William Chambers Georgian Architecture - Designs for Doors, 1794

1794

Chromolithograph, 1868. From Owen Jones' 'Grammar of Ornament', 1868. Welshman Owen Jones first published his monument to design, the Grammar of Ornament, in instalments for subscri...

Chromolithograph, 1868. From Owen Jones' 'Grammar of Ornament', 1868. Welshman Owen Jones first published his monument to design, the Grammar of O...

Chromolithograph, 1868. From Owen Jones' 'Grammar of Ornament', 1868. Welshman Owen Jones first published his monument to design, the Grammar of O...

Chromolithograph, 1868. From Owen Jones' 'Grammar of Ornament', 1868. Welshman Owen Jones first published his monument to design, the Grammar of O...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

Chromolithograph, 1878. The gold colour is actually metallic and shiny. From Frederick William Hulme's 'Suggestions in Floral Design', a late Victorian pattern book for interior des...

"Church of St. Aignan Chartres" Etching in Ink on Paper (Demonstration Plate) Delicate and detailed drypoint etching of the Church of St. Aignan in Chartres, France by John Taylor Arms (American, 1887-1953). The viewer stands in an alley near the church, looking out of the shadows at the sunlit towers. The architectural details of the church are well-captured, including the texture of the stone walls, the roof, and ornamental detail. Titled, signed, dated, and inscribed along the bottom edge: Sketch, Saint Aignon, Chartres John Taylor Arms 1950 The inscription includes details about production, as well as a dedication "To my friends Georgia and Jasper Mathews, with my sincerest good wishes" Presented in a wood frame with an off-white mat. Frame size: 12.5"H x 9.25"W Image size: 7"H x 4.5"W John Taylor Arms was born in Washington, DC in 1887. He studied law at Princeton University, transferring to the Massachusetts Institute of Technology, Boston, to study architecture, graduating in 1912. After serving as an officer in the United States Navy during World War I, he devoted himself full-time to etching. He published his first original etchings in 1919. His initial subject was the Brooklyn Bridge in New York City near which he worked. Arms developed a successful career as a graphic artist in the 1920s and 1930s, specializing in series of etchings of Gothic churches and cathedrals in France and Italy. In addition to medieval subjects, Arms made a series of prints of American cities. He used sewing needles and magnifying glasses to get a fine level of detail. A member of many printmaking societies, Arms served as president of the Society of American Graphic Artists. An educator, Arms wrote the Handbook of Print Making and Print Makers (1934) and did numerous demonstrations and lectures. Arms was elected into the National Academy of Design as an Associate member in 1930, and became a full member in 1933. His work was also part of the painting event in the art competition at the 1932 Summer Olympics...

A hand-colored engraving of the interior The German Chapel, St. James Palace in London, England from 'The History of the Royal Residences of Windsor Castle, St. James Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore', commissioned by the British Royal Family. The work is one of the finest depictions of interiors ever published. The engraving was created by Daniel Havel (1786-1826) after a painting by Charles Wild (1781-1835) and published by William Henry Pyne (1770–1843) in 1819. The print is presented in a gold-colored wood museum style frame and an elaborate light grey French mat with highlighted gold and royal blue bands. A certificate of authenticity from Trowbridge Gallery...

This late-19th-century etching by German draughtsman Albert Kruger (b. 1858) is after a painting by Max Liebermann (1847-1935). The rhythmical monotony of the spinners, organised like a rigid machine, echoes through the low barn. Youths, hunched by square windows, wind flax onto spindles. While women stand in clogged feet, working tirelessly with aching bones. Liebermann captured their daily grind with aplomb, avoiding sentiment in favour of laborious reality. Yet, amid this harsh environment, he celebrates their efforts. The composition conveys determination with its lines and strong verticals while the atmosphere is one of steel rather than tortuous circumstance. Liebermann was a realist yet he found light among the ordinary. Originally published in The Art Journal...

From, The Progress of a Midshipman, Exemplified in the Career of Master Blockhead 1860 (plate 4) London: Thomas Mclean, 1835. Etching with handcoloring in watercolor on cream wove p...

from The Sailor’s Progress, Plate 5 London: Thomas McLean, 1835. Second Edition. Etching with hand coloring in watercolor on cream wove paper, 1835. 8 1/4 x 11 1/2 inches (250 x 354...

An image of the last major insurrection in Great Britain, known as Guy Fawkes's Cato Street Conspiracy. London: Thomas Mclean, 1835. Etching with hand coloring in watercolor on crea...