Roi Partridge Art

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

John Taylor Arms, 'Downtown, New York', etching with aquatint, 1921, edition 75, Fletcher 108. Signed, dated, and numbered 14/75 in pencil. A superb, finely nuanced impression, in da...

'New York, Central Park', etching, edition 40, c. 1930. Signed in pencil. Titled and numbered '14/40' on the bottom sheet edge, in pencil. Signed in the plate, lower left. A superb, ...

Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...

Etching on watermarked handmade F J Head & Co cream laid paper with a deckle edge, 14 1/8 x 9 1/8 inches (358 x 232 mm); sheet 18 1/8 x 11 inches (461 x 280 mm), full margins. Signed...

The image depicts a restaurant on New York's Mott Street with ornamental iron work on the balconies. There are six figures in the scene in various stages of contrast. Mott Street is considered the unofficial Main Street of New York's Chinatown. Ella Fitzgerald sang it best: “And tell me what street compares with Mott Street in July? Sweet pushcarts gently gliding by.” CFW Mielatz was an early influence on the drypoints and etchings of Martin Lewis. This piece was created in 1906 and it is signed in pencil. It is part of the collection of New York's Metropolitan Museum of Art C.F.W. Mielatz American, 1860-1919 Born in Bredding, Germany in 1864, Mielatz emigrated to the United States as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

“Sky High” is a two-color a la poupee etching, aquatint, and drypoint, created in 2011, in an edition of 50. This impression is inscribed “15/50”. The paper size is 16 x 12 inches, ...

Etching on cream laid paper with a deckle edge and with an unidentified watermark with an "AL" inside an ovoid cartouche with a garter and buckle (likely English 19th century), 9 1/2...

“Metope” is an etching, aquatint, and drypoint, hand colored. Created in 1993 in an edition of 80. This impression is inscribed “43/80” – meaning it is the forty-third impression o...

John Taylor Arms created this superb architectural image of La Colegiata in 1935 in an edition of 153. It is #12 in his Spanish Churches series and is referenced as Fletcher #284. One of the most characteristic examples of transitional Romanesque architecture in Spain, the church of Santa María la Mayor is inspired by the Cathedral of Zamora, in turn inspired by the Old Cathedral of Salamanca. The tower-dome is usually listed as one of the four most typical in León together with those in the cathedrals of Salamanca, Plasencia and Zamora. The church was begun around 1170, and was finished in the mid-13th century. Two different directors of the work have been identified, according to the different types of stone used (limestone in the old sections, sandstone in the most recent ones), and by the barrel vaults...

Delphinium by Giles Revell This is an Archival Pigment Print available in this size of 50cm x 50cm in a limited edition of 25 prints In Cartographic Colour, Giles Revell reduces th...