Scott Prior Art

Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it still stand today at No. 4 Cheyne Walk...

Fragrances et bruillements is a unique oil on canvas painting by contemporary artist Gérard Priault, dimensions are 81 × 100 cm (31.9 × 39.4 in). The artwork is signed, sold unframe...

"Pomme d' Amour" Mid-Century Modern Aquatint embossed Floral "Sept Tomate Original by Anne Walker Mid-Century Modern Aquatint of the Pomme d’amour or ‘Love Apple’ by Anne Walker (Be...

Felix Buhot (1847-1898), L’Hiver a Paris ou La Neige a Paris, 1879, etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Par...

Washington At Pohick Church - 1932 Etching On Paper 1932 black and white etching depicting George Washington at Pohick Church by Ernest David Roth (German, 1879-1964). George Washin...

Here Below IV is a unique oil on wood painting by contemporary artist Joachim van der Vlugt, dimensions are 80 × 80 cm (31.5 × 31.5 in). The artwork is signed, sold unframed and come...

Howard Cook (1901-1980), Soaring New York, aquatint, soft0ground etching, roulette, 1931-2; signed, dated and annotated “imp” in pencil lower right, titled lower margin. Reference: D...

Direct to plate photogravure and aquatint. Edition of 40.

Jean-Emile Laboureur (1877-1943) etching and engraving Paysage au Buttes-Chaumont (2nd Planche), 1920-21, signed and numbered ( 38/55) in pencil. Reference: Sylvain Laboureur 205. In very good condition with wide margins (remains of old hinging on margin verso, some showing through not near image). On white wove paper, 7 7/8 x 9 1/4, the sheet 10 x 13 1/2 inches, archival matting. A fine, fresh and clear impression of this important cubist-influenced scene. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he never officially matriculated there, he became immersed in the Parisian art scene. Laboureur then traveled widely, staying for periods in the US and London, and studying classic art and printmaking in Italy and Germany. Although he had moved back to Paris by 1910, a time when analytical cubism was emerging in the work of Picasso and Braque, he continued working in an abstract, modernist mode, waiting until about 1913 or shortly thereafter to invent a cubist idiom all his own. Cubism remained an important theme for Laboureur, a theme he varied, sometimes using it as a strong design or compositional component, sometimes only as a subtle background element. In Paysage aux Buttes...

William Meyerowitz (1898-1981), Armistice Day, 1918, etching with watercolor. Edition not stated. Signed in pencil. Signed and dated in the plate, lower left. Image size 9 3/4 ...

Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; ...

Theodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed...