Vintage John Kelly lithograph on paper titled “Staten Island Ferry”, hand signed & numbered 92/200. This piece has been in my family for more than 50 years. Only 200 were produced and has a certificate of authenticity on back. It is rare and very nicely framed and matted. Excellent condition.

A pair of hand-colored original etchings of the picturesque town of Rothenburg, Germany. Signed by the artist, Ernest Geissendofer (1908-1993). In addition to the signature, it says Rothenburg Tauber (a river in Bavaria) and Original Radierung (Original Etching) written in pencil. Nicely framed and matted in original gold frames and are ready for hanging.
Size: 18″W x 14.25″H

A original antique hand colored lithograph of a Lilium Specious or Japanese Lilly by L. Watts circa 1890. Presented framed in archival matte and contemporary gallery frame. Measuring overall 13″ x 16″.

Lilium speciosum is an East Asian species of plants in the lily family. It is native to southern Japan and southern China, where it can be found at elevations of 600–900 metres (2,000–3,000 ft).[1][2][3] It is sometimes called the Japanese lily though there are other species with this common name.

Beautifully framed original French poster. Brasserie Schneider features a company based in Brive, , France specializing in sodas and beers. An original linen backed and conservation framed piece of art. Quendray created a whimsical image of a group of companions enjoying afternoon drinks at sea to advertise the brand.
Horizontal posters are fairly rare and this one can light up any space. Small enough to enhance many walls, yet strong in feeling and content.

This artwork “Cheveaux Tirant une Peniche (Horses pulling a Barge)” c.1920 is an original color etching with aquatint on Wove paper by French artist Ferdinand Jean Luigini, 1870-1943. It is hand signed and numbered 285 in pencil by the artist. The image (plate mark) size is 17.75 x 13 inches, sheet size is 23.85 x 17.85 inches. It is in excellent condition, it has apparently never been framed.

About the artist:

Ferdinand-Jean Luigini studied art in Paris under Emile Verhaeren. He began exhibiting his landscapes and architectural renderings in Paris in 1892 with the Salon des Artistes Francais*. Within several years his art was regularly shown in London, Brussels, Amsterdam and New York.

Ferdinand-Jean Luigini was equally famous for both his large colour aquatints* and for his watercolours. One contemporary scholar wrote, “Ferdinand Luigini, a brilliant watercolour artist, succeeds in lending his etchings the fascination of glowing pictures. The deep rich tones are obtained by very careful biting with the etching knife. His style varies with his subject. Some of his plates … show the broad sweep of the painter’s brush bent upon rendering the atmosphere of large spaces. … His most successful plates portray the autumnal aspects of Flemish landscape. * These words clearly apply to this large, beautiful aquatint and etching. (F. L. Leipnik, A History of French Etching from the Sixteenth Century to the Present Day, London, John Lane, 1924, p. 188).

The artistry of the original aquatint and etching printed in colours reached its most creative era in the 1920’s decade. Fine artists throughout Europe and America produced outstanding works in this demanding medium, however, etchers in Austria and France led the way. Famous Austrian artists of the period included Luigi Kasimir, Max Pollack and Hans Figura. Some of the many great French artists were Raffaelli, Manuel Robbe, Helleu, Armand Coussens, Gustave Henri Marchetti and Ferdinand-Jean Luigini.Continue Reading

This artwork “Untitled” 1986 is a large original color screen print on Wove paper by noted American abstract expressionist artist Robert Natkin, 1930-2010. IOt is hand signed, dated and numbered 12/90 in pencil by the artist. The image size is 42 x 30 inches, sheet size is 48 x 36 inches. It is in excellent condition, the color are fresh and bright, it has never been framed. Will ship in a 8 inches diameter tube.

About the artist:

Robert Natkin is an American abstract painter, who has been working since the early 1950s to create lyrical paintings, which are represented in the permanent collections of major museums as well as in corporate and private collections and galleries in the USA, Europe and Japan.

In a 1991 book entitled The Many Masks of Modern Art, Theodore F. Wolff notes that Natkin is far from being “a formal purist, a designer and architect of abstract compositions intended to stand strictly on their own.” Wolff describes Natkin’s paintings as “subtle evocations of the gentler, more ineffable levels and dimensions of our physical and spiritual universe” and sums up their impact by calling the artist “a visual poet whose apparently abstract images actually exist to enchant us with intimations and evocations of things we can sense but never quite see.”

Natkin’s style has evolved through several series of paintings, sometimes revisited. As influences that have affected his work he names American jazz vocalists such as Nina Simone and Billie Holliday as well as Post-Impressionist, Cubist and Abstract Expressionist painters.

Born in Chicago in 1930, Natkin encountered Abstract Expressionism in 1949 through an article in Life magazine. At that time a student at the Art Institute of Chicago, he later lived briefly in New York, where he felt deeply influenced by Willem de Kooning’s paintings.

Returning to Chicago, he became closely associated with other Chicago artists, including his future wife, Judith Dolnick, and opened a gallery in which their work was exhibited in the late 1950s. These artists, including Natkin, were prominent in Chicago’s 1957 Momentum exhibition; and in 1960 Natkin was included in the Young America exhibition at the Whitney Museum in New York.

Among the museums now holding his art in their collections are the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the Brooklyn Museum of Art and the Guggenheim, as well as the Art Institute of Chicago, the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution in Washington, DC, the Albright-Knox Art Gallery in Buffalo, NY, the Museum of Fine Arts, Houston, and the San Francisco Museum of Art, to name only a few in this country; plus the Centre Pompidou in Paris and the National Gallery of Australia in Canberra, Australia.Continue Reading

This artwork tiled “Church of Mandraikina, Corfu” 1928 is an original color linocut on Laid fibrous paper by noted British artist Isabel De Bohun Lockyer, 1895-1980. It is hand signed, titled, dated and numbered 7/50 in pencil by the artist. The image (linocut mark) size is 7.15 x 9.85 inches, framed size is 18.75 x 21,5 inches. It is in excellent condition, especially considering the age.

About the artist:

Isabel de Bohun Lockyer (1895–1980) was a British painter known for her linocut color prints. She worked as an independent artist and mostly depicted landscapes. Lockyer was one of the few linocut artists at the time who was not associated with the Grosvenor School, a collection of artists and students who were primarily responsible for a resurgence of interest in printmaking and particularly linocut after World War I. Her earlier work followed closely in the tradition of woodcut due to her use of water-based inks, but later her technique showed influence from the work of Claude Flight, one of the heads of the Grosvenor School, who invited her to exhibit her prints at some of his annual British linocut exhibitions during the 1930s. Lockyer’s work was also exhibited from 1925–1938 in association with the Society of Painter-Gravers.[3]
Most of Lockyer’s prints are landscapes, several of which feature scenic views from Switzerland, Dalmatia, and Corfu in addition to England.] A few exceptions depict people engaged in various activities, such as The Cabaret Singer, The Shop Window, and The Path Finder.Continue Reading

This artwork titled “Arch Beach, California” c.1910 is an original etching on Wove paper by American artist Harley DeWitt Nichols, 1859-1939. It is hand signed and titled in pencil by the artist. The plate mark (image) size is 6.5 x 9.5 inches, framed size is 13 x 17 inches. it is custom framed in a wooden silver frame, with off white matting. It is in excellent condition, especially considering the age.

About the artist:

Born in the small rural Wisconsin town of Barton, Harley lived a peripatetic life. As a young child, he accompanied his family to Lincoln, Nebraska where he found great excitement in the roaming herds of buffalo and Native Americans. It was in these years that a talent for drawing was discovered. In 1870, after several years of hardship, his father moved the family back to Wisconsin.

At the age of 11 he became a water boy for the railroad line being built from Milwaukee to his birthplace of Barton. While his family moved to the First Ward in Milwaukee, he remained with his grandparents in Barton and proudly paid board despite his meager earnings. Eventually he moved to join his family and began school at the First Ward schoolhouse. At this time his uncle engaged a drawing teacher to give him lessons to encourage his talent.

Nevertheless, the need to earn a living remained paramount and he was employed by a “third class” wood engraver. That led to an apprenticeship with the Milwaukee firm Marr & Richards, where he worked for three years drawing on wood. This would have led to a position as an engraver, but during his apprenticeship Nichols realized that drawing, rather than engraving, was where his true talent lay.

The subsequent years included many moves, from Milwaukee to Chicago, and later to New York where he met with Professor Packard who encouraged Nichols to pursue a career as an illustrator at a European school.

Nichols left for Munich in October, 1885 to begin studies at the Royal Academy where he became a member of the American Club and socialized with Carl von Marr, the club’s president.

In 1893 he illustrated the World’s Fair issue of Harper’s Weekly. He worked in New York, mostly in advertising. He helped organize the New York Water Color Club. He accepted an offer to work in London and do illustrations. He soon returned to the United States and settled in California where he was inspired by the scenery of Yosemite, Monterey, San Juan Capistrano and other locations in southern California.

Nichols moved to Laguna Beach where he lived until his death in 1939.

The work of Harley DeWitt Nichols is held in many collections in the U.S. including The Museum Of Wisconsin, West Bend and the Chicago Museum, Chicago.Continue Reading

This artwork titled “A Burro Train, New Mexico” 1880 is an original etching on Laid paper by noted British/American artist Peter Moran, 1841-1914. It is signed in the plate as issue. The plate mark (Image) size is 9.15 x 6.5 inches, framed size is 14.75 x 18.75 inches. It is framed in a wooden silver frame, with light grey matting. It is in excellent condition, especially considering the age. I like to mention that example of this particular etching is held in the following museums, including, The Toledo Museum Of Art, Toledo, The British Museum, London and The Smithsonian Museum Of Art, Washington D.C. It was also illustrated in American Art Review, volume #2 1881, page 163.

About the artist:

The younger brother of Thomas Moran, Peter Moran was a painter-etcher best known for his Romantic sensibility and landscape compositions incorporating animals. The Moran family immigrated to the United States from England in 1844, when Peter was three. He began his artistic career as an apprentice to a lithographic firm and eventually studied painting with his brothers Edward and Thomas. He was influenced by the animal paintings of Rosa Bonheur and Constant Troyon and visited England in 1863 to see those of Edwin Landseer.

Moran took up etching in 1874, using that medium to record genre scenes that he observed while traveling in New Mexico and Arizona in 1881 on an ethnographic expedition to study Pueblo Indian culture. He later returned to the Southwest in 1890 as an artist for the Bureau of Indian Affairs.

In 1882, Moran joined Henry R. Poore, an artist friend, on a visit to Taos Pueblo where the two were given a room and spent a week watching the activities associated with the harvest. Poore recounted the details of their travels in an article titled “A Harvest with the Taos Indians,” published in 1883.

Peter Moran appears to have been the first American artist to make etchings of New Mexico subjects. Moran eventually gained a reputation in his day of “having been the first among the artists to recognize the picturesque qualities of the scenery of the southwest,” according to a book published in 1883, and of capitalizing on “all the glaring sunlight, all the romance of wild life,” in the “tablelands and in the cañons of New Mexico.”Continue Reading

Artist: Luigi Kasimir Austrian (1881-1962)
Title: Schallaburg Castle, Austria
Year: circa 1930
Medium: Color Etching
Sight size: 17 x 22.25 inches
Sheet Size: 20 x 25 inches
Framed Size:26.5 x 31.5 inches
Signature: Signed lower right by the artist
Edition: unknown
Condition: See below

This artwork titled “Schallaburg Castle c.1930 is a color etching by Austrian artist Luigi Kasimir 1881-1962. It is hand signed in pencil at the lower right. The plate mark (image) size is 17 x 22.25 inches, paper size is 20 x 25 inches, matted size is 24 x 29 inches, framed size is 26.5 x 31.5 inches. It is custom matted with a brown inner mat, gold liner and cream-colored outer mat. The wood frame is black with a faint gold inner edge. The print is in fair-to-good condition. It is attached to the mat with archival tape. It bears the residue of a previous backing on the reverse, but that does not at all show on the front of the print. The surface of the print is in very good condition with strong colors. There are small losses to the corners of the print, far from the image. The mat is in good condition. The frame is in fair condition with some pits, mostly on the lower and upper bars. I have included pictures of the reverse of the print as well as the flaws on the frame. I can ship the print with the frame or without the frame.

Luigi Kasimir was born in 1881 at Pettau, today Ptuj, Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of the coloured etching, and also to his future wife, the artist Tanna Hoernes.[1] He died in 1962 in Grinzing, a suburb of Vienna.Kasimir was among the first to develop the technique of the coloured etching. Before this, prints were usually hand-coloured with the colour being applied in a casual, haphazard manner. Kasimir would first create a sketch usually in pastel, he then transferred the design on as many as four to six plates, printing one after the other and applying the colour on the plate, all done by hand.
Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favourite genres was the landscape, or veduta. He demonstrated a predisposition street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the United States to do a series of etchings of famous sights ranging from urban landmarks such as New York City skyscrapers, to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings can be seen in many galleries and museums, from the New York Metropolitan Museum of Art to countless galleries and fine print collections around the world.Continue Reading