Childe Hassam

THE BIG HORSE CHESTNUT TREE,

1922

Bacher, Otto. FONDAMENTA DELLE ZATTERE (VIEW IN VENICE). Etching, 1880. #17 of the "Venice Set." Signed, titled, and dated in the plate. Framed. In excellent condition. Etching on pa...

Resika, Paul (American, born 1928). PIER AND BOAT. Aquatint, not dated. Edition of 30. Signed in pencil and numbered 24/30. 10 7/8 x 17 1/4 inches, framed to 19 1/4 x 25 3/4 inches. ...

Leaf, Ruth. LAKE VIEW. Etching in colors, not dated. Titled, signed and numbered 6/175 in pencil in the margin just below the image. 17 1/2 x 23 3/4 inches, 444 x 603 mm. (plate); 22...

Affleck, Andrew. ISOLA BELLA. Etching, not dated. Signed in pencil. Edition size not known. 9 3/4 x 17 3/8 inches (image), 13 5/8 x 22 1/4 inches (shee...

Ryder, Chauncey. SUGAR MAPLES. Etching & Drypoint, c. 1920. Edition size not known. Signed and titled in pencil. 9 7/8 x 11 3/4 inches, 256 x 300 mm. In excellent condition except fo...

Mielatz, Charles. RESTAURANT IN CHINATOWN. Etching, 1906. Edition size not known. Signed and inscribed "imp."in pencil, and signed and dated in the plate. Printed on Japan paper with...

This is an early 19th century hand-colored satirical caricature etching entitled "John Bull and his favourite statue of bronze!!", published and possibly engraved in London in 1802 by William Holland (1757-1815). It depicts John Bull (symbolizing the English people) kneeling in profile before William Pitt, who was prime minister of England at the time, and for whom the American city of Pittsburgh was named. Pitt is standing, pretending to be a statue. A rectangular pedestal beneath Pitt is inscribed: "Erected by Voluntary Subscription!" Pitt's body seems elongated, reminding that this a caricature. He is standing, looking to the left, his aristocratic nose held high in apparent arrogance and his hands are deep in his pockets, with his hat under his right arm. John Bull, is dressed simply for the time. He is on in his knees in a gesture of supplication, as if in prayer or begging for some action from a deity. He is holding his hat in both hands, looking up at Pitt. Trees and bushes are seen in the background. A caption showing John Bull's words in the upper left ironically reads: "O Wonderful Man! - how I revere thy sublime resemblance. - what obligations I am under to thee! what happy times thou hast brought about! Bread for nothing! Beef 3d per pound! Porter 3d per pot! a Goose 2 shillings! and a fat Turkey 3s.6d!! - whit every thing else cheap in proportion! - besides the wonderful decrease of Taxes!! - O Dear - O Dear I hardly know how to express myself, I feel so enraptured. - O that fine brass countenance how it shines with conscious Integrity!" The engraving is presented in a gold-colored wood frame and a tan-colored mat, with curved upper corners. The frame measures 18" high, 13.13" wide and 0.5" deep. The framing and mounting utilizes acid-free archival materials and it is glazed with UV conservation clear glass. There are a few faint areas of discoloration and spotting and an apparent short barely visible crease in the lower right corner of the inscription area. The print is otherwise in very good condition. William Holland was printmaker as well as a prominent dealer of satirical prints in London in late 18th and early 19th century. He carried works by the best known satirists of the time: Gillray, Rowlandson, Newton and Woodward, as well as his own creations. Holland along with the other prominent print-sellers of the time, Hannah Humphrey and Samuel Fores, were responsible for promoting the golden age of British caricature...

This is an early 18th century etching of the Grand Canal in Venice entitled "Veduta del Canal Grande dirimpetto la Pescaria di Rialto" by Domenico Lovisa, first published in 1720 in ...

This a framed Giovanni Battista Piranesi (1720-1778) etching entitled "Reliquiae Theartri Pompejani" (Remains of the Theatre of Pompey) from "Il Campo Marzio dell'Antica Roma" (The C...

An 18th century etching and engraving entitled "Earl Sandwich Refusing to Leave His Ship While on Fire in the Battle of Sole Bay" by William Byrne (1743-1805), after a painting by Robert Smirke (1753-1845). It was published in London in 1798. The print is presented in a cream-colored mat. The mat measures 17.13" in height and 13" in width. The print is in excellent condition. Edward Montagu, the 1st Earl of Sandwich...

This is an 18th century etching of the Patriarchal Church or Basilica of S. Pietro di Castello in Venice entitled "Chiesa Patriarcale di S. Pietro di Castello" by Domenico Lovisa, fi...

"Pillory, Charing Cross" is an illustration (Plate 62) from "The Microcosm of London", published in London in 1809 by R Ackermann's Repository of Arts. The scene was created by one of the most famous British satirists and caricaturists of the late 18th and early 19th centuries' Georgian Period, Thomas Rowlandson, who drew the figures, while Augustus Charles Pugin drew the architecture. The plate was then created by Hill, Stadler and Bluck using a combination of aquatint and etching and was then hand colored with watercolor. Scenes illustrated in "The Microcosm of London" gives an accurate and often comical view of everyday life in London during the Regency Period of the early 19th century. While Pugin’s excellent architectural drawings capture the size and shape of the exterior as well as the interior of London’s principal buildings, Thomas Rowlandson’s insightful and often whimsical and satirical view of the city's inhabitants depicts the color and vitality of the late Georgian society, both rich and poor alike. This print depicts the "Pillory, Charing Cross", where criminals were brought and placed on display while secure in the stocks, as are seen in this print. A crowd is present in the square jeering at the prisoners. A statue of Charles I on horseback stands atop a very large pillar to the right. Shops with apartments are seen on the left. Young wealthy people frolic around and on a carriage on the right in front of the statue of King...