Lucille Lucas Gallery Interior Prints

Chester Cathedral - Drypoint Etching in Ink on Paper Dramatic drypoint etching by J. Alphege Brewer (British, 1881-1946). This composition shows the interior of Chester Cathedral in Brewer's characteristic style - highly detailed and with strong contrast. The scene encompasses the cathedral from floor to ceiling, capturing the immense size of the building. There are several people in the scene which contribute to the sense of scale. Signed by hand "J. Alphege Brewer" in the lower right corner. Titled "Chester Cathedral" in plate, lower left corner. Includes original card with artist's name. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 7.75"W James Alphege Brewer was well known in the early 20th century as a producer of color etchings of European cathedrals and other scenes of church, college, and community. He was born July 24, 1881, in the Kensington section of London, England, the son of Henry W. Brewer, noted artist of historical architecture and prominent convert to the Catholic Church, and the grandson of John Sherren Brewer, Jr., “the brilliant editor of the Calendar of Letters of Henry VIII.” His great uncle was E. Cobham Brewer, the polymath who compiled Brewer’s Dictionary of Phrase and Fable. Among his older siblings were the artist Henry C. Brewer and the organist and writer John Francis Brewer. Brewer attended the Westminster School of Art in London, where his brother Henry also trained. In 1910, he married Florence Emma Lucas, an accomplished painter in oil and watercolor, whose father was the noted landscape artist George Lucas and whose great uncle was David Lucas, the famous engraver for John Constable. Florence's brothers Edwin and George assisted Brewer in the printing of Brewer's etchings. Brewer exhibited at the Royal Academy (RA) and the Royal Institute of Painters in Watercolour (RI), at the Paris Salon of the Académie des Beaux-Arts, and in the shows of the Royal Cambrian Academy (RCA). He became an associate of the Royal Cambrian Academy in 1929 and a full member in the last two years of his life. He was also a member of the Hampstead Society of Artists, the Society of Graphic Art, and the Ealing Arts Club, where he was first Honorary Art Secretary and then Honorary Art Chairman. Most of Brewer's larger etchings were published by Alfred Bell...

Marilyn's Flowers II is an original hand drawn lithograph by Peter Max printed in an edition of 165, using traditional hand lithography techniques on archival paper, 100% acid free. Marilyn's Flowers II is a vibrant multicolor still life depicting an abstract floral arrangement of lush magenta pink blossoms, with warm red centers against a backdrop of brown and orange, with accents of blue, plum brown and black. The warm brown interior setting enhances the floating, freely drawn pop art cosmic flowers...

This is an original 19th century duotone lithograph entitled "Bazaar of the Coppersmiths, Cairo" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publis...

A play on words provides the title for this image -- a circle created out of the deconstructed parts of Singer IV This image is #37 from an edition of only 50, referenced as Firos 78...

Contemporary artist Peter Milton created this etching and engraving entitled "Interiors VI: Soundings" in 1989. The printed image size is 29 7/8 x 23 13/16 and paper size is 36 x 29 inches. This impression is signed, dated, and titled in pencil and inscribed “93/175” – the 93 impression of 175. “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." – T. L. Johnson and A. Shafer Peter Milton was born in Pennsylvania in 1930. He studied for two years at the Virginia Military Institute...

An early 19th century print entitled "Bow Street Office", an illustration (Plate 11) from "The Microcosm of London", published in London in 1808 by R. Acker...

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch...

This is an original 19th century duotone lithograph entitled "The Great Sphinx, Pyramids of Gizeh" by David Roberts, from his Egypt and Nubia volumes of the large folio edition, publ...

This is a framed 18th century Giovanni Battista Piranesi etching entitled: "Veduta interna del Sepocro di Santa Costanza, fabbricat...

This is an original 19th century duotone lithograph entitled "Great Hall at Karnac, Thebes" by David Roberts, from his Egypt and Nubia volumes of the larg...

A grouping of four framed engravings of Hawaii, Tahiti, Tonga and Vancouver Island from the atlas of the official British Admiralty sanctioned journal of Captain Cook's 3rd Voyage entitled "A Voyage to the Pacific Ocean Undertaken by the Command of His Majesty, for Making Discoveries in the Northern Hemisphere", published upon completion of the voyage in London in 1784 by Strahan & Cadell. These engravings were made from drawings by John Webber (1752-1793), who was the artist on Captain James Cook's 3rd and final voyage of discovery. The set of engravings includes: "A Canoe of the Sandwich Islands, the Rowers Masked", Plate 65 in the atlas; "A Dance in Otaheite" (Tahiti), Plate 28; "King of the Friendly Islands" (Tonga), plate 20; "Inside of a House in Nootka Sound" (Canada), plate 42. These engravings are professionally framed in Koa wood, the same wood as was used to make the canoes of the ancient Hawaiians. Koa wood is legendary in Hawaii. Not only is this amazing wood native to Hawaii, but it is known for the deep rich colors and varied grain pattern. Koa has an honored heritage in Hawaii and is highly revered and sacred. The word “koa” means “warrior” in Hawaiian. The warriors of King Kamehameha the Great, created canoes and weapons from a wood plentiful on the Big Island of Hawaii. This wood became synonymous with the warriors themselves, and it became known as koa. These four engravings would make a wonderful grouping for a display of 2, 3 or 4 prints. They may be purchased separately or in groups on 1stDibs. Their listing Reference #'s are: LU117324682432, LU117324682022, LU117324684052 and LU117324684062. A discount is available for a grouping depending on the number of items included. Hawaii was discovered by Captain Cook (1728-1779) during this voyage. Hawaii was originally called The Sandwich Islands in honor of The Earl of Sandwich...

Hand signed and dated intaglio etching in color. 1982 Corner Reflections #2 Jane E. Goldman was born in Dallas, Texas in 1951 and received her Bachelor of Arts degree from Smith College and a Master of Fine Arts from the University of Wisconsin. She is known for her high color floral and nature design painting, printmaking and teaching. Goldman's media include watercolor, oil painting, silkscreen, intaglio print, lithograph, relief, screenprint,. aquatint etching and terrazzo. "Lyrical realism," based on a combination of free association and direct observation, best describes her style. Goldman’s luminous prints reveals the artist’s muse in a graphically novel way. Her work pays homage to 19th-century naturalist and artist John James Audubon. Goldman’s sun-dappled still life compositions, sprays of cut flowers in glass vases and lush flora growing in natural environments frame each setting and cast shadows across opened books that display images from Audubon’s Birds of America. Jane Goldman...