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George Burr's original etching, "Evening, Arizona" was the 1930 presentation plate for the Brooklyn Society of Etchers. In the introductory sheet for the etching, John Taylor Arms wrote, "It is with both pleasure and pride that the Brooklyn Society of Etchers offers to its Associate Members a plate by the distinguished American etcher, George Elbert Burr. Mr. Burr's position in the field of contemporary engraving is such as to render valuable anything produced by his hand, and the Society feels it to be a distinct privilege to be able to offer you the accompanying print. … The title of the accompanying print is "Evening, Arizona." The plate was etched especially for the Associate Members of the Brooklyn Society of Etchers and impressions of it are available only to them. Four hundred proofs were pulled and the plate destroyed." * This impression of "Evening, Arizona" is still housed in its original paper matt, as issued by the Brooklyn Society of Etchers in August of 1930. As well, John Taylor Arms's introductory sheet and the original, large envelope which holds both the matted etching and the sheet is included. The envelope bears the stamp of the Brooklyn Society of Etchers. |
Title: | Evening, Arizona | ||||
Artist: | Burr, George Elbert, 'George Burr' (Monroe Falls, Ohio, 1859 - Phoenix, Arizona, 1939) | ||||
Date: | 1930 | ||||
Medium: | Original Etching | ||||
Publisher: | The Brooklyn Society of Etchers | ||||
Note: | George Elbert Burr 'George Burr': One of the greatest American etchers and painters of the early twentieth century, George Elbert Burr studied art at the Art Institute of Chicago for three months, and this was his only formal training. He worked as an illustrator for Harper’s and Leslie’s Weekly up to the turn of the century when he departed for a span of five years to independently study and work in England, Italy and Germany. He returned to the United States in 1906 and moved to Denver, Colorado. At this time, Burr began to concentrate upon the work that made him famous -- the landscape etchings and watercolours of Colorado, New Mexico, Arizona and Southern California. He settled in Phoenix in 1924 and lived there until his death in 1939. | ||||
Equally adept with etching, drypoint and aquatint, Burr’s landscapes are ranked as master works of observation and texture. In his introductory sheet to "Evening, Arizona" John Taylor Arms wrote, "For his material he has drawn principally upon the land of our Southwest and his plates of the desert interpret its mystery and its grandeur, in all their phases, with sympathy and understanding and with a degree of technical skill equalled by few American engravers. … His plates show a remarkable command of the processes by which they have been produced and an artistic sensibility which places him in the forefront of American engravers." * | |||||
Burr’s famous etchings are now housed in the permanent collections of the Metropolitan Museum of Art, New York, the New York Public Library, the University of Arizona Museum of Art, the Denver Art Museum, the Art Institute of Chicago, the Carnegie Art Institute, the British Museum and the Victoria and Albert Museum, London, and the Bibliotheque Nationale, Paris. | |||||
Founded in 1915, The Brooklyn Society of Etchers held their annual exhibitions at the Brooklyn Museum of Art from 1916 until 1930. Its founding members included Ernest Roth (President), Troy Kinney, Eugene Higgins, Fred Reynolds, Paul Roche, and Susan A. Hutchinson. From (1915-1930), their members included such great American artists as, John Taylor Arms, Frank Benson, Edward Hopper, Will Simmons, John W. Winkler, Mary Cassatt, and other important American artists from this period. George Burr's original etching, "Evening, Arizona" was published by the Brooklyn Society of Etchers in 1930. In 1931, due to the increased membership by artists from other states, such as, Harold Kerr Eby, Louis Conrad Rosenberg, Arthur William Heintzelman, Carl J. Nordell, George Elbert Burr and many other American artists, it was decided to change the name of the Brooklyn Society of Etchers to the Society of American Etchers, Inc. | |||||
Provenance: | This orignal George Elbert Burr etching entitled, Evening, Arizona hails from the estate of LeRoy Latham (1874-1938) and thence to his heirs. LeRoy Latham was Chairman of Latham Lithographing Company (Latham Litho & Printing Co.), also listed as the (Latham Lith. & Ptg. Co.). Situated in Brooklyn, New York, it was one of America's largest lithographic printing establishments in the early twentieth century. His large print collection consisted of many examples of French and British nineteenth century lithographs as well as contemporary American lithographs, etchings and wood engravings. | ||||
Reference: | P, & H. Samuels, Samuels’ Encyclopedia of
Artists of the American West, Castle Books, New York, 1985, pp. 76 & 77. * John Taylor Arms, Presentation Sheet for the Brooklyn Society of Etchers, 1930. |
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Raisonne: | Louise Combes Seeber, George Elbert Burr (1859-1939):
Catalogue Raisonne and Guide to the Etched Works, Northland Press, Flagstaff, Arizona,
1971. Seeber #367: First and only state of 400 signed impressions as published by The Brooklyn Society of Etchers in August, 1930. |
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Encased in its original matte as issued by the Brooklyn Society of Etchers in August of 1930. As well as the large folder/envelope which initially held both the matted etching and presentation page. | |||||
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Edition: | Limited edition of four hundred impressions. | ||||
Size: | 4 7/8 X 6 3/4 (Sizes in inches are approximate, height preceding width of plate-mark or image.) | ||||
Buy Now | Price: $950.00 US | ||||
Condition: | Printed upon wove paper with the 'Van Gelder Zonen' watermark in the right margin and with full margins as issued by the Brooklyn Society of Etchers in 1930. Signed with the artist's 'GB' monogram, in the plate, and pencil signed along the lower margin. Contains very faint toning from the original matting, else this is a beautifully printed impression and in excellent condition throughout. "Evening, Arizona" represents a beautiful, original example of the famous desert art of George Elbert Burr. | ||||
Note: | As mentioned earlier, The original paper matt, John Taylor Arms's introductory sheet, and the large envelope from the Brooklyn Society of Etchers is included with this purchase. | ||||
Subject: | George Elbert Burr, Evening, Arizona, original etching, Brooklyn Society of Etchers, John Taylor Arms, desert art, American etchers and painters of the early twentieth century, Artists of Arizona. | ||||
Important Information: | The artist biographies, research and or information pertaining to all the original works of art posted on our pages has been written and designed by Greg & Connie Peters exclusively for our site, (www.artoftheprint.com). Please visit us regularly to view the latest artworks offered for sale. We will soon be posting an update of our most recent research and include the biographical and historical information pertaining to our next collection of original works of art created by artists throughout the centuries. We hope you found the information you were looking for and that it has been beneficial. Our Gallery, (Art of the Print / www.artoftheprint.com) guarantees the authenticity of every work of art we sell 100%. Full documentation and certification is provided. We offer a wide selection of international fine art dating from the early Renaissance to the contemporary art period. |
Original Etching by the American artist, George Elbert Burr.
Evening, Arizona |
View other original works of art by George Burr.
George Elbert Burr (Monroe Falls, Ohio, 1859 - Phoenix, Arizona, 1939) | |||||||
# | Image | Title & Artist | Medium | Date | Publisher | Info | - |
01.- | Evening, Arizona by George Elbert Burr | Original Etching | 1930 | The Brooklyn Society of Etchers | Signed in pencil by George Elbert Burr in the lower margin and also signed with the artist's 'GB' monogram, in the plate. , limited edition of 400 impressions. | ||
02.- | Moraine Park, Colorado by George Elbert Burr | Original Etching & Drypoint Engraving | 1921 | The Print Connoisseur, New York | Signed in pencil by George Elbert Burr. 'First and Only State', limited edition of 100 impressions. | Sold | |
03.- | The Little Canyon, Arizona by George Elbert Burr | Original Etching & Drypoint Engraving | 1930 | The Print Connoisseur, New York | Signed in pencil by George Elbert Burr. 'First and Only State', limited edition of 100 impressions. |
View other original works of art published by the Brooklyn Society of Etchers.
Brooklyn Society of Etchers | |||||
# | Image | Title & Artist | Medium | Date | Info |
01.- | Cornwall by Kerr Eby | Original Etching | 1927 | Signed in pencil by Kerr Eby under the plate-mark and Titled and dated within the plate to the lower left. | |
02.- | Evening, Arizona by George Elbert Burr | Original Etching | 1930 | Signed in pencil by George Elbert Burr in the lower margin and also signed with the artist's 'GB' monogram, in the plate, limited edition of 400 impressions. | |
03.- | Porticus of Octavia, Rome by Louis Conrad Rosenberg | Original Drypoint Engraving | 1928 | Signed by Louis Rosenberg in pencil under the plate-mark and also signed with his ‘L. C. R.’ monogramme and dated within the plate, limited edition of 375 impressions. |
View Our Selection of Original American Art of the Depression Era (c. 1930 - c. 1945)
American Art of the Depression Era (c. 1930 - c. 1945) | ||
The American Art of the Depression Era directory contains a listing of original works of art from the Depression decade of the 1930’s and into the early 1940’s created by American artists. These pages also include information about the art publishers, associations, clubs, groups and societies located in major cities throughout the United States, such as Boston, Brooklyn, Chicago, Cincinnati, Cleveland, Buffalo, Wichita, Philadelphia, Rochester, San Francisco, Washington D.C. and elsewhere. Many of these organizations provided an opportunity for American artists to work and create original works of art during the Great Depression. A few of the art associations and clubs active during this period that are discussed in this directory include the American Artists Group, the Associated American Artists, New York, the Buffalo Print Club, the Chicago Society of Etchers, the Lone Star Printmakers, the Prairie Print Makers, the Print Club of Cleveland, the Print Club of Philadelphia, the Print Club of Rochester, the Society of American Etchers, the Indiana Society of Printmakers, the Society of Washington D.C. Artists and the Syracuse Print Club. | ||
01.- | American Art of the Depression Era - Page 1 (Artist Index (A to E) | American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: A to E): The following four pages contain a listing of original American etchings, lithographs woodcuts, serigraphs, watercolors, drawings, linocuts and wood engravings from the Depression decade of the 1930’s and into the early 1940’s. Despite the dire economic times publishers of original prints continued to survive and successfully raise revenue for the artists as well as making original art affordable during the Great Depression years. Listed on the first page of the 'American Art of the Depression Era' directory are over fifty original works of art created by American artists such as, George Elbert Burr, his etchings, Little Canyon, Arizona and Morraine Park were both commissioned by The Print Connoisseur, while his Evening, Arizona was published by The Brooklyn Society of Etchers. Also, works such as, Kenneth Ballantyne's original linocut, Wood Nymphs appeared in The Colophon in New York in 1931. George Elmer Browne’s The Fishing Fleet and Adolf Dehn’s Threshing Near Kilkenny published by the Associated American Artists (A.A.A.), are other outstanding examples of early prints from this decade. |
02.- | American Art of the Depression Era - Page 2 (Artist Index (F to J) | American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: F to J): The second page of this directory also contains a list of over fifty original works of art created during the Great Depression years by American artists. One of the more interesting aspects of art of the Depression is how seldom the actual misery and privation of the decade is depicted. On this page, for example, only Hugo Gellert’s original lithograph, Primary Accumulation, protests the contemporary state of affairs. The visual arts (including films) set out to divert and entertain. Perhaps for artists an almost sure recipe for failure would have been to remind the average man of his sorry condition. On the contrary most areas of the entertainment industries thrived. The art of Kenneth Hartwell is an excellent example. His lithographs of circus acrobats, jugglers and clowns and of the music, dancing and comedy of the Burlesque shows are worlds into themselves. Gazing at his imagery the viewer is granted a temporary reprieve from the real world. |
03.- | American Art of the Depression Era - Page 3 (Artist Index (K to P) | American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: K to P): Even in a Depression the sense of a continuation of normal activities persists. In Joseph Margulies, New England Granny the subject does exactly what grannies do best as she contentedly sits in her rocker, sewing. Philip Parsons depicts a joyful family reunion in Home for Christmas and Henry Pitz depicts the dignity of work in his monumental art deco style in both Maine Fisherman and Man Against the Sky. Purely by alphabetical accident, page 3 also contains two of my favorite night scenes: Alan Lewis’ delightful color woodcut, Swinging the Gate and Martin Lewis’ renowned Night in New York. This famous etching was published by the Chicago Society of Etchers in 1932. |
04.- | American Art of the Depression Era - Page 4 (Artist Index (R to Z) | American Art of the Depression Era dating from 1930 to 1945 (Art of The Print / www.artoftheprint.com - Artist Index: R to Z): Like the previous three pages, page four of this directory provides a full variety of Depression era themes and techniques. Stark realities of the times are provided by W. P. Robinson (Abandoned Farm) and Isadore Weiner (Gardening). In contrast are pieces like John W. Winkler’s playful landscape, Rae Lakes, California and the fine animal studies by Clarence Zuelch. Two magnificent drypoints by Albert Sterner -- Meditation and The Promised Land – will also be found listed on that page. In particular, The Promised Land seems like a potent symbol of man’s journey through the decade of the Great Depression. In total, there are over two hundred works of original art created by American artists from the Depression decade of the 1930’s and into the early 1940’s listed in the 'American Art of the Depression' directory. |
Selected Directories in our Gallery (Art of The Print / www.artoftheprint.com), with a focus on the area of interest for this original work of art. | |
Art of the Print / www.artoftheprint.com sells international fine art. Our collection consists of original paintings, watercolors, drawings, and original prints, such as etchings, engravings, lithographs, woodcuts, silk-screens, aquatints, mezzotints, linocuts, monoprints, and other mediums of original art. All of these works of art have been created by prominent and established painters, illustrators, watercolour artists and printmakers from around the world. The art in our gallery ranges from the early Renaissance period to the modern and contemporary art period. You can view other original artworks similar to the subject under discussion on this page listed in the following art directories. | |
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American Artist Index | The 'American Artist' directory contains a listing of original works of art created by artists from the United States of America, and or art with an American theme. These artworks date from the 17th century to the 20th century. |
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Landscapes, Seascapes, City & Town Views Art Index | This directory contains a selection of original works of art with a focus on landscapes, seascapes, city views, town views and farm views from around the world. These artworks date from the 16th century to the 20th century. |
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