Churchill Ettinger was an exceptional artist and an accomplished sportsman in the field. Born on May 10, 1903, in Haworth, New Jersey, he studied at Columbia University, the National Academy of Design and the Art Students League of New York. He also attended the New York School of Industrial Art, where he eventually taught. Ettinger began his art career as a commercial artist, illustrating for leading publications and a variety of advertisers. He drew celebrity figures in the world of art and politics as a staff artist with the New York Sunday World. During the 1940s, he worked as an art director for Pine Publications, a leading publisher of pulp magazines. An avid outdoorsman, Ettinger was commissioned by top sporting magazines to produce covers using his oil paintings. Additionally, Ettinger illustrated Derrydale’s The Happy End in 1939, written by the great American novelist Ben Ames Williams, with nine sketches of fishing and hunting reminiscences. In the early 1950s, Ettinger settled in Weston, Vermont where he etched and painted outdoor scenes. He attained prominence as a professional artist with subjects of angling, gun dogs in the field, skiing, waterfowl hunting and wildlife. Ettinger’s drypoint prints captured his passion for the outdoors. More than 180 images were produced during his lifetime using the intaglio printmaking process. Most of his early etchings in 1934–52 were published by the Associated American Artists. Churchill Ettinger’s work can be found in the permanent collections of the Boston Public Library, Dartmouth College, Ford Foundation, Fred Jones Junior Museum of Art, Iowa State College, Library of Congress, Museum of Art and Archeology, The Nelson-Atkins Museum of Art, University of Hawaii, Wesleyan University and Yale University. The quintessential artist, Ettinger was producing artwork until his death on March 4, 1984, in Vermont.
"November Morning, " Original Etching signed by Churchill Ettinger
By Churchill Ettinger
Located in Milwaukee, WI
"November Morning" is an original etching by Churchill Ettinger. The artist signed the piece in pencil lower right and titled it in pencil lower left. It depicts two fishermen workin...
Etching
$600
H 3.75 in W 5.875 in
Tigre couché à l'entrée de son antre (Tiger Lying at the Entrance to its Lair)
By Eugène Delacroix
Located in Middletown, NY
Etching, drypoint, and roulette on watermarked Hallines cream laid paper, 3 3/4 x 5 7/8 inches (95 x 148 mm), full margins. A very good impression of this charming image, with all of...
Laid Paper, Drypoint, Etching
Le Chat et Les Fleurs
By Édouard Manet
Located in Middletown, NY
Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margin...
Etching, Aquatint
Vienna Opera House
By Josef Eidenberger
Located in San Francisco, CA
This artwork titled "Vienna Opera House" c.1960., is an original color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed in pencil by the artist. The p...
Etching
$450
H 20 in W 16 in
PIERROT PORTANT SON DEJEUNER and PIERROT TROUBLE DANS SON REPAST
By Alexandre-Gabriel Decamps
Located in Portland, ME
Decamps, Alexandre (French 1803-1860) After. PIERROT PORTANT SON DEJEUNER and PIERROT TROUBLE DANS SON REPAST. Two etchings by Leenhof after paintings by Descamps. Each 11 5/8 x 8 in...
Etching
Plage de Villerville
By Charles François Daubigny
Located in Middletown, NY
Paris: Gazette des Beaux-Arts, 1856. Drypoint etching on cream laid paper, 4 7/8 x 8 3/8 inches (124 x 245 mm), full margins. In good condition with light uniform age tone. Fourth s...
Drypoint, Etching
$300
H 8.88 in W 11.88 in
'L' Abside de Notre Dame' — Vintage 1920s Paris, Realism
By Anton Schutz
Located in Myrtle Beach, SC
Anton Schutz, 'L' Abside de Notre Dame' (The Apse of Notre Dame), etching, 1st state, c. 1927. Signed, titled, and annotated 'First State', in pencil. A supe...
Etching
Busy Street, Vienna
By Robert Kasimir
Located in San Francisco, CA
This artwork Busy Street, Vienna" c. 1970 is a color etching by noted Austrian artist Robert Kasimir, 1914-2002. It is signed at the lower center in penci...
Etching
$2,995
H 18.25 in W 15 in
Richard Haas - Puck Corner, SOHO, New York signed/N architectural art, Framed
By Richard Haas
Located in New York, NY
Richard Haas Puck Corner, SOHO, New York, 1971 Etching and Aquatint (affixed to white matting) Hand signed and numbered 10/100 by the artist on the lower front Elegantly matted and f...
Pencil, Etching, Aquatint
La Corrida
By Hermine David
Located in New York, NY
Hermine David (1886-1970) La Corrida, etching and drypoint, 1929, signed and numbered (20/100) in pencil (Inventaire Bibliotheque Nationale de France #22)....
Drypoint, Etching
'Delaware River Bridge' — Mid-Atlantic Regionalism
By Anton Schutz
Located in Myrtle Beach, SC
Anton Schutz, 'Delaware Bridge' (Delaware, New Jersey), etching, c. 1927. Signed in pencil. A superb, richly-inked impression, with skillfully wiped plate tone, on BFK Rives, cream wove paper, the full sheet with margins (1 1/2 to 2 1/8 inches), in excellent condition. Archivally matted to museum standards, unframed. Image size 11 7/8 x 8 7/8 inches (302 x 225 mm); sheet size 15 7/8 x 12 1/4 inches (403 x 311 mm). ABOUT THIS IMAGE The Benjamin Franklin Bridge, originally named the Delaware River...
Etching
$5,500
H 14.88 in W 11.94 in D 0.01 in
'Foul Rope (Left)' — Early American Southwest Rodeo
By William Robinson Leigh
Located in Myrtle Beach, SC
William Robinson Leigh, 'Foul Rope (Left)', etching, c. 1920, edition unknown but small. Signed in pencil and signed in the plate, lower left. A superb, richly-inked impression, in dark brown ink, on buff wove Umbria paper, the full sheet with margins (1 1/2 to 2 3/4 inches); slight toning at the sheet edges, otherwise in excellent condition. Very scarce. Archivally matted to museum standards, unframed. Image size 14 7/8 x 11 15/16 inches (378 x 303 mm); sheet size 20 3/8 x 15 3/8 inches (518 x 391 mm). ABOUT THE ARTIST Born near Falling Waters, West Virginia, on a plantation a year after the Civil War and raised in Baltimore, William Robinson Leigh (1866 - 1955) became one of the foremost painters of the American West. His career spanning some seventy-five years, Leigh created some of the most iconic depictions of the Western landscape, with admirers referring to him as ‘The Sagebrush Rembrandt.’ The son of impoverished Southern aristocrats, Leigh received his first art training at age 14 from Hugh Newell at the Maryland Institute, where he was regarded as the best student in his class. From 1883 to 1895, he studied in Europe, mainly at the Royal Academy in Munich with Ludwig Loefftz. From 1891 to 1896, he painted six cycloramas or murals in the round, a giant German panorama. In 1896, Leigh began working as a magazine illustrator for Scribner's and Collier's Weekly Magazine in New York City. He also painted portraits, landscapes, and genre scenes. Leigh's trips to the Southwest began in 1906 when he agreed to paint the Grand Canyon with William Simpson, Santa Fe Railway advertising manager, in exchange for free transportation West. In 1907, he completed his Grand Canyon painting, which led to more commissions and an extensive painting trip through Arizona and New Mexico. These travels inspired him to paint western subjects for the next 50 years, and his primary interests were the Hopi and Navajo Indians. In 1910, he traveled to Wyoming, where he painted in Yellowstone Park and created sketches, many of which he later converted into large canvases such as ‘Lower Falls of the Yellowstone’ (1915) and ‘Grand Canyon of the Yellowstone’ (1911). In 1926, he traveled to Africa at the invitation of Carl Akeley for the American Museum of Natural History, and from this experience, wrote and illustrated 'Frontiers of Enchantment: An Artist's Adventures in Africa'. In 1933, he wrote and illustrated 'The Western Pony'. His adventures were chronicled in several popular magazines, including Life, the Saturday Evening Post, and Colliers. For many years, Grand Central Art Galleries at the Biltmore Hotel handled his work exclusively in New York. In 1953, Leigh was elected an associate member of the National Academy of Design and became a full Academician in 1955. In March 1999, the Historical Center of Cody, Wyoming, held an exhibition of his field sketches and finished works depicting his experiences near Cody early in the century. Between 1910 and 1921, when he often painted in the Carter Mountain vicinity, these years were considered pivotal to his artistic development and devotion to the Western landscape. Leigh's work is held in many museum collections of American Western art...
Etching
$553
H 21.65 in W 17.65 in D 1 in
Bonn, Bethovenhaus (Bonn, the House of Bethoven)
By Josef Eidenberger
Located in San Francisco, CA
This artwork titled "Bonn, Bethovenhaus" c. 1970 is an color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed, titled, dedicated and resigned a second time in pencil by the artist. The plate mark (image) size is 12 x 9.10 inches, framed size is 21.65 x 17.65 inches. Custom framed in a dark wood frame, with green matting. It is in excellent condition. About the artist. Josef Eidenberger was born in 1899 in the little town of Goisern, Austria,he began his artistic career as a landscape painter. In 1923 he enrolled in the famed Graphic Academy of Art in Vienna and studied under Professor Alfred Cossman. His recognized talent brought him many commissions from city officials and members of the business communities throughout Europe, especially in Austria and Germany. In 1973 after visiting the United States for the first time he created a series of California etchings...
Etching