Etching

Copperplate etching by Martin Lewis titled "Under the Street Lamp." Editioned of 100. Signed in pencil with "imp" next to the signature. In the bottom right corner is a penciled 75 and in the top right corner is a 50. The etching is framed it was taken out of the frame for condition report and photographs. The gallery label is on the back of the matte inside the frame.

Martin Lewis (1881-1962) was born in Castlemaine, Victoria, Australia on 7 June 1881. He was the second of eight children and had a passion for drawing. At the age of 15, he left home and traveled in New South Wales, Australia, and in New Zealand, working as a pothole digger and a merchant seaman. He returned to Sydney and settled into a Bohemian community outside Sydney. Two of his drawings were published in the radical Sydney newspaper, The Bulletin. He studied with Julian Ashton at the Art Society's School in Sydney. Ashton, an English-born Australian artist and teacher, known for his support of the Heidelberg School and for his influential art school in Sydney. In 1900, Lewis left Australia for the United States. His first job was in San Francisco, painting stage decorations for William McKinley's presidential campaign of 1900. By 1909, Lewis was living in New York, where he found work in commercial illustration. His earliest known etching is dated 1915. However, the level of skill in this piece suggests he had been working in the medium for some time previously. It was during this period that he helped Edward Hopper learn the basics of etching. In 1920, after the breakup of a romance, Lewis traveled to Japan, where for two years he drew and painted and studied Japanese art. The influence of Japanese prints is very evident in Lewis's prints after that period. In 1925, he returned to etching and produced most of his well-known works between 1925 and 1935 Lewis's first solo exhibition in 1929 was successful enough for him to give up commercial work and concentrate entirely on printmaking. Lewis is most famous for his black and white prints, mostly of night scenes of non-tourist, real life street scenes of New York City. During the Depression, however, he was forced to leave the city for four years between 1932 and 1936 and move to Newtown, Connecticut. His work from this period includes a number of rural, night-time and winter scenes in this area and nearby Sandy Hook. When Lewis was able to return to the New York City in 1936, there was no longer a market interested in his work. He taught printmaking at the Art Students League of New York from 1944 until his retirement in 1952. Lewis died largely forgotten in 1962. Now he is considered one of the most important American printmakers of the twentieth century.

H 23 in. x W 17 in. x D .5 in.

H 15 in. x W 9.5 in.