Arthur William Heintzelman (1891 - 1965)
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.
The works of Heintzelman are presented in chronological order in accordance with The Prints of Arthur Wm. Heintzelman, the catalog raisonné compiled by Donald Eugene Smith and publsihed by the Boston Public Library in 2004. This, the first of three galleries, contains works by Heintzelman published from 1915 through 1924; Gallery 2 contains works published from 1925 through 1929; and Gallery 3 contains works published from 1930 onward.
A Market Woman
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.
$325
Sands at Russell's Island
Etching, 1917; edition of 60; Image size 4” x 5”; sheet size 6-7/8” x 8-3/8” Signed in pencil by Heintzelman in the lower margin. Faint toning in mat aperture, otherwise fine. Guiot 24; Smith 27.
$175
Dorothy
Etching on Japan paper, 1916; edition of 22. Image size 4” x 6”; sheet size 7¼” x 9-1/8”. Signed and numbered 9 by the artist in the lower margin; titled and edition stated in pencil at lower edge of sheet. A very good impression in very good condition, with slight rippling at upper and lower edges of sheet well away from the sight area. Smith 34; Guiot 31.
$325
The Violinist
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.
$300
Head With Black Drape
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.
$225
A Country Blacksmith
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.
$275
Head Study (No. 1)
Etching, 1918; edition of 60. Image size 4-15/16” X 7-7/8”; sheet size 7-9/16” X 10-9/16”. Signed in pencil by the artist in the lower margin. A rich, well-inked impression in overall fine condition. Smith 45; Guiot 42.
$225
On the Old Magnolia Road
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.
$275
Sultry Afternoon
Etching, 1919; edition of 75. Image size 5-7/16” x 8”; sheet size 8-1/8” x 10-5/16”. Signed by Heintzelman in the lower margin. A fine impression in overall fine condition. Smith 62.
$225
Early Morning Along The Shore
Etching, 1919; edition of 75. Image size 4½” x 5-7/16”; sheet size 8½” x 10-1/16”. Signed in pencil by Heintzelman in the lower margin. A fine impression in overall fine condition. Smith 63.
$225
Old White Horse
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.
$275
High Pastures
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.
$185
The Walrus
Etching, 1919; edition of 50. Image size 4-7/8” x 6-3/8”; sheet size 7¾” x 9¼”. Signed in pencil by the artist in the lower margin. Fine overall condition. Smith 65; Guiot 61.
$225
Three Score and Ten
Etching, 1919; edition of 100. Image size 8-3/8” x 10-7/16”; sheet size 11-1/8” x 14-1/16”. Signed in pencil by Heintzelman in the lower margin. Fine impression in overall fine condition. Smith 66.
$275
The Pilgrim
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.
$325
Portrait Study of an Old Man
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.
$275
Old Man in Italian Cap
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.
$425
The Little Gamin
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.
$175
Old Man (Profile)
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.
$325
La Marchande de Café au Lait
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.
SOLD
Etude pour Merci
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.
$225
Merci
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.
$425
La Grand’mère Forain
Etching, 1922; edition of 100. Image size 8-5/8” X 11-3/4”; sheet size 11-1/8” x 14-5/8”. Titled and signed in the plate; signed in pencil by the artist in the lower margin. Fine. Smith 79; Guiot 75.
$450
La Paysanne de Saint-Germain
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.
$475
Etude de Tête (No. 1)
Etching, 1922; edition of 50. Image 2½” x 3¼”; sheet 9” x 12-5/8”. Signed in pencil in the margin. Fine condition. Guiot 79; Smith 83
$125
Hors Service
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.
$275
Une Propriétaire de Cayeux
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.
$375
Jeune Mère Basque
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.
SOLD
Etude de Tête (No.2)
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.
$175
A Donkey Cart in Montmartre
Etching, 1923; edition of 300. Image size 7-5/8” x 9-1/2”; sheet size 12-5/8” x 14-1/2”. Signed in the plate and in pencil by the artist in the lower margin. Ohio Society of Etchers blind stamp in left margin. Very faint toning in mat aperture area, else fine.
$525
La Poissonnerie
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.
$325
Objets d'Art
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.
$325
Le Châle
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.
$325
Crucifix (large plate)
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.
SOLD
L'Ouvrier
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.
$275
Mendiant Marchant Vers la Gauche
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.
$325
Mendiant Marchant vers la Droite
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.
$325
Pêcheur de Saint-Valery
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.
$275
Sur la Place du Marché à Saint-Valery
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.
$325
Crucifix (small plate)
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.
$275
Etude Pour Chanteur Populaire
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.
$400