Earl Horter was born in 1881 in Germantown, Pennsylvania and was known for his realistic etchings and aquatints of urban scenes, though he was also an illustrator and painter. As a teenager, he engraved stock certificates. He was essentially self-taught, though he did take an etching class when he moved to New York City in 1903 to work for an advertising agency. Horter had a one-man show in 1916 in New York City at the Frederick Keppel and Company gallery. He was given the exhibition by Carl Zigrosser, later the first Curator of Prints and Drawings at the Museum of Modern Art. Horter was back in Philadelphia in 1917, where he would remain until his death in 1940. He worked there as an art director for the N. W. Ayer advertising firm from 1917–23. Horter was a member of the Society of Illustrators. He exhibited at the Pan American Exposition in 1915 in San Francisco, California; the Art Institute of Chicago, Illinois; and the Philadelphia Print Club's National Exhibition of Prints; as well as Corcoran Gallery biennials from 1935–39, in Washington, D.C. Horter is listed in Mantle Fielding's Dictionary of American Artists, Who Was Who in American Art and Mallett's Index of Artists. Though not a man of extraordinary means, Horter was a lover of modernist art, which he gradually purchased, creating an important collection, well ahead of its time in America, of Cubist and Precisionist works, as well as African sculpture and Native American artifacts. Horter collected include Europeans Picasso, Braque, Duchamp and Brancusi and Americans Charles Sheeler and Arthur B. Carles. He was a friend of Carles, as well as other artists and collectors such as Leopold Stokowski, conductor of the Philadelphia Orchestra; Franklin Watkins; S. S. White; and Carroll Tyson. Horter turned a Philadelphia brownstone into a studio and gallery to house his collection, aided by Paul Cret, the designer of the Barnes Foundation and Rodin Museum. By 1931, Horter would begin selling his collection due to financial need brought about by the Depression. Horter was also a teacher in Philadelphia at the Stella Elkins Tyler School of Art; Graphic Sketch Club (now the Fleisher Art Memorial); and the Philadelphia Museum School of Industrial Art (now the University of the Arts). In 1998, the Philadelphia Museum of Art put on an exhibition, “Mad for Modernism,” Horter and his collection, assembling once again many of the major works of art that comprised the artist's collection. In 1934, the Museum, then called the Pennsylvania Museum, had previously exhibited Horter's collection, though some of the works had already been sold. Several of Horter's prints are in the collection of Georgetown University, in Washington, D.C.
Manhattan, Industry, Coal, 1911, Earl Horter
By Earl Horter
Located in Fairlawn, OH
Coal Pockets and Viaduct, New York (Viaduct at 130th Street, NYC) Etching & Drypoint, 1911 Unsigned Provenance: Estate of the Artist New York Financial Institut...
Etching
$680Sale Price|20% Off
'Woolworth Building Under Construction' — Early 20th Century Modernism
By Earl Horter
Located in Myrtle Beach, SC
Earl Horter, 'The Woolworth Building Under Construction', etching, c. 1912, edition not stated. Signed in pencil. A fine, richly-inked impression, in warm black ink, with selectively...
Etching
Dark House Etching by Earl Horter, American Modern, Signed, 1930s
By Earl Horter
Located in New Orleans, LA
Dark House is a soft-ground etching with aquatint signed in pencil by the artist. This image is in the collection of the Detroit Institute of the Arts Printmaker Earl Horter, born in 1881 in Germantown, Pennsylvania, was known for his realistic etchings and aquatints of urban scenes, though he was also an illustrator and painter. As a teenager, he engraved stock certificates. He was essentially self-taught, though he did take an etching class when he moved to New York City in 1903 to work for an advertising agency. Horter had a one-man show in 1916 in New York City at the Frederick Keppel and Company gallery. He was given the exhibition by Carl Zigrosser, later the first Curator of Prints and Drawings at the Museum of Modern Art. Horter was back in Philadelphia in 1917, where he would remain until his death in 1940. He worked there as art director for the N. W. Ayer advertising firm from 1917-1923. Horter was a member of the Society of Illustrators. He exhibited at the Pan American Exposition in 1915 in San Francisco, California; the Art Institute of Chicago, Illinois; and the Philadelphia Print Club's National Exhibition of Prints; as well as Corcoran Gallery biennials from 1935 to 1939, in Washington, D.C. Horter is listed in "Mantle Fielding's Dictionary of American Artists"; "Who Was Who in American Art"; and Mallett's "Index of Artists". Though not a man of extraordinary means, Horter was a lover of modernist art, which he gradually purchased, creating an important collection, well ahead of its time in America, of Cubist and Precisionist works, as well as African sculpture and Native American artifacts. Artists Horter collected include Europeans Picasso, Braque, Duchamp and Brancusi, and Americans Charles Sheeler and Arthur B. Carles. He was a friend of Carles, as well as other artists and collectors such as Leopold Stokowski, conductor of the Philadelphia Orchestra; Franklin Watkins; S. S. White; and Carroll Tyson...
Etching
$500
Coke Plant, Smelting, Philadelphia Indiustry, 1929-1933, Kopper's Coke Works
By Earl Horter
Located in Fairlawn, OH
Kopper’s Coke (Philadelphia Coke Works, Bridesburg) Etching & Drypoint, c. 1929-1933 Unsigned Provenance: Estate of the Artist New York Financial Institution Th...
Etching
Aircraft Assembly, Liberty V-12 Engine, American Industry, WW 1
By Earl Horter
Located in Fairlawn, OH
Aircraft--Engine Assembly Line (Workers Installing a Liberty V-12 Engine) Etching with Drypoint, c. 1917-1920 Unsigned Provenance: Estate of the Artist New York...
Etching
New York, Skyline, Financial District, Boats, New York Waterfront
By Earl Horter
Located in Fairlawn, OH
New York Waterfront and Skyline (also recorded as N.Y. Waterfront & Skyline and View of the New York Waterfront) Etching, 1930-1935 Unsigned Provenance: Estate of the Artist ...
Etching
Autocar Truck Assembly, 1929, Workmen, American Industry
By Earl Horter
Located in Fairlawn, OH
Machinists with Truck Engines (Autocar Truck Assembly Line) Etching with Drypoint, c. 1929 Unsigned Provenance: Estate of the Artist New York Financial Institu...
Etching
Earl Horter, (European Fountain)
By Earl Horter
Located in New York, NY
Signed in pencil. A European town square with fountain and tower.
Etching
Oil Refinery, American Energy, Trucks, 1931 Petroleum Workers
By Earl Horter
Located in Fairlawn, OH
Oil Refinery Etching & Drypoint, c. 1931 Unsigned Provenance: Estate of the Artist New York Financial Institution The etching appears to show a petroleum bulk-s...
Etching
CHURCH IN SNOW
By Earl Horter
Located in Portland, ME
Horter, Earl (American, 1881-1940). UNTITLED (CHURCH IN SNOW). Etching and aquatint, not dated. Signed in pencil, lower right. 6 1/4 x 5 inches (plate), 11 x 8 5/8 inches (sheet). An...
Etching, Aquatint
In the Harbor
By Earl Horter
Located in Wiscasset, ME
Born in Germantown, Pennsylvania, Earl Horter was a self-taught artist who began his career working in New York City as a draftsman at an advertising agenc...
Aquatint
NEW YORK CITYSCAPE
By Earl Horter
Located in Portland, ME
Horter, Earl. NEW YORK CITYSCAPE. Etching, not dated. Edition size not known. Printed on heavy laid paper, and signed in pencil. 6 1/2 x 6 1/8 inche...
Etching
$7,200
H 5.19 in W 7.13 in
'Two Boys On A Beach, No. 1' — Erotic Realist Masterwork, Signed Etching
By Paul Cadmus
Located in Myrtle Beach, SC
Paul Cadmus, 'Two Boys On A Beach, No. 1', etching, 1938, edition 75, Johnson & Miller 85. Signed in pencil and initialed in the plate in the lower right image corner. Annotated ...
Etching
RUNNING THE RAPIDS
By Frank Benson
Located in Portland, ME
Benson, Frank. RUNNING THE RAPIDS. Paff 269. Etching, 1927. Edition of 150. Signed in pencil. Printed on Whatman paper. 5 7/8 x 7 3/4 inches (plate), 8 1/2 x 10 5/8 inches (sheet). A...
Etching
Huc- Mazelet Luquiens “Samoans at Kewalo (Oahu)
By Huc-Mazelet Luquiens
Located in San Francisco, CA
Huc Mazelet Luquiens: 1881-1961. Well listed American print maker who spent most of his life in Hawaii. His fabulous etchings were of all different parts of Hawaii. He has had aucti...
Etching
$900
H 11.88 in W 17.88 in
John Taylor Arms, Battle Wagon, 1943, World War II nautical American Navy ship
By John Taylor Arms
Located in New York, NY
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...
Etching
$750
H 20.75 in W 11.75 in D 1 in
Etching and aquatint of Wall Street, New York, 1920s
By Max Pollak
Located in Colfax, CA
Etching and aquatint of Wall Street, New York circa 1928 by Max Pollak. Painter and printmaker Max Pollak, (1886-1970), was born in Prague, Czechoslovakia and was raised in Vienna, A...
Etching, Aquatint
Flying Concellos
By Reginald Marsh
Located in New York, NY
Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excel...
Etching
Tatoo-Shave-Haircut
By Reginald Marsh
Located in New York, NY
Reginald Marsh (1898-1934), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (“Tattoo-Haircut-Shave”), dedicated (“for Arnold Newman”), and annotated (“Fourth State. First of Two Prints”). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression; we have not seen impressions of comparable quality on the market. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears that Marsh took special care in printing this impression for Newman. Sasowsky calls for 10 states of Tattoo-Shave, based largely on Marsh’s notes. But the states are not clearly delineated (e.g., his States 3 and 4, one proof each, are characterized by Marsh as “Engraving added”; no information is given for State 5). The design for the print was complete in the first state, and subsequent state changes were not, apparently, major. This impression does not appear to differ in etching lines from the final state impression shown in Sasowsky. Its inscription (as a Fourth State, by Marsh), as well as its rich inking and quality, attest to its being a proof before the edition (of about 34 impressions), but the state of this print (and, presumably of many of the other several proof impressions) cannot at this time be stated with confidence. Marsh printed this impression personally (we recall his famous answer to a question about the size of his editions: “Since I do practically all my own printing, I do not limit the edition. The buyer limits the edition – he rarely buys, I rarely print”). Tattoo-Shave-Haircut depicts a scene in the Bowery, a section of New York’s Lower East Side, during the Great Depression. The building and train structures in the top half of the print recall Piranesi’s Carceri...
Etching
Gene Kloss “ Hunters in the snow”
By Gene Kloss
Located in San Francisco, CA
Gene Kloss: 1903-1996. Well listed and very important female American artist. She has Auction results up to $34,000 for an etching. She was born in Oakland California and died in Taos New Mexico, where she did a lot of her work. This fabulous etching is titled hunters in the snow...
Etching
$2,000
H 6.94 in W 5.1 in
Low Country (South Carolina) Etching, American Modern, Signed, 72/100
By Elizabeth Verner
Located in Middletown, NY
An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...
Drypoint, Etching
Irving Place Burlesk
By Reginald Marsh
Located in New York, NY
Reginald Marsh (1898-1954), Irving Place Burlesk, etching, 1929, signed in pencil lower right and numbered (18) lower left. Reference: Sasowsky 75, third state (of 3). In very good c...
Etching
Walter Ronald Locke Chinaberry Tree, Florida
Located in San Francisco, CA
Walter Ronald Locke: 1883-1949. Well, listed American artist mostly known as a print maker. He lived in Tarpon Springs Florida and used all of Florida to inspire him in his etchings....
Etching
Sea Outlook, American Realist Etching by John Beerman
By John Beerman
Located in Long Island City, NY
John Beerman, American (1958 -) - Sea Outlook, Year: 1985, Medium: Etching, signed and numbered in pencil, Edition: AP 4/5, Image Size: 7 x 9 inches, Size: 15 x 15 in. (38.1 x 3...
Etching
$640Sale Price|20% Off
H 24 in W 16 in D 0.25 in
The British Evacuate Boston - 1932 Etching on Paper
Located in Soquel, CA
The British Evacuate Boston - 1932 Etching on Paper by Allen Lewis. From the portfolio "The Bicentennial Pageant of George Washington." In this piece George Washington is front and ...
Laid Paper, Etching
$2,680
H 20 in W 22 in
20th century drypoint etching figurative animal print black and white signed
By John Edward Costigan
Located in Milwaukee, WI
"Boy With Cows" is an original drypoint etching by John Edward Costigan. It depicts a young boy with three cows standing in a watering hole. The artist si...
Drypoint, Etching
Merry-Go-Round
By Reginald Marsh
Located in New York, NY
Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left, [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and only one or two of the prior states), and considered only 10 of the 15 valuable. His notation “Forty Proofs” is therefore surely an expression of a hoped-for edition size, as opposed to an actual edition size. We have found this quite often the case with Marsh prints – he indicates an edition size but the actual number of impressions printed is considerably smaller. There is an eerie, almost ominous note in this, as in several of Marsh’s merry-go-round prints...
Engraving, Etching
Across the Potomac
By Earl Horter
Located in Fairlawn, OH
Signed and titled in pencil Soft ground etching Annotated: “Imp” for impression printed by the artist Note: The Washington Monument in the distance Provenance: New York Corporate Art...
Etching
Lower Manhattan
By Earl Horter
Located in Plano, TX
Lower Manhattan. c. 1925. Etching and drypoint. 11 1/4 x 8 1/2 (sheet 12 1/2 x 9 5/8). A rich impression printed with plate tone on cream wove paper. ...
Etching
Old Chinatown (New York)
By Earl Horter
Located in Plano, TX
Old Chinatown (New York). 1932. Aquatint. 10 x 12 1/4 (sheet 11 5/8 x 13 1/4). A rich impression printed with plate tone on cream wove paper. Unsigned. Housed in a 16 x 20-inch arch...
Etching
Archway, with Newsstand. (France).
By Earl Horter
Located in Plano, TX
5 3/8 x 4 (sheet 8 1/4 x 5 3/8). A rich impression with plate tone printed on cream wove paper. Unsigned. Earl Horter was born in 1881 in Germantown, Pen...
Etching
Dark House (Philadelphia).
By Earl Horter
Located in Plano, TX
c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on countermarked French wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another impression is in the Library of Congress. Housed in a 16 x 20-inch archival mat, suitable for framing. Earl Horter...
Etching, Aquatint
Ponte Fabricio, Rome.
By Earl Horter
Located in Plano, TX
Aquatint printed in colors. 6 1/4 x 5 5/8 (sheet 9 3/4 x 7). A rich, tonal impression printed on cream wove paper. Signed in pencil. Earl Horter was born in 1881 in Germantown, Pe...
Color, Aquatint
Mount Vernon - Rear.
By Earl Horter
Located in Plano, TX
Mount Vernon - Rear. c. 1930. Etching. 8 5/8 x 11 1/2 (sheet 11 1/4 x 15 5/8). Series: Historic Homes of Virginia A fine impression printed on cream wove paper, on the full sheet with deckle edges. Signed in pencil. Earl Horter...
Etching
New York Waterfront
By Earl Horter
Located in Wiscasset, ME
Born in Germantown, Pennsylvania, Earl Horter was a self-taught artist who began his career working in New York City as a draftsman at an advertising agency. Horter became well known...
Etching