Antique 1930s Leon A Makielski Huron River Landscape Signed Etching 23"

A beautiful hand colored lithograph print by Lonnie C. Blackley, Jr, showing a large, red, dilapidated barn and silo in a country farmhouse landscape Pencil signed and numbered 17/2...

"Vintage 1975 Ukrainian black and white etching, titled “Morning” showing a sunrise on a country road lined with power lines and a small farmhouse / farm building with a tall tower a...

Mid century oval color etching by Luigi Kasimir titled Winter Landscape 3. Circa 1950s. Luigi Kasimir (1881 - 1962, Austro-Hungarian) Luigi Kasimir was born in 1881 at Pettau, toda...

"Antique cityscape print “From an Etching by Frank Brangwyn, R.A. A.D. 1922 by The architectural Press. “Frank Brangwyn was born in 1867 in Bruges, Belgium. His family moved back to London in 1875 where he attended school until 1879, when he left as much out of boredom as necessity. His father worked as an architect, muralist, and in other arts-related crafts. Frank helped around the studio and continued his own artistic education by copying drawings at what was to become the Victoria and Albert Museum. His abilities attracted the notice of more established artists and at the age of 15 he was working for William Morris getting rudimentary training and preparing designs for many aspects of Morris' Arts and Crafts output. In 1885, with nothing much more than youthful enthusiasm, he submitted a painting to the Royal Academy Summer Exhibition and was accepted - at the age of 17. Spurred by this success he rented a studio and began a period of productive poverty. With little money, his early work revolved around the sea where traditional subjects for British art were moored and made docile models. This is considered his """"""""grey"""""""" period and the limited palette may be due as much to limited funds as to artistic intent. His 1890 canvas, """"""""Funeral At Sea"""""""" is typical of this period and won a Gold Medal at the 1891 Paris Salon. The young artist was making waves. In 1888, he worked on a freighter for passage to the Near East of Istanbul and the Black Sea. Orientalism was a major force in European art at the time and Brangwyn was as seduced as many artists were with the colors and light of the Mediterranean and African coasts. These trips brought a new palette to his work and something new to British art. The Buccaneers, at right, is from 1892 and the difference between it and his """"""""grey"""""""" period is dramatic. Just as we have movie critics today, art critics proliferated during the 19th century. Walter Shaw Sparrow, in his excellent """"""""Frank Brangwyn and His Work"""""""", devotes several chapters to the reaction of these critics to Brangwyn's art. Opinions were as varied as the two styles shown here, but what is most interesting is the degree of attention being paid to the work of a self-taught 25-year old. Whatever their views of his work, he was not being taken lightly. Not surprisingly, the bright hues and intense light of his new style were not appreciated by the establishment. To put his work in historic perspective, this was a period of Impressionism, Art Nouveau, and the Munich and Vienna Secessions. In British art, Sargent, Whistler, Waterhouse and Draper were popular. Lord Leighton, Burne-Jones and Alma-Tadema were still active. Brangwyn was following none of these men and the critics were at a loss as to how to pigeonhole him. The continental critics in France, Munich and Vienna had no such trouble. He was seen as a most modern and successful artist from the beginning. For his part, Brangwyn followed his own muse and in doing so found himself at the vanguard of the art world. In 1892 he began working as the designer for the new art magazine, """"""""The Graphic"""""""". In 1895 he was asked to paint murals for the notorious gallery, L'Art Nouveau, in Paris. He won medals for his work in Munich and Paris. At the age of 30, while Britain puzzled over how to evaluate his work, the rest of the world viewed him as the definition of modern British art. He illustrated books: """"""""Don Quixote...

Vintage framed etching titled “Pioneer Lady” 2nd Edition, number 17/250, pencil signed Marta. Measures: 16.5” x 0.75” x 18.5” / Sans Frame - ...

Set of five late 19th century colored Italian architectural etchings from the folio “Gli Stili Nella Forma e Nel Colore – Dalle origini al...

Vintage circa 1930's etching on paper by Charles T. Bowling (1891 - 1985) Texas. He was active in the pre-World War II group of Regionalist artists known as the Dallas Nine. Signed...

Louis Icart (1888-1950). Etching on paper. Women and Buddha. 1930s. Visible dimensions: 56 x 44 cm. Total dimensions: 63 x 52 cm. The frame measures: 1.5 cm. In excellent conditi...

Vintage circa 1930's dry point etching on paper by Charles T. Bowling (1891 - 1985) Texas. He was active in the pre-World War II group of Regionalist artist...

Louis Icart (1888-1950). Etching on paper. Young woman with cockatoo. 1930s. The paper measures: 45 x 34 cm. Overall dimensions: 48.5 x 38.5 cm. The frame measures: 3.8 cm. In ex...

Etching of Rolandseck and the Rhine river, Germany. Rolandseck is a borough of Remagen in Rhineland-Palatinate. Etching signed, artists unknown. Published ...

Large Maxfield Parrish Landscape Print “Homestead By River”, Framed, C1930 Measures - 29.25"H x 25.25"W x 1.75"D