Futurist Landscape Prints

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks for handles. Made during Worl...

With hand-deckled edges. Obey publishing chop in lower left corner. "Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhyth...

Nashville in Winter Etching, c. 1928 Signed in pencil lower right (see photo) Very small edition A rare image of early Nashville, Indiana Excellent impression with plate tone in the sky First state before the aquatint depicting a winter nocturne with fall snow Printed on a fine laid paper with a Crown & Shield watermark Provenance: Estate of the artist By decent Louis Oscar Griffith (1875-1956) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop...

1866 Etching on cream wove paper. 5 1/2 x 4 3/8 inches (138 x 110 mm), full margins. Third state (of 4). Light scattered age tone, and time stain. Scattered extremely light areas of ...

Silkscreen on Mylar. Inscription: unsigned and unnumbered, as issued. Good condition. Notes: From the folio, X + X, Ten Works by Ten Painters, 1964. Published by the Wadsworth Athene...

Artist: Christo Title: The Umbrellas, Joint Project for Japan and the U.S.A. Medium: Offset lithograph in colors on wove paper Date: 1987 Edition: Unnumbered Sheet Size: 36 3/4" x 27...

Signed in pencil. A European town square with fountain and tower.

“LA CASA VIVENDA” Emilio Sanchez (1921-1999) created this color lithograph entitled “La Casa Vivenda” circa 1991. Image size 18.38 x 25 inches and the paper size 21.75 x 29.38 inches. Printed in an edition of 100 this impression is inscribed “70/100” - the 70th impression of 100. This impression is pencil signed in the lower right and inscribed in the lower left. “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

Sunburst by American artist Robert Daughters is a close up of a group of wild sunflowers in yellows and greens. A limited edition print number 62...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Artist: Donald Sultan (1951) Title: Red Poppies Year: 2012 Medium: Silkscreen with Tar & Flocking on Museum Board Edition: 10/75, plus proofs Size: 23 x 39 inches Condition: Excellen...

Artist: Lowell Nesbitt (1933-1993) Title: 10 Lemons Year: 1979 Edition: 142/175, plus proofs. Medium: Silkscreen on Arches paper Size: 30.5 x 33.25 inches Condition: Excellent Inscri...