a 16 x 20-inch archival mat, suitable for framing. Earl Horter...

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably fr...

Martin Lewis, N.A. (Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 x 31). 5 recorde...

Jesse F. Reed, 'Church at Chichicastenango', color etching and aquatint, 1963. Signed and titled in pencil. Signed and dated in the plate, lower right. A fine, richly-inked impression, with fresh colors, on cream wove paper; the full sheet with margins (1 3/8 to 2 1/2 inches), in excellent condition. Chichicastenango, also known as Santo Tomás Chichicastenango, is a town in the El Quiché department of Guatemala, located in a mountainous region about 140 km northwest of Guatemala City. Chichicastenango is a K'iche' Maya cultural center, with the great majority of the municipality's population indigenous Mayan K'iche. The church depicted is the 400-year-old church Iglesia de Santo Tomás. Built atop a Pre-Columbian temple platform, the steps which remain venerated today, originally led to a temple of the pre-Hispanic Maya civilization. K'iche' Maya priests still use the church for their rituals, burning incense and candles. Each of the 18 stairs that lead up to the church stands for one month of the Maya calendar year. ABOUT THE ARTIST Jesse Floyd Reed (1920-2011) studied art in New York City at the Grand Central School of Art and the Art Students’ League. He held degrees in History and English and completed special advance studies in Asian, African, and Latin American art, history and culture. At the time of his retirement, he was a Professor of the Arts Emeritus at Davis & Elkins College, a position he held for over forty-nine years. A nationally recognized artist since 1947, Professor Reed’s art has been shown in hundreds of museums, libraries, colleges, and universities, including the Boston Museum, National Museum, The Library of Congress, Brooklyn Museum, and Seattle Museum. In his native West Virginia, he is represented in the permanent collections of the Huntington Museum and the Charleston Museum at Sunrise. The recipient of many national and regional awards, Reed was a member of the Salmagundi Club in NY, the Boston Printmakers, the Print Club of Albany, and was a founding member of the West Virginia Water...

Bertha Landers, 'Flavor of the Southwest', aquatint, c. 1938, edition not stated but small. A superb, richly-inked, atmospheric impression, on cream wov...