Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

Samuel Chamberlain
Samuel Chamberlain, The Public Gaol, Williamsburg (Virginia)

1938

About the Item

Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's a view of the 'Gaol' in Virginia's Colonial Williamsburg. More than a mere jail, a gaol was also a workhouse and/or debtor's prison -- a sad and horrific place. It was common for residents to die from the cold or contagious diseases. Signed and numbered in pencil. Titled in lower margin possibly in another hand. Reference notations on the reverse, also in another hand. Edition of 100 (probably proposed -- this isn't a common print). Here we've given the 'style' as American Modern. Probably second or third-generation Etching Revival is closer.
  • Creator:
    Samuel Chamberlain (1895-1975, American)
  • Creation Year:
    1938
  • Dimensions:
    Height: 8 in (20.32 cm)Width: 11 in (27.94 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
    Extremely good condition.
  • Gallery Location:
    New York, NY
  • Reference Number:
    1stDibs: LU141028401222

More From This Seller

View All
Armin Landeck, Tenement Walls
By Armin Landeck
Located in New York, NY
The reference number on this work is Kraeft 88. It's from an edition of 100 and is signed, dated, and numbered, in pencil. Always an intaglio printmaker, Landeck switched from a mor...
Category

Mid-20th Century American Modern Figurative Prints

Materials

Drypoint

Werner Drewes, 125th Street at Broadway, NYC
By Werner Drewes
Located in New York, NY
Werner Drewes brought his modernist vision to this subject but created, in my opinion, a great work of the Etching Revival. The reference is Rose 183. It...
Category

1930s American Modern Landscape Prints

Materials

Drypoint

Irving Guyer, Christmas Trees on Second Street (NYC)
By Irving Guyer
Located in New York, NY
Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...
Category

1930s American Modern Figurative Prints

Materials

Drypoint, Etching

Bernard Sanders, Sledding in Central Park, NYC
Located in New York, NY
Signed in pencil. This scene is a hundred years old but if we have snow this year it can easily be recreated.
Category

Early 20th Century American Modern Landscape Prints

Materials

Drypoint

Charles Locke, McCosh Walk, Princeton University
By Charles Locke
Located in New York, NY
This lithograph is signed in pencil under the image at the lower right. Just above that, in the image, are the artist's initials and the date, 1942. This well-known walkway on the P...
Category

1940s American Modern Landscape Prints

Materials

Lithograph

Donald Shaw MacLaughlan, A Tuscan Farm
By Donald Shaw MacLaughlan
Located in New York, NY
Donald Shaw MacLaughlan's small, even 'miniaturist' etching, 'A Tuscan Farm,' features an idyllic view of a scene he would have encountered on his European...
Category

Early 1900s American Modern Landscape Prints

Materials

Etching

You May Also Like

"The Caissons Go Rolling Along".
By Kerr Eby
Located in Storrs, CT
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...
Category

1920s American Modern Landscape Prints

Materials

Drypoint, Etching

The Spire -- New York
By Lawrence Wilbur
Located in Storrs, CT
The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...
Category

20th Century American Modern Figurative Prints

Materials

Drypoint, Etching

Manhattan Mountains
By Lawrence Wilbur
Located in Storrs, CT
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...
Category

20th Century American Modern Figurative Prints

Materials

Drypoint, Etching

Steps to the Grand Canal, St. Mark's in the distance, Venice.
By Donald Shaw MacLaughlan
Located in Middletown, NY
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...
Category

Early 20th Century American Modern Landscape Prints

Materials

Laid Paper, Drypoint, Etching

Low Country (South Carolina)
By Elizabeth Verner
Located in Middletown, NY
An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...
Category

Early 20th Century American Modern Landscape Prints

Materials

Archival Paper, Drypoint, Etching

Guardians of the Spire; Amiens Cathedral Number 2
By John Taylor Arms
Located in Middletown, NY
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 ...
Category

Mid-20th Century American Modern Figurative Prints

Materials

Drypoint, Etching

Recently Viewed

View All