Louis Conrad Rosenberg

New Viaduct

August 1928

Western Hills Viaduct Under Construction Drypoint, June 1931 Signed in pencil lower right (see photo) Initialed and dated in the plate lower right above pencil signature (see photo) From: Cincinnati Series, 1930-1931, 8 plates, this No. 5 Small edition, not specified From Greenfield Hill Condition: Excellent Image/Plate size: 8 1/2 x 15 1/4 inches Sheet size: 11 1/4 x 18 1/2 inches Louis Conrad Rosenberg 1890-1983 An American architectural etcher...

Cincinnati Union Terminal, Perspective From East Drypoint, 1930-1931 Signed in pencil lower right (see photo) Initialed and dated the the plate above the pencil signature From: Cincinnati Series (8 Plates), this No. 2 Edition: 155, completed May 4, 1931 Delivered to Fellheimer & Wagner, 1931 Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology...

Rainy Night in Rome Drypoint, 1913 Signed in pencil and titled in the lower margin by the artist (see photo) Provenance: Kennedy Galleries, Stock # A6538 Reference; Doddgson 299 _/X Total edition in 10 states 125 printed Note: The scene depicts the Church of San Rocco on the right at the intersection of via Schiavoria and via di Ripetta. Guichard considers this image to be among the artist's most desirable. Condition: Exceptional, rich impressions, printing with extensive burr. Printed on a medium weight Japanese paper. Image/Plate size: 12 x 9 inches Sheet size: 15 7/8 x 11 inches Sir Muirhead Bone (23 March 1876 – 21 October 1953) was a Scottish etcher and watercolourist who became known for his depiction of industrial and architectural subjects and his work as a war artist in both the First and Second World Wars. A figure in the last generation of the Etching Revival, Bone's early large and heavily-worked architectural subjects fetched extremely high prices before the Wall Street Crash of 1929 deflated the collectors' market. He was well known, if not notorious, for publishing large numbers of different states of etchings, encouraging collectors to buy several impressions. Bone was an active member of both the British War Memorials Committee in the First World War and the War Artists' Advisory Committee in the Second World War He promoted the work of many young artists and served as a Trustee of the Tate Gallery, the National Gallery, and the Imperial War Museum. Early life Muirhead Bone was born in Partick, Glasgow. His parents were journalist David Drummond Bone (1841–1911 and Elizabeth Millar Crawford (1847–1886). The Bone and his siblings attended the local Board school and were placed in apprenticeships from the age of fourteen. James Bone...

Un Debarquement en Angleterre (A Disembarking in England) etching, drypoint, aquatint, roulette and spirit ground, 1879 Signed with the artist’s red owl stamp, Lugt 977 (see photo) ...

Ontario St. Grading and Temporary Ramps Drypoint, August 1929 Signed in pencil lower right (see photo) From: The Cleveland Set (23 plates), this being No. 13 Edition: Small A brilliant example of American industrial art. A wonderful, rich impression, with lots of burr and contrasts. Louis Conrad Rosenberg 1890-1983 An American architectural etcher and engraver of the 1920's and 1930's era, Louis Conrad Rosenberg first studied at the Massachusetts Institute of Technology. He then enrolled at the Royal College of Art, London, to study etching techniques under Malcolm Osborne...

Untitled (Venice canal, man departing the gondola) Drypoint, c. 1930-1931 Signed in pencil lower right (see photo) Annotated in the lower margin: "Just a souvenir made ___ Monclair Lecture" Levon West In a supplemental list prepared by Otto Torrington he lists seven views of Venice. No edition of these Vencie images was ever printed. Only rare proof exist. I cannot find another impression of this image on line or in reference books. Condition: Very good impression with selective inking to the plate. Imperfections on the bottom edge of the sheet. Image/Plate size: 14 5/16 x 8 3/8 inches Sheet size: 17 1/2 x 11 1/2 inches Also known as Ivan Dmitri, Levon West gained international fame for his portrayals in color photography, etchings and watercolors. During his youth, West moved throughout North Dakota, as his father was a congressional preacher. After graduating from high school he taught school for a year and enlisted in the United States Navy. West was the recipient of a scholarship to the University of...

Untitled is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Monogram in pencil on the lower left. Excellent conditions. Precious an...

French Landscape is an original artwork realized by Eugène Corneau during the 1930s. Etching and drypoint on paper. Very good conditions except for some small folds on the left mar...

Lawrence Nelson Wilbur, 'Gloucester Harbor', drypoint, 1940. Signed, dated, and titled in pencil. Signed in the plate, lower right. Annotated 'PERSONAL...

Bertha Landers, 'Mountain Trees', etching and drypoint, c. 1938, edition not stated but small. Signed and titled in pencil. A fine, richly-inked impres...

Etching and drypoint. Hand signed. Very good condition.

Samuel Chamberlain, 'Manhattan Old and New', drypoint, 1929, edition 100, Chamberlain and Kingsland 81. Signed, titled, and numbered '81/100' in pencil. Titled and annotated '30.00' in pencil, in the artist's hand, bottom margin. Matted to museum standards, unframed. A superb, finely-detailed impression, with selectively wiped plate tone, on heavy Rives cream wove paper; full margins (1 1/2 to 2 1/4 inches), in excellent condition. The subject of the print is the lower Manhattan cityscape just before the Depression. Image size 8 3/4 x 6 13/16 inches (222 x 173 mm); sheet size 12 3/4 x 10 inches (324 x 254 mm). Impressions of this work are held in the collections of the National Gallery of Art and the Zimmerli Art Museum. ABOUT THE ARTIST 'There is something about the atmospheric vibrancy of an etching which imparts a peculiar and irresistible life to architectural drawing...A copper plate offers receptive ground to the meticulously detailed drawing which so often appeals to the architect'. —Samuel Chamberlain, from the Catalogue Raisonné of his prints. Samuel V. Chamberlain (1896 - 1975), printmaker, photographer, author, and teacher, was born in Iowa. His family moved to Aberdeen, Washington in 1901, and in 1913, Chamberlain enrolled in the University of Washington in Seattle, where he studied architecture under Carl Gould. By 1915, he was enrolled in the School of Architecture of the Massachusetts Institute of Technology in Boston. With the United States' involvement in the First World War, Chamberlain sailed to France, where he volunteered in the American Field Service. In 1918, he was transferred to the United States Army to complete his tour of duty. After the war, he returned to Boston and resumed his architectural studies, which he eventually discontinued, working for a few years as a commercial artist. Chamberlain received the American Field Service Scholarship in 1923, which he used to travel to Spain, North Africa, and Italy. In 1924 he was living in Paris, where he studied lithography with Gaston Dorfinant and etching and drypoint with Edouard Léon, publishing his first etching the following year. In 1927, he studied drypoint with Malcolm Osborne...