Antique Dry Point Etching Artist's Proof by M. Ryerson "The Hayden Sonata"

An antique French etching by Jean Charles Millet offers evening cityscape scene with river, bridge and structures, artist signed as photographed...

An antique framed print of "Cathedral from the Place-Haute-Vieille-Tour, Rouen" etching by Mr. Kenneth Conant depicts a street scene, en verso label reads "Reproduced from a pencil sketch by Mr. Kenneth Conant, Collection of Harold W. Bell, Esq. Published by Foster Bros., 4 Park Square, Boston...

Antique Pencil Portrait Drawing of a Seated Man, Framed, 19th C Measures - 19"h x 15"w x 2"d

Antique Presidential Etching “Washington And His Family” Proof, Engraved by Wm. Sartain Philad., Proof Printed by Irwin & Sartain Philad., Framed, c1864 AFTER, Christian Schussele ...

Framed Print, Copy after Corot French Impressionist La Sepia Landscape, 20th C Measures - 23"h x 28"w x 1"d

A vintage limited edition print after Samuel Chamberlain etching titled "The Hospital, Santa Cruz Toledo", lower right pencil numbered 59/100 and lower left artist-signed Samuel Cham...

An emotional etching on Ingres d’Arches off-white laid paper paper titled “The Artist’s Mother with Her Hand on Her Chest” by Rembrandt Van Rijn. Created in 1631. A 20th/21st Century impression printed by Marjorie Van Dyke. From the “Millenium” edition limited to 2500 examples. In this poignant portrait, Rembrandt captures his mother’s careworn face and tender expression as she is found in contemplation, her eyes cast downward. The position of her hand upon her chest suggests the importance of her thoughts and closeness to her heart. The darkly etched dress and veil heighten the drama of the image, and the curve of the veil around and over her face creates an angelic effect, reinforced by the light behind. In 1589, Rembrandt’s mother...

This drawing by Earl Hubbard (1923-2003) was made in 1964. It depicts the artist's father in simplified form and palette. The work is mixed-media on paper...

This 1964 drawing by Earl Hubbard (1923-2003) portrays his mother in a simplified form and black-and-white palette. The work is mixed-media on paper. It c...

A fine French 19th century etching and drypoint Titled "Soirée d'été" (Summer Evening) by Jacques Joseph Tissot (French, 1836-1902) depicting Mrs. Kathleen Newton resting on a lounge chair. Signed and dated (l/l): J.J. Tissot, 1881 in the plate. Under the mat, the front of the sheet inscribed in pencil with a '1' in a circle, the verso of the sheet with old price inscription "450-" in pencil. Circa: 1881-1882. Measures: Plate Height: 9 inches (22.9 cm) Plate Width: 15 1/2 inches (39.4 cm) Sheet Height: 14 1/2 inches (36.8 cm) Sheet Width: 20 5/8 inches (52.4 cm) Frame Height: 19 inches (48.3 cm) Frame Width: 24 1/2 inches (62.2 cm) Frame Depth: 1 1/8 inches (2.9 cm) Literature: Wentworth 56. Note: Tissot's from 1881 is said to depict his lover, the Irish divorcee Mrs. Kathleen Newton, resting on a lounge chair. Provenance: Private collection, Los Angeles, California Jacques Joseph Tissot (French, 15 October 1836 – 8 August 1902), Anglicized as James Tissot, was a French painter and illustrator. He was a successful painter of Paris society before moving to London in 1871. He became famous as a genre painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible. Jacques Tissot was born in the city of Nantes in France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant. His mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissot's mother instilled pious devotion in the future artist from a very young age. Tissot's youth spent in Nantes likely contributed to his frequent depiction of shipping vessels and boats in his later works. The involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted women's clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career. His father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mother's support for his chosen vocation. Around this time, he began using the given name of James. By 1854 he was commonly known as James Tissot; he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art. While staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres. Lamothe provided the majority of Tissot's studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas (who had also been a student of Lamothe and a friend of Delaunay), and Édouard Manet. In 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethe's Faust. These works show the influence in his work of the Belgian painter Henri Leys (Jan August Hendrik Leys), whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter Von Cornelius and Moritz Retzsch. After Tissot had first exhibited at the Salon and before he had been awarded a medal, the French government paid 5,000 francs for his depiction of The Meeting of Faust and Marguerite in 1860, with the painting being exhibited at the Salon the following year, together with a portrait and other paintings. Émile Péreire supplied Tissot's painting Walk in the Snow for the 1862 international exhibition in London; the next year three paintings by Tissot were displayed at the London gallery of Ernest Gambart. In about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high critical acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored Japonisme, including Japanese objects and costumes in his pictures and expressing style influence. Degas painted a portrait of Tissot from these years (Metropolitan Museum of Art, New York), in which he is sitting below a Japanese screen hanging on the wall. Still on Top, 1873 Tissot fought in the Franco-Prussian War as part of the improvised defense of Paris, joining two companies of the Garde Nationale and later as part of the Paris Commune. His 1870 painting La Partie Carrée (The Foursome) evoked the period of the French revolution. Either because of the radical political associations related to the Paris Commune (which he was believed to have joined mostly to protect his own belongings rather than for shared ideology), or because of better opportunities, he left Paris for London in 1871. During this period, Seymour Haden helped him to learn etching techniques. Having already worked as a caricaturist for Thomas Gibson Bowles, the owner of the magazine Vanity Fair, as well as exhibited at the Royal Academy, Tissot arrived with established social and artistic connections in London. Tissot used...

American dry point engraved landscape etching Italian House on Hill Side, Alfred H. Hutty, Early 20th century

Artist proof lithograph by French artist Ludmilla Tcherina which is a drawing of the sculpture that was titled "Europe at Heart". The piece is signed and marked "EA" epreuve d'art...