Kerr Eby, N.A. Art
American, 1890-1946
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. Returning to that country when he was three, Eby grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. Harold Kerr Eby was born to Canadian Methodist missionaries in Tokyo, Japan, on October 19, 1889. At the age of three his family moved to Vancouver, B.C. and by the time he was twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge. He worked as a 'printer's devil' on the Bracebridge paper, and at fifteen he took his savings and moved to New York with the dream of becoming an artist
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League.. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, life became desperate for the young artist. Starving and feeling defeated, he left in the spring for home in Canada and was employed by a surveying party in Northern Ontario. While in this northern wilderness, Eby regained his dream of becoming an artist, and in his spare time he started to draw his surroundings.
By fall he had saved enough money to return to New York. He attended night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through study and practice, Eby refined both his drawing and printing techniques. Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr Eby's work can be found in these collections of the Library of Congress, The Fine Arts Museums of San Francisco, Harvard Art Museums, New York Public Library, Navy Art Collection.to
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Artist: Kerr Eby
Kerr Eby, Lobster Fleet
By Kerr Eby
Located in New York, NY
Although the title 'Lobster Fleet' calls to mind numerous vessels at sea in a single spot (and there's a group in the distance), in fact the print features a lone fisherman in a smal...
Category
1930s Ashcan School Kerr Eby, N.A. Art
Materials
Etching
The Whale's Back [Connecticut]
By Kerr Eby
Located in Storrs, CT
The Whales Back. 1925. Etching. Giardina catalog 95 stateiii. Image: 6 1/2 x 12 (sheet 10 x 16). Trial proof, prior to the edition of 90. Illustrated in Fine Prints of the Year, 1927. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby.
The scene is probably Westport or Cos Cob, Connecticut.
The scene is probably Westport or Cos Cob, Connecticut.
Kerr Eby...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
![The Whale's Back [Connecticut]](https://a.1stdibscdn.com/kerr-eby-prints-works-on-paper-the-whales-back-connecticut-for-sale/a_3352/a_115476821673484515318/whalesbackeimage3_master.jpg?width=240 "Kerr Eby - The Whale's Back [Connecticut]")
Little Hall's Island.
By Kerr Eby
Located in Storrs, CT
Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in a 16 x 20-inch archival mat.
Eby was an Associate of the National Academy NA (1930); National Academy of Design (1934); Society of American Etchers; Chicago Society of Etchers; Philadelphia Society of Etchers; National Institute of Arts and Letters. Kerr...
Category
Mid-20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
Snow on the Aspetuck.
By Kerr Eby
Located in Storrs, CT
Snow on the Aspetuck. 1927. Etching. Giardina catalog 109 state iii. Image: 6 1/16 x 10 7/8 (sheet 9 x 13 3/4). Trial proof, apart from the edition of 90. A rich impression with plate tone printed on cream-laid paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby
Kerr Eby is one of the great 20th-century printmakers, heralded for his use of negative space and plate tone. His plates usually held a combination of drypoint and etched lines, resulting in an interplay of strong lines and delicate details. His landscapes are just as telling of his talents and skilled hand. They speak to his ability to edit, as he would enlist only one or two lines to do the work of many- letting the almost unmarked plate...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
The Cow Shed
By Kerr Eby
Located in Storrs, CT
The Cow Shed. 1946. Etching, aquatint, and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. Tape marks at the margin edges, well away from the image. A rich impression printed on cream wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in an 18 3/4 x 24-inch archival mat, suitable for framing.
Eby is known for his stark and lovely landscapes of Connecticut in the winter. He first got to know Connecticut when he spent several summers at the artist’s colony at Cos Cob immediately before the First World War. There he became friends with the American Impressionist artist Childe Hassam, who was almost thirty years older than Eby. Eby and Hassam had a close working relationship, with the younger artist providing the older artist with technical advice on etching and the use of his etching press.
Following the War, Eby married Frances Sheldon, whom he had met in Cos Cob, and the couple eventually settled in a pre-Revolutionary War saltbox...
Category
Mid-20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
Burns Brothers, Sutton Place
By Kerr Eby
Located in Storrs, CT
Burns Brothers, Sutton Place. 1922. Etching. Giardina catalog 90 state iv. 12 1/4 x 8 3/4 (sheet 16 x 12). Edition 50. A rich, tonal impression printed on...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
Shipping
By Kerr Eby
Located in Myrtle Beach, SC
Kerr Eby 'Shipping' also 'Shipping, Connecticut', etching and sandpaper ground, 1932, edition 100, Giardina 171. Signed in pencil and titled 'Shipping' in the bottom left sheet edge. A superb, atmospheric impression, with skillfully controlled plate tone, on heavy, cream wove paper; the full sheet with wide margins (2 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed.
Image size 8 3/8 x 17 1/4 inches (316 x 176 mm); sheet size 13 7/16 x 8 3/8 inches (341 x 213 mm).
The scene depicted was on the Connecticut coast...
Category
1940s American Impressionist Kerr Eby, N.A. Art
Materials
Etching
Hungerford Bridge, London
By Kerr Eby
Located in Myrtle Beach, SC
Kerr Eby 'Hungerford Bridge, London', etching and sandpaper ground, 1929, edition 90, Giardina 144. Signed, titled, and annotated 'Ed 90' in pencil. Signed again in the bottom right sheet corner. A fine, atmospheric impression, with delicate plate tone, on cream wove paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. Matted to museum standards, unframed.
Hungerford Foot Bridge spans the River Thames in London, between Westminster Bridge and Waterloo Bridge. Eby visited Great Britain and France during 1924 and 1925.
Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Arizona State University, Boston Public Library, Davison Art Center (Wesleyan University), Herbert F, Johnson Museum of Art, Huntington Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, Montgomery Museum of Fine Arts, National Museum of American Art, New York Public Library, Smithsonian Museum of American Art.
ABOUT THE ARTIST
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques.
In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions.
With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...
Category
1920s Impressionist Kerr Eby, N.A. Art
Materials
Etching
September 13, 1918. St. Mihiel [The Great Black Cloud].
By Kerr Eby
Located in Storrs, CT
September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina catalog 182 state iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Mixed Media, Etching, Aquatint
![September 13, 1918. St. Mihiel [The Great Black Cloud].](https://a.1stdibscdn.com/kerr-eby-prints-works-on-paper-september-13-1918-st-mihiel-the-great-black-cloud-for-sale/a_3352/a_21952631539994301131/september_framebdibs_master.JPG?width=240 "Kerr Eby - September 13, 1918. St. Mihiel [The Great Black Cloud].")
"The Caissons Go Rolling Along".
By Kerr Eby
Located in Storrs, CT
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A ri...
Category
1920s American Modern Kerr Eby, N.A. Art
Materials
Drypoint, Etching
Open Action.
By Kerr Eby
Located in Storrs, CT
Published edition, not trial proof
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. A rich, tonal impressi...
Category
1920s American Modern Kerr Eby, N.A. Art
Materials
Etching
Machine Guns
By Kerr Eby
Located in Storrs, CT
Machine Guns. 1921-22. Etching. Giardina 64 state ii. 7 x 11 1/2 (sheet 9 3/8 x 13 3/4). Published state from the edition of 75. Toning in the image area; ...
Category
1920s American Modern Kerr Eby, N.A. Art
Materials
Drypoint, Etching
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Previously Available Items
Snow Fields
By Kerr Eby
Located in Storrs, CT
Snow Fields. 1924. Etching. Giardina 92. 7 1/2 x 12 3/4 (sheet 9 3/4 x 14 7/8). Edition 90-100. A rich impression with plate tone printed on cream-laid paper. Illustrated: Flint, Contemporary American Prints, 1931; Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby.
The scene is probably Westport or Cos Cob, Connecticut.
Kerr Eby is one of the great 20th-century printmakers, heralded for his use of negative space and plate tone. His plates usually held a combination of drypoint and etched lines, resulting in an interplay of strong lines and delicate details. His landscapes are just as telling of his talents and skilled hand. They speak to his ability to edit, as he would enlist only one or two lines to do the work of many- letting the almost unmarked plate...
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Early 20th Century American Modern Kerr Eby, N.A. Art
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Polo, Plate B.
By Kerr Eby
Located in Storrs, CT
Polo Plate B. 1927. Aquatint. Giardina 113. 8 5/8 in. x 15 9/16 (sheet 12 3/4 x 19 1/8) . Edition of 90. Published state. A barely-noticeable 1/8-inch abr...
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Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
White Tails in the Morning
By Kerr Eby
Located in Storrs, CT
White Tails in the Morning. 1935. Etching. Giardina catalog 183. state i. 8 1/4 x 12 1/2 (sheet 10 5/8 x 14 7/8). Edition approximately 100. Mat line; otherwise in good condition. A fine impression with subtle plate tone, printed by the artist on cream wove paper. Signed and annotated 'imp' in pencil. where the artist lived. Housed in a 16 x 20-inch archival mat. The scene is probably near the artist's farmhouse in Westport, Connecticut.
Kerr Eby...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
Oaks in Windsor Park
By Kerr Eby
Located in New Orleans, LA
Kerr Eby's "Oaks in Windsor Park" is a 1927 etching on laid paper, with margins. It is signed in pencil.
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. He grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. As a boy he worked as a printer’s apprentice in a newspaper office which may have encouraged his interest in printing as an artistic medium.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists’ colony founded by them at Cos Cob, Connecticut
When the U.S. entered World War I in 1917, Eby, too, became involved. After unsuccessful efforts to obtain a commission as an artist, he enlisted and ultimately was assigned to the 40th Engineers, Artillery Brigade, Camouflage Division, which was sent to the war front where the Division helped to protect the troops. Eby saw much battle action, especially in northeastern France, including at Belleau Wood and Meuse-Argonne, and in 1918, he participated in the battles of Château-Thierry and Saint-Mihiel, which were instrumental in preventing the Germans from advancing on Paris. In addition to his work as a camoufleur, he also made drawings of the images he witnessed on the battlefield. In 1936, concerned about the unstable world situation that would soon lead to World War II, Eby published his book "War" (Yale University Press, New Haven) which illustrated 28 prints and drawings he had made during his experience in World War I and which included an essay outlining his abhorrence of war and his opinion of its futility and barbarity. Although he was himself too old to serve during the Second World War, he served as a correspondent in the Pacific in the combat artist program developed by Abbott Laboratories (which was instrumental in the development of plasma and hired artists to depict its use in the war). Eby again drew images of soldiers, and in November 1943, he went ashore with the U.S. invading force in Tarawa, one of the most brutal battles in the history of the Marines. He again witnessed much death and, again, recorded his experience in numerous prints and drawings. His friend John Taylor Arms, in a moving tribute to Eby written shortly after his death in 1946, felt that Eby, like the soldiers whose deaths he recorded, had also given his life for the cause, because Eby had contracted a tropical disease while living with the troops for three weeks in a foxhole in the jungles of Bougainville, a condition from which he never recovered and which contributed to his early death.
In creating anti-war works, Eby joined a long line of artists stretching back into antiquity. Of these, Goya’s etchings...
Category
1920s American Modern Kerr Eby, N.A. Art
Materials
Etching
Two Bridges
By Kerr Eby
Located in Myrtle Beach, SC
Kerr Eby 'Two Bridges', etching, 1930, edition 90, Giardina 149. Signed and annotated 'Trial No. 4' in pencil. A fine, atmospheric impression, with selective plate tone, on cream laid paper; the full sheet with margins (1 1/2 to 1 5/8 inches), in excellent condition. A fifth state (final) trial proof, printed by the artist.
The scene depicted is of the east side of Manhattan in the foreground looking across the East River with the Brooklyn Bridge in the middle ground and the Manhattan Bridge in the distance.
Impressions of this work are in the permanent collection of the following institutions: American Academy and Institute of Arts and Letters, Boston Public Library, Herbert F, Johnson Museum of Art, Hood Museum of Art (Dartmouth College), Metropolitan Museum of Art, National Museum of American Art, New York Historical Society, New York Public Library, Palmer Museum of Art (Pennsylvania State University), Smithsonian Museum of American Art, Yale University Art Gallery.
ABOUT THE ARTIST
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. The family returned to Vancouver when Eby was only three, and he grew up studying art encouraged by his parents as his mother was from a family of prominent artists. By age twelve, he had lived in Vancouver, Kingston, Toronto and Bracebridge where he found work as a ‘printer’s devil’ on the local Bracebridge newspaper.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. He enrolled in art classes at Pratt Institute while working for a lithographic firm earning $4.00 a week. His pay barely covered his room and drawing supplies. Within a year, starving and feeling defeated, he returned to Canada and was employed by a surveying party in Northern Ontario. Eby gradually regained his dream of becoming an artist, and in his spare time, he began to draw the surrounding wilderness landscapes. By fall he had returned to New York to attend night classes at the Art Students League while working for another lithographic firm. He spent several more summers surveying in Northern Ontario before he was able to make a living as an illustrator. During this period he formed several friendships with influential artists including John Henry Twachtman and Childe Hassam and joined a summer artists' colony founded by them at Cos Cob, Connecticut. He supported himself by working as a magazine illustrator and at the American Lithographic Company. Through diligent study and practice, Eby refined both his drawing and printmaking techniques.
In 1917, when the United States entered World War I, Eby joined the U.S. Army. Failing to obtain a commission as an artist, he was assigned first to ambulance duty and later as a sergeant in the 40th Engineers in France. He spent most of WWI on the front line as a camouflager of the field artillery ‘big guns”. On his time off duty, he would sketch everything he witnessed, from the explosive big guns and men in action to the dead soldiers in the field. He sent the drawings home each week, and upon his return from the war, they became the basis for his first successful group of etchings. He continued creating his war-related prints throughout the 1920s and '30s as his work became widely exhibited Frederick Keppel, the renowned print dealer and a relative of Eby, became the exclusive agent for many of his print editions.
With another global conflict beginning in the mid-1930s, Eby wanted to show the world the true face of war...
Category
1930s American Impressionist Kerr Eby, N.A. Art
Materials
Etching
Th Last Supper (Macabre World War I image /dead soldiers in a bombed out house)
By Kerr Eby
Located in New Orleans, LA
Kerr Eby captures an interior room of a ruined house with a table surrounded by six dead soldiers in sitting and prone positions. They died where they sat in a log shelter pierced by cannon fire. One holds a bottle. This image is in the permanent collection of The Metropolitan Museum, the Smithsonian Museum of American Art and the Cleveland Museum of Art.
Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. He grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. As a boy he worked as a printer’s apprentice in a newspaper office which may have encouraged his interest in printing as an artistic medium.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists’ colony founded by them at Cos Cob, Connecticut
When the U.S. entered World War I in 1917, Eby, too, became involved. After unsuccessful efforts to obtain a commission as an artist, he enlisted and ultimately was assigned to the 40th Engineers, Artillery Brigade, Camouflage Division, which was sent to the war front where the Division helped to protect the troops. Eby saw much battle action, especially in northeastern France, including at Belleau Wood and Meuse-Argonne, and in 1918, he participated in the battles of Château-Thierry and Saint-Mihiel, which were instrumental in preventing the Germans from advancing on Paris. In addition to his work as a camoufleur, he also made drawings of the images he witnessed on the battlefield. In 1936, concerned about the unstable world situation that would soon lead to World War II, Eby published his book "War" (Yale University Press, New Haven) which illustrated 28 prints and drawings he had made during his experience in World War I and which included an essay outlining his abhorrence of war and his opinion of its futility and barbarity. Although he was himself too old to serve during the Second World War, he served as a correspondent in the Pacific in the combat artist program developed by Abbott Laboratories (which was instrumental in the development of plasma and hired artists to depict its use in the war). Eby again drew images of soldiers, and in November 1943, he went ashore with the U.S. invading force in Tarawa, one of the most brutal battles in the history of the Marines. He again witnessed much death and, again, recorded his experience in numerous prints and drawings. His friend John Taylor Arms, in a moving tribute to Eby written shortly after his death in 1946, felt that Eby, like the soldiers whose deaths he recorded, had also given his life for the cause, because Eby had contracted a tropical disease while living with the troops for three weeks in a foxhole in the jungles of Bougainville, a condition from which he never recovered and which contributed to his early death.
In creating anti-war works, Eby joined a long line of artists stretching back into antiquity. Of these, Goya’s etchings...
Category
1930s American Modern Kerr Eby, N.A. Art
Materials
Etching
St. Ouen, Rouen
By Kerr Eby
Located in New Orleans, LA
Rouen is a city in France, northwest of Paris. This interior scene of its famous cathedral depicts the view down the main aisle. It is #130 in the Giardina catalogue raisonne and is in the collection of the Smithsonian American Art Museum and the Fine Arts Museum of San Francisco. It is referenced in "Kerr Eby, The Complete Prints" by Bernadette Passi, published by M Hausberg, New York 1997.
Kerr Eby was born in 1890 in Tokyo, Japan, the son of Methodist missionaries from Canada. He grew up studying art, which his parents encouraged, as his mother came from a family of prominent artists. As a boy he worked as a printer’s apprentice in a newspaper office which may have encouraged his interest in printing as an artistic medium.
After graduating from high school in 1907, Eby moved to New York City to study art, first at the Pratt Institute, and later at the Art Students League. During this period he formed a number of influential friendships with major artists such as John Henry Twachtman and Childe Hassam and joined a summer artists’ colony founded by them at Cos Cob, Connecticut
When the U.S. entered World War I in 1917, Eby, too, became involved. After unsuccessful efforts to obtain a commission as an artist, he enlisted and ultimately was assigned to the 40th Engineers, Artillery Brigade, Camouflage Division, which was sent to the war front where the Division helped to protect the troops. Eby saw much battle action, especially in northeastern France, including at Belleau Wood and Meuse-Argonne, and in 1918, he participated in the battles of Château-Thierry and Saint-Mihiel, which were instrumental in preventing the Germans from advancing on Paris. In addition to his work as a camoufleur, he also made drawings of the images he witnessed on the battlefield. In 1936, concerned about the unstable world situation that would soon lead to World War II, Eby published his book "War" (Yale University Press, New Haven) which illustrated 28 prints and drawings he had made during his experience in World War I and which included an essay outlining his abhorrence of war and his opinion of its futility and barbarity. Although he was himself too old to serve during the Second World War, he served as a correspondent in the Pacific in the combat artist program developed by Abbott Laboratories (which was instrumental in the development of plasma and hired artists to depict its use in the war). Eby again drew images of soldiers, and in November 1943, he went ashore with the U.S. invading force in Tarawa, one of the most brutal battles in the history of the Marines. He again witnessed much death and, again, recorded his experience in numerous prints and drawings. His friend John Taylor Arms, in a moving tribute to Eby written shortly after his death in 1946, felt that Eby, like the soldiers whose deaths he recorded, had also given his life for the cause, because Eby had contracted a tropical disease while living with the troops for three weeks in a foxhole in the jungles of Bougainville, a condition from which he never recovered and which contributed to his early death.
In creating anti-war works, Eby joined a long line of artists stretching back into antiquity. Of these, Goya’s etchings...
Category
1920s American Modern Kerr Eby, N.A. Art
Materials
Etching
Barrage (Eby parallels WWI soldiers sacrifice with sacrifice of Christ on cross)
By Kerr Eby
Located in New Orleans, LA
Kerr Eby portrays the sacrifice of brave WWI soldiers in France with the sacrifice of Christ on the Cross. This image is a trial proof of the edition and was signed and printed by the artist.
Born to Canadian missionary parents stationed in Japan, Harold Kerr...
Category
1920s American Realist Kerr Eby, N.A. Art
Materials
Drypoint, Etching
ROUGH GOING - (WORLD WAR 1)
By Kerr Eby
Located in Santa Monica, CA
KERR (Harold) EBY (1889 - 1946)
ROUGH GOING, 1919 (Giardina 29). Drypoint, signed with imp. (meaning he printed it) and inscribed in pencil. Edition 60. 11 3/4 x 8 3/8 inches. An early impression with RICH VELVETY DRYPOINT and PLATE TONE. After fighting in WW 1, Eby produced a very fine and important series of prints depicting the war. In very good condition, minor soiling and minute hint of a mat line. A beautiful example of this print!
Serves as the cover illustration for the recent book: Muleskinner - The European War of a Niagara Artilleryman, William Hesler, 2010. Kerr Eby was a member of the National Academy. He was a member of several printmaking societies and his work is held by many museums. He was represented by the legendary Keppel Gallery in NY. $750
Europe, World War 1...
Category
1910s American Realist Kerr Eby, N.A. Art
Materials
Drypoint
Night, High Island, Maine
By Kerr Eby
Located in Storrs, CT
Night, High Island, Maine. 1928. Etching. Giardina 131. state ii/vi 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof of the second state, before cross hatching on the water and shading on the boats and the water, before the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper. Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby, Housed in a 20 x 16-inch archival mat, suitable for framing
High Island is located off the coast of Knox County, Maine.
to the United States unable to regain his full strength. He completed his final drawings for Abbott and two unrelated etchings, but could not complete the etchings that he intended to make from his war pictures...
Category
Mid-20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
The Cow Shed
By Kerr Eby
Located in Storrs, CT
The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. Housed in an 18 3/4 x 24-inch archival mat, suitable for framing.
Eby is known for his stark and lovely landscapes of Connecticut in the winter. He first got to know Connecticut when he spent several summers at the artist’s colony at Cos Cob immediately before the First World War. There he became friends with the American Impressionist artist Childe Hassam, who was almost thirty years older than Eby. Eby and Hassam had a close working relationship, with the younger artist providing the older artist with technical advice on etching and the use of his etching press.
Following the War, Eby married Frances Sheldon, whom he had met in Cos Cob, and the couple eventually settled in a pre-Revolutionary War saltbox house...
Category
Mid-20th Century American Modern Kerr Eby, N.A. Art
Materials
Etching
Moravian Home for Old Ladies
By Kerr Eby
Located in Storrs, CT
Moravian Home for Old Ladies. c. 1919. Pencil drawing. 6 1/2 x 8 1/8. Unsigned; titled 'Moravian Home for Old Ladies' lower right Housed in a 16 c 20-inch archival mat, suitable for framing.
Currently the building is in use at the Priscilla Payne Hurd Campus of the Moravian College in Bethlehem, Pennsylvania.
The Moravian Bell House, erected in 1745, was used first as the Family House. It was used as the Girls' School in 1746-1791. The Bethlehem Female Seminary, which was founded in 1742 in Germantown, Pennsylvania, as the first school for young women in the U.S. The seminary was created by the sixteen-year-old Benigna, Countess von Zinzendorf, the daughter of Count Nikolaus Ludwig Zinzendorf, who was the benefactor of the fledgling Moravian communities in Nazareth and Bethlehem, Pennsylvania. The Female Seminary was incorporated by the Pennsylvania State Legislature in 1863 and became the woman's college, the Moravian Seminary and College for Women in 1913. A full history can be found online at Moravian College.
The bell, still in use, was cast in Bethlehem. The turret had first town clock...
Category
Early 20th Century American Modern Kerr Eby, N.A. Art
Materials
Carbon Pencil
Kerr Eby art for sale on 1stDibs.
Find a wide variety of authentic Kerr Eby art available for sale on 1stDibs. You can also browse by medium to find art by Kerr Eby in etching, drypoint, engraving and more. Much of the original work by this artist or collective was created during the 20th century and is mostly associated with the modern style. Not every interior allows for large Kerr Eby art, so small editions measuring 11 inches across are available. Customers who are interested in this artist might also find the work of Fred Nagler, Louis Conrad Rosenberg, and Gordon Grant. Kerr Eby art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $750 and tops out at $12,000, while the average work can sell for $1,250.