Johann Baptist Homann Art

Carte Particuliere Des Costes De Bretagne qui Comprend Morlaix, Saint Paul de Leon, les Sept Isles, et L’Isle. Faite par ordre Exprez Du Roy de France is from the collection of ch...

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...

Lafitte's Blacksmith Shop is a New Orleans landmark at 941 Bourbon St. Like most New Orleans legends, history of Lafitte's Blacksmith Shop is a gumbo of tru...

Artist: Johannes "Jan" Kip (Dutch, 1652/3-1722) Title: "The West Prospect of the Cathedral of York" (Vol. 3, Plate 31) Portfolio: Britannia Illustrata / Le Nouveau Théâtre de la Grande Bretagne Year: 1715-1724 (Third edition) Medium: Original Engraving and Etching on cream laid paper Limited edition: Unknown Printer: Joseph Smith, London, UK Publisher: Joseph Smith, London, UK Reference: "London Illustrated 1604-1850" - Adams No. 22; Crace No. 201; Brunet IV No. 114; Lowndes No. 1277; Lewine page 263-264 Sheet size: 19.25" x 24.19" Image size: 16.75" x 22.5" Condition: With centerfold as issued. Some light toning and foxing mainly in margins, and some light edgewear. Has been professionally stored away for decades. It is otherwise a strong impression in very good condition Rare Notes: Provenance: private collection - Ross-on-Wye, UK. Engraved by Dutch artist Johannes "Jan" Kip (1652/3-1722) after a drawing by Dutch artist Leonard Knyff or Leendert Knijff (1650-1722). Comes from Kip's six volume (including Supplement and 'Atlas Anglois') "Britannia Illustrata" / Le Nouveau Théâtre de la Grande Bretagne", (1724-1728) (Third edition), which consists of 394 engravings and etchings. Printed in one color from one copper plate: black. Biography: Johannes "Jan" Kip (1652/53 in Amsterdam - 1722 in Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses. Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill's "A Collection of Voyages & Travels" (first published 1704). He signed the African scenes in volume V of the 1732 edition as "J. Kip". His most important works were the large fold-out folio illustrations for "Britannia Illustrata", 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, "The Ancient and Present State of Glostershire", 1712 (1st edition); and for "Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne", 1715, an extended reprint in collaboration with other artists. The linked careers of Jan Kip and Leonard Knyff made a specialty of engraved views of English country houses, represented in detail from the bird's-eye view, a pictorial convention for topography. Their major work was "Britannia Illustrata: Or Views of Several of the Queens Palaces, as Also of the Principal seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates", London (1707, published in the winter of 1708–9). The volume is among the most important English topographical publications of the 18th century. Architecture is rendered with care, and the settings of parterres and radiating avenues driven through woods or planted across fields, garden paths, gates and toolsheds are illustrated in detail. The images are staffed with figures and horses, coaches pulling into forecourts, water...

Engraving on cream laid paper, 8 x 5 3/8 inches (203 x 137 mm), trimmed at the platemark. A fine impression with a Coat of Arms watermark. Second state, after the addition of the Frederick de Witt...

Engraving on cream wove paper, 8 x 5 3/8 inches (203 x 137 mm), narrow to thread margins. First state (of 2). A fine impression with archival paper adhered at left top and bottom cor...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

Plan of the Park, Garden and Plantations of Goodwood in Sussex the Seat of his Grace the Duke of Richmond and Lenox &c Copper-line engraving with later hand-colouring by Hendrik Hul...

This impression is #22 Carol Wax originally trained to be a classical musician at the Manhattan School of Music but fell in love with printmaking. Soon after she began engraving mezzotints she was asked by the renowned print dealer Sylvan Cole to exhibit at Associated American Artists Gallery, launching her career as a professional artist/printmaker. With the publication of her book, The Mezzotint: History and Technique, published by Abrams, 1990 and 1996, Carol added author and teacher to her credits. In the ensuing years she has expanded her repertoire of mediums beyond printmaking into other works on paper and painting. In compositions reflecting an appreciation for antiquated machinery and vintage textiles, Wax creates imagery that, in her own words, “… speaks to an inner life perceived in inanimate objects.” She uses stylization and imagination to reinvent subjects, transforming an ordinary typewriter into a monumental icon...

This impression of "Here They Come !" is from the fourth state of eight. There are six known impressions of the fourth state. Edition 150 (final state). It is signed in pencil in the lower left and inscribed "D-1". The image size 13 7/8 x 11 3/4" (34.6 x 28.8 cm) and sheet size 16 3/4 x 14 5/8" (42.8 x 37.1 cm). FRANK W. BENSON (1862-1951) Frank Weston Benson, well known for his American impressionist paintings, also produced an incredible body of prints - etchings, drypoints, and a few lithographs. Born and raised on the North Shore of Massachusetts, Benson, a natural outdoorsman, grew up sailing, fishing, and hunting. From a young age, he was fascinated with drawing and birding – this keen interest continued throughout his life. His first art instruction was with Otto Grundman at the Museum of Fine Arts in Boston, and then in 1883 in Paris at the Academie Julian where he studied the rigorous ‘ecole des beaux arts’ approach to drawing and painting for two years. During the early 1880’s Seymour Haden visited Boston giving a series of lectures on etching. This introduction to the European etching...

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...

'Ile de Philae : Vue de l'edifice de l'est et de plusieurs monuments' (Island of Philae : View of the east building and other monuments) Elephant folio engraving, by Baltard after...