John Costigan

"Group of Figures", an Original Signed Etching by John E. Costigan

Circa 1930

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, who is represented in the collections of the Metropolitan Museum, the Philips Memorial Gallery in Washington and the Brooklyn Museum, to name only a few of the many institutions that feature his work. This print, with its highly considered composition and its loose style of figuration- deftly balances realism and abstraction- helps to explain his acclaim. This etching features a mother walking with her child and two goats in a forested glen. It is a Classic pastoral scene rendered in Costigan's inimitable style- somewhere between Theodore Rousseau and Thomas Hart Benton. These offer a beautiful glimpse of a bygone American pastoral...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, who is represented in the collections of the Metropolitan Museum, the Philips M...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, circa 1930. He is represented in the collections of the Metropolitan Museum, th...

Hailing from a small edition of 50, this sophisticated lithograph on paper was realized by an unheralded Mid Century Modern printmaker in 1977. Entitled "Nuage Blanc" (White Cloud), ...

This sophisticated etching on paper was realized by the self-taught outsider artist Gianfranco Asveri (b. 1948), in the latter half of the 20th Century. Rendered in an Art Brut style, the composition offers a cluster of four rectangular planes- like little vignettes- each inscribed with their own scene. Predominantly abstract- but leaving plenty of room for interpretation- these rhombus forms offer miniature worlds within teeming with what appear to be loosely rendered figures, rolling hills and stylized clouds. These figurative elements are created with frenetic and energized strokes- full of verve and dynamism- and largely in black pigment against a warm off white paper. The most clearly articulated figurative element appears in the bottom right rectangular pane of the composition. A person in a dress or frock with elementally drawn, stick- figure like arms extended outwards, whose body is turned sideways (captured in flight as a phantasmagoric figure perhaps). A solid hourglass block of umber pigment and a chalky olive green represent the only chromatic accents, offering a restrained contrast to the monochromatic dominance of the piece. Reminiscent of the work of Lee Lozano...

This stunning etching, part I of the Treffpunkt Suite (meaning "meeting point" in German) by esteemed artist Jürgen Görg was realized in Germany during the latter half of the 20th century. Under colorfield blocks of sherbet orange- like a geometric tapestry of clouds- the composition depicts two figures in an intensely rapt and erotically charged meeting. On the left, female form sits on a slatted folding chair in a low cut silk dress with tousled hair and one hand elegantly outstretched behind her. Her other hand holds an oversized venetian mask in front of her face, as one strap from her evening gown slips off her shoulder revealing her collar bone. To her right, a man emerges from an indeterminate space holding an even larger white venetian mask that conceals his face with his hand reaching forward towards this lady's upper thigh. The nature of their interaction, as well as the setting and identity of these characters remains deeply enigmatic. Are they strangers meeting at a masquerade ball? Lovers involved in some sort of erotic game? The answers to these questions remain elusive, and serve to add intrigue and power to the work. Its masterful handling of the medium and clean modernist lines make this piece a winning acquisition for discerning collectors of first rate modern art as well as those with a penchant for unusual and compelling objects. It would be a winning addition to any style of interior from classic Mid Century Modern to contemporary. It comes presented in a custom gallery frame and is in excellent vintage condition. The work is signed, titled and numbered "52/150". Jürgen Görg is a German artist best known for his Renaissance-inspired paintings and drawings, often depicting erotic figures...

The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in a 10 X 11 1/2 X 1-inch gold leaf period carved Celtic...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on white laid paper ...

Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Printing fold in the right-hand margin, well outside the image. Signed 'Otto' and dated 'August 23 80' in the plate; "Otto H. Bacher" in pencil. A similar impression is in the Hood Museum of Art, Dartmouth, New Hampshire. Housed in a 16 x 20-inch archival mat, suitable for framing. The view is looking towards the Salute. Laguna Veneta is the bathing ground where Whistler practiced diving. Otto Henry Bacher was a book illustrator and etcher. He joined a colony of American painters established by Frank Duveneck in Polling, Bavaria. In 1880 the 'Duveneck boys', a group that also included John White Alexander...

"Over Cape Cod" is an etching created by Frank W. Benson in 1932. Benson only printed trial proofs of this plate - there is no edition. This impression is a first state of four. There are six impressions of the first state, three impressions of the second, four impressions of the third, and eight of the fourth state have been recorded. Signed in pencil in the lower left under the image. The image size is 7 15/16 x 14 7/8" (20.1 x 37.8 cm) and sheet size 11 9/16 x 18 3/8" (29.3 x 46.7 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

Winslow Homer created this etching entitled “MENDING THE TEARS” in 1888. This is a lifetime impression signed by Homer and printed by the famous New York etcher George W. H. Ritchie...