Source: https://brierhillgallery.com/arthur-william-heintzelman/
Timestamp: 2019-04-19 10:59:12+00:00

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Born in Newark, New Jersey, Arthur William Heintzelman was a painter, etcher, copyist, teacher, and curator. Raised in Providence, Rhode Island, he first studied art at the Rhode Island School of Design, where he subsequently taught, and also in Europe. In 1921, the Heintzelmans moved to Paris and made their home in France, subsequently moving to Switzerland in 1931 and remaining there until 1934, when they returned to the United States. Already widely respected as a printmaker prior to his departure for Europe, he became internationally famous during his years abroad and was - and is - regarded as one of the greatest etchers of the Twentieth Century. During his years in Paris, Heintzelman met Eugène Delatre, who became his printer for the remainder of his stay in Europe, and who taught Heintzelman the intricacies of fine arts printmaking for which his atelier was justly famous. In appreciation for his contribution to French art and culture, Heintzelman was named to the Legion of Honor by the French government.
Following his return to the United States, Heintzelman became the first Keeper of Prints at the Boston Public Library and served there from 1941 to his retirement in 1960. Thanks to his close relationship with the Delatre family, Heintzelman coordinated the gift of the comprehensive collection of prints by both Auguste and Eugène Delatre to the Boston Public Library. He was succeeded as Keeper of Prints by Sinclair Hitchings. Heintzelman also headed the Fine Arts department of the Rhode Island School of Design. He was awarded numerous international prizes for his etchings, and his works are found in museum collections through the US and Europe. Heintzelman belonged to numerous professional associations both here and abroad. He lived and worked in Boston, Marblehead, and Rockport, Massachusetts and in New York City. He died at Rockport, Massachusetts.
Please note: The works in this section are listed according to their number in The Prints of Arthur Wm. Heintzelman, the catalog raisonné by Donald Eugene Smith published by The Boston Public Library in 2004.
Etching, 1915; edition of 50. Image size 2¾” x 4”; sheet size 8-1/16” x 10¼”. Signed in pencil by Heintzelman in the lower margin and numbered 22. A rich, dark impression in fine overall condition. Guiot 3; Smith 3.
Etching, 1917; edition of 50. Image size 5-3/8: x 3-3/8”; sheet size 10-5/8” x 8”. Both Guiot and Smith incorrectly state width of image as 3-3/8”. A fine impression in overall fine condition. Guiot 35; Smith 28.
Etching, 1918; edition of 75. Image 4” x 5”; sheet 5¼” x 6¾”. Signature and edition size annotated in pencil in the lower margin. fine overall condition. Both Guiot and Smith state edition size of 75; this proof is numbered 35, likely belonging to that portion of the edition printed on either Shogun (10) or old paper (25). Guiot 40; Smith 43.
Etching, 1918; edition of 50 Image size 4½” x 5½”; sheet size 6-5/8” x 8-5/16”. Signed in pencil in the lower margen. A fine impression in overall fine condition. Guiot 41; Smith 44.
Etching, 1919; edition of 50. Image size 4” x 5”; sheet size 7-7/16” x 8-7/8”. Signed in pencil in the lower margin. A fine impression in fine overall condition. Guiot 49; Smith 53.
Etching, 1919; edition of 50. Image size 4” x 5”; sheet size 9-7/16” x 13¾”. Signed in pencil by Heintzelman in the lower margin; A fine impression in fine overall condition. Guiot 54; Smith 58.
Etching, 1919; edition of 50.Image 5” x 4”; sheet 7-13/16” x 6-15/16”. Signed in pencil by Heintzelman in the lower margin. Title and notations in pencil by others in lower portion of sheet; tape remnants from prior mount on upper edge verso, A fine impression in near-fine condition. Guiot 56; Smith 60.
Etching, 1919; edition of 100. Image 6” x 8;” sheet 8-15/16” x 11”. Signed in pencil by Heintzelman in the lower margin, annotated 100 proofs in lower RH corner of sheet. Tape remnants in upper corners verso. A beautiful impression in overall fine condition. Guiot 63; Smith 67.
Etching on Van Gelder laid paper, 1919; edition of 100. Image size 8-7/8” x 12-5/8”. Signed in pencil by Heintzelman in the lower margin. Tape remnants on LH side of sheet verso. A fine impression in overall fine condition. Guiot 65; Smith 69.
Etching, 1920; edition of 250. Image size 6-7/8” x 8-7/8”; sheet size 11½” x 14-3/8”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall fine condition. Guiot 69; Smith 73.
Etching, 1920; edition of 40. Image size 2-1/8” x 4”; sheet size 5-1/16” x 6¾”. Signed in pencil by Heintzelman in the lower margin. Guiot 70; Smith 74. Fine.
Drypoint, 1921 on Arches. Plate size 3-3/8" x 5-3/8"; sheet size 5-3/4" x 9". The total edition of 1,100 consisting of 1,000 proofs signed and dated in the plate (of which this is an example), together with 100 prints also signed in pencil by the artist in the lower margin. Published by The Print Connoisseur, Volume II Number 3, March, 1922. This is the first print by Heintzelman produced in Paris. A beautiful image in fine condition. Guiot 71; Smith 75.
Etching outside of edition, 1921 on Italian mold-made paper*, stated edition of 100 (plus 4 for a private collection). Image size 8” x 8¾”; sheet size 10¼” x 12-1/8”. Signed “A. W. Heintzelman / Paris ‘21” in the plate, and in pencil in the lower left margin. Titled in pencil in the lower right-hand edge of the sheet. Very faint toning in the sight area and tape remnants in the upper corners of the sheet verso. The sheet is fractured for approximately four inches along the upper right-hand edge of the plate impression, but the damage is not visible without back-lighting. Otherwise, a beautifully detailed impression in overall fine condition. Guiot 72; Smith 76.
*This proof was apparently made by Heintzelman outside of the stated edition, since the paper is not Van Gelder. The partial watermark may either be a basket or a crown, with the words “UMBRIA / ITALIA beneath.
Etching, 1922; edition of 100. Image 2½” x 2-7/8”; sheet 9” x 12¾”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall near-fine condition, with faint toning in the sight area. Guiot 73; Smith 77.
Etching, 1922; edition of 100. Image 5¾” x 6”; sheet 7½” x 10-5/8”. Signed in the plate “Heintzelman / Paris ‘22” and in pencil in the lower margin.Faint toning in sight area, with a small paper loss at the upper right-hand corner of the sheet, else fine. Guiot 74; Smith 78.
Etching, 1922; edition of 100. Image size 8” x 8½”; sheet size 11-3/8” x 13-1/8”. “A. W. Heintzelman / St Germain-en-Laye” engraved in plate. Signed by Heintzelman in pencil in the lower margin. A beautifully inked image in overall fine condition. Guiot 77; Smith 81.
Etching, 1923; edition of 50. Image size 3¼” x 5½”; sheet size 9” x 10¾”. Signed in pencil by Heintzelman in the lower margin. A well-inked impression in overall fine condition. Guiot 82; Smith 86.
Etching, 1923; edition of 100. Image 4” x 5”; sheet 8-15/16” x 12¾”. A fine impression with a faint smudge in the right-hand margin of the sheet and two small spots, all well away from the sight area. Guiot 84; Smith 88.
Drypoint, 1927; edition of 76. Image size 6-5/8” x 10½”; sheet size 11¼” x 15”. Annotated “Ed 76” and signed in pencil by Heintzelman in the lower margin. A fine impression with minor rippling at edges of sheet not affecting the sight area. Guiot 126; Smith 133.
Etching, 1923; edition of 100. Image 3¼” x ¾”; sheet 9” x 12¼”. Signed in pencil by Heintzelman in the lower margin and marked “P.C.”. Fine. Guiot 87; Smith 91.
Drypoint, 1923; edition of 75 - one of 72 on Van Gelder. Image size 9½” x 12”; sheet size 11” x 15”. Printed by Eugène Delâtre, Paris. Signed both in the plate and in pencil by the artist in the lower margin. Near fine, with soft bending in the margins not affecting the sight area. Collections of the British Museum, London and The Metropolitan Museum of Art, New York. Guiot 89; Smith 93.
Etching, 1923; edition of 70. Image size 9½” x 6½”; sheet size 12-5/16” x 9-7/16”. Signed in the plate and in pencil by Heintzelman in the lower margin. A beautifully inked impression in fine condition. Guiot 90; Smith 94.
Etching, 1923; edition of 80. Image 8-13/16” x 11-11/16”; sheet	11-1/8” x 14-13/16”. Signed in pencil by Heintzelman in the lower margin. Overall good+ condition, with moderate toning in the sight area. Guiot 91; Smith 95.
Drypoint, 1924; edition of 80. Image size 9-3/8” x 11”; sheet size 10½” x 15½”. Signed in pencil by Heintzelman, and annotated “2nd state 5/40”. Very good overall, with a stain in the lower right-hand quadrant of the image area (see illustration). Guiot 93; Smith 99.
Etching, 1924; edition of 100 on Van Gelder. Image size 2¾” x 3-1/8”; sheet size 9” x 12½”. A fine impression. There are several minor folds and creases at the left edge, well away from the sight area; tape remnants verso for prior mount. Signed in pencil by the artist in the lower margin. Guiot 94; Smith 100. Collection of the British and Victoria and Albert Museums, London; Metropolitan Museum of Art, New York. Guiot 94; Smith 100.
Etching, 1924; edition of 50 (stated by both Guiot and Smith). Image size 2-3/8” x 3”; sheet size 7½: x 11-3/16”. Signed in pencil by Heintzelman in the lower margin and annotated “Ed. 60”. Fine. Guiot 95; Smith 101.
Etching, 1924; edition of 100 on Van Gelder. Image size 2-3/8” x 2-7/8”; sheet size 9” x 12½”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York. . Guiot 96; Smith 102.
Etching, 1924; edition of 115 - one of 100 on Van Gelder. Image size 2-3/8” x 3”; sheet size 9” x 12½”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York.; Giot 97; Smith 103.
Etching, 1924; edition of 80 - one of 50 on Van Gelder. Image size 5½” x 4-7/8”; sheet size 12½” x 9”. Signed in pencil by the artist in the lower margin. A fine impression in fine overall condition. Collection of the British Museum, London; Metropolitan Museum of Art, New York. Guiot 98; Smith 104.
Drypoint, 1924; edition of 60. Image size 5-7/8” x 8½”; sheet size 10¾” x 14¼”. Annotated “Proof imp. 1st State.” and signed in pencil by Heintzelman in the lower margine. Fine. Guiot 99; Smith 105.
Etching, 1925; edition of 70. Image size 5-5/8” x 4-1/8”; sheet size 11¾” x 9”. Signed in pencil by Heintzelman in the lower margin. Beautifully inked impression in fine overall condition. Guiot 104; Smith 110.
Drypoint, 1925; edition of 60. Image size 7-7/8” x 11-3/8”; sheet size 12-7/8” x 17¾”. Signed and annotated 1st state by Heintzelman in pencil in the lower margin. Fine. Guiot 111; Smith 117.
Drypoint, 1925; edition of 50 on Van Gelder plus 8 on old paper. Image size 10-7/8” x 7-7/8”; sheet size 16½” x 12-15/16”. Marked “1st state” and signed in pencil by Heintzelman in the lower margin. There was just one state issued. A fine, detailed impression in overall fine condition. Guiot 109; Smith 115.
Etching, 1926; edition of 100. Image size 3-7/8” x 4¾”; sheet size 9” x 12¾”. Signed in pencil by Heintzelman in the lower margin. Fine. Guiot 111; Smith 117.
Etching, 1925; edition of 250. Image size 5-1/16” x 6¾”; panel size 6-3/8” x 9-1/16”. Initialed “AWH” in the plate and signed in pencil by Heintzelman below the plate mark. This plate was the cover illustration of a four-page folder containing the musical program (on page 3) for the 1925 meeting of the Societé de la Gravure Originale en Noir, held on February 12. The dinner menu, on a separate sheet, is laid in. Stamp of the Metropolitan Museum of Art, New York on the two blank pages. Pencil inscription on last page: reads “Chanteur Populaire” / 1925 / Cat. 100 / gift of / Katharine Ticknor Heintzelman / 25 Granite Street / Rockport, Mass. Last page is lightly soiled, with adhesive remnants on the folded edge.
Etching, 1926; edition of 6. Image size 3-1/8” x 3-7/8”; sheet size 4-5/8” x 7-1/8”. A fine impression, with faint toning in the sight area. Guiot 114; Smith 120.
Etching, 1926; edition of 125. Image size 3-1/8” x 3-7/8”; sheet size 4-7/8” x 5-1/8”. A fine impression in overall fine condition, with a 3/8” x 5/8” triangular loss at the upper left corner of the sheet, well away from the sight area. Guiot 114; Smith 120.
Drypoint, 1926; edition of 80. Image size 6½” x 8½”; sheet size 12¾” x 15”. Edition size and signature by Heintzelman in pencil in the lower margin. Fine. Guiot 116; Smith 122.
Another copy in good condition, numbered and signed by Heintzelman in the lower margin. with minor adhesive stains along the upper edge of the sheet, well away from the sight area.
Drypoint on Van Gelder, edition of 80; image size 6¼” x 9-3/8”; sheet size 12¾” x 13¾”. Edition noted and artist’s signature in pencil in the lower margin. A fine impression on a lightly toned sheet. Smith 126.
Drypoint, 1926; edition of 80. Image size 9¼” x 12”; sheet size 12-5/8” x 15-3/8”. Edition stated and signed by Heintzelman in the lower margin. A beautifull inked impression in fine condition. Foxing and staining in the outer margins well away from the sight area. Guiot 122; Smith 128.
Drypoint, 1926; edition of 100 - this proof is one of 90 on Van Gelder. Image size 2-5/16” x 2¾”; sheet size 8-15/16” x 12-11/16”. Edition and artist's signature in pencil in the lower margin. Very slightly toned in original mat aperture. A fine impression in very good condition. Guiot 124; Smith 131.
Etching, 1927, edition of 125 on Arches. Image size 4-3/8” x 5½”; sheet size 8” x 11”. Signed and titled in the plate. Numbered 41 and signed in pencil by the artist in the lower margin. This etching was used as the frontispiece for Modern American Etchers - Arthur Wm. Heintzelman published in 1927 by Minton Balch & Co. of New York. Fine. Collections of Metropolitan Museum of Art, New York; British Museum, London; Bibliothèque Nationale, Paris; and The Library of Congress, Washington. Guiot 125; Smith 132.
Drypoint, 1927; edition of 74 on Rives. Image size 9-3/8” x 11-7/8”; sheet size 13-7/8” x 17-7/8”. Titled, initialed, and dated in the plate; edition stated and signed in pencil by the artist in the lower margin. A beautifully rendered image in fine condition. Smith 134. Guiot 127, fourth state. Collection of the Bibliothèque Nationale, Paris; British Museum, London; Metropolitan Museum of Art, New York.
Drypoint, 1927; edition of 70. Image size 7¼” x 10-3/8”; sheet size 9-1/16” x 13½”. Fine. Guiot 128; Smith 135.
Drypoint, 1927; edition of 80. Image size 7¾” x 9-7/8”; sheet size 11¼” x 14¾” . Faint toning in sight area, else fine. Guiot 129; Smith 136.
Etching, 1927. Edition of 100. Image size 3” x 5-1/8”; sheet size 9-7/16” x 12¾”. Dated “Perpignan, ‘27” in the plate and signed by Heintzelman in the lower margin. A richly inked, fine impression with faint toning in the sight area.Guiot 130; Smith 137.
Drypoint, 1927; edition of 75. Image size 7-1/16” x 10-9/16”; sheet size 11-1/8” x 16¼”. Signed in pencil by the artist and annotated “Selected for Monsieur Minitrét” in the lower margin. Fine - a beautiful character study in as-new condition.
Etching, 1927; edition of 100. Image size 8” x 9-13/16”; sheet size 13¼” x 14½”. Signed and dated in the plate; Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Guiot 132; Smith 139.
Etching, 1929; edition of 100. Image size 6-5/8” x 5¾”; sheet size 10¼” x 10-1/8”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.
Drypoint, 1929; edition of 75. One of 63 prints on Rives. Plate size 8½” x 11-3/8”; sheet size 14-1/8” x 16½”. Printed by Eugène Delâtre, Paris. Signed in pencil in the lower margin by the artist. A very good impression in very good condition overall. The subject is the artist's wife, Katherine Sloman Heintzelman. Smith 142.
Etching, 1929; edition of 60 (per Smith catalog). Image size 8” x 10”; sheet size 12¼” x 15-1/8”. Annotated “ed 90” and signed in pencil by Heintzelman below the plate mark. A fine, detailed impression in overall fine condition, save a small paper loss on the upper right edge and an adhesive stain along the lower right edge of the sheet. Smith 147.
Drypoint, 1975; edition of 75. Image size 8-7/8” x 11¾”; sheet size 15-1/16” x 22½”. Signed, dated, and titled in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Extremely faint toning in the sight area. Smith 148.
Etching, 1929; edition of 100. Image size 12½” x 10¼”; sheet size 17½” x 13¾”. Titled “La Farandole / St. Jean de Luz” in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine. Smith 150.
Drypoint on cream laid paper, 1929; edition of 70. Image size 9” x 11-7/8”; sheet size 14” x 18¾”. Edition statement and artist’s signature in pencil in the lower margin. Minor rippling, mounting tape remnants upper corners verso. Otherwise, a fine impression in overall fine condition. Smith 155.
Etching, 1930; edition of 70. Image size 2½” x 3-3/8”; sheet size 5-9/16” x 8-7/16”. Edition stated and signed by Heintzelman in pencil in the lower margin. Fine. Smith 158.
Etching and drypoint, 1931; edition of 50. Image size 3¼” x 4½”; sheet size 6-7/16” x 8-9/16”. Titled in the plate; Edition stated and signed in pencil by Heintzelman in the lower margin. Tape remnants in the upper corners verso and faint handling smudge in the upper right-hand corner away well away from the sight area. Smith 160.
Drypoint, 1931; edition of 60. Image size 12” x 9”; sheet size 15-1/8” x 11¼”. Edition stated and signed by Heintzelman in pencil in the lower margin. Fine. Smith 162.
Etching, 1931; edition of 110. Image size 7¾” x 9-1/8”; sheet size 11¼” x 15”. Edition stated and signed in pencil by Heintzelman in the lower margin. Note at bottom of sheet in pencil: “No. 72 - Fourth etching to be published by The American College Society of Print Collectors” and signed by Marques E. Reitzel, Chairman, and dated May 20, 1932. Fine. Smith 166.
Drypoint on cream wove paper, 1932; edition of 70. Image size 6-5/8” x 8¼”; sheet size 9-15/16” x 13-1/8”. Artist’s signature and edition statement in pencil in the lower margin. Tape remnants in upper corners verso. Extremely faint toning in the sight area.A fine impression in overall fine condition. The subject is the artist’s son, Malcolm Roland Oliver Heintzelman (1922 - 1955). Smith 170.
Drypoint, 1932; edition of 50. Image size 6” x 7”; sheet size 9-15/16” x 12-15/16”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.
Etching, 1932; edition of 1010. Image size 12” x 9”; sheet size 18-3/8” x 13¼”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 175.
Drypoint, 1933; edition of 65. Image size 8¾” x 11-7/8”; sheet size 11-1/8” x 14-15/16”. Signed and dated in the plate. Edition stated and signed in pencil by Heintzelman in the lower margin. A portrait of the artist’s wife. Smith 184.
Etching, 1933; edition of 110. Image size 9½” x 12”; sheet size 11” x 15”. Printed by Eugène Delâtre, Paris. Edition notation and signature in pencil in the lower margin. A carefully repaired tear extends from the top margin to about 1¼" into the plate area, together with an unobtrusive bend across the lower left corner of the print. A beautiful impression of what is considered by many to be Heintzelman's finest work. Writing in its review of an exhibit of his work at George Binet Gallery in New York in 1948/49, Art News said that "The portrait of the querulous Le Vigneron is an almost perfect example of the etcher's art with its infinite variety of line, its precise cutting and amazing control of all elements of the medium." Smith 186.
Drypoint, 1933; edition of 35 in Smith. Image size 10½” x 6¾”; sheet size 15” x 11-1/8”. Annotated “ed 40” and signed in pencil by Heintzelman in the lower margin; also annotated ‘“Pieta” Switzerland 1933 Arthur Wm. Heintzel;man’ at the lower edge of the sheet. Fine. Smith 188.
Drypoint, 1935; ed 80. Image size 7-5/8” x 11-1/8”; sheet size 12-3/8” x 16½”. Edition stated and signed in pencil by Heintzelman in the lower margin. Fine.
Another Copy: Out of edition proof printed on a slightly smaller sheet, presented by Heintzelman to John and Dorée Vissman of Marblehead, Massachusetts. Signed by the artist in pencil in the lower margin. Presentation note in red ink signed by Heintzelman and dated 1964(DV) in pencil. Fine condition. Smith 207.
Drypoint, 1936; edition of 70. Image size 8-7/8” x 11-7/8”; sheet size 13-¾” x 17-5/16”. Edition stated and signed in pencil by Hentzelman in the lower margin. Fine. Smith 213.
Etching, 1938; edition of 100. Image size 9-7/8” x 13¾”; sheet size 14¼” x 17¾”. Signed in pencil by heintzelman in the lower margin. Fine. Smith 233.
Drypoint, 1940; edition of 300. Image size 13-1/8” x 9-3/4”; sheet size 16” x 11-3/8”. Signed in pencil by the artist in the lower margin. A beautiful impression in fine condition. Smith 243.
Another copy in equally fine condition.
Drypoint, 1940; edition of 300. Image size 8” x 10”; sheet size 11-5/8” x 15-3/8”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 247.
Drypoint, 1944; edition of 100. Imge size 9” x 10”; sheet size 12” x 14½”. Signed in pencil by Heintzelman in the lower margin. A beautifully inked impression with all detail in fine condition. Young Amishman was awarded the Pennell Prize in 1945. Smith 263.
Etching, 1946, third and final state; edition of 500. Image size 8-7/16” x 11-13/16”; sheet size 11½" x 16". Published by The Society of Print Connoisseurs, Alexandria, Virginia, with their blind stamp in the lower margin. Signed in pencil by Heintzelman in the lower margin A fine impression with moderate toning in the sight area and a ½" closed tear at upper left corner of the sheet. Smith 268.
Etching, 1946, fifth and final state; edition of 200. Image size 2-3/8" x 3"; sheet size 8" x 9-3/8". Published by The Miniature Print Society, Hicksville, New York. Signed in pencil by Heintzelman in the lower margin. A fine, well-inked impression, toned in the sight area. Smith 269.
Another copy in fine condition.
Drypoint, 1946; edition ca. 75-100. Image size 8-3/8” x 11-7/8”; sheet size 10-7/8” x 16”. Signed in pencil by Heintzelman in the lower margin. Fine.
Drypoint, 1949; edition of 300. Image size 8-3/8” x 9-3/8”; sheet size 13” x 15-3/8”. Signed in pencil by Heintzelman in the lower margin. Fine. Smith 281.

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