Albertolli Giacondo Art

Landscape with Window and Chair Mezzotint on wove paper, 2000 Signed in pencil lower right (see photo) Edition: 150 (93/150) (see photo) Special Presentation Print for the Print Club...

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...

This Finnish artist creates a mezzotint in black and white. This impression is #44 of 100 and is signed, dated and titled in pencil. Jukka Vanttinen (Finn, b. 1954) Jukka Vanttinen...

Peter Milton’s Mary’s Turn reimagines a scene where Mary Cassatt and Edgar Degas engage in a game of billiards, reflecting their real-life friendship and rivalry. Cassatt leans forwa...

G. Paterson "Dinner Party at a Mandarin's House" Original Engraving After T. Allom C.1840 Original engraving Dimensions 8" wide x 5" high The frame measures 20.5" wide x 18.5" hig...

In Anne Dykmans' "Fructidore", a well endowed woman uses her plaid apron to carry a bunch of fruit. Parts of her body clothed in plaid seem to suggest the same fruit she is carrying...

The moon, bowls, lillies and birds are featured in this 2002 mezzotint. It is #17 from an edition of 75 and is signed, titled, dated and edition by hand by this Korean artist born i...

Xisco Mensua (Spain, 1960) Untitled from Portfolio "Junio - Julio", 1995 engraving on paper 12.6 x 9.5 in. (32 x 24 cm.) Edition of 6 Frame 16x20 in. ID: MEN1253-003 Hand-signed by a...

Paris: Lemerre, 1880. Etching, drypoint, aquatint (dust ground and spirit ground), spit bite, and roulette in black on cream laid paper with a deckle edge, 6 3/4 x 4 1/2 inches (170 x 112 mm), full margins. Third state (of 3). An illustration from Alphonse Daudet's, Lettres de mon moulin, Paris, 1880. In very good condition with some light uniform toning and two areas of paper tape at the top right and left corners on the verso (from a former mount). With the 1921 J.H. de Bois circular ink stamp in green ink in the lower right margin on the recto (Lugt L.733). [Bourcard 110]. A note regarding the provenance: J. H. de Bois was a well known late-19th century modern art...

Newspapers on the Table - Still Life Etching on Heavy Paper, #20/150 Black and white etching by Darien Payne (American, b. 1951). This piece is a meticulously detailed depiction of ...

Interiors I: Family Reunion 1984 Resist ground etching and engraving on BFK Rives wove paper, 20 x 36 inches (501 x 913 mm), full margins. Signed, titled, dated and numbered 49/175 in pencil, lower margin. In excellent condition with minor mat tone. A luminous, rich, and well-inked impression of this haunting image, with astonishing detail and depth. Framed handsomely under museum grade glass with archival materials in a solid wood frame with silver finish. [Milton 107] Intended to be a stand alone image in its inception, Family Reunion ended up spawning seven additional images, and became a sort of Primo Pensiero in the sprawling, masterpiece suite now known as Interiors. The suite took eight years to complete, and consists of works of varying format, psychological intensity, and subject matter. The thematic darkness in the eight images waxes and wanes, and Milton intentionally included several interlude works to lighten the tension he felt while composing several of the darker images. The first two in the series, Family Reunion, and Hotel Paradise Café, were meant to be companion pieces. The equilibrium of each composition is anchored on a central brooding figure; a man (perhaps based on a Thomas Eakins portrait of the American anthropologist Frank Hamilton...

To see more, scroll down to "More from this Seller" and below it click on "See all from this Seller." Arabesques and caricatures Engraving 24.5 x 36 cm