Source: https://brierhillgallery.com/artists-a-b/
Timestamp: 2019-04-19 10:17:05+00:00

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Printmaker, illustrator, and designer Elly Van Den Hoeven was born at Den Bosch, The Netherlands. She studied at the State Academy of Fine Arts in Amsterdam and, moving to Amsterdam in 1952, had a long free-lance career illustrating children's books, designing tapestries, and creating wood engravings for book plates, the medium for which she is most widely recognized.
Wood engraving, 1957; edition not stated. Image size 4” x 7¼”; sheet size 7-5/8” x 10”. Signed in the block. A very good impression in overall fine condition.
Etcher and painter Enrico Vannuccini began his career as an illustrator for an advertising agency in Milan and subsequently moved to Rome, where he met several leading artists. While Vannuccini also produced larger format etchings and paintings, he is best remembered for his bookplate designs, which he executed on commission from many of the leading collectors and bibliophiles of the era. Vannuccini ultimately settled in Griante, Italy and lived and worked there for the rest of his life.
Etching, 1952; edition not stated. Image size 8-1/8” x 6”; sheet size 10-1/8” x 8”. Titled and signed by the artist in the lower margin. Very good overall condition.
Lynd Ward was an illustrator, graphic artist, and author, born in Chicago, Illinois. He attended Teachers College of Columbia University, majoring in fine arts, followed by study under Hans Alexander Mueller at the State Academy of Graphic Arts in Leipzig in 1926 and 1927. It was in Germany that Ward became acquainted with pictorial stories of Frans Masereel; upon his return to the United States, he set to work on his own wordless novel, Gods' Man, which was published in 1929. Ward's narrative in wood engravings was enthusiastically received, and was followed by five more wordless novels in the next eight years.
Ward was, in addition, a very successful book illustrator and worked for many different authors and publishers, producing work using a variety of media. His own works embodied his strong social consciousness. In 1937, Ward was named Director of the Graphic Arts Division of the Federal Art Project, a division of the Works Progress Administration (WPA). Ward remained active and prolific through he remaining years of his career. In 1974, he moved to Reston, Virginia and lived there until his death.
Wood engraving, 1946; edition not stated. Image size 8" x 10" with full margins. Titled and signed by the artist in the lower margin. Framed using archival materials. Fine.
Wood engraving on tissue, ca. 1927; edition of 50. Image size 4” x 5-7/8”; sheet size 6-3/4” x 10¼”. Numbered 3/50 and signed in pencil by the artist in the lower margin. Very good condition with small ink spots to right of image. A very early expressionist style work, probably executed when Ward was a student at the Leipzig Academy in 1926/27, where he studied with Hans Alexander Mueller. Framed using archival quality materials. Rare.
Wood engraving, 1968; edition not stated. Image size 12” x 18¼”; sheet size 19½” x 22”. Titled and signed in pencil by the artist in the lower margin. Very good condition, with mild toning in previous mat aperture.
Unsigned wood engraving, ca. 1942. Image size 3¼" x 5¼" with full margins. An illustration from Ward's wordless novel, Prelude To A Million Years, published by the Equinox Cooperative Press in 1933. This was a keepsake print by the L. F. White Company, a small shop on 21st Street in New York, and was issued to its customers for the 1942 holiday season. Lewis White was active in the New York printing world, and his influence in that circle extended far beyond the confines of his establishment. For a time in the late 1940s, John De Pol was employed there; one of his early woodcuts, depicting an antique press, was the frontispiece for a reprint of a speech that Lewis White delivered to the Typophiles in New York. A chummy world, indeed. One wonders who thought that this particular print would convey the holiday spirit quite as effectively as another choice might have done.
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 5"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 4"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 4" x 6"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Gods' Man, the first wordless novel printed in the United States, measures 3" x 5"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3-3/4" x 5-3/8"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3" x 5".
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Madman's Drum, the second of Ward's wordless novels, measures 3" x 5"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Hot Countries by Alec Waugh, published in 1930 by Farrar & Rinehart, New York, measures 4" x 5½"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Hot Countries by Alec Waugh, published in 1930 by Farrar & Rinehart, New York, measures 2-5/8" x 3-5/8"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Waif Maid by Ward's wife, May MacNeer, published in 1930 by Macmillan, New York, measures 3-3/4" x 5½"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 3-3/4" x 5½"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 4" x 5½"
In its October, 1930 issue, the quarterly journal The Print Connoisseur published eighteen wood engravings by Lynd Ward printed from the blocks that he had created for five books, which he had either written or illustrated since returning to the United States in 1927. None is signed, but all are superb impressions in fine condition. This image from Midsummer Night, published by Farrar & Rinehart, New York, measures 2½" x 3-3/8"
Wood engraving on Japan paper, 1985; edition not stated. Image size 11¾” x 19-7/8”; sheet size 16” x 24-3/8”. Estate signed in the lower margin. A fine, nuanced impression in fine condition.
Artist and illustrator Larry Wasile attended the Westminster School and studied at The Rhode Island School of Design. He worked as an illustrator in New York City and subsequently moved to Storrs, Connecticut, where he works as a free-lance artist.
Offset Lithograph, ca. 1985; edition of 250. Overall size 20¼" x 27". Signed and numbered in pencil by the artist in the lower margin of the image. Overall fine condition.
Herbert Waters, a printmaker and wood engraver, was born in Shantou, China, where he completed his secondary education. He then came to the United States and graduated from Denison University in Granville, Ohio, followed by studies at the Pennsylvania Museum School of Industrial Art in Philadephia, the Art Institute of Chicago, and Harvard University. He taught art in public school under the auspices of the Works Progress Administration's Federal Arts Project, and later at the University of New Hampshire at Durham, and at the Holderness School in Plymouth, New Hampshire. He died at Campton, New Hampshire.
Modernist painter and printmaker Max Weber was born in Bialystok, Russia. His family emigrated to the United States, settling in Brooklyn, New York. Weber studied at the Pratt Institute under Arthur Wesley Dow. He spent the next four years teaching in Virginia and Minnesota before moving to Paris. There he studied under Jean-Paul Laurens at the Académie Julian, at the Académie Colarossi, and at Académie de la Grande Chaumière. Weber's work was strongly influenced by Picasso and Braque.
Returning to New York Weber was taken under wing by Alfred Stieglitz, founder of Gallery 291, and it is at this time that his artistic reputation flourished. Weber eventually broke with Stieglitz and supported himself with his art and by teaching. In 1930, his work was selected for a one-man show at the Metropolitan Museum of Art. His mature style, the product of years of experimentation, acquired an Expressionist character and reflected the artist's social consciousness. He remained active until his death at Great Neck, New York.
Lithograph, 1931; edition not stated. Image size 12” x 16½”; sheet size 15½” x 22½”. Signed in pencil by Weber lower right corner. Fine.
Reynold Weidenaar was a lifelong resident of Grand Rapids, Michigan. He studied at the Kendall School of Design and at the Kansas City Art Institute with Jackson Lee Nesbitt. He received a Guggenheim Fellowship in 1944 and the Louis Comfort Tiffany scholarship in 1949. Throughout his career, he produced over 200 intaglio prints, but is best known for both his black-and-white and color mezzotints.
Mezzotint, 1956; edition of 243; Image size 6-7/8” x 12-3/4”; sheet size 12-3/4” x 20-3/4”. Published by the Society Of American Etchers, New York. A superb impression.
Etching, ca. 1940; edition not stated. Image size 2-11/16” x 2¼"; sheet size 5” x 4-5/8” Titled and signed in pencil by the artist in the lower margin. A very good impression of this early work.
Born in Lowell, Massachusetts, painter and etcher James A. M. Whistler first studied art in Russia, where his father had temporarily moved the family. He entered and was soon dismissed from West Point, then became a draftsman working on topographical maps at the Coast and Geodetic Survey. He moved to Paris for formal study with Charles-Gabriel Gleyre and met Gustave Courbet, who, together with Whistler's personal fascination with Japanese prints, proved a dominant influence upon Whistler's evolving style.
His first series of etchings appeared in 1853 and were widely praised. In 1859, having moved to London, he began to publish his famous series of etchings of everyday life along the Thames. In time, his oriental bias began to inform both his etchings and paintings. Whistler's amorphous and fanciful landscape paintings of the mid-1870s, which he described as “nocturnes”, provoked indignant reviews by conservative critics, provoking a successful but costly lawsuit for slander against John Ruskin, which bankrupted Whistler. He traveled to Venice and there produced another famous series of etchings, which helped to restore his fortunes.
Returning to London in 1895, his popularity with the British people restored, Whistler's work met with eager and enthusiastic demand. Failing health led to a decline in his productivity, and he died there in 1903.
A richly inked etching and drypoint in black on cream laid paper, 1859; second of two states. Image size 6” x 8-7/8” with full margins. Signed and titled in the plate. Drouet was a sculptor, collector, and lifelong friend. Kenedy 55; Glasgow 35.
Etching in dark brown ink on cream laid Japan paper, 1859; edition not stated. image size 8-7/8” x 6”; sheet size 10-7/8” x 8”. Signed and dated in the plate. Ninth state of nine, prior to cancellation. A superb, well-inked impression with all the fine lines distinct. Kennedy 47; Glasgow 51.
The son of a newspaper reporter, Leigh Wiener grew up in New York City. A close family friend, news photographer Arthur Felig – better known as Weege – was influential in his education by teaching the young man how to capture the essence of a scene. Wiener proved his innate talent by making his first commercial sale to Collier’s magazine at the age of 14.
He moved to Los Angeles in 1946, finding work as a library clerk for the Los Angeles Times. He ultimately became a staff photographer and enjoyed his first great success with a symbolic 1949 photograph – the empty swing of a young girl who had fallen into a well and died – that was used by newspapers across the country.
Wiener was also a successful freelance photographer for virtually all of the leading illustrated periodicals of the day, including Life, Fortune, and Sports Illustrated. With George Fenneman, he co-hosted "Talk About Pictures," an award-winning teleision show about photography that included interviews with many leading masters. He extensively documented the American industrial landscape and photographed every president from Truman to Reagan. His work is included in several photography books, and is represented in the collections of several museums, including The National Portrait Gallery in Washington, D.C. He died in Los Angeles.
Negative created at Columbia Recording Studios, June 1961. Silver gelatin print on Kodak Ektalure paper, 1985; print size 11" x 14". Edition of 100 plus 10 proofs. This print numbered 4/100, the last actually issued; a total of 17 prints at this size were made and signed prior to Leigh Wiener's death. A total of 24 prints were produced at a size of 16" x 20," of which 10 were issued. Photographer's stamp and signature on reverse. A rich portrait of the celebrated singer in fine condition. Archival mount and custom frame with an overall size of 19-3/8" x 16¼". Ex corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio.
Painter and printmaker Lawrence Nelson Wilbur was born in Whitman, Massachusetts. He moved to Boston where he began his training as a photoengraver. He moved to Los Angeles in 1921, where he worked in the engraving department of the Los Angeles Times. Relocating to New York in 1925, Wilbur was employed as a finisher by several of New York’s finest engraving shops and by several of the leading magazines of the era.
Wilbur enrolled at the Grand Central Art School, where he studied under N. C. Wyeth and Harvey Dunn.a number of Lawrence Nelson Wilbur traveled to Boston and Los Angeles before settling in New York. In 1925, he enrolled in the Grand Central Art School where he studied under Harvey Dunn, N.C. Wyeth, and Pruett Carter. As a photo-engraving finisher, he worked for the finest engraving shops in New York, and a number of major magazine publishers headquartered there. The combination of his graphic arts skills and his serious pursuit of training in the fine arts formed the basis for his career as a talented draftsman, printmaker, and painter.
His works have been collected by the Metropolitan Museum of Art in New York; the National Gallery of Art and the Library of Congress in Washington, D.C.; the Philadelphia Museum of Art; and many other institutions. Wilbur received numerous awards for his art, including the Audubon Artist’s medal of honor for a self-portrait in oil in 1957. He was a member of the Salmagundi Club of New York, the Painters and Sculptors Society of New Jersey, and Society of America Graphic Artists. He died in New York City.
Painter, etcher, printmaker and author Frank Nelson Wilcox, Jr. was born in Cleveland, Ohio. In 1906, he enrolled in the Cleveland School of Art, studying with Henry Keller as well as at Keller’s summer class in Berlin Heights beginning in 1909. After graduation, Wilcox traveled and studied in Europe, spending a year at Académie Colarossi in Paris where he was influenced by impressionism. Upon his return, Wilcox joined the faculty of his alma mater in 1913, and proved to be an inspiring and influential instructor, teaching there for more than four decades. An annual scholarship awarded to printmaking majors was established in his name.
Wilcox developed a distinctive style and established a reputation as a leading Regionalist artist. He wrote and illustrated several books dealing with the history of the Western Reserve. He exhibited and received many awards for his paintings and prints at the annual Spring show at the Cleveland Museum of Art. He died in East Cleveland, Ohio.
Etching, 1928; edition not stated. Image size 9-7/8” x 7-15/16”; sheet size 13½" x 10½". Published by The Print Club, Cleveland, Ohio. A rich, well inked impression on cream laid paper. Signed in pencil by the artist in the lower margin. Overall fine condition, with tape remnants on the upper corners verso.
Illustrator, lithographer, painter and woodblock artist Edward A. Wilson was born in Glasgow, Scotland. He moved with his family to Rotterdam, and then to Chicago, where he studied at the Art Institute of Chicago, and later with Howard Pyle. He settled in New York City and summered on Cape Cod enjoying a long and productive career. He illustrated more than seventy books, and is especially well known for his many commissions from the Limited Editions Club. In addition, Wilson also created numerous lithographs and woodcuts. He died at Dobbs Ferry, New York.
Woodcut in four colors, 1926; edition not stated. Image size 6½” x 5”; sheet size 9” x 5-5/8”. Published in The Print Connoisseur, Volume VI, Number 4, October, 1926. Fine condition.
Lithograph, 1949; edition of 250. Image size 13-1/4” x 9-3/4” with full margins. Published by Associated American Artists, New York. A fine impression, lightly sunned in mat aperture.
Born in Hyde Park, Massachusetts (later incorporated into the City of Boston), Franklin T. Wood initially studied at the Cowles Art School in Boston before transferring to the Art Students League in New York City. He traveled to Europe for further study, and launched his career as a commercial illustrator, producing work for a number of periodicals including The Youth's Companion and Frank Leslie's Illustrated Newspaper. In addition, Wood published a series of etchings that received high praise from his peers. In 1915, he moved to Rutland, Massachusetts where he remained for the rest of his life. That same year, he exhibited a group of etchings at he Panama-Pacific International Exposition in San Francisco, followed by shows at the Bibliotheque Nationale, Paris and the Victoria and Albert Museum, London.
Etching, 1925; edition not stated. Image size 3½” x 4½”; sheet size 5-5/8" x 9”. Published in The Print Connoisseur, Volume V, Number 3, July, 1925. A very warm impression; diagonal crease at bottom of image extending about 1/4" into the plate area.
German painter and printmaker Paul Wunderlich was born in Eberswalde and studied at the Art School at Eutin Castle in Schleswig-Holstein, and studied graphic art at the Hochschule fur Bildende Kunste in Hamburg, extending his training by another semester to work under Willem Gremm. In 1951 he was offered a teaching post at the school, which he held until 1961. During this period he studied with both Emil Nolde and Oskar Kokoschka. In 1963 he became Professor for the Graphic Arts and Painting. His realist approach of his early prints gave way to Fantastic Realism in a series of works whose frank eroticism provoked strong controversy at the time. Wunderlich has exhibited his paintings and prints worldwide. He was the recipient of numerous awards. His work is held in many private and institutional collections. He died in Provence.
Color lithograph, 1969; edition of 100. Image size 15" x 18½ with full margins. Published by Rembrandt Verlag, Berlin. Fine.
Anders Zorn was born in Mora, Sweden, and pursued his art studies at the Royal Academy of Fine Arts in Stockholm. Until 1887, Zorn worked exclusively with watercolors, and began to gain recognition for his masterful and sensitive paintings. Demand for his portraits increased, but in order to improve his fortunes, Zorn left Sweden for four years and traveled to England and Spain, where his international reputation as a portraitist brought him greater artistic success and financial security.
He married in 1885, and for the next twelve years lived first in London and then in Paris. Zorn began painting in oils during this period, and received even greater acclaim for his mastery of this medium. During this period, Zorn began to produce etchings based upon his study of Rembrandt's work; he ultimately produced nearly three hundred etchings, which are highly prized for their masterful use of light and shadow. In 1889, Zorn was awarded the Legion of Honor during the Paris World Exhibition of 1889. Anders and Emma Zorn returned to Mora in 1896. Much of his work subsequent to their homecoming features the land and people of his surroundings. His health began to fail and he died in 1920.
Etching, 1900. Third state of four (Delteil 150 / Asplund 151 / Zorn Gallery 151). A rich, warm impression of a beautiful image in fine condition. Framed in 2013 using archival materials.
Etching, 1905 on Van Gelder; fourth of four states (Hjert 128, Asplund 190, Zorn Gallery 190). Image size 6-7/8" x 9-3/4"; sheet size 11¼" x 15". Signed and dated in the plate and signed in pencil by Zorn in the lower margin. A rich, nuanced impression in marvelous overall condition. Betty Nansen (1873 - 1943) was a celebrated Danish actress and director; one of Copenhagen's principal theaters bears her name. Matted and framed using archival quality materials.
Etching on cream laid paper, 1913; edition not stated. Image size 8½” x 7”; sheet size 12” x 9-3/4”. Second state of 2. A finely nuanced impression signed by Zorn in pencil in the lower margin. Asplund 254; Hjert/Hjert 160 / Zorn Gallery 254.
Eetching, 1919; edition of 50. Image size 4-3/8" x 6-1/8"; sheet size 12" x 15-7/8". Signed in pencil by Zorn in the lower margin. A beautifully inked impression with all detail. Fine, with small adhesive remnants along the upper edge of the sheet. Asplund 283; Hjert 168; Zorn Gallery 283.
Etching on cream laid paper, 1910; edition of 50, second state. Image size 4-5/8” x 6-3/16”; sheet size 8-1/8” x 12-7/8”. Signed in pencil by the artist beneath the lower right-hand corner of the image. At viewing distance, a nearly photographic effect is created by Zorn’s spare and suggestive linework. Fine overall condition, with adhesive remnants from prior mountings at the perimeter of the sheet and a soft handling crease to the left of the image.

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