- Two Frank Short (1857-1945, UK) matted
Two Frank Short (1857-1945, UK) matted (not framed) original etchings one titled "Chelsea Bridge with Church" pencil signed and dated 1884; together with an original mezzotint titled "The Timber Raft on the Rhine" pencil signed, each wrapped in cellophane.
Chelsea Bridge: 7.5" x 15" ss
Condition: Wear consistent with age.
- DAVID HOCKNEY (BRITISH, B. 1937) plates
DAVID HOCKNEY (BRITISH, B. 1937) plates 13 ?" × 8 ?"; pages 18 ?" × 13" "Illustrations for Fourteen Poems from C.P. Cavity" (Scottish Arts Council 47-58), 1966. Complete set of 13 etchings with aquatint on handmade Crisbrook paper with title, text, table of contents and justification, from Edition A consisting of 250 books with twelve original etchings and text which are bound and one loose signed orignial etching "Portrait of Cavafy II", each etching stamped on the reverse "Edition A", book is signed and numbered in pencil 85/500 on Justification Page, published by Editions Alecto Limited, London, bound in a magenta cotton-silk bookcase in a black slip cover. Loose "Portrait of Cavafy II" etching is framed and matted.
- ENNERIE-ALEXANDRE FEHER ETCHING, A GIFT
ENNERIE-ALEXANDRE FEHER ETCHING, A GIFT FROM PARISSigned by artist, lower right. Hand signed A GIFT FROM PARIS.
Etching of cathedral interior with gothic arches. 16"H x 9"W, pictured. Ennerie-Alexandre Feher was a Hungarian/French painter and etcher. He moved from Budapest to Paris around 1920 to study at the Ecole des Beaux-Arts, principally under Cormon. A member of the Salon des Artistes Francais, Feher began exhibiting with this society in 1923. He was an annual contributor to the Salon until the beginning of the Second World War (1939). In both his paintings and original etchings Ennerie Feher concentrated upon views of Paris and its environs.
Artist: Ennerie-Alexandre Feher
Issued: c. 1920-1930s
Dimensions: 26"H x 18"W, framed
Country of Origin: France
Condition:
Overall good
- LEONARD BASKIN "DRAWING FOR THE ILIAD"
LEONARD BASKIN "DRAWING FOR THE ILIAD" PORTFOLIO (1962)...Leonard Baskin (1922-2000). "Drawings for the Iliad" (Delphic Arts, New York City, 1962) including 60 lithographs after drawings by Baskin. Accompanied by 6 original etchings (2 impressions each of "Hephaistos", "Ares", and "Homer") hand-signed in pencil by Baskin, 3 numbered XLII/LX (42 of 60) in pencil + page from edition XLII (42) of a deluxe portfolio of 150 lithographs after Baskin's pen and ink wash drawings published by Delphic Arts in New York that same year (also with the title "Drawings for the Illiad") that reads in part, "150 copies … have been published … The paper throughout is Fabriano … text … printed at the Gehenna Press … quotations are Lattimore’s translation … The edition has been arranged as follows. Copies number one through ninety are accompanied by three original etchings by Leonard Baskin. Copies numbred I-LX have an extra suite of etchings …" All is protected in an original 1962 Delphic Arts portfolio cover. Size (portfolio): 26.875" L x 20.625" W (68.3 cm x 52.4 cm)
According to Princeton University Special Collections, Firestone Library, Graphic Arts Collection (where all the variations of publications reproducing Baskin's drawings have been collected): " Richard Lattimore's now-classic translation of Homer's The Iliad was first published by the University of Chicago Press in 1951. A decade later, the Press invited the artist Leonard Baskin (1922-2000) to produce drawings for a lavish illustrated edition, which came out in 1962. That same year a deluxe portfolio of 150 lithographs [seen at the top] after Baskin’s pen and ink wash drawings was published by Delphic Arts in New York, with the title Drawings for the Iliad. The first 90 copies included an additional three etchings, which were also distributed separately (two copies of each etchings) under the same title. If that isn't complicated enough, an exhibition of Baskin's drawings traveled to multiple venues in 1962 and an exhibition catalogue published under the same title.
Leonard Baskin was a 20th century "Renaissance Man" - a highly respected sculptor, printmaker, writer, and watercolorist. His prints included mythological, classical, and biblical scenes as well as portraits and floral studies. Baskin studied at Yale University from 1941 to 1943 and received his B.A. at the New School for Social Research in 1949. He also founded Gehenna Press which specialized in fine book production and taught printmaking and sculpture at Smith College in Northampton, Massachusetts as well as Hampshire College in Amherst, Massachusetts from 1953 until 1974. Baskin's artworks are in the permanent collections of the Metropolitan Museum of Art, The Museum of Modern Art, the Vatican Museum, the Smithsonian Institute, the Tate Gallery in London, and other elite institutions. His noted public sculptural commissions include pieces for the Franklin Delano Roosevelt Memorial as well as the Holocaust Memorial in Ann Arbor, Michigan. Baskin also received many prestigious honors, such as a Guggenheim Fellowship, the Gold Medal of the National Academy of Arts and Letters, and the Jewish Cultural Achievement Award. He was also honored with numerous retrospective exhibitions at institutions including the Smithsonian Museum, the Albertina Museum, and the Library of Congress.
Provenance: ex-private Bishop Family Trust collection, the Trust of the late Bill Bishop, a noted antiquarian with shops in Scottsdale, Arizona and Allenspark, Colorado, USA, acquired before 2010
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#174757
Condition:
6 original etchings (2 impressions each of "Hephaistos", "Ares", and "Homer") are hand-signed in pencil by Baskin, 3 numbered XLII/LX (42 of 60) in pencil. Impressions are strong. Portfolio is in very good condition - just a few stray marks/stains and abrasions - with nice leather ties. Pages show slight age wear. Very nice overall.
- (2) RICHARD EVETT BISHOP (1887-1975)
(2) RICHARD EVETT BISHOP (1887-1975) BIRD PRINTS(lot of 2) Framed "Talio-Chrome" prints on paper, after the original etchings by Richard Evett Bishop (Pennsylvania, 1887-1975), published by Brown and Bigelow, including: (1) "Whitebacks," sight: 8.75"h, 10 1/8"w, overall: 16"h, 17.75"w, (1) "Cans," sight: 11.25"h, 7.5"w, overall: 19.25"h, 15 1/8"w; 6.75lbs total
- LEROY NEIMAN (AMER. 1920-2012) ORIGINAL
LEROY NEIMAN (AMER. 1920-2012) ORIGINAL ETCHINGShot on Goal, 1972. Signed l/r. Hand-Colored Etching. Plate size 9 by 6 in., sight sheet 12 by 8 in., framed 24.5 by 12 in. (Cond: good)
- DANTE ALIGHIERI, THE ANTE-PURGATORIO,
DANTE ALIGHIERI, THE ANTE-PURGATORIO, CANTOS I-IXTranslation Henry Wadsworth Longfellow, original etchings, Jack ZaJac, the ten black/white etchings numbered 130/200, the etchings and edition printed by Il Toroliere, Stamperia d’Arte, Rome, printed on hand-made Fabriano paper, 200 copies, numbered 1 thru 200, with 15, numbered I–XV, retained for the artist and publisher, portfolio published, Racolin Press, NY, 1964, vellum box with gilt lettering.Folio size 20 by 15 in., plates 12.75 by 8.75 in.
- JACKSON LEE NESBITT (1913-2008) PENCIL
JACKSON LEE NESBITT (1913-2008) PENCIL SIGNED ETCHINGJackson Lee Nesbitt (1913-2008)Stripping Ingots (1939)The etching from an edition of only 80 prints is signed by Nesbitt in pencil below the image lower right and titled lower left, Retif and Salzer number 14. A fine, strong impression.Of the impetus for his well-known and highly sought after series of prints documenting the industrial processes at Sheffield Steel Corporation in Kansas City, Nesbitt recalled 'The company had called the Kansas City Art Institute to inquire about an etcher to create some images of their operations. John De Martelly and I were both recommended; but De Martelly, not wanting to spend any time on site at Sheffield, encouraged me to do it. For all the Sheffield pieces, I had to submit a finished pencil drawing to the company for approval prior to creating the etching. The original etchings were given as Christmas remembrances to VIPs both in and outside of the company and were offered for sale to the employees.'Turns out Nesbitt spent a great deal of time on site at Sheffield detailing their massive works in more than sixteen different complex images completed during the 1930s, and six more during the late 40s and early 50s.Image measures 11.75 x 9.25, sheet is 17 x 13.75, and frame is 26 x 22 inches.Very good to fine condition, very clean, the full untrimmed sheet with very wide margins, not laid down, no damage, stain, puncture or repair; framed to archival standards in acid free mounts.Provenance: A Leawood, Kansas corporate collection.
- JACKSON LEE NESBITT (1913-2008) PENCIL
JACKSON LEE NESBITT (1913-2008) PENCIL SIGNED ETCHINGJackson Lee Nesbitt (1913-2008)Blooming Mill - Kansas City (1938)The etching numbered 55 from an edition of only 60 prints is signed by the artist in pencil below the image lower right and titled lower left.Of the impetus for his well-known and highly sought after series of prints documenting the industrial processes at Sheffield Steel Corporation in Kansas City, Nesbitt recalled 'The company had called the Kansas City Art Institute to inquire about an etcher to create some images of their operations. John De Martelly and I were both recommended; but De Martelly, not wanting to spend any time on site at Sheffield, encouraged me to do it. For all the Sheffield pieces, I had to submit a finished pencil drawing to the company for approval prior to creating the etching. The original etchings were given as Christmas remembrances to VIPs both in and outside of the company and were offered for sale to the employees.'Turns out Nesbitt spent a great deal of time on site at Sheffield detailing their massive works in more than sixteen different complex images completed during the 1930s, and six more during the late 40s and early 50s.Image measures 11.75 x 9, sheet is 13.5 x 11.5 inches.Good condition with minor issues, the sheet with trimmed margins is not laid down, no damage (noting upper corner edge irregularity), no puncture or repair, scattered margin smudges and thin line of brown tape along the lower right edge; framed to archival standards in acid free mounts.
- JACKSON LEE NESBITT (1913-2008) PENCIL
JACKSON LEE NESBITT (1913-2008) PENCIL SIGNED LITHOJackson Lee Nesbitt (1913-2008)Tapping A Heat/ Electric Furnace (1953)The lithograph published in an edition of 60 prints is signed by Nesbitt in pencil below the image lower right and titled lower left.Of the impetus for his well-known and highly sought after series of prints documenting the industrial processes at Sheffield Steel Corporation in Kansas City, Nesbitt recalled 'The company had called the Kansas City Art Institute to inquire about an etcher to create some images of their operations. John De Martelly and I were both recommended; but De Martelly, not wanting to spend any time on site at Sheffield, encouraged me to do it. For all the Sheffield pieces, I had to submit a finished pencil drawing to the company for approval prior to creating the etching. The original etchings were given as Christmas remembrances to VIPs both in and outside of the company and were offered for sale to the employees.'Turns out Nesbitt spent a great deal of time on site at Sheffield detailing their massive works in more than sixteen different complex images completed during the 1930s, and six more during the late 40s and early 50s.Image measures 11 x 15.75, sheet is 14 x 18.5, and frame is 22 x 25 inches.Very good to fine condition, very clean, the full untrimmed sheet with deckle edges, not laid down, no damage, stain, puncture or repair; framed to archival standards in acid free mounts.Provenance: A Leawood, Kansas corporate collection.
- JACKSON LEE NESBITT (1913-2008) PENCIL
JACKSON LEE NESBITT (1913-2008) PENCIL SIGNED LITHOJackson Lee Nesbitt (1913-2008)Casting Blast Furnace (1951)The lithograph published in an edition of 70 prints is signed by Nesbitt in pencil below the image lower right and titled lower left. A nice, dark impression. Nesbitt said, 'This is one of the best industrial pieces I've ever done; it's just got more sock to it.' Of the impetus for his well-known and highly sought after series of prints documenting the industrial processes at Sheffield Steel Corporation in Kansas City, Nesbitt recalled 'The company had called the Kansas City Art Institute to inquire about an etcher to create some images of their operations. John De Martelly and I were both recommended; but De Martelly, not wanting to spend any time on site at Sheffield, encouraged me to do it. For all the Sheffield pieces, I had to submit a finished pencil drawing to the company for approval prior to creating the etching. The original etchings were given as Christmas remembrances to VIPs both in and outside of the company and were offered for sale to the employees.' Turns out Nesbitt spent a great deal of time on site at Sheffield detailing their massive works in more than sixteen different complex images completed during the 1930s, and six more during the late 40s and early 50s.Image measures 11.25 x 16, sheet is 16 x 22.75, and frame is 22 x 26 inches.Very good to fine, condition, very clean, the full untrimmed sheet with four deckle edges, not laid down, no damage, stain, puncture or repair; framed to archival standards in acid free mounts.Provenance: A Leawood, Kansas corporate collection.
- JACKSON LEE NESBITT (1913-2008) PENCIL
JACKSON LEE NESBITT (1913-2008) PENCIL SIGNED ETCHINGJackson Lee Nesbitt (1913-2008)Hot Metal Holding TankThe etching numbered 15 from an edition of only 60 prints is signed by the artist in pencil lower right and titled lower left.Of the impetus for his well-known and highly sought after series of prints documenting the industrial processes at Sheffield Steel Corporation in Kansas City, Nesbitt recalled 'The company had called the Kansas City Art Institute to inquire about an etcher to create some images of their operations. John De Martelly and I were both recommended; but De Martelly, not wanting to spend any time on site at Sheffield, encouraged me to do it. For all the Sheffield pieces, I had to submit a finished pencil drawing to the company for approval prior to creating the etching. The original etchings were given as Christmas remembrances to VIPs both in and outside of the company and were offered for sale to the employees.'Turns out Nesbitt spent a great deal of time on site at Sheffield detailing their massive works in more than sixteen different complex images completed during the 1930s, and six more during the late 40s and early 50s.Image measures 9 x 11.75, sheet is 11.5 x 13.5 inches.Good condition, the sheet with trimmed margins is not laid down, no damage, stain, puncture or repair; framed to archival standards in acid free mounts.