John Ross Art

Shiney Red Pomegranate is an original oil painting by Dani Humberstone as part of her series featuring life size realistic oil paintings, with a nod to baroque still life painting. T...

Pocket Very Ripe Strawberry is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings, with a nod to baroque...

'Manhattan Bridge', etching, c. 1920, proofs only. Signed in ink in the image, lower right. A fine, rich impression, in warm black ink, on cream wove ...

HAROLD L. DOOLITTLE (1883 - 1974) MORNING IN YOSEMITE c 1938 Aquatint, signed and titled in pencil by the artist. Plate size 13 3/8 x 9 3/4". Sheet 16 x 11 1/8" with deckle edges. Doolittle was a renaissance man. His day job was as an engineer for the Edison Electric Co. But he produced an outstanding body of prints for 5 decades as well as photographs. His very rare arts and crafts furniture is highly sought after. He was a long time member and officer in the California Print...

Mul, Bul Dang & Sentimentality A.R. Penck, German (1939–2017) Date: 1988 Woodblock, signed and numbered in pencil Edition of 300 Size: 35 in. x 27 in. (88.9 cm x 68.58 cm)

Anton Schutz, 'Chicago Harbor', etching, edition 100, c. 1927. Signed and numbered '87/100' in pencil. Annotated '580 Chicago Harbor', in another hand, in the bottom left margin. A f...

John Taylor Arms, 'Limoges (French Church Series #32)', etching, 1932, edition 142, third (final) state impressions, Fletcher 244. Signed, dated, and annotated 'Ed 100 III' in pencil. A superb, finely detailed impression, in warm black ink, on antique, pale gray laid paper, with full margins (1 1/16 to 1 1/2 inches); adhesive stains in the bottom left and right sheet corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. A view of Limoges, France and the Saint-Martial Bridge from the far side of the Vienne river. According to Fletcher, author of the catalogue raisonné on the artist's graphic work, this etching is among the artist’s preferred plates. Published references: "An Appreciation to John Taylor Arms 1887-1953", in PRINT, Vol. VIII #5 P. viii, Feb.-March 1954. Impressions of this print are in the permanent collections of the Davis Museum at Wellesley College, National Gallery of Art, Saint John’s University, Smithsonian Institution, and Wake Forest University. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

REYNOLD WEIDENAAR (1915 - 1985) TEN O'CLOCK IN TAXCO 1946 Etching and aquatint on paper Edition: An artist proof (#2) apart from an edition of unknown size Signed and titled in pencil. Image: 17" x 13"; Sheet: 19.75" x 15.75”. One of a pair of large format Mexican etchings...

Anton Schutz, 'Cleveland Public Square', etching, edition not stated, 1927. Signed in pencil. Signed and dated in the plate, lower left. Annotated 'Cleveland Public Square S489', in another hand, in the bottom right margin. A fine, richly-inked impression, in brown/black ink, with skillfully-controlled plate tone, on cream wove Japan paper; the full sheet with margins (1 5/8 to 3 inches), in excellent condition. Archivally sleeved, unmatted. Image size 11 7/8 x 8 7/8 inches; sheet size 17 1/4 x 12 1/8 inches. ABOUT THIS IMAGE 'Public Square' is the two-block (formerly four-block) central plaza of downtown Cleveland, Ohio. Based on an 18th-century New England model, it was part of the original 1796 town plan overseen by Moses Cleveland and remains today as an integral part of the city's center. The 10-acre (4.0 ha) square is centered on the former intersection of Superior Avenue and Ontario Street.[2] Cleveland's three tallest buildings, Key Tower, 200 Public Square, and the Terminal Tower, face the square. Public Square was part of the Connecticut Land Company's original plan for the city, overseen by Moses Cleveland in the 1790s. The square is signature of the layout for early New England towns, which Cleveland was modeled after. While it initially served as a common pasture for settlers' animals, less than a century later in 1879 Public Square became the first street in the world to be lit with electric street lights—arc lamps designed by Cleveland native Charles F. Brush. The square was added to the National Register of Historic Places on December 18, 1975. Public Square is often the site of political rallies and civic functions, including a free annual Independence Day concert by the Cleveland Orchestra...

JOHN TAYLOR ARMS (1887 – 1953) LIGHT AND SHADE TAXCO, 1946 (F. 394: (#2 from the Mexican series.) Etching and aquatint signed and dated in pencil. Image 10 ½ x 13 5/8, sheet 14 1/...

Anton Schutz, 'Heart of San Francisco', etching, c. 1927, edition not stated. Signed in pencil. A superb, richly-inked impression, on cream wove paper; the full sheet with margins (2...