Born in Petersburg, Virginia in 1867, Jerome Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus, he actually anticipated the productions of the Ashcan School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing. He was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative. However, he stayed around for eight years. Like artists of the Ashcan School, Myers went directly to the streets of New York for inspiration. He carried a 9x11 inch sketch pad wherever he went, like a "day and night prowler in and out of the crowds," explained Guy Pène du Bois. By 1895, Myers found a position in the New-York Tribune's art department. Probably because of academic indoctrination, Myers thought it was necessary to travel to Paris. There, he shared a room with Solon Borglum and noted the pathetic ruins of American students who had lingered too long. Myers realized the trip was not really that helpful and returned to America. "I asked myself what Paris could give, and the answer was 'Nothing’" Later in a newspaper article, Myers was extolled as "the only artist of consequence in the United States, possibly, who had no European training." He met the influential art dealer William Macbeth, who agreed to exhibit his art and the painter noted ". . . almost overnight, I had become a professional artist," thanks to this encounter. This led to various exhibitions, including the St. Louis World's Fair in 1904, where his painting Night Concert won a bronze medal. In 1908, Macbeth gave Myers his first one-man show in January, a month before the famous exhibition of Robert Henri's group The Eight. In many respects, the style of Myers paralleled the gritty urban realism of Henri, George Luks, John Sloan, Everett Shinn, Theresa Bernstein and William Glackens. Although Myers was a friend of Henri, he was not part of the group because Henri regarded Myers's art as too sentimental. Sloan thought it was more a question of Myers being roughly the same age as Henri and thus could not have been a disciple. Myers did, however, participate in the "Exhibition of Independent Artists" in 1910, which Henri and his colleagues organized. Then Myers hosted a group in his studio that was to become the American Association of Painters and Sculptors (AAPS), the group responsible for the Armory Show in 1913. Myers, who exhibited two paintings there along with fifteen drawings, was dismayed that the European art in the show attracted the most attention. In addition, the work turned out to be radical modernist-oriented, excluding the contemporary realists entirely. Myers returned to the streets of New York, especially the places where immigrants gathered on the Lower East Side. He noted, when the immigrants "merge here with New York, something happens that gives vibrancy I didn't get in any other place." He also depicted the moment of leisure, for example, at the East River Pier and night concerts in the parks. Myers relished in the outdoor activities of New Yorkers, and at the end of his life, he regretted a new distrusting atmosphere in which people tended to stay more at home: "Something is gone. Something is missing." I say to myself, "It is the warmth of human contact. New Yorkers no longer live in the open." Myers continued to exhibit and win prizes, five at the National Academy of Design. His works are to be found in major American museums.
MOTHER AND CHILD RESTING #1
By Jerome Myers
Located in Portland, ME
Myers, Jerome (American. 1867-1940). MOTHER AND CHILD RESTING #1 Softground etching, not dated. Signed in pencil, lower right and also in the plate. 5 1/4 x 9 3/8 inches (plate), 12 ...
Etching
UNTITLED (STREET SCENE WITH PUSHCART)
By Jerome Myers
Located in Portland, ME
Myers, Jerome. UNTILED (STREET SCENE WITH PUSHCART). Etching with hand-coloring, not dated, but about 1910. Edition of 50. Signed in pencil and numbered 32/50. 7 3/8 x 9 3/4 inches, ...
Etching
Children Playing on The Slide, Ashcan School - Lower East Side
By Jerome Myers
Located in Miami, FL
Immigrant children from New York's Lower East Side are joyfully captured whizzing down on a slide. From the window of a tenement building, a lone adult with child witnesses the foli...
Canvas, Oil
Morning on the East Side
By Jerome Myers
Located in New York, NY
Jerome Myers (1867-1940), Morning on the East Side, c. 1910, colored etching, signed in pencil lower right and annotated “imp.”; numbered and titled (twice) lower left. In very good ...
Color, Etching
At the Show
By Jerome Myers
Located in New York, NY
Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and ...
Drypoint, Etching
Children in Mulberry Street
By Jerome Myers
Located in New York, NY
Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark...
Etching
$5,500
H 24 in W 28 in
The Magician. New York Ashcan School Magic Entertainment Watercolor Painting
Located in Marco Island, FL
A vibrant painting depicting a magician pulling doves from his hat for an enthusiastic audience. It captures a moment of modern city amusement that many artists, from Degas to Picas...
Watercolor, Board
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
$2,833
H 15.36 in W 9.26 in
Paul César Helleu "Study of Women" Etching, Hand-Signed, Art Nouveau
By Paul César Helleu
Located in Eltville am Rhein, DE
Paul César Helleu Vannes 1859 - 1927 Paris "Study of 4 women" Etching on handmade paper Signed in pencil lower left Inscribed lower right with "Unique epreuve, ....." Rare proof prin...
Etching
Winter Tracery (Milford Connecticut)
Located in San Francisco, CA
This artwork titled 'Winter Tracery (Milford Connecticut)" is an original drypoint etching by noted American artist Philip Kappel, 1901-1981. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 9 x 12 inches, framed size is 17.25 x 21.25 inches. Custom framed in a wooden light grey frame, with light grey matting and black color fillet. It is in excellent condition. About the artist: Philip Kappel — painter, illustrator, printer, writer, and lecturer — was born on February 10, 1901 in Hartford, CT and died in 1981. Kappel is best remembered for his landscapes, portraits, figures, marine, lithography, and etching. He held a teaching position with H. B. Snell, Boothbay, ME Studios, 1923 and 1924. His addresses in 1929 were 500 Fifth Avenue in New York City and, for the summer, care of Philip Little, 10 Chestnut Street, Salem, MA; and in 1935, Sarasota, FL. Kappel was a pupil of the Pratt Institute Art School in Brooklyn, NY and Philip Little (1857-1942) and held memberships with the North Shore Artists Association in Gloucester, MA; the Marblehead...
Drypoint, Etching
Indian Friendship Dance
By Gene Kloss
Located in Fairlawn, OH
Indian Friendship Dance Drypoint, 1953 Signed in pencil lower right, (see photo) Edition 200 Published by The Society of American Graphic Artists, New York An impression is in the collection of SAAM, Washington and RISD Museum, Condition: Excellent Very rich impression with burr and selective whiping of the ink for atmospheric nocturnal effect. Image/Plate size: 8 3/16 x 11 15/16 inches Sheet size: 11 1/8 x 17 inches Reference: Kloss 450 "'Indian Friendship Dance' is an eloquent statement of something which Gene Kloss has both observed and participated in. It is an Indian dance that is thought of as entertainment, rather than ceremony, but it is essentially an idea expressed in action, and an idea that has universal meaning. The young men who dance wear costumes of exquisite workmanship, intricately wrought with beads and feathers and subtle combinations of colors. The dancers are trained from childhood but develop their own steps and exhibit distinctive strength and grace. Singers and a tom-tom accompany the dance and since it usually takes place at night, a campfire is the source of light. The conclusion occurs when all the onlookers, old and young and from many places, join hands with the dancers in a slow revolving movement, while those who can, sing the difficult but meaningful Indian song that flows with the rhythmical dance step and speaks of fellowship, brotherhood, friendship." - An excerpt from a descriptive statement, written by Lynd Ward, and distributed with the drypoint at the time of publication." Courtesy Old Print Shop Born Alice Glasier in Oakland, CA, Kloss grew up amid the worldly bustle of the San Francisco Bay Area. She attended the University of California at Berkeley, graduating with honors in art in 1924. She discovered her talents in intaglio printmaking during a senior-year course in figurative drawing. The professor, Perham Nahl, held up a print from Kloss’ first plate, still damp from the printing process, and announced that she was destined to become a printmaker. In 1925, Gene married Phillips Kloss, a poet and composer who became her creative partner for life. The match was uncanny, for in her own way Gene, too, was a poet and a composer. Like poetry, her artworks capture a moment in time; like music, her compositions sing with aesthetic harmony. Although she was largely self-taught, Kloss was a printmaking virtuoso. On their honeymoon the Klosses traveled east from California, camping along the way. They spent two week is Taos Canyon – with a portable printing press cemented to a rock near their campsite – where Gene learned to appreciate the wealth of artistic subject matter in New Mexico. The landscape, the cultures, and the immense sky left an indelible impression on the couple, who returned every summer until they made Taos their permanent home 20 years later. Throughout her life, Kloss etched more than 625 copper plates, producing editions ranging from five to 250 prints. She pulled every print in every edition herself, manually cranking the wheel of her geared Sturges press until she finally purchased a motorized one when she was in her 70s. Believing that subject matter dictated technique, she employed etching, drypoint, aquatint, mezzotint, roulette, softground, and a variety of experimental approaches, often combining several techniques on the same plate. She also produced both oil and watercolor paintings. Kloss’ artworks are filled with drama. Her prints employ striking contrasts of darkness and light, and her subjects are often illuminated by mysterious light sources. Though she was a devout realist, there is also a devout abstraction on Kloss’ work that adds an almost mythical quality. For six decades Kloss documented the cultures of the region-from images of daily life to those of rarely seen ceremonies. She and her husband shared a profound respect for the land and people, which made them welcome among the Native American and Hispanic communities. Kloss never owned a camera but relied instead on observation and recollection. Her works provide an inside look at the cultures she depicted yet at the same time communicate the awe and freshness of an outsider’s perspective. Although Kloss is best known for her images of Native American and Penitente scenes, she found artistic inspiration wherever she was. During the early years of their marriage, when she and Phil returned to the Bay Area each winter to care for their aging families, she created images of the California coast. And when the Klosses moved to southwestern Colorado in 1965, she etched the mining towns and mountainous landscapes around her. In 1970 the Klosses returned to Taos and built a house north of town. Though her artwork continued to grow in popularity, she remained faithful to Taos’ Gallery A, where she insisted that owner Mary Sanchez keep the prices of her work reasonable regardless of its market value. Kloss continued to etch until 1985, when declining health made printmaking too difficult. From her first exhibition at San Francisco’s exclusive Gump’s in 1937 to her 1972 election to full membership in the National Academy of Design, Kloss experienced a selective fame. She received numerous awards, and though she is not as well known as members of the Taos Society of Artists...
Drypoint
$15,769
H 3.68 in W 5.57 in
The Golf Player Etching, Dutch School, Signed, Circa 1650-1659, Framed
By Rembrandt van Rijn
Located in Milwaukee, WI
Framed 18.5 x 20.5 in Etching on Ingres D'arches off-white laid paper, signed and dated Third and final state Posthumous Impression, 1998
Etching
'Two Boys On A Beach, No. 1' — Erotic Realism
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 by t...
Etching
$640Sale Price|20% Off
H 12.5 in W 9.5 in D 0.5 in
"End of Day" Original Limited Edition Etching
Located in Soquel, CA
"End of Day" Original Limited Edition Etching by John McGrath (Irish/American b.1884 d.1942). This etching depicts a man with a tool slung over his shoulder walking along a path th...
Paper, Ink, Drypoint, Etching
$13,775
H 15 in W 10 in
The Raising of Lazarus Etching, Dutch School, Circa 1632, Framed
By Rembrandt van Rijn
Located in Milwaukee, WI
Etching on Ingres D'arches off-white laid paper, with burin, signed Tenth and final state Posthumous Impression, 1998 14.25 x 10 in (36.2 x 25.4 cm) Framed 25.13 x 32 in The Raising...
Etching
'Tree, Manhattan' — Classic American Realism
By Martin Lewis
Located in Myrtle Beach, SC
Martin Lewis, 'Tree, Manhattan', drypoint, 1930, edition 91 (including 10 trial proofs), McCarron 87. Signed in pencil. A superb, atmospheric impression, in warm black ink, on cream...
Drypoint
A Burro Train, New Mexico
By Peter Moran
Located in San Francisco, CA
This artwork titled "A Burro Train, New Mexico" 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163. About the artist: The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer. Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs. In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled "A Harvest with the Taos Indians...
Etching
The Great Draughtsman Sitting (Self-Portrait)
By Jacques Villon
Located in Chicago, IL
This etching is signed and numbered by the artist and was printed in an edition of 50. The references for this work are: Auberty & Perussaux 266 and Ginestet & Pouillon E. 3...
Etching
Sold
H 12.75 in W 15.875 in D 0.5 in
Signed Jerome Myers Engraving of Sleeping Children
By Jerome Myers
Located in New York, NY
Jerome Myers (American, 1867-1940) Untitled (Sleeping Children), c. 1915 Engraving on paper Sight: 6 3/4 x 10 in. Framed: 12 3/4 x 15 7/8 x 1/2 in. Signed lower left and stamped with artist monogram Signed lower right in plate Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ash Can School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush...
Engraving
Sold
H 14 in W 10.13 in
"Street Scene, Paris, France" Jerome Myers, Ashcan School Drawing
By Jerome Myers
Located in New York, NY
Jerome Myers (1867 - 1940) Street Scene, Paris, France, 1914 Black crayon and gray wash on paper on card stock 14 x 10 1/8 inches Signed, titled and dated lower left Provenance: Private Collection, New York Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ashcan School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ashcan School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler...
Crayon, Ink, Cardboard
Sand Circle
By Jerome Myers
Located in New York, NY
Besides being one of the organizers of the famous Armory Show of 1913, Jerome Myers was a wonderful interpreter of New York City life -- it's children included. The charmingly named 'Sand Circle...
Etching
Sold
H 26.5 in W 22.5 in
"East Side Corner, New York City" Jerome Myers Ashcan Cityscape, Market Scene
By Jerome Myers
Located in New York, NY
Jerome Myers (1867 - 1940) East Side Corner, New York City, 1934 Oil on board 20 x 16 inches Signed lower right Provenance: Collection of G. David Thompson, Pittsburgh George David Thompson (1899 – 1965) was an American investment banker, industrialist, and modern art collector, based in Pittsburgh. He started as a banker, but by 1945 was running four steel mills. In 1959 Pittsburgh's Carnegie Museum of Art rejected his offer of over 600 artworks, unwilling to build a gallery bearing his name, and he gradually sold much of his collection, although he left the Carnegie Museum over 100 artworks when he died in 1965. In May 1961, New York's Solomon R. Guggenheim Museum held an exhibition entitled One Hundred Paintings from the G. David Thompson Collection, with works by Cézanne, Monet, Degas, Josef Albers, Braque, Klee, Legér, Matisse, Miró, and Mondrian, with Picasso being the most represented, with 12 works. Born in Petersburg, Virginia in 1867, Myers became an important painter of urban realism, starting with a series of images of ghetto life in 1887, the year he began studying at the Cooper Union. One of his earliest works is Backyard from that year, in a private collection, which already shows a raw, unidealized view of New York City. Thus he actually anticipated the productions of the Ashcan School. Myers continued his studies at the Art Students League where his teacher was George de Forest Brush, the academic painter of idealized Native Americans. Brush's classicism did not rub off on Myers, who had no patience for careful drawing - he was even disturbed by the presence of a studio model, so he completed a series of self-portrait drawings to satisfy the faculty's requirements. For Myers, the academic experience was too imitative, however he stayed around for eight years. Like artists of the Ashcan School, Myers went directly to the streets of New York for inspiration. He carried a 9" x 11" sketch pad wherever he went, like a "day and night prowler...
Oil, Board