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Luigi Kasimir
Luigi Kasimir Estate Signed "SF Bay From Coit Tower" Etching c.1930s/1960s

1930s/1960s

Price:$475
$750List Price

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John Marin "Clock Tower of Santa Maria Zobenigo, Venice, Italy" Etching c.1907
By John Marin
Located in San Francisco, CA
John Marin "Clock Tower of Santa Maria Zobenigo, Venice, Italy" Original Pencil Signed Etching c.1907 Rare pencil signed etching by listed American artist John Marin (1870-1953) Pl...
Category

Early 20th Century Impressionist Landscape Prints

Materials

Etching

James Sanford Hulme "Army Plaza" Original Signed Etching c.1930
Located in San Francisco, CA
James Sanford Hulme "Army Plaza" Original Signed Etching c.1930 Plate dimensions 6" wide x 4" high The distressed period frame measures 10.75" wi...
Category

Early 20th Century Impressionist Landscape Prints

Materials

Etching

Davis F. Schwartz "Historic First Theater, Monterey County" PRINT c.1950
Located in San Francisco, CA
Davis Francis Schwartz "Historic First Theater, Monterey County" Original PRINT C.1950 PRINT dimensions 20" wide x 16" high The distressed per...
Category

Mid-20th Century Impressionist Landscape Prints

Materials

Watercolor

San Francisco from Telegraph Hill Serigraph by Marco Sassone 20th c.
By Marco Sassone
Located in San Francisco, CA
San Francisco from Telegraph Hill Serigraph by Marco Sassone 20th c. Limited edition pencil signed serigraph by listed California / Canadian artist Marco Sassone. San Francisco from...
Category

Late 20th Century Impressionist Landscape Prints

Materials

Screen

Early 20th Century European Architecture Drypoint Etching c.1930
Located in San Francisco, CA
Early 20th Century European Architecture Drypoint Etching c.1930 This fine etching is pencil signed in the lower right corner (illegible - see i...
Category

Early 20th Century Impressionist Landscape Prints

Materials

Drypoint

Harry Shoulberg "The Bridge" Serigraph c.1944
By Harry Shoulberg
Located in San Francisco, CA
Harry Shoulberg (1903-1995) Expressionist mid modern serigraph "The Bridge" c.1944 Pencil signed and titled by the artist. This fine serigraph retains all of it's vibrant color after 76 years! Dimensions 12" x 15". Frame dimensions 23" x 19". Very good condition. Please note: The linen rabbet lining of the frame does show some discoloration. This is a rare and exceptional work by Shoulberg. His serigraphs can be found in the permanent collections of some of the finest museums, and institutions in the country. Harry Shoulberg was born in Philadelphia, 25 October 1903 of Russian/Jewish heritage. His father, Max Shoulberg, was the fourth of twenty children and the first to be born in America. His mother was Tessie Derfler, a New Yorker of German descent. Harry grew-up in New York, married Sylvia Hendler in 1931, and had one child, Ted. Shoulberg attended City College of New York where he studied biochemical engineering for three years before switching to fine arts in his last year. He continued his art education at the John Reed School, 1934-1935, the American Artist School, 1935-1937, and then privately at the studios of artists Sol Wilson (1894-1974) and Carl Holty (1900-1973). In 1938, he worked for the WPA and produced two oil paintings for the organization. He maintained studios in New York City and Bridgehampton on Long Island until 1983. He was a late bloomer...
Category

Early 20th Century Impressionist Landscape Prints

Materials

Screen

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Crab Boats, Southampton Water /// Impressionist British Seascape Ship Maritime
By Aileen Mary Elliot
Located in Saint Augustine, FL
Artist: Aileen Mary Elliot (English, 1896-1966) Title: "Crab Boats, Southampton Water" *Signed by Elliot in pencil lower right Circa: 1925 Medium: Original Drypoint Etching on laid p...
Category

1920s Impressionist Landscape Prints

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The Punter
By Frank Benson
Located in New York, NY
A superb, richly-inked impression of this etching. Edition of 150. Signed in pencil, lower left.
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1920s American Impressionist Abstract Prints

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La Fumée du Bateau
By Jean Francois Raffaëlli
Located in New York, NY
A very good impression of this color drypoint and aquatint. Third state (of 3). Edition of 150. Signed and inscribed "No. 25" in pencil, lower right.
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1910s Impressionist Abstract Prints

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Barges, Dordrecht
By James Abbott McNeill Whistler
Located in Fairlawn, OH
Barges, Dordrecht Etching, c. 1886 Signed in the plate with the butterfly Edition: One of 10 known impressions of this image. VERY RARE Provenance: Frederick Keppel & Co. with their ...
Category

19th Century Impressionist Landscape Prints

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Lido (Venice)
By Otto Henry Bacher
Located in Fairlawn, OH
Lido (Venice) Etching on chine collee, 1880 Part of the artist's "Venice Set" Signed upper right in plate :Otto H Bacher" (see photo) Signed with the estate stamp, Lugt 2002 recto lower right beneath image. (see photo) Created October 20, 1880 Reference: Andrew Venice No. 29 Provenance: Estate of the Artist Otto H. Bacher (1856-1909) Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of sixteen with local genre trompe l'oeil still-life artist, DeScott Evans. Although he studied with Evans for less than one year, Bacher's early work, comprised mainly of still lifes, betrays Evans's influence. After a short period in Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts, Bacher returned to Cleveland and met Willis Seaver Adams, an artist from Springfield, Massachusetts, who had just recently arrived upon the Cleveland art scene. Soon the two artists were rooming together. Adams was instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of the Fine Arts, to the board of which Adams had Bacher appointed. Also during this time, Bacher began to learn the process of etching from local etcher and landscape painter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with Cincinnati artist Frank Duveneck, the prime American exponent of the Munich School. In 1879, Bacher made a trip to Florence with Duveneck as one of the celebrated "Duveneck Boys." Early the following year, the group proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time an avid printmaker, Bacher had his etching press sent from Muni ch, and it was in his Venice studio that he taught Duveneck the rudiments of etching. Soon Bacher, Duveneck, and other members of the Duveneck circle were experimenting in printmaking. Among the group's contributions were some of the first American examples of monotypes, which they called "Bachertypes" because they were printed using Bacher's press. It was also in Venice that Bacher met the venerable American expatriate artist, James McNeill Whistler. On learning of Bacher's press and his collection of etchings by Rembrandt, Whistler made himself a regular visitor to Bacher's studio, and he eventually took his own room in the Casa Jankovitz. Bacher spent much of the rest of 1880 with Whistler, the two artists sharing etching techniques. From Whistler, Bacher learned tone and line graduation; from Bacher, Whistler learned his etching techniques, including better ways of using the acid bath which produced less tedious and more efficient work. Bacher visited Whistler occasionally in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of his operations, and he produced a number of important etchings of Italian subjects. Bacher sent several of these works to America in 1881 to be included in the Society of American artists exhibition that year, and had a similar group of works shown at the Royal Society of Painter-Etchers' first exhibition at the Hanover Gallery in London. Following the exhibition, Bacher, along with several other of the American contributors, was elected a Fellow of the Society. Bacher collected twelve of his etchings of Venetian subjects and sold them in bound volumes through his New York dealer, Frederick Keppel. Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with exotic items and objets-d'art he had collected on his travels, and began to hold art classes as a means to supplement his income. He soon joined with Joseph De Camp in forming a summer sketch class in Richfield, Ohio. Bacher and De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period, Bacher increasingly painted in oil, and he began to produce sun-dappled canvases in an impressionistic mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris before heading to Venice, where he spent the remainder of the year. In January 1886, Bacher returned to Paris and enrolled at the Académie Julian, and also entered the atelier of Emile-Auguste Carolus-Duran. The life of the student seems never to have suited Bacher, as he stayed in Paris only through June, before departing again for Venice. For the next six months he, Robert Blum, and Charles Ulrich...
Category

1880s American Impressionist Prints and Multiples

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illustration for Dostoevsky's novel "Crime and Punishment" 1969. Etching 15x27cm
Located in Riga, LV
Mihail Mikhailovich Chemiakin or Shemyakin (Russian: Михаил Михайлович Шемякин; born 4 May 1943) is a Russian-American painter, stage designer, sculptor and publisher, and a controve...
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