George Overbury Hart

Early 20th Century Santo Domingo Landscape Etching Proof

1923

"Dialogue to the Wind" by Tomoya Uchida (American, 20th Century). Plant matter swirls in the air above a minimalist landscape. In the foreground, two bees have landed on a housekey. The sky is subtly textured, creating the impression of passing gusts of wind. Titled "Dialogue to the Wind" along the bottom edge. Signed and dated "T. Uchida - 89" in the lower right corner. Presented in a new light grey mat with foamcore backing. Mat size: 22"H x 17"W Paper size: 19.75"H x 13"W Tomoya Uchida (Japanese, b. 1947) was born in Tsuyama City in the Okayama prefecture in Japan. He graduated from Doshisha University, Kyoto, in 1970, and went on to become the artist-in-residence at the KALA Institute of Prints in Berkeley, CA, in 1989. He then moved to Australia, where he studied under Prof. Jorg Schmeisser...

Kaiser Wilhelm Memorial Church in Berlin - Drypoint Etching on Paper Detailed drypoint etching by Wolfgang Tritt (German, 1913-1983). The Kaiser Wilhel...

Delicate and detailed etching by Orpha Klinker (American, 1891-1964). At the edge of an old Adobe building, a staircase leads to the second floor. The stucco on the walls of the building is cracked, revealing the stonework below. Next to the building is a garden with Corkscrew Willow trees. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. Signed in plate, lower left. Paper size: 8.5"H x 10.5"W Mat size: 10"H x 12"W Orpha Klinker (American, 1891-1964) graduated from Polytechnic High School, L.A. and later studied at U.C.L.A. Art School and at the Cannon Art School. Artists Paul Lauritz and Anna A. Hills of Laguna Beach were her first art teachers. She continued her study of art at the Julian and Colarossi Academies in Europe. Some of her earliest work was in designing. Many pages of her fine pen work drawings appeared in Los Angeles newspapers, illustrating the fashions of the day, not only in clothes but in furniture and other things. Then for a time she did her work in New York City and later with the Ladies Home Journal in Philadelphia. One of her first projects with which Orpha impressed the public was a notable series of her large color portraits of California pioneers in the L.A.TIMES under the heading of "Speaking Of Pioneers." This led to another series on landmarks and famous tales of early California including oil paintings of historic adobes, buildings, and trees of California. From the Mexican border to Death Valley she roamed, meeting and painting portraits of such characters as Death Valley Scotty, Shoshone Johnny, the ancient Indian who supposedly saw the first white man come to Death Valley, Emanuel A. Speegle, "The Last of the 49'ers" (over 90 years of age) and others. Orpha was active in keeping alive the memory of one historical event in particular, the signing of the Treaty of Cahuenga ending the Mexican War...

"St. Nicolas du Chardonnet" Etching in Ink on Paper Delicate and detailed etching by Katherine Kimball (American, 1866-1949). The Catholic church of St. Nicolas du Chardonnet is shown nestled in the streets of Paris. With clever use of line weight and clarity, the building is highlighted and cleanly stands out against the background and surroundings. Stamp with coat of arms on verso. Artist's info written on verso. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 6.75"W Katherine Kimball (American, 1866-1949) was born in Fitzwilliam, New Hampshire. She studied at the National Academy of Design in New York and exhibited in the San Francisco Panama-Pacific Exhibition of 1915. Listed in “Who Was Who in American Art, 1564-1975”; “North American Women Artists...

A nostalgic image of a bucolic farmyard and thatched cottage, hearkening to a bygone era. c 1920. Etching with drypoint on laid watercolor paper with deckle edges, and an indiscerni...

Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In...

Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left mar...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...