Joseph Pennell (American, 1860-1926). "Stock Exchange" etching, ca. 1904. Hand signed in pencil at lower center. Hand titled in pencil at lower right. AND Robert Fulton Logan (Canadian-American, 1889-1959). "Church of Notre Dame, Dijon" etching w/ drypoint, 1926. Hand signed and numbered 17/100 in pencil below. A stunning etching of the New York Stock Exchange on Wall Street with many people in the street surrounded by tall buildings created by Joseph Pennell. According to the Metropolitan Museum of Art (where one may also find "The Stock Exchange" etching - accession number 24.90.1339) Pennell printed 90 proofs before destroying the plate for this composition. One of the best known and respected American artists from the etching revival period, Pennell was an etcher, lithographer, illustrator, as well as an author. Size of Pennell (w/o matte): 12.25" L x 7.75" W (31.1 cm x 19.7 cm)

Joining Pennell's etching is an etching w/ drypoint by Canadian-born Robert Logan. Logan created this etching of the Church of Notre-Dame in Dijon, France in 1926. By employing both etching and drypoint techniques, Fulton could depict both the rain on the upper right as well as the dramatic shafts of light gracing the side view of the church. Widely regarded as a Gothic masterpiece, The Church of Notre-Dame in Dijon, France was begun ca. 1230. Hundreds of years later, between 1865 and 1884, Parisian architect Jean Charles Laisne restored the church, returning it to its original splendor by removing later additions, re-establishing the tower at the crossing as a lantern tower, and recreating damaged sculpture. Notre Dame, Dijn is among Robert Fulton Logan's greatest and largest etchings. It was both printed and published in Paris in a single signed limited edition of 100 impressions in 1926. Logan's extensive drypointing in the foreground to create dramatic depth and shadow as well as his skillful architectural etching makes this composition stand out as a masterwork. Size of Logan (image w/o margins): 18.625" L x 10" W (47.3 cm x 25.4 cm)

Born in Philadelphia, Joseph Pennell trained at the Pennsylvania Academy of Fine Arts and at the Pennsylvania School of Industrial Art, and later he taught at the National Academy and the Art Students League in New York City. From 1883, Pennell spent most of his time in Europe, until 1917 when he moved back permanently to the United States. Over his distinguished and prolific career, he won many medals and awards in the United States and in Europe, and he is considered one of the great etching innovators of the time. Among his achievements, Pennell illustrated and authored many books, contributed to leading magazines, and was one of the founders of the Philadelphia Society of Etchers.

Robert Fulton Logan is widely respected as one of America's greatest architectural etchers of the early twentieth century, however he was actually a Canadian expatriate, living first in France and later in the United States. Logan began his artistic training under Frank Armington in Winnipeg. When he was 16, Logan enrolled at the Boston Museum of Fine Arts where he studied painting under Edmund Tarbell and etching under Frank Benson. Following this, he completed his artistic education at the Chicago Art Institute. Logan traveled to France during WWI as an officer of the US Navy. After the war, he became a director at the Bellevue Art Training Center in Paris and taught art classes at the Louvre. Logan would live and work in Paris nearly 20 years. Over the course of his career, Robert Fulton Logan created more than 100 architectural etchings of locations in France, Germany and Holland. His first significant solo exhibition was held at the American Chamber of Commerce, Paris in 1922. Following this, he had annual exhibitions at the Galerie Marcel Guiot. Upon returning to the US in 1934, Logan became the Chairman of the Department of Art at Connecticut College, where he remained until he retired in 1954. Logan was member of the Chicago Society of Etchers, the National Arts Club, and the Societe Internationale De La Gravure Originale en Noir. His etchings may be found in the esteemed collections of the British Museum, the Winnipeg Art Gallery, Cambridge University, the Bibliotheque Nationale in Paris, the Museum of Luxembourg, the Metropolitan Museum in New York City, the Library of Congress in Washington DC, and the Smithsonian Museum.

Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003)

All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.

A Certificate of Authenticity will accompany all winning bids.

PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.

Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.

#169753

Pennell's "Stock Exchange" is set in a matte which is stamped "Made in France". The matte has normal stains and tears commensurate with age. The etching could probably be removed from the matte if desired. The etching is hand signed in pencil at the lower center and titled in pencil at the lower right. It shows normal toning and slight stains. The Robert Logan etching w/ drypoint of the Church of Notre-Dame in Dijon, France shows expected toning and has a few tears/losses to the peripheries. It is hand signed and numbered 17/100 below. Remnants of a label reading "Made in France" on the verso. Old tape on upper edge of verso with "George" handwritten in cursive below.