Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 3

James Abbott McNeill Whistler
'En Plein Soleil' from the French Set, 'Douze eau-fortes d'apres Nature'

1858

Price:$4,200

More From This Seller

View All
'Bridges of Florence' — Firenze Impressionism
Located in Myrtle Beach, SC
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 ...
Category

1920s American Impressionist Figurative Prints

Materials

Etching

'Brooklyn Bridge' — Iconic New York City Landmark
By Luigi Kasimir
Located in Myrtle Beach, SC
Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...
Category

1920s American Modern Landscape Prints

Materials

Etching, Aquatint

'Plowing It Under' — WPA Era American Regionalism
By Thomas Hart Benton
Located in Myrtle Beach, SC
Thomas Hart Benton, 'Goin' Home', lithograph, 1937, edition 250, Fath 14. Signed in pencil. Signed in the stone, lower right. A fine, richly-inked impression, on off-white, wove pape...
Category

1930s American Realist Figurative Prints

Materials

Lithograph

'Financial District', New York City — American Modernism
By Howard Norton Cook
Located in Myrtle Beach, SC
Howard Cook, 'Financial District', lithograph, 1931, edition 75, Duffy 155. A fine, richly-inked impression, on cream wove paper, the full sheet with wide margins (2 3/4 to 5 5/8 inches), in excellent condition. Image size 13 5/16 x 10 3/8 inches (338 x 264 mm); sheet size 23 x 16 inches (584 x 406 mm). Matted to museum standards, unframed. Literature: 'American Master Prints from the Betty and Douglas Duffy Collection', the Trust for Museum Exhibitions, Washington, D.C., 1987. Collections: Crystal Bridges Museum of American Art, Library of Congress, Metropolitan Museum of Art, Philadelphia Museum of Art, Smithsonian American Art Museum. ABOUT THE ARTIST Howard Norton Cook (1901-1980) was one of the best-known of the second generation of artists who moved to Taos. A native of Massachusetts, he studied at the Art Students League in New York City and at the Woodstock Art Colony. Beginning his association with Taos in 1926, he became a resident of the community in the 1930s. During his career, he received two Guggenheim Fellowships and was elected an Academician in the National Academy of Design. He earned a national reputation as a painter, muralist, and printmaker. Cook’s work in the print mediums received acclaim early in his career with one-person exhibitions at the Denver Art Museum (1927) and the Museum of New Mexico (1928). He received numerous honors and awards over the years, including selection in best-of-the-year exhibitions sponsored by the American Institute of Graphics Arts, the Brooklyn Museum, the Society of American Etchers, and the Philadelphia Print Club. His first Guggenheim Fellowship took him to Taxco, Mexico in 1932 and 1933; his second in the following year enabled him to travel through the American South and Southwest. Cook painted murals for the Public Works of Art Project in 1933 and the Treasury Departments Art Program in 1935. The latter project, completed in Pittsburgh, received a Gold Medal from the Architectural League of New York. One of his most acclaimed commissions was a mural in the San Antonio Post Office in 1937. He and Barbara Latham settled in Talpa, south of Taos, in 1938 and remained there for over three decades. Cook volunteered in World War II as an Artist War Correspondent for the US Navy, where he was deployed in the Pacific. In 1943 he was appointed Leader of a War Art Unit...
Category

1930s American Modern Figurative Prints

Materials

Lithograph

'Chion-in Temple Gate' from 'Eight Scenes of Cherry Blossoms' — Jizuri Seal
By Hiroshi Yoshida
Located in Myrtle Beach, SC
Hiroshi Yoshida, 'Chion-in Temple Gate (Sunset)' from the series 'Eight Scenes of Cherry Blossoms (Sakura hachi dai: Sakura mon)', color woodblock print, 1935. Signed in brush 'Yoshida' and in pencil 'Hiroshi Yoshida'. A superb, early impression, with fresh colors; the full sheet with margins, on cream Japan paper; an area of slight toning in the top right sheet corner, not affecting the image, otherwise in excellent condition. Marked with a jizuri (self-printed) seal, upper left margin. Self-published by the artist. Image size 9 5/8 x 14 3/4 inches (444 x 375 mm); sheet size 10 7/8 x 16 inches (276 x 406 mm). Archivally sleeved, unmatted. Provenance: M. Nakazawa, Tokyo. Literature: Japanese Landscapes of the 20th Century (Hotei Publishing calendar), 2001, May. Collections: Honolulu Museum of Art, Museum of Fine Arts, Boston. ABOUT THE IMAGE Located in Kyoto, Chionin is the main temple of the Jodo sect of Japanese Buddhism, one of the most popular Buddhist sects in Japan, having millions of followers. The Sanmon Gate, Chionin's entrance gate, standing 24 meters tall and 50 meters wide, it is the largest wooden temple gate in Japan and dates back to the early 1600s. Behind the gate, a broad set of stairs leads to the main temple grounds. ABOUT THE ARTIST Painter and printmaker Yoshida Hiroshi (1876-1950) is regarded as one of the greatest artists of the Japanese 'shin hanga' (New Print) movement. Yoshida was born as the second son of Ueda Tsukane in Kurume, Fukuoka Prefecture, a schoolteacher from an old samurai family. In 1891 he was adopted by his art teacher Yoshida Kasaburo in Fukuoka and took his surname. In 1893 he went to Kyoto to study painting, and the following year to Tokyo to join Koyama Shotaro's Fudosha private school; he also became a member of the Meiji Fine Arts Society. These institutions taught and advocated Western-style painting, greatly influencing Yoshida’s artistic development. In 1899 Yoshida had his first American exhibition at Detroit Museum of Art (now Detroit Institute of Art), making the first of many visits to the US and Europe. In 1902 he helped reorganize the Meiji Fine Arts Society, renaming it the Taiheiyo-Gakai (Pacific Painting...
Category

1930s Showa Figurative Prints

Materials

Woodcut

Hungerford Bridge, London
By Kerr Eby
Located in Myrtle Beach, SC
Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed. Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925. Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art. ABOUT THE ARTIST Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper. After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques. In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions. With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...
Category

1920s Impressionist Landscape Prints

Materials

Etching

You May Also Like

Vue de La Tamise - Etching by Francis Seymour Haden - Late 19th Century
By Sir Francis Seymour Haden, R.A.
Located in Roma, IT
Vue de La Tamise is a black and White etching realized by Francis Seymour Haden in the Late 19th Century.  Titled in the lower Image Size: 12x28 Very good impression. Realized by...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

Etang de la Canau - Etching by Leo Drouyn - Late 19th Century
Located in Roma, IT
Etang de la Canau is a black and White etching realized by Leo Drouyn in the Late 19th Century.  Titled in the lower Image Size: 24x32 Very good impression. Realized by Cadart fo...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

Une A Sienne - Etching by Leconte de Roujou - Late 19th Century
By Louis-Auguste Leconte de Roujou
Located in Roma, IT
Une A Sienne is a black and White etching realized by Leconte de Roujou in the Late 19th Century.  Titled in the lower Image Size: 32x26 Very good impression. Realized by Cadart ...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

La Mare Aux Grenouille - Etching by J. Desbrosses - Late 19th Century
Located in Roma, IT
La Mare Aux Grenouilles is a black and White etching realized by J. Desbrosses in the Late 19th Century.  Titled in the lower Image Size: 16x25 Very good impression. Realized by ...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

Une Barque a Maree Basse - Etching by Adolphe Hervier - Late 19th Century
Located in Roma, IT
Une Barque a Maree Basse is a black and White etching realized by Adolphe Hervier in the Late 19th Century.  Titled in the lower Image Size: 24x32 Very good impression. Realized ...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

"Marche aux Legumes, a Pontoise" [Vegetable Market at Pontoise]
By Camille Pissarro
Located in Astoria, NY
Camille Pissarro (Danish/French, 1830-1903), "Marche aux Legumes, a Pontoise" [Vegetable Market at Pontoise], Etching and Drypoint, circa 1891, apparently unsigned, silvered wood fra...
Category

Late 19th Century Impressionist Figurative Prints

Materials

Etching

Recently Viewed

View All