James Tissot Landscape Prints

Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron catalog 89.state ii. 9 x 14 7/8 (sheet 13 1/4 x 18 7/16 ). Edition 115 recorded impressio...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...

The Pool of London. c. 1915. Etching and drypoint. 7 7/8 x 15 7/8 (sheet 11 x 14 7/8 x 21 1/4). A rich impression with drypoint burr printed on the full sheet of simili-Japan paper. ...

CAMILLE PISSARRO (French 1830-1903) VACHERE au BORD de l’EAU 1890 (Delteil 93 viii/viii) Etching, unsigned as published in “Gazette des Beaux Arts”, Paris, 1890. On laid paper Very...

This artwork titled 'Winter Tracery (Milford Connecticut)" is an original drypoint etching by noted American artist Philip Kappel, 1901-1981. It is hand signed and titled in pencil by the artist. The plate mark (Image) size is 9 x 12 inches, framed size is 17.25 x 21.25 inches. Custom framed in a wooden light grey frame, with light grey matting and black color fillet. It is in excellent condition. About the artist: Philip Kappel — painter, illustrator, printer, writer, and lecturer — was born on February 10, 1901 in Hartford, CT and died in 1981. Kappel is best remembered for his landscapes, portraits, figures, marine, lithography, and etching. He held a teaching position with H. B. Snell, Boothbay, ME Studios, 1923 and 1924. His addresses in 1929 were 500 Fifth Avenue in New York City and, for the summer, care of Philip Little, 10 Chestnut Street, Salem, MA; and in 1935, Sarasota, FL. Kappel was a pupil of the Pratt Institute Art School in Brooklyn, NY and Philip Little (1857-1942) and held memberships with the North Shore Artists Association in Gloucester, MA; the Marblehead...

London Bridge, London. 1924. Etching and drypoint. 6 3/8 x 14 3/4 (sheet 9 7/8 x 17 1/4). Mat line; otherwise fine condition. A rich impression with dryp...

A Mirage. 1928. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A ri...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...