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André Derain
Female Nude Erotic Art Deco Etching from Le Satyricon

$650List Price

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The Centenarian
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The Centenarian. 1930-31. Drypoint. Appleby 144. 10 5/16 x 10 3/8 (sheet 17 3/8 by 12 3/8). Edition 100. A rich impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. Edmund Blampied was a painter, etcher, lithographer and sculptor. Born in 1886 to a family of three boys in St. Martin, Jersey, Blampied became interested in drawing at an early age. After visiting the studio of John Helier Lander in 1899, Blampied decided to make a career as an artist. In 1903 he went to London to attend Lambeth Art School, where he studied etching under Walter Seymour. In 1905, he joined the Daily Chronicle as an artist. In that year he was awarded a scholarship to Bolt Court Scool of Photo-engraving and Lithography. In 1912 he left the Chronicle and established his own studio. He earned a living by illustrating novels and short stories. In 1913, he had his first exhibition at the Leicester Gallery in London. The following year he married Marianne Van Abbé. During the 1920's, he became a member of the Royal Society of Painter-Etchers and Engravers. During the 1920s Blampied became a member of the Royal Society of Painters-Etchers and Engravers and exhibited in London to critical acclaim. He produced a folio of comic drawings in the 1930s which was published in New York in 1934 and another that was published in London in 1936. The Keeper of Prints and Drawings at the British Museum published a mongraph on his work. His London exhibitions were highly successful. In 1938, he moved to Bulwarks, St.Aubin in Jersey, but at the onset of the Occupation, had to relocate to Route Orange, St. Brelade. remained there throughout World War II during the German Occupation, despite the fact that his wife was Jewish. During the Occupation he designed bank...
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Canards Sauvages - Etching by Jules Herau - Late 19th Century
Located in Roma, IT
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A Fine Judaica Etching "Atonement" Yom Kippur in the Synagogue
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In this copper plate etching, Cahan captures the religious ardor and penitent sentiment shared by the figures in the artwork. The piece is number seventy-six in a series of one-hundred etchings entitled Atonement. Cahan’s heavy use of line, as well as, his ability to convey emotion give the viewer a sensitive but harmonized rendering of Jewish prayer. Dimensions w/Frame: 17 1/2" x 15" The well-known twentieth century American illustrator, etcher, and painter Samuel George Cahan was born in Kovno, Russia, now part of Lithuania. His parents were both born in Russia during the early 1870’s. Two years after his birth, his family emigrated to America and eventually settled in New York City's Lower East Side. Cahan said that his interest for drawing started when he was only an infant. In a 1967 interview, the artist describes his primary school years as vastly disinteresting. While other students heeded their teachers or studied math, Cahan drew. At 12-years-old, Cahan exhibited his early talent for drawing on Fulton Street’s sidewalk. Barefoot and armed with chalk, he crouched outside a restaurant and drew the sinking of Maine. At the time, it was recognizable ship that was smashed by the British. One of the men who passed by his vibrant rendering of the wreckage was the Chief Editor of the New York World newspaper, Nelson Hersh. Upon seeing the young boy’s skill, Hersh offered him a job in the newspaper’s art...
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