Ernest D. Roth (1879-1964)


Ernest David Roth was born in Stuttgart, Germany in 1879, coming to America in 1884 with his family. Settling in New York City, Roth worked as a boy in a print shop. This sparked an interest in art which was encouraged, leading Roth to study painting with Ward and Maynard at the National Academy of Design, and with F. Louis Mora at the New York School of Art. Roth also studied etching with James D. Smillie at the National Academy, and became an American citizen in 1905. That year he traveled abroad, spending three years painting & etching in Italy, exhibiting two prints at the Venice Biennial in 1907. Returning to New York, he remained until 1912, then returned to Italy and France for two years with his friend J. Andre Smith, also a gifted etcher. Venice particularly captivated Roth, who ultimately produced about 45 etchings of the fabled city. Roth & Smith both fell under the spell of Whistler and helped to carry his legacy forward into the new century. In 1914 Roth had his first of many shows at Frederick Keppel & Co in New York, and twelve of his etchings found their way into the collection of the Uffizi in Florence. In 1915 he exhibited 25 etchings and won a silver medal at the Panama Pacific International Exhibition. The first World war quelled Roth's print production. He traveled to Spain in 1921, and back to Italy for all of 1924, producing some of his finest Venetian subjects. Over the next twenty seven years Roth produced etchings of France, Spain, Italy, as well as various American subjects which included a striking series of New York views; the new soaring towers of Manhattan outside his studio ably rendered by his capable hands. In later years Roth moved to West Redding, CT, and died in 1964. Ernest D. Roth's work has continued to delight collectors over the years who appreciate his masterful renderings of light and architectural detail, and his ability to evoke the subtle character of place. In 2012,  Roth's Venetian prints were the focus of a traveling exhibition and catalog: Reflections & Undercurrents, Ernest Roth and Printmaking in Venice, 1900-1940, organized by Eric Denker, a curator and senior lecturer in the Education Department of the National Gallery of Art. 


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New York Old and New

800.00

Ernest D. Roth, Amer., (1879-1964), New York Old and New, Etching, 1944, Ed. unknown, 12 x 15-1/4, signed, titled, & dated in the plate, on cream laid paper. There is one spot of foxing and a handling crease left of the skyscraper on the right, and browning to the bottom left margin, and to the top margin with several small edge tears, all professionally mended and well away from subject. The same deft skill and perceptive eye whch had graced Roth’s etchings of Venice and other European subjects earlier in the century were turned upon New York City’s changing skyline in a series of late monumental views, many of which showed the city from the harbor. Here the bustling human prescence along the storefronts and seawall emphasize the dizzying height of the buildings which newly distinguished America’s most modern of cities. 

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Financial Towers - Manhattan 

875.00

Ernest D. Roth, Amer., (1879-1964), Financial Towers Manhattan, Etching, 1944, Ed. unknown, 12 x 15-1/8, on cream wove paper, signed and titled in the plate, lower left. Two horizontal handling creases in the sky left of the skyscraper to the right, hardly visible except under raking light. A fine impression of one of Roth's celebrated New York City subjects. 

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Jeanette Park-South St. and Coenties Slip

875.00

Ernest D. Roth, Amer., (1879-1964), Jeanette Park-South St. and Coenties Slip, Etching, 1946, Ed. unknown, 11 x 15, signed, titled, & dated in the plate, inscribed "Trial Proof-Hand Wiped Clean" by Roth in pencil lower left margin corner, on cream laid paper. There is a handling crease left of the skyscraper on the right visible in raking light, and tiny traces of brown paper tape to top and bottom margin edges from the stretching and drying during printing. The same deft skill and perceptive eye which had graced Roth’s etchings of Venice and other European subjects earlier in the century were turned upon New York City’s changing skyline in a series of late monumental views. Here locals chat on the sidewalk outside the corner shops, or cross the street to the tree lined park. The street level vantage point emphasizes the dizzying height of the buildings which newly distinguished America’s most modern of cities. 

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RothED_TwoPalacesVenice.jpg

Two Palaces, Venice

750.00

Ernest D. Roth, Amer., (1879-1964). Two Palaces Venice, Etching, 1907, ed. unknown, 10-1/2 x 7-3/4, on cream laid paper, signed and dated in pencil, titled at bottom margin edge left, a fine impression of this beautiful and less common Venetian subject by Roth.

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Ca' d'Oro
 

SOLD
 

Etching, 1913, ed. ?, 9-1/16 x 11-7/8, signed and dated in the plate, and signed and dated in pencil, on a thick cream laid paper with a partial watermark and full margins, one very pale spot of foxing at the lower left margin edge. A crisp, well inked impression of this landmark Venetian subject by Roth, recently the subject of a traveling exhibition organized by Eric Denker of the National Gallery of Art, and featured summer 2012 at The Mattatuck Museum in Waterbury, CT. This print is featured on the cover of Mr. Denker's substantial catalogue, published to accompany this excellent exhibition. Ernest Roth resided in West Redding, CT for many years, and it is wonderful to see renewed interest and scholarly attention being focused on this important early 20th century American etcher and Connecticut artist of note. From the estate of CT artist C. Sperry Andrews, friend of Ernest Roth. Sperry and Doris Andrews were the 3rd generation of artists to reside at Weir Farm, Branchville, CT.


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3 Master at Dock, Chicago

 

SOLD

Etching, 1933, ed. unknown, 9-3/8 x 13-7/8, signed and dated Sept. 15-16 1933 in the plate, a touched trial proof with pencil additions by Roth in the sky at left and right, "A Trial" written in pale ink lower left margin edge, on cream wove CARLING watermarked paper, with traces of brown water tape from the original stretching and drying by the artist after printing. There is some rubbing at the left sheet edge from the taping and drying, and foxing, confined mostly to the outer margin edges. From the estate of CT artist C. Sperry Andrews, friend of Ernest Roth. Sperry and Doris Andrews were the 3rd generation of artists to reside at Weir Farm, Branchville, CT.


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Approach to Segovia

SOLD

Etching, 1921, ed. unknown, 4-15/16 x 11-5/8, signed in the plate, signed & dated in pencil, on cream laid japan paper, toned in mat opening. An original label from Frederick Keppel & Co. accompanies this print. Segovia is located in the middle of Spain and is considered one of the most beautiful of all Spanish cities with it's Gothic cathedral and Roman aquaducts still extant.


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Sospel

0.00

Etching, 1950, ed. ca. 100, 8-15/16 x 11-15/16, signed & titled in the plate, signed & dated in pencil, on cream wove paper, toned in mat opening. Sospel is a picturesque town in southeastern France located near the Italian border.

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New York Life Building,
Madison Square,
New York City

 

Price On Request

Watercolor and Pencil on thick cream wove paper, ca. 1930's, 15-1/4 x 20-1/4, uneven toning to the sheet with some soiling at the outer edges, unsigned, but inscribed by Roth on verso lower left corner in pencil: "#16- Madison Square-N.Y. Life Bldg." This New york City scene by Roth, though unfinished, shows elaborate fine detail in the facades of the various buildings, and gives insight into the artist's working methods for developing a finished composition.


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The Wheelwright Shop, New Rochelle, New York

SOLD

 

Etching, ca. 1920's, ed. unknown, 9-15/16 x 12, signed, and titled and numbered 24 in the lower margin, on cream laid F. G. Head & Co. Hand Made paper. A beautiful impression of this suburban New York print.


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Redpath Museum, McGill University, Montreal

100.00

Etching, 1945, ed. unknown, 7-11/16 x 10-7/8, signed & titled in the plate, on cream wove paper, very faint mat line.

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Temple Beth El, from Central Park, New York City

 

SOLD

Etching, 1924, ed. unknown, 13-7/8 x 10-1/2, signed & dated in the plate, signed, titled & dated in pencil, on cream laid japan paper.


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Abbeville

 

SOLD

Etching, 1915, ed. unknown, 7-1/2 x 7-3/8, signed & dated in the plate, signed, titled & dated in pencil, on cream laid japan paper.Abbeville is located on the Somme river, 12 miles from the French coast on the English Channel. The modern day town is mostly rebuilt following the ravages of World War II.


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Salute from the Giudecca, Venice

 

SOLD

Etching, 1925, ed. ?, 10-5/16 x 6-3/4, signed and dated 1925 in the plate, on cream wove paper with a partial watermark, some spots of foxing well away from image, mostly in the top and bottom margins. A crisp and well inked impression, with a graded veil of plate tone towards the bottom water's edge of this Venetian subject by Roth. This print is notably Whistlerian in it's spare treatment, large blank spaces and vertical format. Ernest Roth's Venetian prints were recently the subject of a traveling exhibition organized by Eric Denker of the National Gallery of Art, featured summer 2012 at The Mattatuck Museum in Waterbury, CT. From the estate of CT artist C. Sperry Andrews, friend of Ernest Roth. Sperry and Doris Andrews were the 3rd generation of artists to reside at Weir Farm, Branchville, CT.


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Venice from the Redentore

 

SOLD

Etching, 1913, ed. unknown, on cream laid paper, slight toning in mat opening, small traces of glue in the upper margin corners recto, old glassine hinges top edge verso, small crease to lower right margin corner tip. Signed & dated in pencil & titled and dated at the lower left margin edge.


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Stones of Venice

 

SOLD

Etching, 1926, ed. ?, 13-1/2 x 9-3/8, signed, titled and dated 1926 in the plate, on cream wove WHATMAN 1883 watermarked paper, a minor printing crease at the lower left margin edge, some pale spots of foxing confined to the bottom and lower right margin edge. A crisp and well inked impression, with a selective veil of plate tone at the lower water's edge of this Venetian subject by Roth. Ernest Roth's Venetian prints were recently the subject of a traveling exhibition organized by Eric Denker of the National Gallery of Art, featured summer 2012 at The Mattatuck Museum in Waterbury, CT.From the estate of CT artist C. Sperry Andrews, friend of Ernest Roth. Sperry and Doris Andrews were the 3rd generation of artists to reside at Weir Farm, Branchville, CT.


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Piazza Firenze, Florence

 

SOLD

Etching, 1933, ed. ?, 9-15/16 x 9-5/16, signed, titled and dated 1933 in the plate, on cream laid paper with a partial watermark, a few tiny spots of foxing well away from image in the outer margins. A crisp and well inked impression. Ernest Roth's Italian prints of Venice were recently the subject of a traveling exhibition organized by Eric Denker of the National Gallery of Art, and featured summer 2012 at The Mattatuck Museum in Waterbury, CT. From the estate of CT artist C. Sperry Andrews, friend of Ernest Roth. Sperry and Doris Andrews were the 3rd generation of artists to reside at Weir Farm, Branchville, CT.


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The Gate, Venice

SOLD

 

Etching, 1906, ed. unknown, A.E. 4, 6-1/2 x 7-1/2, unsigned, on cream laid paper. By 1905 when he left America for Europe, Ernest Roth had studied etching at the National Academy under James Smillie and was already an accomplished artist. Etching his first Venetian subjects just three years after Whistler's death, Roth was among the most talented of the next generation of etchers to focus on the floating city as a favored subject. This early view of a Venetian courtyard glimpsed from an arched entrance on a canal, shows a variety of marks and textures which achieve a wealth of detail, along with the subtle play of light reflecting off the water's surface.