Claudette McElroy Art

This artwork titled "Arch Beach, California" c.1910 is an original etching on Wove paper by American artist Harley DeWitt Nichols, 1859-1939. It is hand signed and titled in pencil by the artist. The plate mark (image) size is 6.5 x 9.5 inches, framed size is 13 x 17 inches. it is custom framed in a wooden silver frame, with off white matting. It is in excellent condition, especially considering the age. About the artist: Born in the small rural Wisconsin town of Barton, Harley lived a peripatetic life. As a young child, he accompanied his family to Lincoln, Nebraska where he found great excitement in the roaming herds of buffalo and Native Americans. It was in these years that a talent for drawing was discovered. In 1870, after several years of hardship, his father moved the family back to Wisconsin. At the age of 11 he became a water boy...

Francisco Castro Leñero (Mexico, 1954) "Haz del Viento / Bco / Azul/" from serie "El exilio de los sentidos", 2004 Engraving, aquatint on paper...

Etching on paper. Hand signed, titled and numbered by the artist. Sheet size 13 x 15 inches. Image size 4.75 x 6.75 inches. Edition of 300. Artwork is in excellent condition. Ce...

Louis Oscar Griffith (1875-1956) Noon Time Lull (Charleston, South Carolina) Etching & drypoint, c. 1930 Signed in pencil (see photo) Annotated: "2nd State" (of three?) Image/Plate s...

Otto Bacher (1856-1909) Perleria (Bead Stringers), Venice Etching, 1881 Signed in pencil lower left (see photo) From: Etchings of Venice Reference: Andrew Venice 1 Condition: Excellent Image/Plate size: 13 x 8 7/8 inches Sheet size: 14 1/2 x 10 1/16 inches Comes with a very ncie original Kenneday Gallery frame Perleria, also known as Bead Stringers, presents Venice through the working lives of its inhabitants. Women gather in an enclosed courtyard, absorbed in their tasks, while doorways and receding architectural spaces connect the foreground group with figures farther within. The composition’s intimate scale of observation shifts attention from the city’s celebrated monuments to the daily activities that sustained it. The Cleveland Museum of Art holds an impression under the title Etchings of Venice: Bead Stringers, identifying it as Andrew 7. Bacher organizes the scene through the relationship between seated figures, worn masonry, and shadowed openings. Fine etched lines describe the women’s clothing and the surrounding architecture, while denser passages of hatching establish depth and enclosure. The workers’ concentrated poses give the composition a quiet rhythm: its interest rests in repeated gestures and shared occupation rather than dramatic incident. Bead stringing, a traditional Venetian women’s trade, provides both the subject and the organizing human activity of the image. Born in Cleveland, Bacher developed his art through European study and close association with Frank Duveneck. In 1880 he traveled to Venice with the American artists known as “Duveneck’s boys,” entering the circle of James McNeill Whistler. Already an accomplished etcher, Bacher became Whistler’s collaborator as well as an attentive student of his methods. Whistler used Bacher’s printing press and inks during the summer of 1880, placing the younger artist directly within the practical production of the Venetian etchings. Bacher later recalled their association in With Whistler in Venice (1908). Perleria belongs to this formative Venetian context. Its attention to an ordinary working environment accords with the interest in overlooked corners and everyday subjects shared by artists of the etching revival. Yet the substantial figures and closely articulated setting give Bacher’s scene its own character. The print combines architectural observation with a sustained interest in people, recording Venice as an inhabited and productive city. The composition is represented in the Cleveland Museum of Art, where the impression entered as a gift of Charles W. Bingham in 1920, and at the Indianapolis Museum of Art at Newfields, which catalogs it as Perleria. These institutional holdings provide useful reference impressions for the work. 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...

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In g...

Etching and pochoir in white ink on black paper. Hand signed lower right by Man Ray. Hand numbered 89/100 lower left. Anselmino 87; Slusher 244. Artwork size: 25.25 x 19.75 inche...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, circa 1930. He is represented in the collections of the Metropolitan Museum, th...

OPAC The Organization of Photorealist Artists and Collectors presents Seltzer, a signed and numbered giclee on canvas by famed photorealist Mark Schiff. This piece is 28" x 34". The ...

This original, limited edition etching, was realized by the esteemed American artist John E. Costigan, who is represented in the collections of the Metropolitan Museum, the Philips Memorial Gallery in Washington and the Brooklyn Museum, to name only a few of the many institutions that feature his work. This print, with its highly considered composition and its loose style of figuration- deftly balances realism and abstraction- helps to explain his acclaim. This etching features a mother walking with her child and two goats in a forested glen. It is a Classic pastoral scene rendered in Costigan's inimitable style- somewhere between Theodore Rousseau and Thomas Hart Benton. These offer a beautiful glimpse of a bygone American pastoral...

STILL LIFE WITH GRAPES is an original hand drawn, limited edition lithograph by the American artist Lowell Nesbitt (b.1933-1993). Printed on archival Arches paper, 100% acid free using hand lithography techniques. STILL LIFE WITH GRAPES is a modern fruit still life depicting two bunches of plump green and red grapes, and green pear displayed on an Southwest style geometric Aztec patterned textile as a background. STILL LIFE WITH GRAPES is an eye-appealing composition using vivid colors including warm red, black, gray, yellow gold, light green, purple, burgundy and white. Print size - 21.5 x 28.25 inches, unframed, excellent condition, very fine impression, hand signed in pencil by Lowell Nesbitt Edition size - 175, plus proofs Year published - 1978 Lowell Blair Nesbitt (October 4, 1933 - July 8, 1993) was an American painter, draughtsman, printmaker, and sculptor. He studied at Tyler School of Art at Temple University in Philadelphia and at the Royal Academy of Arts in London. Nesbitt worked in abstraction until Robert Indiana suggested in the early 1960s that he explore realism in his paintings. As subjects for his work he favored studio interiors, articles of clothing, piles of shoes, his Rottweiler, the Neo-Classical facades of 19th century cast iron buildings, and Manhattan's bridges. He was also famous for his enormous paintings and prints of roses, lilies, irises, and other flowers. He served as the official artist for the NASA Apollo 9, and Apollo 13 space missions; in 1976 the United States Navy commissioned him to paint a mural in the administration building on Treasure Island spanning 26 feet x 251 feet, then the largest mural in the United States; and in 1980 the United States Postal Service honored Lowell Nesbitt by issuing four postage stamps depicting his paintings. His first solo exhibition was mounted at the Baltimore Museum of Art in 1958 and during his lifetime he had more than 130 solo exhibitions of his work at various galleries, museums, and universities, including the Corcoran Gallery of Art, Kent State University, the McNay Art Museum, the Butler Institute of American Art, the Burpee Art Museum, and the Tyler Gallery...

Namiko Prado Arai (Mexico, 1963) 'Untitled 7 (Bruñidor)', 1998 engraving on paper Guarro Biblos 250g. 21.1 x 24.5 in. (53.5 x 62 cm.) ID: PRA-309 Hand-signed by author Unframed

Namiko Prado Arai (Mexico, 1963) 'Untitled 3 (Buril)', 1998 etching, aquatint on paper Deponte 400g. 20.9 x 24.5 in. (53 x 62 cm.) Unframed ID: PRA-305 Hand-signed by author

Arthur B. Davies (1862-1928), By the Sea (aka Idyll), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochowski 72, fourth state (of 5; see disc...

Rigoberto Mena (Cuba, 1961) 'El Jueves puede ser un gran día' (Thusday could be a great day), 2010 engraving, mixed media, chine colle on paper Guarro Super Alpha 250g. 15.8 x 15.8 i...