Peck Slip. (East River, New York).

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Charles Ernest Pont
Peck Slip. (East River, New York).
1935

Name: Peck Slip. (East River, New York).
Brand: Charles Ernest Pont
Rating: 5 (130 reviews)

$350List Price

About the Item

1935. Wood engraving. 8 15/16 x 11 7/8 (sheet 11 1/2 x 16). A fine impression printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. Housed in a 16 x 20-inch mat, suitable for framing. Pont’s artistic talent was already evident during secondary school, and he pursued a professional formation at Pratt Institute in Brooklyn and The Cooper Union in Manhattan. In 1933 he received a scholarship to continue his training with the American Artists League. His professional career began in 1925 as a carpenter and cabinet-maker in New York. Although he gave up this business in 1932, he never forgot these skills, and twenty years later designed and built his own home in Wilton, Connecticut. In the midst of the Great Depression, Charles Pont turned to the fine arts as a full-time career, working chiefly as a book and magazine illustrator. Pursuing a nautical interest inherited from his adoptive father who had served in the German Imperial Navy, Pont became renowned as a maritime artist, painting covers for magazines such as Motor Boating, Yachting and Power Boating, as well as illustrating numerous marine books by authors such as Alan Villiers. He also illustrated numerous children’s books by Joseph Leeming, Irving Simon, John Hooper and others, and Christian literature by such authors as Harry A. Ironside. In 1938-41, he was paid by the federal Works Progress Administration to produce public art, and completed twenty-eight murals among other projects. During the 1930s he also turned to printmaking, receiving honors in wood engraving, lithography and etching. While pursuing a second career as an itinerant preacher in the 1940's, Pont painted not only Biblical themes, but also landscapes in thirty states, as well as Canada and several European countries. Working with equal skill in oil, watercolor, ink, and printmaking, most of Pont’s work remained nautical. In retired life he devoted himself to capturing the charm of the New England coast before all the 19th century sail lofts, docks and buildings were demolished. Giving up the ministry as a full-time occupation in the late 1940s, Pont turned again to commercial art for a living, and served as assistant art director for the New York publisher Grosset & Dunlap from 1954 until his retirement in 1963. Later, Pont taught art for Darien High School evening classes, and the Famous Artists School in Westport, both in Connecticut. Pont’s art was exhibited in his lifetime in practically every state as well as the 1939 New York World's Fair. His work in permanent public collections includes the Library of Congress, Smithsonian Institution, and Navy Department in Washington DC, the Metropolitan Museum of Art and New York Public Library in New York City, the Syracuse Museum, the Rochester Institute of Technology, and the Wilton, Connecticut, Town Hall, among many others. Pont's professional associations included the American Artists Professional League, Southern Printmakers Society, American Water Color Society, New York Water Color Society, American Institute of Graphic Arts, and The Typophiles.

Creator:
Charles Ernest Pont (1898 - 1971, American)
Creation Year:
1935
Medium:
Engraving,Woodcut
Movement & Style:
American Modern
Period:
Mid-20th Century
Condition:
Gallery Location:
Storrs, CT
Reference Number:
1stDibs: LU33521435713

$23,000

The Fair

By James Abbott McNeill Whistler

Located in Storrs, CT

The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid paper. Way lists 15-lifetime impressions (Goulding printed...

Category

Late 19th Century American Modern Figurative Prints

Materials

Drypoint, Etching

James Abbott McNeill Whistler
The Fair, 1893

$2,450 Sale Price

30% Off

The print 'Jones Island' is something of a self portrait. In the image, an artist stands before and easel, depicting the docks and buildings on the coast. The title indicates that this is Jones Island in Milwaukee, the peninsula along Lake Michigan that today is home to largely industrial buildings. The buildings and figures in the print suggest that this might be a view of the last of the Kashubian or German immigrant settlements on the peninsula before they were evicted in the 1940s to make way for the development of the harbor. The artist in the image thus acts as a documentarian of these peoples. The careful line-work of the woodblock engraving adds a sense of expressionism to the scene, leaving the figures and buildings looking distraught and dirty, though the image nonetheless falls into the Social Realist category that dominated American artists during the Great Depression. This print was published in 1936 as part of the Wisconsin Artists' Calendar for the year 1937, which included 52 original, hand-made prints – one for each week of the year. 6 x 5 inches, image 10 x 7.13 inches, sheet 13.43 x 12.43 inches, frame Signed "GS" in the print block,upper left Entitled "Jones Island" lower left (covered by matting) Inscribed "Wood Engraving" lower center (covered by matting) Artist name "Gerrit V. Sinclair" lower right (covered by matting) Framed to conservation standards using 100 percent rag matting and museum glass, all housed in a silver gilded moulding. Gerrit Sinclair studied at the Art Institute of Chicago from 1910 - 1915, under Vanderpoel, Norton, and Walcott. In World War I, he served in the Army Ambulance Corps and later recorded his experiences in a series of oil paintings. He taught in Minneapolis before arriving in Milwaukee in 1920 to become a member of the original faculty of the Layton School of Art. He was also a member of the Wisconsin Painters & Sculptors. Sinclair's paintings and drawings were executed in a lyrical, representational style, usually expressing a mood rather than a narrative. His paintings reveal a great sensitivity for color and atmosphere. His subject matter focused on cityscapes, industrial valleys, and working-class neighborhoods, captured from eye-level. A decade before the popularity of Regionalism, Sinclair's strong interest in the community was reflected not only in his paintings, but also in his encouragement to students to return to their communities as artists and teachers. Joseph Friebert...

Category

1930s American Modern Figurative Prints

Materials

Woodcut, Engraving

Gerrit Sinclair
'Jones Island' original woodcut engraving by Gerrit Sinclair, 1936

$1,300

Stevan Dohanos, Backyard

By Stevan Dohanos

Located in New York, NY

Stevan Dohanos was an accomplished draftsman who work was widely known through the Saturday Evening Post. This print 'Backyard,' however, leaves aside the illustrative magazine work ...

Category

1930s American Modern Landscape Prints

Materials

Woodcut

$2,500

Oscar Weissbuch, Westchester Hills (NY), New Deal, WPA-era wood engraving

Located in New York, NY

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

Category