Plaza Lights. c. 1929.. Aquatint. 9 7/8 x 13 7/8 (sheet 13 1/8 x 17 1/8). A hand-tinted impression printed on yellow toned Japanese paper with full margins. Signed in pencil. One of only a few impressions printed by the artist on his own hand-tinted yellow Japan paper. $4,000.
In the foreground is the Hotel Pierre. In the center are the spire-topped Sherry-Netherland Hotel, the Savoy Plaza, the Squibb Building and the Heckscher Building. To the right is The Plaza Hotel.
Schutz was born in Berndorf, Germany in 1894. His studies at the University of Munich were interrupted in 1914 by World War I where he served as a Lieutenant in the German Army. He resumed his studies at the University of Munich in 1919 and was admitted to the Royal Academy of Fine Art. He graduated with a dual degree in architecture and mechanical engineering. In 1924 he emigrated to America after destroying all of the copperplates used to print his German etchings. In New York, he again became a successful etcher, known for his technical skills and depictions of American cities. During the twenties, he held regular exhibitions at the Anderson Gallery. In 1931 he took over a company he had founded to distribute his etchings called the New York Graphic Society and produced high quality reproductions of old master and contemporary paintings. He produced his last etching in 1939 entitled Radio City. Anton Schutz died in White Plains, New York on October 6, 1977.
He founded the New York Graphic Society. By the close of World War II the New York Graphic Society was the largest producer of reproductions in the world.It produced many books highlighting European masters in full color from 1925-1966. The NYGS was contracted in 1949 by the United Nations through UNESCO to publish the World Art Series. Schutz traveled the world from 1949-1961 documenting world art for the United Nations. Schutz died on October 6, 1977 in New York. His papers and art are housed in the Smithsonian, and examples of his art are housed in the Uffizi, National Gallery in Paris, are collected by private collectors and sold in many galleries. His representation of the American Spirit in the 1920s and 1930s is still recognized today as being wholly unique and his work documenting world art is valued and preserved through the United Nations World Art Series.
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