James Allen

'The Connectors' — 1930s American Realism, New York City

1934

'Scratchin' High', etching, edition not stated, c. 1919. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper, with margins (11/16 to 2 1/8 inches). Two small spots of toning in the bottom right margin, away from the image; barely visible printing creases in the top left margin and the middle right background, otherwise in very good condition. Matted to museum standards, unframed. ABOUT THIS WORK The cowboy's work of breaking wild horses into riding horses evolved into the competitive sport of professional rodeo in the 1880s. In 1919 at the Calgary Stampede in Alberta, Canada, Borein sketched a rider on the famous bucking horse named 'I-See-U'. He later made this etching of the dramatic scene, entitling it 'Scratchin' High'. ''Scratching'' refers to the rider's technique of maintaining balance on a bucking horse by a continuous movement of the feet in a kicking motion. Impressions of this work are in the permanent collections of the Buffalo Bill Center of the West (online), and the Whitney Western Art Museum. ABOUT THE ARTIST No other artist captured the "disappearing West" with the authenticity and spirit of John Edward Borein (1872-1945). A native of the San Francisco Bay Area, Borein rode south in 1893 at the age of twenty-one, and over the next few years, worked his way through California and the vast stretch of Mexico. While on the range, the young cowboy sketched...

William Monk, 'The Elevated, East 42nd Street, New York', etching, 1910. Signed in pencil and titled in the bottom right sheet corner. Signed in the plate, lower right. A superb, ric...

'Rocamadour' (French Church Series # 10), etching, 1927, edition 50, Fletcher 186. Signed, dated, and annotated 'First State' in pencil. Titled and dated 'Rocamadour 1926' in the plate, bottom right. A superb, finely detailed impression, in dark brown ink, on buff laid Japan paper, with full margins (1 to 1 7/8 inches), in excellent condition. Image size 13 3/4 x 10 inches (349 x 254 mm); sheet size 15 3/4 x 13 5/8 inches (400 x 346 mm). Matted to museum standards, unframed. Literature: illustrated in Dorothy Noyes Arms, 'Churches of France', The Macmillan Company, 1929. Impressions of this work are in the permanent collections of the Blanton Museum of Art, Chrysler Museum of Art, Cleveland Museum of Art, Davis Museum (Wellesley), McNay Art Museum, Metropolitan Museum of Art, Rhode Island School of Design Museum, and the Whitney Museum of Art. ABOUT THE SUBJECT Rocamadour is a small clifftop village in south-central France. It is known for the Cité Réligieuse complex of religious buildings, accessed via the Grand Escalier staircase. It includes the Chapelle Notre-Dame, with its Black Madonna statue, and the Romanesque-Gothic Basilica of St-Sauveur. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

Alonzo C. Webb, 'Bridges of Florence', etching, 1929, edition 100. Signed and titled in pencil. Signed and dated in the plate, lower left. A superb, richly-inked impression, in warm ...

James Allen, 'Spiderboy', 1937, etching, edition 40, Ryan 86. Signed in pencil. A superb, richly-inked impression, on cream laid paper, with full margins (1 1/4 to 2 7/8 inches). A s...

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

Etching on BFK Rives paper, 1962, signed and numbered E.A. from the edition of 60, printed by Atelier Georges Leblanc, Paris, published by Galleria Schwarz, Milan, 25.2 x 19.2 cm. (9.9 x 7.6 in.) From The International...

Signed and numbered by the artist Edition: 25 Printed on Hahnemuhle paper Published by Neptune Fine Arts Condition: excellent Plate/Image size: Sheet size: "Stone Roberts’ luminous still lifes, private interiors, and large-scale panoramas of figures in motion invite us to look—and then look some more—and relish in the sensuality of the three-dimensional world. While Roberts’ varied influences include Greek Mythology and Roman Classicism, Dutch and Spanish Old Masters, Fantin-Latour, Ingres, and Balthus, his subjects are decidedly of today. From Grand Central Terminal to his wife gardening in Stonington, Connecticut, Roberts paints people and places from his personal surroundings into formal compositions that often appear to have mythical, literary, or psychological elements. Roberts received his B.A. from Yale University, New Haven, CT, where he studied painting with William Bailey, and his M.F.A. from the Tyler School of Art, Philadelphia, and Rome. Roberts' work can be found in numerous public and private collections throughout the United States and Europe, including the collection of The Metropolitan Museum of Art and the Louis-Dreyfus Family Collection, New York. A solo exhibition of Stone Roberts’ work was held at the Museum of the City of New York in 2012 entitled Stone Roberts: New York City Paintings." Courtesy of Hirschl & Adler Modern PUBLIC COLLECTIONS Asheville Art Museum, Asheville, NC Sydney and Walda Besthoff Biltmore Estate, Asheville, NC Mrs. Robert Carroll Mr. and Mrs. Willam Cecil Chase Manhattan Bank, New York, NY Evansville Museum of Arts and Sciences, Evansville, IN Jerald Dillon Fessenden Flint Institute of Arts, Flint, MI Ms. Barbara Goldsmith Mrs. Paul Gottlieb Mr. and Mrs. Graham Gund Mr. and Mrs. Arie L. Kopelman Alex S. Jones William Louis-Dreyfus Mr. and Mrs. James C. Marlas J.D. McClatchy and Chip Kidd Mr. and Mrs. Richard L. Menschel The Metropolitan Museum of Art, New York, NY Mrs. Stephen Paine Mr. and Mrs. W.J.W.J. van Roijen Mrs. Julius Rosenwald II Mark Singer Carl Spielvogel and Barbaralee Diamonstein-Spielvogel Bruce Springsteen and Patti Scialfa Stephens Inc., Little Rock, Arkansas Woodberry Forest...

This artwork titled 'Winter Tracery (Milford Connecticut)" is an original drypoint etching by noted American artist Philip Kappel, 1901-1981. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 9 x 12 inches, framed size is 17.25 x 21.25 inches. Custom framed in a wooden light grey frame, with light grey matting and black color fillet. It is in excellent condition. About the artist: Philip Kappel — painter, illustrator, printer, writer, and lecturer — was born on February 10, 1901 in Hartford, CT and died in 1981. Kappel is best remembered for his landscapes, portraits, figures, marine, lithography, and etching. He held a teaching position with H. B. Snell, Boothbay, ME Studios, 1923 and 1924. His addresses in 1929 were 500 Fifth Avenue in New York City and, for the summer, care of Philip Little, 10 Chestnut Street, Salem, MA; and in 1935, Sarasota, FL. Kappel was a pupil of the Pratt Institute Art School in Brooklyn, NY and Philip Little (1857-1942) and held memberships with the North Shore Artists Association in Gloucester, MA; the Marblehead...

By John Sloan American Realist From the early 20th century Ashcan School which focused on capturing day to day life in New York City during that period. Image size: 5.75" x 4.25" Et...

"Young Girl With Hat" is a classical Victorian portrait etching. It is signed in graphite in the lower right by the artist, F.M. Spiegle. It depicts a Victorian girl with curly hair ...

Signed Limited Edition Art Etching by Charles Bragg. Women in Golf Suite : #18 1988 Etching 13" x 14.5" inches Signed in pencil, titled and marked 95 /300 Unframed Step into the ...