Elie Nadelman

Girl's Head - Woman's Head (Harvard)

1920

Crucifixion Engraving, etching, and ground printed in colors, 1947 Signed, titled and numbered in pencil (see photos) From the second printing by Jon Clemens, master printer in the 1990's Done while the artist was at the Iowa Print Group, MFA Program, University of Iowa . Condition: excellent Image/Plate size: 15 3/4 x 15 3/4 inches Provenance: Estate of the artist Printmaker, painter, and sculptor Ray H...

Olympian Games Engraving, 1957 Signed, dated, titled and numbered (see photos) Edition: 25 (7/25) From the first and only edition, probably less than 8 impressions printed Printed by the artist Condition: Excellent soft fold in upper left margin Image size: 15 7/8 x 19 7/8 inches Sheet size: 18 1/2 x 22 3/8 inches Provenance: Estate of the artist Martha A. French Revocable Trust Item Reference LU14013763732 Crucifixion, color etching, 1947 Item Reference LU14013160582 The Web, engraving, 1950 Item Reference LU14011892032 The Swan, mixed media (etching & soft ground), 1957 Item Reference LU1404294651 Snowy Egret, engraving, 1954, third edition c. 1990, printed by the master printer Jon Clemens Item Reference LU1402253433 Debris, color etching, c. 1940, printed by the artist at the John Herron Art Institute, Indianapolis, Indiana Item Reference LU140331242 Crucifixion, engraving, 1958 Item Reference LU140145330 Strange Animals, engraving, 1947 Item Reference G130708140172 The Gull, engraving, 1955 Item Reference LU14012448972 Moon Rays...

Crucifixion Engraving, 1958 Signed, dated, titled, and annotated 'Printers Proof II' in pencil A printed by Master Printer Jon Clemens, c. 2000 A brilliant impression full of burr Im...

Feast of Lights (Poster) Signed in the stone 17 color lithograph Published by Kennedy Galleries Edition: Unknown edition, signed in the stone There was also a pencil signed edition o...

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 ...

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...

Drypoint etching on cream laid paper with an oak leaf watermark, c 1935. 7 1/4 x 9 3/4 inches (183 x 241 mm), full margins. Signed, titled and inscribed in pencil, lower margin. A b...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...