Walter Tittle

The Plaza, Sunset Glow

c. 1920s

Walter Tittle, 'Grand Central Night', drypoint, edition not stated, c. 1920s. Signed in pencil. Titled, and annotated '36.00' and with the inventory numb...

Emil Ganso, 'Skaters', pochoir (color stencil) with hand painting, edition c. 50, 1938, Smith S-6. Signed in the image, lower right. A rich, painterly impression, with fresh colors, on buff wove paper; the full sheet with margins (7/8 to 1 7/8 inches), in excellent condition. Matted to museum standards, unframed. Image size 11 3/4 x 15 1/4 inches; sheet size 18 3/4 x 13 3/4 inches. An impression of this work is in the permanent collection of the Philadelphia Museum of Art. ABOUT THE ARTIST Born in Germany, Emil Ganso (1895-1941) came to the United States with his family in 1912. After settling in New York City, he found night work in a bakery and concentrated on his art in the daytime—mostly self-taught at this time, he studied only briefly at the National Academy of Design. In 1924, Ganso showed his drawings to Carl Zigrosser, who organized the artist’s first solo exhibition, at the Weyhe Gallery. Soon afterward, Ganso enrolled in Eugene Fitsch’s printmaking class at the Art Students League. Although he considered himself primarily a painter, Ganso made prints in all media, including relief and stencil prints and complex intaglios, and even experimented with color lithography in the late 1920s. He also developed, with an engineer, the design and fabrication of an innovative etching press. In 1926, Ganso attended the Art Students League summer session in Woodstock, New York. There, he met Jules Pascin, and the two artists began a close friendship, briefly sharing a studio. Ganso followed Pascin to Europe in 1928. In 1929, Ganso returned to New York and showed his work regularly in group exhibitions. He continued working in Woodstock in the summer months, often printing lithographs for other artists. The Cleveland Print Club...

B.J.O. Nordfeldt, 'St. Paul's Church' (St. Pauls' Chapel), etching, edition not stated, c. 1915. Signed in pencil. A superb, richly-inked impression, with skillfully controlled plate tone, printed on off-white, antique, laid paper; the full sheet with margins (5/8 to 2 1/4 inches), in very good condition. Scarce. Matted to museum standards, unframed. An impression of this work is in the permanent collection of the Smithsonian American Art Museum. ABOUT THE ARTIST A solo exhibition of Nordfeldt’s etchings and woodcuts was presented by the Smithsonian Institution in 1926. In 1920, Nordfeldt had a one-man show at the Chicago Arts Club. In 1926, he won the bronze medal at the sesquicentennial exposition in Philadelphia and the Logan Medal at the Art Institute of Chicago. In 1927, he won the first annual prize from the Brooklyn Society of Etchers, and the following year he won first prize from the Chicago Society of Etchers. In 1929, Nordfeldt had a one-man show at the Denver Art Museum. Nordfeldt's work is held in numerous museum collections including Amon Carter Museum of Western Art, Ft. Worth; Anschutz Collection, Denver; Art Institute of Chicago; Biblioteque d’Art et d’Archeologie, Paris; British Museum, London; Corcoran Gallery of Art, Washington, DC; Los Angeles County Museum; Metropolitan Museum of Art, New York City; Museum of Fine Arts, Santa Fe; National Museum of American Art, Smithsonian Institution, Washington, DC; National Gallery, Sydney, Australia; Phillips Collection, Washington, DC. ABOUT ST. PAUL'S CHAPEL St. Paul's Chapel, nicknamed "The Little Chapel That Stood", is an Episcopal chapel located at 209 Broadway, between Fulton Street and Vesey Street, in Lower Manhattan, New York City. Built in 1766, it is the oldest surviving church building in Manhattan, and one of the nation's finest examples of Late Georgian church architecture. It is a New York City Landmark and a National Historic Landmark. The Hearts of Oak, a militia unit organized early in the American Revolutionary War, and composed in part of King's College (later, Columbia University) students, would drill in the Chapel's yard before classes nearby. Alexander Hamilton was an officer of this unit. The chapel survived the Great New York City Fire of 1776 when a quarter of New York City (then confined to the lower tip of Manhattan), including Trinity Church, burned following the British capture of the city after the Battle of Long Island during the American Revolutionary War. George Washington, along with members of the United States Congress, worshipped at St. Paul's Chapel on his Inauguration Day, April 30, 1789. Washington also attended services at St. Paul's during the two years New York City was the country's capital. Above Washington's pew is an 18th-century oil painting of the Great Seal of the United States, adopted in 1782. The rear of St. Paul's Chapel faces Church Street, opposite the east side of the World Trade Center site. After the attacks on September 11, 2001, which led to the collapse of the twin towers of the World Trade Center, St. Paul's Chapel served as a place of rest and refuge for recovery workers at the WTC site. For eight months, hundreds of volunteers worked 12-hour shifts around the clock, serving meals, making beds, counseling and praying with firefighters, construction workers, police, and others. Massage therapists, chiropractors, podiatrists, and musicians also tended to their needs. The church survived without even a broken window. Church history declares it was spared by a miracle sycamore on the northwest corner of the property that was hit by debris. The tree's root has been preserved in a bronze memorial...

Ralph M. Pearson, 'Black Hawk Country', etching, second state, edition not stated, 1912. Signed, and titled in pencil. Inscribed 'Rock River Series Second...

George Elbert Burr, 'North Boulder Creek, Colorado', etching, c. 1915, Seeber 99. A superb, luminous impression, in dark sepia ink, with skilfully wiped plate tone, on cream laid pap...

B.J.O. Nordfeldt, 'Broad Street (Wall Street)', etching, edition not stated, c. 1915. Signed in pencil. A superb impression, with rich burr, selectively wiped plate tone, and inky plate edges, on cream wove paper; the full sheet with margins (3/4 to 1 1/4 inches), in excellent condition. Printed by the artist. Matted to museum standards, unframed. Impressions of this work are in the permanent collections of the Fine Arts Museums of San Francisco, Princeton University, Smithsonian American Art Museum. A view looking down Broad Street past the New York Stock Exchange Building on the right with the columned Federal Hall...

The Venetian Mast. 1879-80. Etching and drypoint. Kennedy catalog 195 state .vi; Glasgow catalog 219 state x/xii. 13 3/8 x 6 3/8. Glasgow records 53 impressions. A fine, atmospheric...

"St. Nicolas du Chardonnet" Etching in Ink on Paper Delicate and detailed etching by Katherine Kimball (American, 1866-1949). The Catholic church of St. Nicolas du Chardonnet is shown nestled in the streets of Paris. With clever use of line weight and clarity, the building is highlighted and cleanly stands out against the background and surroundings. Stamp with coat of arms on verso. Artist's info written on verso. Presented in a new black mat with foamcore backing. Mat size: 16"H x 12"W Paper size: 10.75"H x 6.75"W Katherine Kimball (American, 1866-1949) was born in Fitzwilliam, New Hampshire. She studied at the National Academy of Design in New York and exhibited in the San Francisco Panama-Pacific Exhibition of 1915. Listed in “Who Was Who in American Art, 1564-1975”; “North American Women Artists...

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...

Palm Springs Courtyard with Fountain - Drypoint Etching on Paper Stately drypoint etching of the courtyard of a Palm Springs house by Leland "Lee" Fuller (American, 1899-1962). The focus of this piece is the courtyard of a house with a fountain. Behind the garden and fountain, there is a section of the house with an arched doorway and tile roof. This was likely a house that Fuller designed. From the Robert Azensky Fine Art Mary Pickford...

Charming drypoint etching of a series of three arched interior doorways by Susan Varjavand (American, 1941-2018). Numbered, titled, and signed ("13/20 Whisperings at a Cross Point Susan Varjavand") along the bottom edge. Presented in a new cream mat. No frame. Image size: 14"H x 11"W Susan Varjavand (American, 1941-2018) was an artist from San Francisco, California. She studied with Patricia Pearce (American, b. 1948) while at the College of San Mateo, as well as with Richard Bowman (American, 1918-2001) and Alan May...

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...