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Breaking up a Tow -- North River (Hudson River). c. 1905. Etching and drypoint. 6 3/4 x 10 (sheet 9 1/8 x 12). Printed on Japanese mulberry paper with full margins. A rich impression with plate tone, printed by the artist. Signed, titled and annotated 'imp' in pencil. $750.
Ericsson's Day, No. 1. 1914. Etching. 6 x 9 (sheet 7 3/8 x 11). Printed on cream wove paper on the full sheet with deckle edges. Proof with subtle plate tone in sepia ink, printed by the artist himself. Accompanied by the pencil study, with a drawing of ships on the verso. 7 3/4 x 10 1/4 (sheet 7 3/16 x 12 5/16). The drawing unsigned; the etching signed in pencil. $1,250 the pair.
Old Mill near Newport. 1887. Etching. 9 1/4 x 6 3/4 (sheet 12 7/8 x 9 5/8). As published by Frederick A. Stokes in Representative Etchings By Artists of To-day In America. A fine impression printed on cream wove paper with full margins. Signed and dated in the plate; signed and titled in letterpress below. $175.
Charles Frederick William Mielatz was born in Bredding, Germany. He emigrated to the United States with his family and studied at the Chicago School of Design, the National Academy of Design and with James J. Calahan in Newport, Rhode Island, where he learned etching. Though his initial prints were pastoral landscapes of New England, Mielatz turned instead to the depiction of workaday urban settings.
Mielatz was a member of the New York Etching Club, the Brooklyn Society of Etchers and was an associate member of the National Academy of Design. In 1906 he succeeded James David Smillie as the etching teacher at the National Academy, a position he held until his death in 1919. Echoes of his work can be seen in the prints of John Sloan and Martin Lewis, themselves champions of the urban environment. Mielatz died in New York City.
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