Aa book the s & i gardiakos collection of prints and drawings b by Katerina Gardiakos

THE

SOTERIOS AND IRLANDA GARDIAKOS COLLECTION OF PRINTS AND

DRAWINGS June 20, 2013, June 9, 2014

2012 UNIGRAPHICS INC Aurora, Illinois, U.S.A. Kalamata Messinias Greece

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ROTUNDA - Sebastian Leclerc

ROTUNDA, spring 1983, Volume 16, No. 1

ENGRAVINGS

HANC CHRISTI IN DESERTO IN QUINQUE PANIBUS PLEBEM MAXIMUM SATURNATIS IMAGINEM REVERENDIDDIMO PATRI FRANSISCO DE LA CHAISE SOCIETATIS IESU, REGI A CONFESSIONIBUS Offerebat addictissimus et obsequentissimus Sebastianus le Clerc

ENGRAVINGS

Ex Musaeo P. Formont D. Breuanne Parisys. (The Birth of Aphrodite) N. Poussin pinxit J. Pesne det. et sculp. cum priuit Regis(1623-1700) image size: 18 3/4 X 24 1/2 inches Paper size: 35 X 26 1/8 inches Pesne, John, a French engraver, born in Rouen in 1623 [and died at Paris in 1700]It is not ascertained by whom he was instructed, but he reached an eminent rank as an artist, particularly as a designer, in which he arrived at a higher degree of perfection than the generality of engravers. His execution is neither dexterous, agreeable, nor picturesque; but he compensates for these deficiencies by the correctness of his outline, and the fidelity with which he has rendered the precise character of the different painters, whose works he engraved. His principal plates are from the pictures of Niccolo Poussin, and a due portion of the merit of his prints, after the distinguished master, will be justly attributed to the perfection of his models. A list of his most esteemed prints follows. This list is based on Dumesnil's description of 166 prints, picking the "most esteemed" Source: Michael Bryan, Biographical and Critical Dictionary of Painter and Engravers, A new edition, revised and enlarged and continued to the present time by George Stanley, London 1849.

ENGRAVINGS

Testament d'Eudamidas de la ville de Corinthe N. Poussin pinxit J. Pesne det. et sculp. cum priuit Regis(1623-1700) Image size: 22 3/8 X 17 1/2 inches kp Paper size: 35 X 26 1/8 inches

ENGRAVINGS

HERCULE ET OMPHALE Se vend a L'Academie au vieux Louvre Simon-Charles Miger Sc (1736-1828) Image Size: 19 3/4 X 17 inches Paper size: 32 X 22 3/8 inches Miger, Simon Charles, a modern French engraver, born at Pwris about the year 1745. He was a pupil of Charles Nicholas Cochin, the younger, and has engraved several plates of historical subjects and portraits, in a neat, clear style. He was a member of the French Academy. [Nagler says he was born in 1747, and died in 1805: he gives a list of his prints] Source: Michael Bryan, Biographical and Critical Dictionary of Painter and Engravers, A new edition, revised and enlarged and continued to the present time by George Stanley, London 1849.

ENGRAVINGS

HERCULE ET ANTEE Engraver Simon-Charles Miger (1736-1828) Image size 19 1/2 by 17 1/2 inches Paper size 32 x 22 3/8 inches

ENGRAVINGS

APOLLON & MARSIAS Engraver Simon-Charles Miger (1736-1828) Image size 19 3/8 x 17 1/2 inches Paper size 32 1/8 x 22 3/8 inches

ENGRAVINGS

HERAKLES KILLING CACUS Painter: Francois Le Moine 1688-1737 Engraver Laurent Cars 1699-1771 Image size: 21 1/4 x 17 14 Paper size: 32 1/4 x 22 3/8 French printmaker, print publisher and print-seller. Early in his life his family removed to Paris. His father Jean-Francois Card (1661-1730), an engraver and publisher, was his first teacher. He next studied painting under Joseph Christofe (1662-1748) and Francois Lemoyne and then completed his studies in engraving under Nicolas-Henry Tardieu. In 1729 he was approved (agr) by the Academie Royale and on 31 December 1733 was received (reu), on presentation of the engraved portraits of Michel Anguier after Gabriel Revel and of Sebastien Bourdon after Hyacinthe Rigaud. From 1750 he gradually abandoned engraving in favor of print-selling, oarticularly those of his fatherâ&#x20AC;&#x2122;s collection. In 1757 he was appointed a Conseiller. His work included nearly 190 prints; he engraved portraits, historical and mythological subjects after Lemoyne, such as Hercules and Omphale and the Bath of Iris, and genre subjects after Watteau such as figures de diffrents caracteres and Fetes vnitnnes (generally considered Cars's masterpiec). He also engraved after Chardin (e.g. the Bird song Organ) and Greuze among others. Cars illustrated Molieres Oeuvres with engravings after Boucher (1734) and Jean de la Fontains fables choisies after Oudry (1755-59). He also contributed prints to the Galerie de Versailles

ENGRAVINGS (1753). He was among the best reproductive engravers of his time; his design was masterly and his handling fluid and expressive, and such contemporaries as Charles-Nicolas Cochin le fils and Louis Simon Lempereur stressed that he was an interpreter and not merely a copyist. His numerous pupils included Jacques-Firmin Beauvarlet, Jean-Jacques Flipart, Francois Flipart and Augustin de saint-Aubin. His portrait by Cochin was engraved in 1750 by Saint-Aubin; his portrait by Jean-Bapiste Perronneau was engraved in 1759 by Simon-Charles Miger (17361820). Source: LIB-ART.COM http://www.lib-art.com/artgallery/47-laurent-cars.html For further reading see: French Engravers and Draughtsmen of the XVIIIth Century by Lady Dilke, pp 84-96, London 1902

ENGRAVINGS

IPHIGENIE Painter: Francois Le Moine 1688-1737 Image size: 20 7/8 X 15 1/4 inches

Engraver Laurent Cars 1699-1771 Paper size: 32 X 22 3/8 inches

ENGRAVINGS

Le Combat des Lapithes et des Centaures Painting by Boullongne Lane Engraved by Jean Jacques Flipart, 1719-1782 Image size: 19 5/8 X 15 5/8 inches Paper size: 31 3/4 X 22 3/8 inches ...Whether he were translating the "Tempetes" of Vernet, the"Chasse au Tigre" or the "Chasse a l'Ours" of Boucher and Van Loo, or the masterpieces of Greuze, Jean-Jacques Flipart showed remarkable powers of assimilation which are the more astonishing when we recollect that he is said to have developed very slowly. He was no longer a youth when he became the pupil of Laurent Cars and it was not until after he had spent some months under the master that his talent became evident. Cars himself, we are told, had failed to recognize the ability of Flipart. Cochin, on the other hand, detected the signs of power and induced Michel-Ange Slodtz to entrust him with the engraving of one of the front pieces of the "Description des Fetes donnees pour le second mariage du Dauphin." Flipart was then about twenty eight; he carried out the commission alone and it brought him the unmixed satisfaction of the assertion by Cars that, of all his pupils, he alone had understood his lessons.

The notice of Flipart written by Gaucher expresses, in each turn of phrase, the deep feeling of admiration with which the art of this engraver inspired every competent judge. The vagrant Perronneau from the first set high value on his powers and these, coupled with his high character, actually gave him some influence in the Academy. Greuze was no doubt sincerely attached to Flipart, who returned his friendship, with the result of that great series of admirable renderings of all his sentimental subjects, such as "L'Accordee de Village," which has done enormous service to the popularity of the painter. Flipart's first salon (1755) hsd consisted only of work for the :Gallerie de Dresde," six "little bits" after Boucher and Cochin, and an "Adam and Eve" after Natoire. In 1757 he exhibited two engravings after Chardin, one of which was the "Jeune Dessinateur," and, seeing this perfect interpretation of a perfect master, one cannot but regret that Flipart abandoned Chardin so soon for his friend Greuze. Except for the two fine "Tempests" after Vernet, exhibited in 1765 and 1773, and a necessary civility paid to Vien in 1765 -- when he engraves "La Vertuese Athenienne" and her companion "La Jeune Corinthienne" Flipart devotes himself wholly to Greuze. The "Gateau des Rois" ends in 1777 the series which began in 1763 with "Une jeune fille qui pellotte du coton, d'apres M. Greuze." I had almost forgot to recall by mention here a work to which I have already referred-- the famous "Chasse au Tigre," that powerful version of "le tableau de F. Boucher du Cabinet du roi." It is difficult to remember that Flipart, fresh from reproducing "L'Accordee de Village" with all the softness and brilliancy which the heart of Greuze could desire, handled the violence of the "Casse au Tigre" with a estraint in which Laurent Cars, had he been still alive, would have found a final proof that Flipart had indeed mastered his lessons. But Cars was dead and all the young men were crowding to the studio of Le Bas. Source: French Engravers and Draughtsman of the XVIIIth Century by Lady Dilke, pp 84-96, London 1902

ENGRAVINGS

Painter J. le Blond Image size: 20 1/2 X 16 inches

Jupiter Foundroye les Titans Engraver Pierre Etienne Moitte 1722-1780 Paper size: 32 1/8 X 22 1/2 inches

(b Paris, 1 Jan 1722; d Paris, 4 Sept 1780). Engraver. He studied in Paris with Jacques-Firmin Beauvarlet and Pierre-François Beaumont (1719–?69). He was accepted (agréé) in 1771 by the Académie Royale de Peinture et de Sculpture and subsequently signed his prints ‘Graveur du Roi’. Between c. 1747 and 1754 he was one of the principal engravers commissioned to work for the Cabinet de S.E.M. Le Comte de Brühl , a collection published in Dresden in 1754 and consisting of 50 plates after selected paintings from the celebrated collection owned by Heinrich von Brühl. In addition to the Mystic Marriage of St Catherine after Correggio and three history subjects after Jean-Baptiste Corneille, Moitte contributed 11 masterly pieces after Dutch and Flemish paintings, including the Dutch Merchant and the Flemish Cook after Gerrit Dou; the Broken Egg , after Frans van Mieris the elder; the Judgement of Paris after Rubens; four landscapes after Jacob van Ruisdael and Guillam Dubois (c. 1610–80); and Traveler’s Rest and

Horses at the Watering Trough after Philips Wouverman. Moitte enjoyed a successful career in Paris by reproducing works after 18th-century French painters such as Nicolas Lancret, FranĂ§ois Boucher and Pierre-Antoine Baudouin. Above all, he popularized sentimental genre paintings by Greuze, producing such prints as the Wrathful Mother , Repentance and the Idle Woman . Like most reproductive printmakers of the period, Moitte also engraved designs for book illustrations; thus he provided 17 plates after drawings by Jean-Baptiste Oudry for the four-volume folio edition of Jean de La Fontaineâ&#x20AC;&#x2122;s Fables published between 1755 and 1759. Source: ArtFact http://www.artfact.com/artist/moitte-pierre-etienne-6oz4pny7j3

ENGRAVINGS

La Morte L"Hyppolyte Engravers Cochin Brothers Charles-Nicolas Cochin (22 February 1715 â&#x20AC;&#x201C; 29 April 1790 Image size:21 3/4 X 15 3/4 inches Paper size: 32 X 22 1/4 inches

ENGRAVINGS

De la Galleria Ele de Dresden AN ARCADIAN LANDSCAPE Painter Dietrich Christian August Gunther 1760-1824 Image size: 20 3/4 x 13 5/8 inches Paper size: 24 1/8 x 17 7/8 inches Christian August Gunther, a designer and etcher on copper, was born at Pirna in 1760, and died in Dresden in 1824. He first drew from nature, but Professor Zingg observed his talent and took him into his school. Hos coloured drawings won much admiration at the Dresden Academical exhibitions. He also painted portraits in pastel. His etchings were mostly landscapes--among them are "The Baggage Waggon" after Zingg, and two after Wouverman and Dietrich for the third volume of the Dresden Gallery. Source:Bryan's Dictionary of Painters and Engravers, Vol. II, London

ENGRAVINGS

AINSY SE DOIT FLECHIR LA COLERE ET L'ORGUEIL c. 1680 N. Poussin pinxit Engraver, G. Audran 1640-1703 Image size: 36 1/6 X 25 3/4 two plates joined together Paper size: 41 1/2 X 34 1/2 inches Description Veturia, Volumnia and other female figures kneeling before Coriolanus and begging him to spare Rome; Coriolanus stands at right and draws his sword; two soldiers stand behind him. c.1680, Etching and engraving Inscriptions Inscription Content: Lettered with names of designer and engraver, publication address: 'AParis rue St Jacques aux 2 Piliers d'or', title, and two lines of French inscription. Curator's comments According to Le Blanc (138) and Andresen, engraved by BenoĂŽt Audran and completed by Girard. Wildenstein believes the present plate was not executed after the painting itself but is actually a copy dated c.1680 of an engraving by Etienne Baudet (Wildenstein 113). Poussin's canvas is now in the MusĂŠe Nicolas Poussin, Les Andelys, France. Another impression: 1874,0808.1789. Source: British Museum

ENGRAVINGS

PLANFOND DU MILIEN DE LA GRANDE GALLERIE PALAIS ROYAL Antoine Cypel painter Engraver Nicholas N. Tardieu 1674-1749 Image size: 40 3/8 X 33 5/8 inches Paper size: 44 3/4 X 40 3/4 inches

ENGRAVINGS

Saint Protais Martyr - Sanctissimus Martyr Protasius Engraver, G. Audran 1640-1703 0Image size: 34 1/2 X 24 1/8 inches Paper size 36 1/2 X 26 3/8 inches

ENGRAVINGS

I Esurientes pascere - Feed the hungry: Abraham, standing on the left, welcomes the angels while his servants are preparing and serving the food. c.1660/70 Engraver Sebastien Bourdon 1616-1671 Image size:22 5/8 X 16 inches Paper size: 32 X 22 3/8 inches Biography: Sebastien Bourdon was French, he moved to Paris at the age of seven to apprentice to a painter from 1623 to 1630. After briefly working in Bordeaux and Toulouse, he moved to Rome and produced copies of famous paintings for a local dealer. Bourdon returned to Paris in 1637 and began living in the Palais du Louvre. He soon became known for his large Baroque-style religious and classical paintings. Bourdon helped found the Academie Royale de Peinture et de Sculpture. In 1652, he became the first painter to Queen Christina of Sweden and painted multiple court figures. Returning to Paris once again, his final works were landscapes inspired by Poussin.

ENGRAVINGS

II Potare sitientes: Abdias Giving Bread and Water to the Prophets Persecuted by Jezabel Engraver Sebastien Bourdon 1616-1671 Image size: 22 5/8 X 16 1/8 inches Paper size: 31 7/8 X 22 3/8 inches

ENGRAVINGS

III Hospitio exipere Advenas Engraver Sebastien Bourdon 1616-1671 Paper Size: 22 5/8 X 16 inches Paper size: 31 3/4 X 22 3/8 inches

ENGRAVINGS

IIII Vestire mudos Engraver Sebastien Bourdon 1616-1671 Image size: 22 3/4 X 16 1/4 inches Paper size: 32 X 22 3/8 inches

ENGRAVINGS

V AEgras curare Engraver Sebastien Bourdon 1616-1671 Image size: 22 5/8 X 16 1/4 inches Paper size: 32 X23 3/8 inches

ENGRAVINGS

VI Liberare Captiuos Engraver Sebastien Bourdon 1616-1671 Image size: 22 5/8 X 16 1/4 inches Paper size: 32 X 22 3/8 inches

ENGRAVINGS

VII Sepelire mortuos Engraver Sebastien Bourdon 1616-1671 Image size: 22 3/8 X 15 3/4 inches Paper size: 32 X 22 3/8 inches

ENGRAVINGS

THE MARTYRDOM OF ST. PROTAIS Engraver, G. Audran 1640-1703 Image Size: 34 1/4 X 26 inches Paper size: 36 3/4 X 26 1/4 inches. Audran, Gerard The name of this distinguished engraver is familiar to every admirer of the art, which he may be said to have carried to the highest pitch of perfection, particularly in his large plates of historical subjects. He was the son of Claude and the nephew of Charles Audran, born ay Lyons in 1640. After learning the first principles of design and engraving from his father, he was sent to Paris, and placed under the tuition of his uncle, where he remained some time. He afterwards visited Rome for improvement, and he is said to have studied under Carlo Maratti. During a residence of three years, he executed some plates which gained him great reputation, particularly a portrait of Pope Clement IX. The fame of Gerard Audran induced the great minister Colbert, who was a liberal encourager of the arts, to invite him to return to Paris; and soon after his arrival he was appointed engraver to the King, with considerable pension, and apartments in the Gobelins. He now applied himself with great assiduity, and became intimately connected with the celebrated painter Charles Le Brun, whose principal works are the subjects of some of his finest plates; and it may be said that the pictures of that great master have been embellished by the admirable graver of Gerard Audran. The Battles of Alexander will be regarded as a lasting monument of their fame. The plates of this artist are very numerous. He died at Paris in 1703, aged 63. Source: Michael Bryan, Biographical and Critical Dictionary of Painter and Engravers, A new edition, revised and enlarged and continued to the present time by George Stanley, London 1849.

ENGRAVINGS

Monsieur de Chantelou Conseiller... N. Poussin pinxit Seruiteur J Pesne (1623-1700) Image size: 11 1/2 X 18 inches Paper size: 22 3/4 X 34 3/4 inches

ENGRAVINGS

Kalamata (Thalame) Coronelli ca 1690, Image 12 5/8 x 5 1/8 inches Paper size: 15 x7inches VEDVTA DI CALAMATA A Fortezza di Calamata B Torre che copre la porta C Moschea. D Porta del Castello F Borgo G Bosco H A'cque el Golf di Coron. I Monti Sopra Coron (VSD)

Methone Coronelli ca 1690 Image 12 1/2 x 4 1/8 inches

Paper size: 14 1/2 x 7 inches VEDUTA DI MODONE A Porta de terra B Follia C due Falsebraghe nella sossa D Castello E Cina F Porta di Socorso G Moschea hora Chiefa Latina H Castel de mare I Il Mollo K Sallne L Pillastri per alzr acqua M Borgo N Sepolttlr tupi O Le Sapienze

ENGRAVINGS

Image 12 1/2 x 10 3/8 inches

Navarino, Coronelli ca 1690, Paper size:14 1/4 x 13 1/4 inches

Upper view: VEDVTADI NAVARIN VEDHIO. A Castello B. Foteza C Porta D Sepolture E Fontana F Ponte G Conbott d'acqua H Pelchiere I Porto K al Porto L Falsa bocca M Scolgio grande N Il Prodano Scolgieto in mezo

Lower view: VEDVTA DI NAVARIN NOVO A Castello B Citta C Porta D Porta di Fortida E Posto S Batbara F Molchea hora Chiesa Latina G Lozetta H Borgo I Monte S. Nicolo K Dogona L Porto M Scolgio in bocca del Porto N Aliro Scolgietto O Scolgiogrande

ENGRAVINGS

Corone, Coronelli ca 1690, Image 12 5/8 x 5 1/16 inches

Paper size: 14 5/8 x7 inches

A Fortezza di Corone B Torrion de msre C Fortification Spegots D Esl Bragis E Molches hors Chieso F Lenguetts G Pozzo I Borgo KI Mollo L Colline d' Olliusri M Monti di Serachia O Seo lgio Venetico (VSF) NOTE: Vertical white line is due to my scanning the engraving in two scans due to its size and then joined together with the help of photshop. My limited ability in this respect is the white vertical line.

ENGRAVINGS

THE EMPEROR CLAUDIUS AND FAMILY (HIS WIFE MESSALINA AND TWO CHILDREN BRITANNICUS AND OCTAVIA)

Engraver: F. Dujardin Image size: 5 7/8 x 4 5/8 inches

Paper size: 14 7/8 x 11 1/4 inches

From THE ILLUSTRATED HISTORY OF ROME [from the founding of the city by Romulus, 753B.C., to the capture by the Turks 1456 A.D.] inn two volumes,, (TWO VOLUMES) by George A. Smith (ed.), 1884, GEBBIE & CO, Philadelphia The following are also in my collection (not illustrated) all engraved by F. Dujardin. 1) Pompey the Great 2) The Emperor Nero 3) The Emperor Galba 4) The Emperor Constantine the Great 5) Numa Pompilius 6)Mark Anthony 7) Lucius Junius Brutus [Founder of the Republic] 8) The Emperor Trajan 9) The Emperor Septimius Severus

ETCHINGS

Jan N. Darlin 1876-1962 Date Created/Published: 1919. Summary: Photograph of cartoon showing Theodore Roosevelt ascending to heaven on horseback, dressed as a Rough Rider, to join a wagon train.

ETCHINGS Jay Norwood "Ding" Darling (1876â&#x20AC;&#x201C;1962)

During his lifetime, "Ding" Darling was most widely known for his editorial cartoons, which appeared in nearly 150 newspapers nationwide and earned him two Pulitzer Prizes. All were drawn before the advent of television and many were drawn before radioâ&#x20AC;&#x201D;an era when newspapers were the primary source of information and commentary. Published with near-daily frequency, sometimes on the front page, Darling's cartoons had an enormous impact on public opinion. Although "Ding" earned his living as an editorial cartoonist, his passion was teaching the wise use of the world's natural resources. Skilled in public speaking, articulate in writing, Darling devoted his special talents to conservation education and to developing programs and institutions which would benefit wildlife. The National Wildlife Federation, the Cooperative Fish & Wildlife Research Unit Program, the Federal Duck Stamp Program, all owe their early existence to Darling's forceful leadership and conservation ethic. The prize-winning biography Ding: The Life of Jay Norwood Darling, by David L. Lendt is a must-read for all who are engaged in the on-going battle to conserve our nation's precious natural resources. While by definition the story of one individual, it is at the same time a fascinating history of the early conservation movement in the United States. The Papers of Jay N. Darling is an extraordinary archive maintained by Special Collections at the University of Iowa. It consists of over 60 lineal feet of materials including letters, manuscripts, and speeches. Additionally, Special Collections maintains a searchable archive of nearly12,000 of "Ding" Darling's original editorial cartoons that are viewable online. For a bibliography of books by and about Jay N. "Ding" Darling, click here.

ETCHINGS

Henri Eugene Callot 1875-1956, French, 24 x 20 inches Henri Eugene Callot was born in 1875 in La Rochelle and first studied in the ateliers of Jules Lefebvre and Tony Robert-Fleury. From 1698, he exhibited at the Salon des Artistes Frncais where he was awarded a gold medal in 1920 and elected a member of the Salon. He subsequently made a knight of the legion of Honor for his services to Art. Reference: Benezit, Dictionaire des Peinres, Vol. III, p. 132; Kunstlexicon, Thieme-Becker, Vol. V, p. 406; Mallett's Index of Artists, p. 65; Davenport's Art Reference Guide, 2003/4 Edition, p. 402, et al.

ETCHINGS

Engraver Carlo Labruzzi 1765-1818 Image size: 21 1/4 x 15 inches Paper size: 27 7/8 x 20 1/4 inches An Excavation of ancient Sepulchers made in the same vineyard in A.D. 1788 with the inscriptions there extant Scavo di Sepolcri antichi fatto I'anno 1788 nell'istessa Vigna con le iscrizioni ivi esistenti. No. 6 [Carlo Labruzzi]. The composition is dominated by Lati Inscriptions. The excavation site in the middle and in the background one can see the Via Appia.

ETCHINGS

Seymour Hayden, 1818-1910, English, Kilgaren Castle, Etching on paper, artists proof, image 5 7/8 x 4 1/2 inches

Sir Francis Seymour Haden 1810-1910.This is the Artist's proof it is in the best possible state. It is framed and on the back of the frame it has the Arthur Ackerman label of London and New York, this being from the Chicago gallery, It is however mislabeled as Kidwally Castle when in fact it is KILGARN CASTLE. Joseph Pennell The author of Etchers and Etching, fourth edition 1936, has this to say about Sir Francis Hadenâ&#x20AC;&#x2122;s etchings: "But the Surgeon etcher had something to say for himself, and when he etched plates like the sunset in Ireland, Grim Spain, Kilgarn Castle, or the drawings of the ship in the Breaking Up of the Agamemnon, or when and when he copied Turner's calais pier, he proved himself an etcher; in the latter he rivals Rembrandt."

ETCHINGS

Lewis Henry Meakin (1853-1917), 1881 after a painting by F. E. Michel Image area 13 X 10 1/8 inches Paper Size: 18 1/8 X 17 3/8 inches

ETCHINGS

Ralph Fletcher Seymour 1876-1966, image

ETCHINGS

Ralph Fletcher Seymour 1876-1966, image 3 1/8 x 4 1/ inches

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, image 3 1/8 x 4 1/4

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, image 11 x 7 7/8 inches

ETCHINGS

Ralph Fletcher Seymour, 1876-1966

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, image 8 1/8 x 11 1/4 inches

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, image 8 1/4 x 11 1/4 inches

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, image 10 1/4 x 7 inches

ETCHINGS

Ralph Fletcher Seymour, 1876-1966, Rothenburg, image 7 3/4 X 10 3/4 inches

ETCHINGS Ralph Fletcher Seymour From Wikipedia, the free encyclopedia Ralph Fletcher Seymour (March 18, 1876 – January 1, 1966) was an American artist, author, and publisher of the late nineteenth and the twentieth centuries.[1][2] Though long based in Chicago, he was also noted for his work in the American Southwest; he studied, wrote about, and portrayed the Native American cultures of the region. Seymour was born in Milan, Illinois, and studied in Cincinnati with Lewis Meakin and Vincent Nowattny, and later in Paris as well. He taught decorative illustration at the Art Institute of Chicago, and was an artist-in-residence at Knox College. He painted, and produced etchings, woodcuts and block prints. He was a noted designer of bookplates. For a time around the turn of the twentieth century, Seymour was associated with L. Frank Baum, and worked on Baum's books By the Candelabra's Glare (1898), Father Goose: His Book (1899), and American Fairy Tales (1901).[3] Seymour illustrated or designed a range of books, often in high-quality limited editions, including Elizabeth Barrett Browning's Sonnets from the Portuguese (1899), John Keats's The Eve of St. Agnes (1900), John Milton's Ode on the Morning of Christ's Nativity (1901), Percy Bysshe Shelley's A Defence of Poetry (1904), the Biblical Book of Ruth (1904), and William Blake's Songs of Innocence and Experience (1906). For almost seven decades, Seymour ran his own book publishing firm in Chicago. Among the works he published were Frank Lloyd Wright's The Japanese Print (1912) and Experimenting with Human Lives (1923), and Alice Corbin's Red Earth: Poems of New Mexico (1920). He published Henry Blake Fuller's Bertram Cope's Year (1919), a novel about homosexuals in Chicago and an early example of gay literature in America. Seymour's Alderbrink Press maintained traditions of the Arts and Crafts Movement into the 1950s.[4][5] Seymour wrote Across the Gulf (1928), about his travels in southern Mexico[6] — another expression of his interest in Native American cultures. He also published his own account of his life and art, in which he stated that the Chicago artists of his generation saw themselves as "peculiarly American" practitioners who disregarded "European, eastern or conventional rules for guidance in saying what they wanted to say."[7] He died in Batavia, Illinois in 1966, at the age of 89. 1. 2. 3. 4. 5. 6. 7.

^ Peter H. Falk et al., Who Was Who in American Art, 1564–1975, Madison, CT, Soundview Press, 1999. ^ Doris O. Dawdy, Artists of the American West: A Biographical Dictionary, Chicago, Swallow Press, 1981. ^ Katharine M. Rogers, L. Frank Baum, Creator of Oz: A Biography, New York, St. Martin's Press, 2002; pp. 65, 67, 93, 97. ^ Kathryn Mary Camp, Ralph Fletcher Seymour and His Alderbrink Press (Chicago, 1898–1965): A History and Checklist of His Publications, Chicago, University of Chicago, 1979. ^ Susan O. Thompson, American Book Design and William Morris, New York, R. R. Bowker, 1977; pp. 105-10 and 1289. ^ Ralph Fletcher Seymour, Across the Gulf: A Narration of a Short Journey Through Parts of the Yucatan with a Brief Account of the Ancient Maya Civilzation, Chicago, Alderbrink Press, 1928. ^ Ralph Fletcher Seymour, Some Went This Way: A Forty Year Pilgrimage Among Artists, Bookmen and Printers, Chicago, Ralph Fletcher Seymour Co., 1945; p. 9.

There is an excellent article in the CAXTONIAN, Journal of the Caxton Club, Volume XIX. No. 5 , May 2011, titled: Arts and Crafts book designer and illustrator, inveterate networker, and habitual clubman of a century ago, by Jerry D. Meyer.

ETCHINGS

J Andre Smith 1880-1959, 8 x 7 inches

ETCHINGS

J Andre Smith 1880-1959, 7 1/8 x 9 1/2 inches

ETCHINGS

J. Andre Smith From Wikipedia, the free encyclopedia

Smith in uniform. J. Andre Smith (1880â&#x20AC;&#x201C;1959) was a war artist for the United States Army during World War I. J. Andre Smith, born in Hong Kong, was the son of a sea captain and shipbuilder. After his father's death in 1887 the family lived for a few years in Hamburg, Germany, and then moved permanently to New York City. In 1898 he entered Cornell to major in architecture. He received a degree in architecture in 1902, went on to earn a master of science degree in the subject in 1904, and then spent two years in Europe on a Traveling Fellowship from Cornell.[1] Upon his return from Europe, Smith worked for an architectural firm in New York City and pursued etching and drawing in his spare time. He developed the ability to work quickly and preferred to finish a piece in one sitting (he produced more pieces of art during the war than any of his fellow official artists). In addition to his success as an etcher he spent time in Europe studying art where he produced some moody and gloomy experimental work. Shortly after the United States entered the war, Smith underwent officer training and became a first lieutenant in the Engineer Reserve Corps. He was soon promoted to captain and called to active duty as an artist. Since he was the only one of the artists with any military training, he was designated the senior officer of the group. Although his architectural background enabled him to produce detailed pictures of buildings, he also drew upon his skills as an artist to produce disquieting and somber images of the war. Additionally, he designed the Distinguished Service Cross.[1] His leg had to be amputated due to injury while in service, and he was discharged. [1] He returned to etching and published in France with the American Expeditionary Forces, an illustrated volume of his work. By 1935. his eyesight began to fail and Smith discontinued etching. In 1936, he published a text called Art of the Subconscious which featured a number of water colours. In retirement, he designed and established the Matland Research Studio in 1937, now the public Maitland Art Center.[1] This article incorporates public domain material from the United States Army Center of Military History document "J. Andre Smith".

^ a b c d "Andre Smith". Maitland Art Center. Retrieved February 10, 2011.

ETCHINGS

Anonymous - 1906 - Cannot read signature image, 6 3/4 x 5 3/4 inches Paper size: 10 1/2 x 7 inches

ETCHINGS

Olga Rosenson, 1892-1959 image, 9 3/4 x 7 3/4 inches

Paper size 12 3/4 x 10 inches

...noted Brooklyn, New York artist Olga Rosenson (1892-1959) most notably a student of American realist painter George Luks. Signed in the plate and in pencil lower right. An American Ashcan School Social realist, Rosenson was a very early proponent of social realism and enjoyed documenting the everyday lives of urban Americans living in the New York area in the 1920's and 1930's. The present lot was her material is being sought after by knowledgeable collectors and dealers interested in non-traditional subject matter of Americans in the early part of the 20th century. T is a naive charm to

ETCHINGS Rosenson's work that is unmistakably rooted in an almost anthropological approach to printmaking. See other auctions for more fine work of this newly re-discovered artist. Some biographical notes: National Academy of Design-Exhibited National Arts Club member National Association Women Artists-Exhibit Salons of America member Art Students League of New York-Student National Association of Women Artists Salons of America member Student of George Luks Important ASHCAN SCHOOL ARTIST .SIZEADDITIONAL COMMENTS: Rosenson was a talent but not prolific printmaker. After going through her estate, we found some notes that indicated only ten impressions of some prints were actually pulled. This is a dark rich impression of this image. These were obviously the examples Rosenson used to show and sell her work. Source: WORTHPOINT.COM http://www.worthpoint.com/worthopedia/wpa-era-etching-boat-to-fire-island-ny-1930s executed and printed in the 1920's. Rosenson's lost estate has recently surfaced, and

ETCHINGS

Sleeping Pigs 1652, initials K CV I Sc? Image size: 5 1/8 X 5 3/ 4 inches Paper size 5 3/8 X 6 inches

ETCHINGS

Leon R. Pesdheret 1892-1961 Leon R. Pescheret was born of French parents in London, England on March 15, 1892. He came to the United States in 1910 and studied interior design at the Art Institute of Chicago. Entering into the interior design business around 1919, he supervised decorating contracts in the Midwest including the Memorial Union and Elizabeth Waters Hall on the University of Wisconsin campus. In 1926 he began designing and making etchings, and devoted his business to etching full-time in 1930. While exhibiting at the Century of Progress in 1933, he became interested in color etchings. To study this craft, he returned to Europe and became the private pupil of Roger Hebbelinck, a famous color etcher, and gained practical knowledge in doing one and multiple plate work. He also studied at the Royal College of Engraving, London, England. In 1936, he purchased the Halverson home on 519 West Main Street, Whitewater, Wisconsin and opened a studio. For the next 31 years he produced both color and monochrome etchings earning national and international awards. Leon Pescheret closed the studio in 1967, relocating to Tucson, Arizona, where he died on February 23, 1971.

Source: Leon Pescheret Collection

ETCHINGS

Eileen Alice Soper 1905-1990, English image 7 7/8 x 4 3/4 Eileen Alice Soper made her first etching at the age of only thirteen, in 1918. When her etched work was first exhibited at the Royal Academy of Arts summer exhibition in 1921, the sixteen year old Eileen attracted immediate attention and her future success was assured. Childhood was to be Eileen Alice Soper’s constant theme – children at play being the particular subject of her charming etchings. Over the next ten years she produced around 160 original etchings, the popularity of which has endured to the present day. Eileen Soper's last etched works were produced at the beginning of the 1930’s, after which she moved from treating children as her subject to making them her public, turning to illustrating the famous children’s’ books of Enid Blyton.

ETCHINGS

Geoffrey H. Wedgewood 1900-1977, English, image 8 1/4 x 9 3/4 inches Winner of the Prix de Rome for engraving in 1925, Geoffrey Wedgwood produced a fine and distinctive body of topographical works in a combinations of etching, drypoint and line engraving. These beautifully precise views are chiefly architectural in content, although G.H.Wedgewood invariably introduces highly stylized and charmingly observed local figures to add a sense of activity to his compositions.

ETCHINGS

Kent Hagerman 1893-1978, Trackside, American, image 10 1/8 x 7 3/4 inches Kent Hagerman, also known as William Kay Hagerman, was born in Ohio in 1893. He studied at the Cleveland School of Art and the Sorbonne in Paris while serving in France during World War I. He began his career producing newspaper and magazine illustrations. He and his brother Gale operated an engraving company in Denver. Since Hagerman seldom dated his work, it is difficult to tell when specific prints were made. However, his early works were signed "Will Kay Hagerman", and from the early 1940's onward, his signature was "Kent Hagerman." Kent Hagerman and his wife Carrie moved to Lakeland, Colorado in 1933. Besides the many fine etchings, Hagerman made sculptures and bas-reliefs of local leaders. He died three years after his wife's death in 1978 at the age of 85. An exhibit of his work was shown at the 1985 Lakeland City Centennial celebration. Information pertaining to this exhibit is in RG 3600, Lakeland Centennial. Included in the Lakeland Public Library collection are drawings, listed alphabetically, and two framed etchings. Source: This biography from the Archives of AskART Lakeland Public Library-Special Collections http://www.lakelandgov.net/library/speccoll/manuscripts/finearts/hagerman.html

ETCHINGS

Rose Grosman 20th century, image 5 5/8 x 4 inches (No biographical information available)

Cannot make out signature

ETCHINGS

Unable to read signature, 1971, image 4 3/4 x 7 inches

Signature ineligible, Oxford

ETCHINGS

Ineligible, interior of a Gothic Cathedral9 7/8 x 14 inches

ETCHINGS

"S" Ghent, image 10 3/4 x 16 1/4

ETCHINGS

R (Reinehold?) Bach, Germany?, image 9 3/4 x 13 1/8 inches Painter and printmaker Reinhold Bach (b. 1880?) There is very little biographical information regarding this artist other than that he was active in Germany and Poland during the early 20th Century. Some sources list the artist's birth date as 1880 and some list this date as his time period for activity, but it is generally accepted that 1880 is the artist's birth date. Source: Whatisitworthtoyou.com

ETCHINGS

William Anderson Sherwood 1875-1951 William Anderson Sherwood was an American etcher and painter known for his landscapes and architectural as well as figures. Born in Baltimore, Maryland, he established himself in Belgium and at his death was living in Bruges. In the U.S., he joined the Society of Independent Artists, the Chicago Society of Etchers (an organization that exhibited fine art etchings across America), the California Printmakers and the American Federation of Arts. He joined Belgian artist organizations, including the Société Royale des Beaux-Arts Belge (Belgian Royal Society of Beaux-Arts), and the Sociéte Royale des Aqua-Fortists Belgique (Belgium Royal Watercolorists Society) and was honored as a Chevalier of the Order of the Crown. In Belgium, his etchings are in the collections of the Dowager Queen of Belgium, the Royal Library in Brussels, and the Plantin-Moretus Museum in Antwerp. In the U.S., they have been collected by the National Gallery of Art, National Museum of American Art and Art Institute of Chicago, among other museums and libraries. Falk, Peter Hastings, ed. Who Was Who in American Art. Madison, Connecticut: Sound View Press, 1985. p. 565.

ETCHINGS

Ineligible, Woods

ETCHINGS

Michael J. Maszk,1978, numbered 1/7

ETCHINGS

George Taylor (Litho?) image 4 5/8 x 6 inches Plowman, George Taylor 'George Plowman' (Le Sueur, MN, 1869 - Cambridge, MA, 1932) Not sure if this is the same person or not.

ETCHINGS

Salvador Dali 1904-1989, Don Quixote, image 5 5/8 x 8 3/4 inches

ETCHINGS

Iris Warrick, 1972 Chicago, image 7 7/8 inches diameter This was given as a gift to me by Iris

ETCHINGS

John Culik, (1916-2001) another source lists his date of birth as 1926, born in Joliet, Illinois, Winners and losers, 15/80

http://webmii.tw/Result.aspx/John/Culik

ETCHINGS

Chryssafenia Gardiakos. Eril, Etching trial state 1

ETCHINGS

Chryssafenia Gardiakos, Your Evil Eye, etching brown

ETCHINGS

Chryssafenia Gardiakos, untitled, etching