Winifred Austen Art

"Que pico de Oro" (What a Golden Beak) - Etching and Aquatint on Paper 5th or 8th edition print of "Que pico de Oro" from the Los Caprichos with burnished aquatints, drypoints etchi...

Walasse Ting 丁雄泉 Green Cat, 1984 Color etching and aquatint on copper plate, printed on Fabriano Rosaspina paper Pencil signed, numbered 178/230, dated 1984 along with artist's perso...

"Vachere au Bord de L'Eau" is an original etching and aquatint by Camille Pissarro, the 8th state. It can be found in the catalogue raisonne Delteil #93. It features a woman sitting ...

Owl is an original black and white etching realized in 1972 by Leo Guida. Hand-signed and dated by the artist on the lower margin. Edition of 11/30. Includes frame: 80 x 2.5 x 59 ...

Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...

William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...

Signed lower right, 'Arthur B. Davies' for Arthur Bowen Davies (American, 1862-1928) and created circa 1915. An early twentieth-century sugar-lift aquatint showing Zeus in the guise...

Etching, aquatint and drypoint. Not Signed and not Numbered as issued. Edition of 226 pieces. Belongs to the Suite "Histoire Naturelle de Buffon" (plate p. 86). Printed by Lacourièr...

Image dimensions: 19 x 15.5 cm. Hand signed, dated and numbered by the artist with pencil. Artist's proof. Etching, aquatint, black ink. Edition of III prints in Roman Numerals. Go...

Zebras is an original print realized by an anonymous artist in the late 19th century. Black and white lithograph reproducing a pair of zebras, the typical African equines with black...

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192...

Hummingbird 1963 is an original contemporary artwork realized by Marino Marini. Color etching and aquatint Edition of 100 copies. On the back oh the artwork there is an inscription...