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Oliver Hall, R.A., R.E., R.S.W.
Newbiggin-by-the-Sea

1927

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  • The Gothic Spirit
    By John Taylor Arms
    Located in Storrs, CT
    The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated...
    Category

    1920s American Modern Landscape Prints

    Materials

    Drypoint, Etching

  • Make Fast, Plate 2.
    By Arthur John Trevor Briscoe
    Located in Storrs, CT
    Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...
    Category

    1920s Modern Landscape Prints

    Materials

    Drypoint, Etching

  • Guardians of the Spire (Amiens Cathedral Number 2)
    By John Taylor Arms
    Located in Storrs, CT
    Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms...
    Category

    1920s American Modern Landscape Prints

    Materials

    Drypoint, Etching

  • The First Sight of Jerusalem, Nebi Samwil (No. 2).
    By James McBey
    Located in Storrs, CT
    The First Sight of Jerusalem, Nebi Samwil (No. 2). The First Sight of Jerusalem, Nebi Samwil (No. 2). 1920. Etching. Hardie 197. 10 7/8 x 17 15/16 (sheet 12 5/8 x 19). Edition 76, #2...
    Category

    Early 20th Century Modern Figurative Prints

    Materials

    Drypoint, Etching

  • Chelsea Old Church, London
    By William Walcot R. E. Hon. R. I. B. A.
    Located in Storrs, CT
    Chelsea Old Church. 1924. Etching, drypoint, and aquatint. Dickins 94. 5 3/8 x 8 (sheet 8 1/2 x 9 3/4). Edition 100 for The Print Collector's Club. A fine proof with tonal wiping, printed on cream wove paper. Signed and dedicated "W.R. Button from W. Walcot London 1930" in pencil. Chelsea Old Church, also known as All Saints, is an Anglican church, on Old Church Street, Chelsea, London SW3, England, near Albert Bridge. It is the church for a parish in the Diocese of London, part of the Church of England. Inside the Grade I listed building, there is seating for 400 people. There is a memorial plaque to the author Henry James (1843–1916) who lived nearby on Cheyne Walk. To the west of the church is a small public garden containing a sculpture by Sir Jacob Epstein. When he was seventeen,William Walcot began to study architecture under Louis Benois at the Imperial Academy of Art in Saint Petersburg. He went to Paris where he continued his studies at the Ecole des Beaux-Arts and the Atelier Redon. He practiced as an architect briefly in Moscow, designing the Hotel Metropole...
    Category

    Early 20th Century Modern Landscape Prints

    Materials

    Drypoint, Etching, Aquatint

  • The Anchor
    By Arthur John Trevor Briscoe
    Located in Storrs, CT
    The Anchor. 1930. Etching. Hurst catalog 268 state ii. 7 x 6 3/4 (sheet 10 3/4 x 7 5/8). Edition 275. A rich impression with plate tone printed on antique 'GR' laid paper with a hunting horn countermark. As published in J. Lauer's volume, A complete catalogue of the Etchings and Drypoints of Arthur Briscoe. One spot in the right-hand sheet; otherwise in excellent condition. Signed in ink Housed in a 16 x 20-inch archival mat, suitable for framing. The Roaring Forties is the name given to strong westerly winds found in the Southern Hemisphere, generally in the areas between the latitudes of 40 and 50 degrees south in the Southern Hemisphere, where the prevailing winds blow persistently from the west. The roaring forties have strong, often gale-force, winds throughout the year. They were named by the sailors who first entered these latitudes. Norman Wilkinson also etched the subject. In 1899 he acquired a studio in Malden, Essex, and bought a 3 ton cutter which, with his young family, he would spend eight or nine months a year, sailing to Calais, along the Belgian coast and through the Dutch waterways, constantly sketching and painting in both oil and watercolor. In 1922, after a meeting with the etcher James McBey, Briscoe returned to etching once more producing plates of some of his sea sketches. The two artists sailed together in Briscoe's, forty-ton yacht, the "Golden Vanity...
    Category

    1920s Modern Landscape Prints

    Materials

    Drypoint, Etching

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