Vintage 1930s Charles Bowling Knurled Trees Dry Point Etching

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...

Circa 1920's etching on paper of Beverly Beeches, England by Alfred Hutty (1877-1954) American. Signed and titled in pencil lower margin, edition of 75. U...

Circa 1920's etching on paper of Heidelberg Germany by Luigi Kasimir (1881–1962) Austria. Signed in pencil lower margin. Unframed, age toning, foxing in margins.

1943 Etching on paper by Dorothy Stauffer (1901-1971). Signed, titled and dated Ed 50 in pencil along lower margin. WPA style titled Cost Plus NAA, scene at ...

Vintage 1967 Maurice R. Bebbs (1891-1985) color aquatint etching on paper. Signed, titled Chickadee, numbered 9/15 artist proof in pencil along lower margin. Unframed, displayed in f...

Woodcut in color on paper of old tree in the mountains foggy day by Elsie Garrett Rice (1869-1923) England/South Africa. Signed E. G. Rice in pencil lower right margin. Unframed, edg...

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...

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...

This vintage poster from the 1930s features a fashionably dressed young mother posing with her son and daughter. The poster may have been given as a gift for the Chinese New Year, as...

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...

Antique circa 1930's pencil signed etching by Leon A. Makielski titled "Huron River," showing a landscape view of the Huron river lined with trees. Beveled wood frame, white mat. "Leon A. Makielski (1885 - 1974) was active/lived in Michigan, Illinois. Leon Makielski is known for Landscape, portrait and still life painting, mural. Leon was born in Morris Run, Pennsylvania in 1885 and grew up in South Bend, Indiana. In the early 1900's he studied at the Art Institute of Chicago where by 1908 he became an instructor and was awarded the Institute's highest honor, the John Quincy Adams Traveling Scholarship. For the next four years Makielski studied in Paris and its environs. He was enrolled in the Academie Julian and the Grand Chaumiere both in Paris. He was a pupil of Henri Martin, Richard Miller, Lucien Simon and R. Menard. He exhibited in the Paris Salons of 1910 and 1911 and spent much of his time painting the countryside around Paris, especially Giverny and Versailles. "Undins's Pool", "Luxembourg Palace" and "Wildflowers, Giverny" are wonderful examples of his work during this period. William Gerdts cites Makielski in Monet's Giverny: "An Impressionist Colony" (Abbeville Press, 1993) as one of the most traditional of the second generation colonists who followed the lead of Theodore Robinson and other first generation Americans at Giverny. Makielski's training might have been earlier influenced by the Hoosier Impressionists active in Chicago during his training there, but the European experience clearly brought forth a style of its own. Makielski returned to South Bend in...

This poster from the 1930s draws from a well known Chinese opera scene. It melds the meticulous detail of traditional Chinese painting with the craft of color lithography. These advertisements, influenced by the Art Deco movement in the west, recall the economic boom of early 20th century Shanghai, an international center of business and trade. Layered with imagery of traditional Chinese life, the poster is nonetheless an advertisement for the modern cigarette industry, with several brands displayed in the top left corner, including Lan Ting, Hong Chun, and Jade Rabbit...