Portrait of Charles F.W. Mielatz - Unknown Medium - Vintage Fine Art This is quite a unique piece in which I can not find anything on as far as what type of art medium  More »

Portrait of Charles F.W. Mielatz - Unknown Medium - Vintage Fine Art This is quite a unique piece in which I can not find anything on as far as what type of art medium this is. It has plate marks and I know it's F.W. Mielatz. On April 10,1891 this print (which show plate marks an is an exceptional impression) was elected Secretary & Treasure. __ Executive Board Messrs J.C. Nicoll, Thos Moran And F. S. Church. Sheet measures 1ft by 9 1/8''. Actual plated image is 3 5/8'' by 5.5''. This has some discoloration to the edge s but does not affect the plated image.   « Less

David Deuchar - No More Drinks - Small Vintage Etching Little is known on this piece. The title was written in very small letters on the back of the small print. This has  More »

David Deuchar - No More Drinks - Small Vintage Etching Little is known on this piece. The title was written in very small letters on the back of the small print. This has no text on verso and bears the heavy plate marks. Sheet size is 3 5/8'' by 3 7/8''.   « Less

Frank Short Turner “Rhrenbreitstein to Coblenz” Mezzotint Joseph Mallord William Turner RA (April 23, 1775 — December 19, 1851) was an English  More »

Frank Short Turner “Rhrenbreitstein to Coblenz” Mezzotint Joseph Mallord William Turner RA (April 23, 1775 — December 19, 1851) was an English Romantic landscape painter, water colorist and printmaker. Turner was considered a controversial figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivaling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolor landscape painting. He is commonly known as “the painter of light” and his work regarded as a Romantic preface to impressionism. Frank Short (1857—1945) had a major influence on his contemporaries and pupils at the Royal College of Art. His pupils there included Martin Hardie, etcher, watercolorist, author and scholar. Short revived the techniques of mezzotint and aquatint; he had a wide knowledge and skill in print-making and was largely responsible for the technical excellence of British print-making between the first and second world wars.

Short’s atmospheric Nocturnes are the most obvious example of Whistler’s influence on Short. Short worked with Whistler occasionally on printing his copperplates. Whistler, in his turn, respected him as a print-maker.
His collection included proofs by Haden, Whistler, Legros, and Samuel Palmer. “Rhrenbreitstein” (after the watercolor by J.W.M. Turner). Mezzotint engraved by Frank Short. The Image measures 10.50 by 7 inches; plate-mark is printed on Vellum Parchment wove paper. Published in the Portfolio. London, 1891.   « Less

53 Disasters Of War - Goya Etchings - 1846 This is for 53 PLATES Published by The Folio Society - The first edition to reproduce Goya’s own prints of these  More »

53 Disasters Of War - Goya Etchings - 1846 This is for 53 PLATES Published by The Folio Society - The first edition to reproduce Goya’s own prints of these momentous etchings. This facsimile is the first reproduced from those proofs and thus bears the closest likeness to Goya’s conception of the Disasters. The images in the Disasters of War were created over the period of a decade. For each, Goya created preparatory drawings, mostly in red chalk, some in ink and wash. When working on the etchings he experimented with copper plates of varying size and a range of papers and inks. Almost 500 individual proofs of the Disasters survive; however, the one set which can be regarded as definitive is contained in the album that Goya gave to his great friend Ceán Bermúdez, titled on the spine – somewhat confusingly – 'Capricho de Goya'. Now housed in the British Museum, it provides information about Goya’s intentions not found anywhere else. It alone bears Goya’s original title for the work, his signature, written on the closed page edges of the album, and the captions for each etching, hand-written in pencil by the artist himself. The preliminary drawings and copper plates were stored by Goya’s son Javier, and were not found until after Javier’s death in 1854. In 1862 the plates were bought by the Royal Academy of San Fernando, which published the first edition the following year under the title Los Desastres de la Guerra. However, this and all subsequent editions, bear significant differences from Goya’s proofs. When preparing the etchings for printing, Goya wiped the plates to give maximum contrast between the etched lines and the whiteness of the paper. But in the editions created after his death, a film of ink was left on the surface of the plates, sometimes augmented with aquatint, giving a heavy tone to the entire print. The original proofs have a depth of black, a sharpness and an intensity which the published editions lack. This facsimile is the first reproduced from Goya’s proofs, and thus bears the closest likeness to Goya’s conception of the Disasters. To achieve an exact match with the originals, four printings were employed, comprised of a pale cream to match the paper shade and three different blacks which together give the intensity and tonal variety of the original prints. The antique laid paper is also as close a match as possible to that used by Goya.   « Less

This is an etching of J.F. Millet by A.Cadart after a Alauze painting. This is an original fine art etching. Adolphe Lalauze A French 19th century etcher and illustrator,  More »

This is an etching of J.F. Millet by A.Cadart after a Alauze painting. This is an original fine art etching. Adolphe Lalauze A French 19th century etcher and illustrator, Adolphe Lalauze first gained employment as a recording controller and then studied art in Paris under Gaucherel. Early in his career he concentrated mostly upon original etching, with many of his works in this medium initially commissioned by Cadart in Paris. Cadart, Delatre and the Societe des aqua-Fortistes: This original etching was published by France’s first important publisher of the etching revival. In 1862 Cadart founded the Societe des aqua-Fortistes. Until its demise in 1867, it was responsible for publishing some of the greatest French art from this important decade. Around 1870, Cadart (along with Luquet) reopened his publishing house and continued to commission original etchings from such masters as Jongkind, Bracquemond, Manet, Ribot and many others. Almost all of the fine etchings published by Cadart were printed by Auguste Delatre. Adolphe Lalauze “Portrait of J. F. Millet”, etching was published in “Souvenirs De Barbizon” in the late 19th century in Paris. The plate signed work measure 4.50 by 3.50 inches approximate (plate mark) and in good condition.   « Less

This is truly an original etching from 1634. This impression is a perfect match in centimeters to an impression at the San Francisco Fine Arts Museum at 12.9 x 19.5 cm.  More »

This is truly an original etching from 1634. This impression is a perfect match in centimeters to an impression at the San Francisco Fine Arts Museum at 12.9 x 19.5 cm. SEE IT HERE: https://art.famsf.org/claude-lorrain/le-soleil-levant-harbor-scene-rising-sun-19633030358 There are hundreds of Claude Lorraine fine art pieces online which are mostly afters of etchings. This image labeled online as an etching is also named "The Rising Sun" which is not the correct name for this image. The proper name is "Harbour Scene With Rising Sun" Claude Lorraine was a well known artist for paintings, he rarely did etchings. He only produced 30 etchings by plate and he never pressed more than 150 copies of each plate. Artist: Claude Lorrain Date: 1634 Century: 17th Century AD Media: Etching Dimensions: 12.9 x 19.5 cm (image) Object Type: Fine Art Print Claude Lorrain, traditionally just Claude in English (also Claude Gellée, his real name, or in French Claude Gellée, dit le Lorrain) (c. 1600 – 21 or 23 November 1682) was an artist of the Baroque era who was active in Italy, and is admired for his achievements in landscape painting and etching. Claude was born in 1604 or 1605 into poverty in the town of Chamagne, Vosges in Lorraine – then the Duchy of Lorraine, an independent state until 1766 and now in northeast France. He was one of five children. His actual name was Claude Gellée, but he is better known by the province in which he was born. Orphaned by age of twelve, he went to live at Freiburg with an elder brother, Jean Gellée, a woodcarver. He afterwards went to Rome to seek a livelihood and then to Naples, where he apprenticed for two years, from 1619 to 1621, under Goffredo (Gottfried) Wals. He returned to Rome in April 1625 and was apprenticed to Agostino Tassi. He got into a fight with Leonaert Bramer. He apparently was able to tour in Italy, France and Germany, including his native Lorraine, suffering numerous misadventures. Claude Deruet, painter to the duke of Lorraine, kept him as assistant for a year; and at Nancy he painted architectural subjects on the ceiling of the Carmelite church. An impression from the same plate is at the San Francisco Museum Of Art. Visit this link for more details. This item has a stain on the left hand side and can be professionally cleaned for $50. The value of this piece is at least 10k.   « Less

Truly a rare find, this is a Charles Henry Miller Steel Engraving. This is an untitled landscape item. Sheet size is 11 2/8'' by 14.5''. Plated image is at 8 7/8'' by 5  More »

Truly a rare find, this is a Charles Henry Miller Steel Engraving. This is an untitled landscape item. Sheet size is 11 2/8'' by 14.5''. Plated image is at 8 7/8'' by 5 7/8''. Charles Henry Miller, N.A. was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island."   « Less

Vendome, Romanesque Tower - By Samuel V Chamberlain - Fine Art - 1957 Both the print and paperwork have been scanned and come together. This is a superb drawing of a  More »

Vendome, Romanesque Tower - By Samuel V Chamberlain - Fine Art - 1957 Both the print and paperwork have been scanned and come together. This is a superb drawing of a photograph (made into a fine art print) privately commissioned by The Heritage Club in 1957 by Samuel V Chamberlain. This has paperwork to back it's validity and is numbered in pencil 275 of 9500 copies. Upon the shipment of this only edition over 8000 impressions of this piece were ruined in a flooding where they were temporarily stored making this a more rare piece.   « Less

Jan de Visscher - Design for an urn - vintage urn Sheet measures 5.5'' by 9.5'' Not too many engravings from this artist only, truly a rare piece. Jan de Visscher,  More »

Jan de Visscher - Design for an urn - vintage urn Sheet measures 5.5'' by 9.5'' Not too many engravings from this artist only, truly a rare piece. Jan de Visscher, was a Dutch Golden Age engraver who became a painter in later life.   « Less

(After Jules Joseph Lefebvre) Julien DeTurck 1862 1941 La Liseuse Pencil signed and dedicated etching Wonderful image, very reminiscent of the artist's image of Ophelia...

(After Jules Joseph Lefebvre) Julien DeTurck 1862 1941 La Liseuse Pencil signed and dedicated etching Wonderful image, very reminiscent of the artist's image of Ophelia...   « Less