Eric Glidden Scott

Canal at Amiens.

1925

Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226 catalog state .ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated: Dorothy ...

House at Crossroads, Twilight, Froxfield. 1926. Etching. Bassett 113. 6 1/4 x 7 15/16 (sheet 8 x 11 3/4). Printed on beige laid paper. Signed and dated numbered in pencil. Housed in...

Enchanted Doorway, Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher catalog 227 state ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 9 15/16). Edition 148 in this state (...

1930. Etching and aquatint. Fletcher catalog 229 state g ii. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noy...

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. ...

The Balcony (Venetian Gateway). 1931. Etching. Fletcher catalog 237 state iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs)...

Resist ground etching and engraving on Rives heavyweight buff paper, 20 x 36 inches (508 x 914 mm), full margins. Signed, titled, dated and numbered 103/160 in pencil, lower margin. Minor mat tone. A rich and finely printed impression of this complex and iconic work by Milton. Framed handsomely under Plexiglas with archival materials in a solid wood frame with silver finish. [Milton 98]. Milton states that in the evolution of his body of graphic work he found himself at point that necessitated the exertion of nerve in his subject matter. He found it imperative for growth to explore whether his compositions had previously been too polite, and through this process he experienced a great burst of artistic and psychic liberation. Milton refers to this awakening as a sort of adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. Les Belles et La Bête...

Resist ground etching and engraving on cream wove paper, 22 x 39 inches (558 x 990 mm), full margins. Signed, titled, dated, and numbered 27/160 in pencil, lower margin. With the blindstamp of the printer, Robert E. Townsend, in the lower left margin. A beautiful, richly inked impression of this highly detailed, large image. In very good condition with minor mat tone, extremely minor scattered light surface soiling, and one pin-point sized dot of brown discoloration on the lower left margin, recto, well outside of image area. [Milton 99]. Milton states that there is a metaphorical evolution at the root of his body of graphic work, and with Les Belles et la Bête, Before the Hunt, he found himself at a crossroads that he viewed as a sort of artistic adolescence, which he felt demanded a natural examination of mysteries of sexual awakening. The image is brimming with fantastical images and metaphors for the confrontation of sexual exploration; a Freudian analyst appears in the left of the image, scattered tableaus of paired figures...

William Tillyer Dry Lake I-IV 1971 Etching Edition of 50 55.9 x 66.7 cms (22 x 26 1/4 ins) (paper size) 32.4 x 43.4 cms (12 3/4 x 17 1/8 ins) (plate si...

John Sloan's Westminster Abbey portfolio is among the most rare of his printmaking output, and a complete set like this is even more unusual. Printed in dark brown ink in on a sturdy...

New York Map of Days is a limited edition etching by Mychael Barratt. The illustrative style of this piece brings New York, it’s landmarks and endless stor...

Primrose Hill - London by John Duffin is a limited edition print. The scene depicts a stunning panoramic view of Londons greatest sights. John Duffin is a painter and printmaker whos...