William Sharp Landscape Prints

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks for handles. Made during Worl...

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...

'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 ...

John Taylor Arms was known for making such finely drawn etchings that commercial tools were not good enough: He regularly used sewing needles with corks ...

GENE KLOSS (1903 – 1996) TAOS INDIAN JESTERS, 1944 Etching and aquatint, Signed and titled in pencil. Edition 30. Image 11” x 13 7/8”, sheet 13 ¼ x 16 ½”. In very good condition sa...

JOSEPH MARGULIES (1896 - 1984) REFLECTIONS OF GLOUCESTER ca 1940 Aquatint signed in pencil. 8 ½ x 11 ¾”, sheet 10 ½” x 13”. Very good condition, asid...

'Wizard of Wyoming ' , Hand Colored Aquatint Etching with the plate (image itself) 12 x 12 inches. On a larger piece of archival paper at approximately 16 x 16 inches and matted to approximately 19 x 19 inches. . An iconic still life image featuring the crash scene of a lone overturned semi truck...

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...

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...

“Hidden Cities I : The Ministry. Second State.” Contemporary artist Peter Milton created this etching and engraving in 2006. The printed image size is Image size 23.50 x 36.88 inches and the paper size is 31 x 42 inches. This impression is signed, dated, and titled in pencil and inscribed “11/75” – the 11th impression from the total printing of 75. “I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton” “Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul. In addition to a storied career in printmaking, since 2007 Milton has fearlessly produced artwork digitally. He now creates images using Adobe Photoshop in files consisting of more than two thousand layers, which are printed both as digital prints on paper and, for display on Led light boxes...

Beautiful early 20th Century etching on vellum of the Monterey Bonifacio Adobe known as The Old Sherman Rose House, with climbing roses, by Ferdinand Burgdorff (American, (1881 - 197...

HAROLD LUKENS DOOLTTLE (1883 - 1974) WESTERN GRANDEUR c. 1945 Aquatint, signed titled and dedicated. Image 9 ¾ x 13 5/8 inches. Large full sheet with deckle edges 15 ½ x 19 inches...