Click on the titles for images.
Jobs Wanted. c. 1932. Wood engraving. 8 1/2 x 10 1/2 (sheet 11 x 12 7/8). A rich, dramatic impression printed on ivory wove Rolland Parchment. Signed in pencil. $1,500.
Subway Work at Night. Moscow. 1935. Wood engraving. 10 1/4 x 11 3/4. (sheet 13 1/4 x 14 5/8). A rich impression printed on Japanese mulberry paper with wide margins and deckle edges on top and bottom. Accompanied by an old exhibition label. Signed in pencil. $750.
Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126.v/vi Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with plate tone on 'Van Gelder Zonen Holland' watermarked wove paper. Signed, dated, titled and annotated 'A imp del' in pencil. $275.
Bailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg 126.vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed cream wove paper with deckle edges. There is a horizontal tear well below the image. Unsigned. $250.
(City Hall, Philadelphia). c. 1912. Etching and drypoint with oil paint additions. Hausberg 142. iii. 14 x 14 (sheet 16 1/8 x 18 5/8). Touched proof with extensive oil paint additions to the sky, buildings and lower section of the image. Printed on cream wove paper. Unsigned, annotated 'City Hall Philadelphia' and '5/5/' [5 pounds, 5 shillings] in pencil. In this state, left to right, diagonal drypoint lines added to sky; strong drypoint verticles obscure the Quaker Oats sign. 600.
City Towers (City Hall, Philadelphia). c. 1912. Etching and drypoint with oil paint additions. Hausberg 142. vi. 14 x 14 (sheet 20 x 16). Touched proof with extensive oil paint addition of hills in the background. Two professionally-repaired tears in the left hand margin and one in the clouds on the left. Unsigned, annotated 'trial' and 'City Tower' in pencil. In this state is much additional etched work, including two tall towers on either side of City Hall, shading on City Hall. The main subject is City Hall. $400.
House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg 138.i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression printed by the artist on Japanese mulberry paper. Signed and annotated 'A imp' in pencil. $275.
House on Cliff Walk, Newport, R.I. or Caprice, Newport, Rhode Island. 1931/33. Etching. Hausberg 138.ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression with plate tone, printed on cream wove paper. Unsigned. $250.
Man By a Radiator. 1912. Etching. Hausberg 247.iii/iv. Only 2 impressions in this state. 16 x 8 7/8 (sheet 8 x 10 3/8). Vertical printing fold. Printed by the artist on Japanese mulberry paper. A fine impression of this rare image. Signed, annotated 'A imp 3rd st 2 only' in pencil. This appears to be a self portrait. $275.
Old Colony Statehouse, Newport, Rhode Island. c. 1931-1933. Etching. Hausberg 187. iii. 7 7/8 x 6 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream wove paper with deckle edges. Unsigned. $175.
Stables, Philadelphia. c. 1912. Etching and drypoint. Hausberg 211. iii. Illustrated in Hausberg. 8 7/8 x 13 3/4 (sheet 11 1/4 x 16 5/8). A rich impression with plate tone, printed on 'F.G. Head & Co' watermarked laid paper. Unsigned. $250.
Coal Heavers.
On Top of the World. c. 1936. Etching and drypoint. 12 5/16 x 8 5/16 (sheet 15 1/2 x 11 5/16). Good condition apart from glue residue in the outer margins from a previous mat, well away from the image. A rich impression with subtle inking printed on cream laid paper with full margins. Signed in pencil. Housed in a 20 x 16-inch archival mat. $4,000.
103 Stories. (Empire State Building.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $750.
A Quiet Glimpse of Central Park. 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Angled Reflections. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $800.
Balance. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.
<Brooklyn Bridge, from the Ferry. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Cables, Brooklyn Bridge. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $625.
Connections. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Facade: the Flatiron. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $600.
Fifth Avenue. 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $700.
Framed. (New York Skyline through Brooklyn Bridge Cables.). 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Freedom, horizontal. (Statue of Liberty.) 2013. Shot in infrared. 16 x 24. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Grand Central Station. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $625.
Industrial Elegance. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Inside Grand Central. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Into the City. (Roosevelt Island Bridge.) 2014. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Intricate Simplicity. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Just Outside. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $725.
Lady Liberty, vertical. 2013. Shot in infrared. 24 x 16. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Majesty. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. Finalist in the Empire State Building Photo Contest 2016. Featured as the profile picture of the Empire State Building across its social media channels including Facebook, Twitter, Instagram and Pinterest in March, 2017. $725.
Mirrored Sky. (One World Trade Center.) 2013. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.
Morning Glow. (Brooklyn Bridge and the New York Skyline.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
New Beginnings. (World Trade Center.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Reaching to the Sky. (Financial District.) 2013. 16 x 24. Shot in infrared. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Sky over Manhattan. (Brooklyn Bridge.) 2014. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $750.
Steel. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Strength. (Manhattan Bridge.) 2015. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $675.
Through the Bridge: A view of Manhattan and Brooklyn through the Manhattan Bridge. 2015. 24 x 36. (Matted and framed.) Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $2,500.
Unexpected Symmetry. (Brooklyn Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $750.
Webbing. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $750.
The fine art Chromaluxe metal panel prints use Chromaluxe panels and a UV coating that is bonded to substrates that include .045†a Chromaluxe metal panel. Chromaluxe panels have superior fade, moisture, stain and scratch resistant properties, making them modern and durable. The Chromaluxe metal panels are signed, titled and numbered on the back with an oil based archival paint pen. All Chromaluxe metal panels measure 16 x 24 or 24 x 16 with hanging hardware on the back.
The works on silver gelatin paper showcase true silver gelatin fiber printing exposed on Ilford Galerie fiber based digital silver gelatin paper processed to archival standards. The silver gelatin photos are signed, titled and numbered with an archival Micron Pigma pen.New York: November 2013: Central Park
Duck Pond and Bridge. November 8, 2013. Color photograph printed on Hahnemuhle paper. 11 x 17 (sheet 12 x 18). Signed in pencil. $300.
Fall Foliage in Central Park. November 8, 2013. Color photograph printed on Hahnemuhle paper. 11 x 17 (sheet 12 x 18). Signed in pencil. $300.
New York: June 2013.
Chenin Building from the Top of the Rock. August 4, 2012. Black and white photograph on Hahnemuhle paper. 13 5/8 x 9 (sheet 18 x 12). Signed in pencil. $300.
Rockefeller Center, New York. August 4, 2012. Black and white photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $375.
Sunset over Manhattan from the Top of the Rock. August 4, 2012. Black and white image on Hahnemuhle paper. 9 1/8 x 13 7/8 (sheet 12 x 18). Signed in pencil. $400.
Sunset over Manhattan from the Top of the Rock. August 4, 2012. Color image printed on Hahnemuhle paper. 9 3/8 x 14 (sheet 12 x 18) Signed in pencil. $400.
Austin
Austin, Texas Capitol. February 1, 2012. Photograph taken with an infrared camera and converted to a black and white image. Printed in black and white on Hahnemuhle paper. 9 5/8 x 14 3/4 (sheet 12 x 18). Signed in pencil. $375.
Boston
Boston, view of the Prudential Tower and Arlington Street Church from the Public Garden. August 1, 2012. Photograph antiqued and printed in sepia on Hahnemuhle paper. 9 x 13 3/4 (sheet 12 x 18). Signed in pencil. $350.
Sydney
Sydney Harbor Bridge. March 28, 2008. Black and white photograph printed on Hahnemuhle paper. 9 x 12 (sheet 12 x 18). Signed in pencil. $350.
Sydney Opera House. March 28, 2008. Black and white photograph printed on Hahnemuhle paper. 10 x 13 1/2 (sheet 12 x 18). Signed in pencil. 375.
Figural Studies
Child from a Hill Tribe in Sapa, Vietnam. April 28, 2008. Color pohotograph printed on Hahnemuhle paper. 14 x 11 1/2 (sheet 12 x 18). Signed in pencil. $320.
Cambodian Girl, One of 10 in her Family, outside Angkor Wat. April 18, 2009. Color photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $320.
Novice Monk in Luang Prabang, Laos. March 15, 2009. Color photograph printed on Hahnemuhle paper. 10 x 13 3/8 (sheet 12 x 18). Signed in pencil. $360.
Offering, Little India, Singapore. August 30, 2008. Color photograph printed on Hahnemuhle paper. 13 1/2 x 10 1/8 (sheet 12 x 18).Photograph taken for a class with National Geographic photographer Michael Yamashita. Signed in pencil. $360.
Chinese Lantern, Chinatown, Singapore. March 15, 2009. Color photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $275.
Fresh Bread for Kaya Toast, Singapore. January 18, 2008. Color photograph printed on Hahnemuhle paper. 13 1/2 x 10 1/4 (sheet 18 x 12). Signed in pencil. $360.
Click on the titles for images. Click on the pictures for larger images. The groupings are, in order: America, Italy, Gargoyles, France, Spain, Sweden, Switzerland, England.
America
New York
American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David Llewellyn Reese, New York. An extremely rich tonal impression printed in dark brown ink, 1921, on cream laid paper with full margins. Signed and titled in pencil. $6,500.
Connecticut
Out of Studio Window (Out of My Studio Window or De La Fenêtre de mon Atelier). 1920. Etching. Fletcher 77. 4 1/2 x 5 3/4 (sheet 8 1/16 x 9 3/8). Edition 75 (+ 4 trial proofs). A fine impression printed on the full sheet of [FJ Hea]d & Co cream wove paper by Frederick Reynolds. $275.
Italy
The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Published as the frontispiece for the book by Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,250.
La Bella Venezia, or The Grand Canal, Venice. 1930. Etching. Fletcher 232. 7 1/8 x 16 1/2 (8 3/8 x 17 1/2). Italian Series, #18. Trial proof, apart from the edition of 81 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 192; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A rich impression with subtle tonal wiping printed on cream wove paper. Signed, dated, titled and annotated and 'trial proof II', 'collection j' (Hugh Fisher, England), and 'ct' (Carling trial) in pencil. Housed in a 15 1/4 x 24 1/8-inch gold leaf frame. $3,500.
Church of Saint Francis and the Natizone, Cividale. 1940. Etching. Fletcher 238.iii. 7 1/2 x 10 1/2 (sheet 79 5/8 x 16). Edition 128 (+ 6 trial proofs). Italian series #22. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 139. A rich impression in red/brown ink printed on antique laid paper by Henry E. Carling. Signed,dated, titled and annotated 'cp' (Carling printed) in pencil. $700.
Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,200.
La Mangia, Siena (La Torre del Mangia, Siena). 1921. Etching. Fletcher 192.15 x 8 (sheet 17 7/8 x 11 3/4). Edition 115. Italian series #10. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 38; American Etchers: John Taylor Arms; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A fine impression printed on A[rches] laid paper by Frederick Reynolds. Signed and dated in pencil. $1,750.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.
Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.
Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,250.
Rio del Santi Apostoli, Venice.
Stones of Venice. ( Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p.114. A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. Shadows of Venice. was the artist's diploma print for his acceptance as a member of The Royal Society of Painter-Etchers in 1934. $2,500.
Venetian Mirror (The Grand Canal, Venice). 1933. Etching. Fletcher 289.ii. 6 1/4 x 14 1/4 (sheet 10 3/16 x 18 1/8). Edition 169 (+ 27 trial proofs). Italian Series #27. Illustrated:Prints vol. VI, no. 2, 1935, p. 79;. Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 119. Printer: David Strang. A rich impression on 'David Strang' cream laid paper with full margins. Signed, dated 1935, titled and annotated 'II' in pencil. Housed in an elegant 21 1/2 x 22-inch gold leaf frame. Signed, titled and annotated 'cp' (Carling printed) in pencil. $6,500.
Venetian Filigree ( Cà D'Oro Venezia). 1931. Etching. Fletcher 235.ii. 10 3/4 x 11 (sheet 13 7/8 x 18 5/8). Edition 150 (+ 4 trial proofs). Italian Series #20. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p.188; Fine Prints of hte Year, 1932;Prints vol. III, no. 2, 1933, page 3; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 117. Printer: Henry E Carlingg. A rich impression on pale blue/green laid paper on the full sheet with deckle edges. Housed in an elegant 21 1/2 x 22-inch gold leaf frame. Signed, titled and annotated 'cp' (Carling printed) in pencil. $6,500.
Via Facchini, Pisa. 1927. Etching. Fletcher 194. 11 3/8 x 5 1/2 (sheet 15 7/8 x 10 1/4). Edition 110. Italian series #11. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 24. A fine impression printed on 'M BAS' laid paper. Signed and dated in pencil. $400.
Volterra. The Town in the Clouds. 1927. Etching. Fletcher 196. 7 15/16 x 8 1/4 (sheet 12 7/8 x 11 5/8). Edition 100. Italian series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 30. A fine impression printed on 'FJ Head & Co' laid paper by Frederick Reynolds. Signed, dated and titled in pencil. $325
Gargoyles
Une Chimère. 1947. Etching. Fletcher 408.ii. 3 x 2 3/8. Edition 201 in this state (total edition 226). Miniature series #38. Gargoyle series #14. Awards: Miniature Print Purchase Prize, 5th Annual Exhibition, Boston Printmakers, Boston, MA. Signed, dated and annotated 'II' in pencil. $650.
A Devil of Notre Dame. 1929. Etching. Fletcher 222.ii. 7 x 4 7/8 (sheet 13 x 9). Gargoyle Series #13.Edition 255. The artist's own personal proof, apart from the edition of 100 for Churches of France by Dorothy Noyes Arms (Macmillan, NY, 1929.) An exceptionally rich impression printed on grayish laid paper with a foolscap watermark from an antique volume. Signed, dated, annotated extensively, 'Personal proof,' 'A Devil of Notre Dame', 'Frontispiece for 'Churches of France', 'Number 12 of the 'Gargoyle Series','Second (published) edition', Printed by Peter Platt at New York on old grayish paper', 'Collection "b" 'pp' [personal proof]. $1,950.
The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/5 (sheet 9 5/8 x 7 3/4). Gargoyle series #1. Artist's proof aside from the edition of 75. A rich impression printed on cream laid paper. Signed and annotated in pencil. $2,750.
The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 3/4 x 7 (sheet 15 3/4 x 10 1/2). Gargoyle Series #8. Edition 130. Illustrated: Print Collector's Quarterly 21 (1934):126; American Etchers: John Taylor Arms. A glowing impression printed on simili-Japan paper. Signed, dated and annotated 'I' in pencil. $2,600.
Guardians of the Spire (Amiens Cathedral Number 2).1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4).
Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms, Churches of France p.20. A rich impression printed on cream-colored antique laid paper.Signed and dated in pencil. $2,000.
Le Penseur de Notre Dame (The Thinker of Notre Dame Cathedral). 1923. Etching. Fletcher 136.ii. 12 1/2 x 10 1/15 (sheet 17 x 12 3/8). 'Private collection b I' apart from the edition of 185. Gargoyle series #11.e collection b I' apart from the edition of 185. Gargoyle series #11. Illustated: Dorothy Noyes Arms, Churches of France p.8; Print Collector's Quarterly 21 (1934):12; Illustrated: American Etchers: John Taylor Arms. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $4,500.
Sentinnels (Sentinnels in the Night). 1922. Etching and aquatint. Fletcher 123.ii. 4 3/8 x 7 3/8 (sheet 7 7/8 x 9 7/8). Annotated 'Private collection cI' apart from the edition of 135. Gargoyle series #9. A fine impression printed on blue-green laid paper. Signed in pencil. $1,350.
Through Wind and Weather. (Notre Dame Gargoyle, Through Wind and Weather). 1922. Etching. Fletcher 118. 7 1/8 x 8 (sheet 9 x 11 3/8). Gargoyle Series #7. Edition 75 (+ 3 trial proofs). A 1/16-inch circular stain in the lower margin, outside the image; otherwise excellent condition. A rich impression printed on Hand[made] laid paper. $1,000
Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Edition 75. Gargoyle series #3. Illustated: Dorothy Noyes Arms, Churches of France p.20; Beall, American Prints in the Library of Congress, p. 34. A fine impression printed on cream laid paper. Signed in pencil. $2,500.
France
Abside de la Cathédrale de Saint Pierre et Saint Paul, Troyes (Apse of the Cathedral of Saints Peter and Paul, Troyes). 1929. Etching. Fletcher 224.ii. 12 1/2 x 7 3/8 (17 3/4 11 7/8). French Series, #29. Edition 127 in this state + 2 printed by Griggs in 1932 and 5 by Strang in 1937-38 (+ 20 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 156; Fine Prints of the Year, 1930. A fine impression printed in 1929 by Henry E. Carling with plate tone on pale blue/green laid paper. Signed, dated, titled 'Cathédrale de Saint Pierre et Saint Paul, Troyes' and annotated 'cp' (Carling printed) in pencil. $800.
Basilica of the Madeleine, Veézelay (The Abbey Church of Ste. Madeleine). 1929. Etching. Fletcher 223.iii. 12 x 7 3/8 (17 3/4 11 7/8). French Series, #28. Edition 134 (+ 6 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 146; American Etchers: John Taylor Arms. A fine impression printed with plate tone on white laid paper. Signed, dated and titled 'The Abbey Church of Ste. Madeleine' in pencil. $550.
Church of Saint Jean l'Aigle, Orn. 1940. Etching. Fletcher 343.ii. 3 1/4 x 5 3/8 (sheet 7 1/2 x 5 1/4). Edition 551. French Church Series #43; Miniature series #26. Annotated 'sp' in pencil indicating a proof printed by David Strang. A fine impression on Japanese mulberry pencil. Signed,dated and annotated in pencil. $150.
The Crown of Normandy (St. Ouen, Rouen). 1928. Etching. Fletcher 211.ii. 13 1/4 x 6 3/16 (sheet 16 3/8 x 7 3/4). French Church Series #21. Edition 100 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 50. A rich impression printed on cream laid paper. Signed, dated and titled 'The Crown of Normandy, St. Ouen, Rouen' in pencil. $750.
Église de Notre Dame, Bourg-En-Bresses. 1927. Etching. Fletcher 187. 8 3/4 x 4 (sheet 11 1/2 x 7). Edition 100. French Church Series #11. Illustrated: Dorothy Noyes Arms, Churches of France, p. 122. A fine impression printed on antique blue-green laid paper. Signed and dated in pencil. $275.
Église Saint Michel,
L'Évêque. 1927. Etching. Fletcher 198. 9 1/4 x 4 4/8 (sheet 10 3/4 x 7 7/18). Edition 117. French Church Series #17. Illustrated: Dorothy Noyes Arms, Churches of France, p. 40; Beall, American Prints in the Library of Congress, p. 17. A fine impression printed by Frederick Reynolds on antique blue-green laid paper. Signed and dated in pencil. $300.
Gloria: Saint Riquier. (The Church of Saint Riquier; Gloria Ecclesiae Antiquae). 1937. Etching. Fletcher 307.iii/iv. 13 7/8 x 8 5/8 (sheet 8 1/16 x 11 3/8). Edition 175 (Total 237+ 12 trial proofs). French Church series # 39. Illustrated: Fine Print of the Year, 1938. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'Third state' and 'sp' (Strang printed) in pencil. $850.
In Memoriam. The North Portal of Chartres Cathedral. 1938. Etching. Fletcher 317. 14 5/8 x 12. Edition 312. French Church Series #40. Winner of the Artist Member Prize, Annual Exhibition, Baltimore Water Color Club, The Baltimore Museum of Art, 1939. Illustrated: Albert Reese, American Prize Prints of the Twentieth Century, 1949 Print Collector's Quarterly 26 (1939): 368. Printer: David Strang. It took Arms approximately one thousand hours to etch the extraordinary detail. Signed in pencil. $3,250.
Lescure, Une Tour des Remparts. (A Rampart Tower in Lescure). 1928. Etching. Fletcher 217. 6 3/8 x 3 15/16 (sheet 10 3/8 x 7 3/16). Commissioned as a Christmas card for The Architectural Forum, 1928. A fine impression printed by Frederick Reynolds on pale blue/green laid paper. Signed, dated and titled in pencil. $250.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. Illustrated: Prints vol. VII, no. 3, 1937, p. 170. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Notre Dame de Laòn. 1929. Etching. Fletcher 219.iii. 14 x 9 5/8 x (sheet 17 1/4 x 11 1/4). Edition 135. French Church Series #26. Illustrated: Dorothy Noyes Arms, Churches of France, p. 174; American Etchers: John Taylor Arms. 2 professionally-repaired tears in the right-hand margin, one extending just into the image. A fine impression printed cream laid paper by Henry E. Carling. Signed and dated in pencil. $375.
Notre Dame du Val, Provins (La Tour, Notre Dame du Val, Provins and Thibaut) 1931. Etching. Fletcher 240.ii. 8 11/16 x 5 1/8 x (sheet 13 x 8 5/8). Edition 155 (+ 19 trial proofs). French Church Series #30. A fine impression printed cream laid paper by Charles S. White. Signed, dated, titled 'Tour, Notre Dame du Val, Provins' and annotated 'Plate etched for Frontispiece of limited Edition (150 copies) of "Contemporary American Etching" 1931. Published by American Art Dealers Association' and 'WI' (Charles White)' in pencil. $375.
Rodez. (The Tower of Notre Dame). 1927. Etching. Fletcher 189. 11 7/8 x 4 15/16 (sheet 15 1/4 x 7 3/4).Edition 120. French Church Series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 114; American Etchers: John Taylor Arms. A fine impression printed cream laid paper by Frederick Reynolds. Signed and dated in pencil. $350.
The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. Illustrated: Dorothy Noyes Arms, Churches of France, p. 22. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $600.
Rouen; The Cathedral of Notre Dame from the South. 1925. Etching. Fletcher 162. 8 1/8 x 7 5/8 (sheet 14 1/4 x 9 1/8). French Church Series #4. Edition 150. Illustrated: Dorothy Noyes Arms, Churches of France, p. 50; Fine Prints of the Year, 1925. A fine impression printed on antique cream laid paper. Signed and dated in pencil. $500.
La Rue Sauton, Paris (The South Transept of Notre Dame, Seen from the Rue Sauton and Viguereune) 1924. Etching. Fletcher 144. 13 1/2 x 7 1/2 (sheet 18 1/4 x 11 5/8). French Church Series #1. Edition 200. Illustrated: Dorothy Noyes Arms, Churches of France, p. 4. A fine impression printed on Made [in England] cream laid paper. Signed and dated in pencil. $950.
Saint Bénigne, Dijon (The Cathedral of St. Bénigne, Dijon). 1924. Etching. Fletcher 195. 10 3/8 x 6 3/4 (sheet 12 3/4 x 8 3/8). French Church Series #15. Edition 110. Illustrated: Dorothy Noyes Arms, Churches of France, p. 136. A rich impression with plate tone printed on cream laid paper. Signed and dated in pencil. $450.
Sunlight on Stone, Caudebec-en-Caux. 1931. Etching. Fletcher 241.ii. 14 1/4 x 7 1/2 (sheet 16 1/2 x 11 5/8). French Church Series #31. Edition 164 (+ 28 trial proofs). Illustrated: Print Collector's Quarterly 21 (1934): 140. A rich impression with plate tone printed by Henry E. Carling on 'Dard Hunter' cream laid paper. Signed, dated, titled and annotated 'cp (Carling printed) in pencil. $1,750.
A Tower of St. Front, Perigueux (Perigueux's Tower of Saint Front). 1928. Etching. Fletcher 212. 11 7/8 x 5 5/8 (sheet 13 1/2 x 8 3/8). French Church Series #22. Edition 200 (+ 2 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 96. A fine impression printed on cream laid paper. Signed, dated and titled in pencil. $400.
.
Spain
Burgos (A Spanish Town Revisited) 1924. Etching. Fletcher 142. 8 5/8 x 13 1/8 (10 1/2 x 15 3/4). Spanish Church Series, #2. Edition 175 (+ 2 trial proofs). A fine impression printed on FJ Head and Co. laid paper with a partial countermark. Signed and dated in pencil. $400.
La Colegiata, Toro. 1935. Etching. Fletcher 284.ii. 9 3/4 x 12 3/4 (11 1/2 x 18 1/8). Spanish Church Series, #12. Edition 153. Illustrated: Fine Print of the Year, 1936. A rich, well-inked impression printed by David Strang on blue/green laid paper. Signed, dated, titled and annotated 'II' and 'sp' in pencil. $975.
La Giralda, Seville (Seville IVRS). 1924. Etching. Fletcher 145. 12 1/8 x 7 5/8 (sheet 14 1/2 x 9 5/8). Edition 154. Spanish Church Series #4. Printed by Frederick Reynolds on cream wove paper. $325.
Puerta del Obispo, Zamora (The Bishop's Door, Zamora). 1933. Etching. Fletcher 266.ii. 12 1/2 x x 7 1/8 (17 x 11 3/8). Edition 160 (+ 30 trial proofs). Spanish Church series, #9.A rich impression printed in red/brown ink on cream laid paper. Signed, dated, titled and annotated 'Second and published state' and 'sp' indicating a proof printed by David Strang in 1937-38. $600.
Puerta Principal de la Iglesia de San Pablo, Valladolid. (Miniature, San Pablo, Valladolid) 1934. Etching. Fletcher 278.ii. 7 3/8 x 5 1/2 (9 3/4 x 7 1/2). Spanish Church Series, #11. Edition 170 (+ 12 trial proofs). A fine impression with plate tone printed on cream laid paper with a partial watermark. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $300.
Santa Maria Major, Ronda. 1935. Etching. Fletcher 288.ii. 8 x 5 3/8 (12 1/8 x 9). Spanish Church Series, #13. Edition 165 (+ 7 trial proofs). Commission for the American College Society of Print Collectors. A rich, well-inked impression printed by David Strang on 'David Strang' countermarked cream laid paper. Signed, dated, titled and annotated 'Plate etched for the American College Society of Print Collectors' and 'sp' (Strang printed) in pencil. $425.
Stone Tapestry, San Isidoro, León . (South Portal of the Collegiate Church of San Isidor, Leon).1936. Etching. Fletcher 267. 11 5/8 x 3 (14 1/8x 7 5/8). Spanish Church Series, #10. Edition 154 (+ 18 trial proofs). A fine impression with plate tone printed on cream wove paper. Signed, dated and titled in pencil. $325.
Sweden
Stockholm. 1940. Etching and aquatint. Fletcher 95.III. 7 1/2 x 13 1/2 . Edition 395 in this state (total edition approximately 413). Scandinavian Series #1. A glowing impression on blue-green laid paper with full margins. Signed in pencil. $1,750.
England
Afterglow (Geddington, England, Sketch). 1938. Etching. Fletcher 315.ii. 3 1/4 x 5 3/8 (sheet 9 3/16 x 11 5/8). English Series #3. Edition 250 for The Print Collector's Quarterly volume 26 (April 1939). Awards: 1948 Purchase Prize, 5th Annual Cooperative Exhibition, Pennsylvania State Teachers' College. Printed on cream laid paper, on the full sheet with deckle edges. Signed, dated and annotated 'state II' in pencil. $275.
Anglia Antiqua, West Walton (The Church of West Walton). 1937. Etching. Fletcher 310.ii. 5 3/8 x 2 15/16(sheet 11 1/2 x 9 5/16). ENGLISH SERIES #1 Minature Series #20. Edition 209 (+ 13 trial proofs). Commission for The Print Makers' Society of California. A rich impression printed with plate tone on cream laid paper. Signed, dated, titled and annotated 'Plate etched for The Print Makers' Society of California 1937.' $250.
This England (Fairford, Gloucestershire). St. Mary Church, Fairford on the Coln. 1952. Etching. Fletcher 426. ii. 6 3/8 x 11 5/16 (sheet 10 1/2 x 15 5/8). Edition 150 Planned; 82 pulled. Titled, dated, signed and annotated 'C485' in pencil. $375.
The Old Exe Bridge. (Vieux Pont à Exeter). 1920. Etching. Fletcher 61. 6 3/8 x 4 5/8 (sheet 9 3/8 x 6 1/2). Edition 100 (+ 2 trial proofs). A fine impression printed on the full sheet of white laid paper by Frederick Reynolds. $300.
Wilby Church, Northamptonshire, England. 1940. Etching. Fletcher 335.iii. 4 1/4 x 2 3/8 (sheet 6 1/16 x 4 11/16). Edition 432.English Series #7; Miniature Series # 24. Printed by David Strang on cream laid paper. Signed, titled, numbered, dated, annotated 'iii' and dedicated 'To Charles E. Pont from John Taylor Arms' in pencil. $150.
Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.
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Artists Judging Works of Art. 1916. Lithograph. Mason 18. 14 1/2 x 19 (sheet 18 3/4 x 26 7/8). Edition aproximately 52. A rich impression printed on Japanese mulberry paper, on the full sheet with deckle edges. This is a fine lifetime impression. Provenance: H.V. Allison and Co. Inc., New York; Chapellier Galleries, Inc, New York; Galleries Marcus Steinberg, Chicago. Gift to a Texas collector. Signed, titled and annotated 'No. 25' in pencil by the artist. Housed in a reproduction gold leaf period frame. Price upon request.
In the Park, Dark. 1916. Lithograph. Mason 30.i/ii. 16 7/8 x x 16 1/4 (sheet
24 1/8 x 28 3/4). Edition 81, #34. A rich impression printed on sturdy wove paper, with full margins. This is a fine lifetime impression. Provenance: estate of Anita Jaffe, wife of Leo Jaffe who ran Columbia Pictures, the motion picture, studio, in the 1960s and 1970s, until his retirement in 1981. Signed in and numbered pencil by the artist. Housed in an elegant black and gold29 x 32 1/2-inch wood frame. $4,500.Housed in an elegant 29 x 32 1/2-inch black and gold wood frame. $4,500.8 ). Edition probably 63. A rich impression printed on chine appliqué mounted on plate paper, as issued. This is a fine lifetime impression. Signed, annotated 'imp' and numbered '6' in pencil by the printer, Bolton Brown; signed and titled in pencil by the artist. Housed in an elegant 33 x 34 1/2-inch reproduction period gold leaf frame.Price upon request.
The Tournament (Tennis at Newport). c. 1921. Lithograph. Mason 72. 14 3/4 x 18 7/8 (sheet 20 1/2 x 24). Edition probably 63. A rich impression printed on chine appliqué; mounted on plate paper. Signed, annotated 'imp' and numbered '42' in pencil in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist. Housed in an elegant reproduction period 29 1/2 x 32 1/4-inch gold leaf frame. $15,000.
The Tournament (Tennis at Newport)./> c. 1921. Lithograph. Mason 72. 14 3/4 x 18 7/8 (sheet 20 1/2 x 24). Edition probably 63. A rich impression printed on chine appliqué; mounted on plate paper. Signed, annotated 'imp' and numbered '42' in pencil in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist. Housed in an elegant reproduction period 29 1/2 x 32 1/4-inch gold leaf frame. $17,500.
Boats at Dawn 1920. Etching. Paff 190.iii. 7 3/4 x 10 7/8 (sheet 10 3/8 x 14 3/8). Edition 150. A rich impression with subtle plate done printed on Japanese mulberry paper on the full sheet with deckle edges. Provenance: the artist's family. Signed in pencil. $2,750.
On the Kedgwick 1923. Etching. Paff 222. 7 3/4 x 11 3/4 (sheet 11 1/2 x 15 9/16). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression in excellent condition, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $2,750.
The Punter 1927. Etching. Paff 273. 7 7/8 x 11 7/8 (sheet 10 3/4 x 14). Edition 150. A rich impression with plate tone printed on cream laid paper. Signed in pencil. $2,750.
Two Canoes 1927. Etching. Paff 266.i/iii 5 7/8 x 7 3/4 (sheet 9 5/8 x 10 3/4). Trial proof A-5, prior to the edition 150. An extremely rich impression with plate tone, printed on cream wove paper on the full sheet with deckle edges. Provenance: the artist's family. Signed and annotated 'A-5' in pencil. $2,750.
Two Canoes 1927. Etching. Paff 266.iii. 5 7/8 x 7 3/4 (sheet 9 x 11 1/4). Edition 150. An extremely rich impression with plate tone, printed on cream laid paper on the full sheet with deckle edges. Provenance: the artist's family. Signed in pencil. $2,750.
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Edge of the Woods. 1916. Drypoint. 7 7/8 x 9 3/4 (sheet 10 7/16 x 13 1/8). A rich impression in printed on Japanese paper with an oak leaf watermark. Signed and annotated '3rd state' in pencil. $300.
Trees Along the River. c. 1916. Etching and drypoint. 5 1/4 x 6 1/4 (sheet 8 x 9 5/8). A rich impression with tonal wiping. Printed in cream laid paper with a partial countermark. $250.
The Fountain or Drink of Water. c. 1946-47. Ink on paper. 2 7/8 x 2 3/8 (sheet 4 1/4 x 5). Provenance: James Fosburgh; Raydon Gallery, New York. Initialed in pencil lower right. Housed in a 13 1/4 x 11 5/8-inch modern gold leaf frame. $1,750.
Leaning on the Wall. 1927. Etching. Teller 4. 4 x 3 (sheet 11 x 8 7/8). Edition 100, #18 from the lifetime edition printed in 1967; there were only proofs earlier. A rich impression with plate tone printed on cream wove paper.Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. 'Remembering the Ladies: Women and the Art Association of Newport.' Signed and dated in ink verso, possibly in another hand. Signed and numbered in pencil by the artist. $550.
Noon Hour. 1935. Etching. Teller 18. 6 7/8 x 4 7/8 (sheet 11 3/8 x 8 1/2). Edition 250 published by Associated American Artists in 1946 (were a few earlier impressions from a proposed edition of 40). Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on cream laid paper. Signed in pencil by the artist. $3,500.
Desert Twilight, Arizona. Etching and drypoint. Seeber 318. 4 3/4 x 6 3/4 (sheet 8 3/4 x 11 1/8). A glowing impression printed in greenish dark-blue ink on pale cream colored wove paper. Signed and titled in pencil. $1,650.
Ober Steinberg, Suisse. c. 1901. Watercolor on paper. 9 1/4 x 13 1/2. Signed, lower left; titled, lower right. Housed in an archival French mat and a 16 1/4 x 19 1/2-inch silver leaf frame. $1,500
A Sandstorm on the Little Colorado River, Arizona. 1920. Soft-ground etching. Seeber 189. 6 7/8 x 9 3/4 (sheet 9 5/8 x 13). Edition 40, #6. Series: Desert Set. Illustrated: American Etchers: George Elbert Burr; McCauley, "George Elbert Burr's Etchings of the Desert; " International Studio 83 (March, 1922). Printed in grey-brown ink on cream wove paper. Mat line, toning in the margins; otherwise good condition. Signed, titled, numbered and annotated in pencil. A fine impression printed by the artist. $1,000.
A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. $4,500.
Marion Greenwood. c. 1929. Lithograph. 9 1/2 x 7 5/8. Illustrated: Clinton Adams, American Lithographers, 1900-1960, page 61. $750.
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Hélène of Septeuil (enfant au perroquet) (child with a parakeet)./ c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate tone. Printed on antique blue-green laid paper with a F and AGL countermark. Signed 'Mary Cassatt' in pencil. Housed in a silk mat with a gold liner and a 20 x 16-inch gold leaf frame. $13,500.
Looking into the Hand Mirror, No.2. c. 1905. Drypoint. Breeskin 202. 7 5/16 x 5 (sheet 11 1/7 x 7 3/16). Posthumous impression. Printed on antique cream laid paper.Housed in an elegant archival French mat and a 17 1/4 x 15-inch Whistler style gold leaf frame. $2,250.
Looking into the Hand Mirror, No.3. c. 1905. Drypoint. Breeskin 202+. 7 7/8 x 5 1/2 (sheet 11 x 7 1/4). Posthumous impression. Printed on antique cream laid paper. Housed in an archival French mat and a 19 x 15-inch gold leaf frame. $2,250.
Margot Wearing a Bonnet, No. 1. c. 1902. Drypoint printed in colors. Breeskin 179. 9 1/8 x 6 1/2 (sheet 15 x 11). Unsigned. Posthumous printing on white wove paper with full margins. Housed in a stunning arcival French mat and an elegant 17 1/2 x 13 1/2-inch gold leaf frame. $3,500.
Seattle - The Puget Sound. Un nouvo Moudo de esplorare -- assimilore. (A new way to explore -- assimilate). 1955-65 Collage with pen and ink, on wove paper mounted on masonite. 16 3/4 x 12 (sheet 19 11/16 x 13 3/4). Signed and dated in ink. $500.
The Hospital, Santa Cruz, Toledo. 1938. Etching. Kingslund/ Chamberlain 271. 9 3/16 x 7 5/8 (sheet 13 1/8 x 10 1/8). Edition 100 for The Print Club of Albany. A rich impression with plate tone, printed on wove paper watermarked "BFK". Signed in and numbered 22/100 in pencil. $350.
Cygnus. 1977. Silkscreen and collage. 30 x 20. Star series. Edition 50. Printed on coated paper. Signed in pencil. $850.
Lollipop Lane. 2005. Etching. Chernow 157. 1 7/8 x 2 7/8. Edition 5, #1. A fine impression printed in black/brown ink on white wove paper on the full sheet with deckle edges. Signed, titled and numbered in pencil. $300.
Ponset Barns - Winter. c. 1937. Etching and aquatint. 7 1/8 x 8 7/8(sheet 10 1/8 x 12). Edition 72, #2. Exhibited: Lyme Art Association. A rich impression with tonal wiping, printed by the artist on cream wove paper. Signed, titled, numbered and annotated 'imp' in pencil. $175.
Le Pont de Gand, Bruges. 1884. Etching, sandpaper, foulbiting, and drypoint. 10 1/4 x 12 3/8 (sheet 14 3/8 x 17 1/8). As published in Selected Etchings by American Artists. A rich impression printed with plate tone in black and brown ink, on cream wove paper. Slightly toned; signed and titled in pencil, possibly in another hand. $275.
Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 (framed 35 x 30). Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. Housed in a gold leaf frame. Signed and dated, lower right. $5,500.
Portrait of Mrs. Phipps N.Y. 1912. 7 3/4 x 4 3/16. Proof on tissue paper. Provenance: collection of Dr. Eugene Allen Noble. Signed, titled and dedicated 'To E.A. Noble' in pencil. $150.
Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Signed, dated and titled in pencil. A charming set of studies of a sleeping child. $550.
Illustrations for Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945.
[Futuristic Helicopters.] c. 1944. Conte crayon drawing. 9 1/2 x 7 framed 15 7/8 x 13 3/8). Illustration for the text: Illustration for the text: 'The world was at peace and prosperous' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 13. Initialed, lower right. Framed and glazed. $350.
[Futuristic Aircraft.] c. 1944. Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 7 5/8). Illustration for the text: 'The put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Framed and glazed. $850.c. 1944. Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 7 5/8). Illustration for the text: 'The put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Framed and glazed. $350.
Lower Manhattan. 1930. Lithograph. Duffy 132. 13 7/8 x 10 1/8 (sheet 15 3/4 x 11 1/2). Edition 75 (only 35 proofs were printed). Signed, dated and annotated '75' in pencil. A rich, carefully inked impression printed on cream wove paper. Available housed in a gold and silver modernist style frame. $12,500.
Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: Lewis A.Shepard, Mr.and Mrs. Archie Burack, The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. $30,000.
Still Life with Four Pears and Three Apples. 1985. Watercolor monotype printed in colors. 14 3/8 x 21 (image and sheet). Signed, dated and titled in pencil, lower right. Housed in a 25 x 31 1/2-inch copper frame with grey accents. $750.
Three Athletes (Vaulters VIII). 1979. Watercolor monotype printed in colors. 14 3/8 x 21 (image and sheet). Exhibited: 'Roger L. Crossgrove: Three Decades -- Works on Paper and Photographs', William Benton Museum of Art, January 22 - March 10, 1991. Signed and dated in pencil, lower right. $550.
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Landscapes
Pine Tree. c. 1930. Watergraph (stencils with watercolor). 10 x 8 (sheet 11 1/4 x 9 1/8). Sun toning; otherwise good condition. A fine impression in blue, green, brown, black and gray on cream wove paper. Numbered 12 in the lower right-hand margin. Signed in pencil. $275.
The Pool. c. 1930. Watergraph ingreen, brown, black, grey and mauve. 10 x 8 (sheet 16 x 13 1/4). Signed in pencil. $275.
Portraits
Portrait of the Artist's Wife, Mollie Shuger Darling. c. 1930. Watergraph (stencils with watercolor). 11 7/8 x 9 7/8 (sheet 17 1/2 x 14 2/16). Good color and condition apart from time staining in the margins. A fine impression printed in subtle shades of russet, brown, red and burnt umber on cream wove paper. Signed and numbered '#52' in pencil. $275.
[Tallulah.] c. 1930. Watergraph (stencils with watercolor) 11 7/8 x 9 7/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet, brown, red and yellow on cream wove paper. Numbered '54' in the lower right-hand margin. Signed in pencil in the image. $275.
[Vilma.] c. 1930. Watergraph (stencils with watercolor). 11 7/8 x 9 7/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet on cream wove paper. Numbered '58' in the lower right-hand margin. Signed in pencil in the image. $275.
Bridge of Sighs (2nd plate). 1885. Etching. Poole 29.i/ii. 12 x 9 3/4 (sheet 14 x 11 3/4). Rare impression of the first state before the edition 100 signed proofs of the second state published by Robert Dunthorne, London. Illustrated: Print Collector's Quarterly 25 (1938): 318. A rich impression with plate tone printed on sturdy wove paper with full margins. Provenance: Cincinnati Museum (duplicate); Dr. Sam L. Greenwood; Baldwin-Wallace College, Berea, Ohio. Monogrammed, dated and annotated 'Venice' in the plate; signed in pencil. $4,500.
St. Paul's. c. 1925. Etching and drypoint.6 3/4 x 5 1/4 (sheet 10 5/8 x 8 7/8). A rich impression printed on cream wove paer. Signed and titled in pencil. $175.
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Connecticut
The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $825.
Driftway, Moonlight 1931. Etching and aquatint. Giardina 168.viii. 8 5/8 x 15 5/8 (sheet 2 1/2 x 18 7/8). Edition 100. A rich, tonal impression printed on cream wove paper. Mat line from a former mount; otherwise excellent condition. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $1,500.
Goin' Home. 1928. Etching. Giardina 133.iii. 11 x 6 7/8 (sheet 15 1/2 x 10 1/16).
Edition 90. A rich impression with plate tone, printed on watermarked cream laid paper with full margins. Signed and annotated 'Ed90' and 'imp' in pencil, indicating a proof printed by Eby. $550.
New England Winter. 1933. Etching. Giardina 176. 6 15/16 x 13 13/16 (sheet 11 3/4 x 13 3/4). Edition 90.Illustrated: Fine Prints of the Year, 1931; Reese, American Prize Prints of the Twentieth Century. The scene is probably Westport, Connecticut, where Eby lived. Signed and annotated' Ed. 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $975.
Snow Fields. 1924. Etching. Giardina 92. 7 1/2 x 12 3/4 (sheet 9 3/4 x 14 7/8). Edition 90-100. Soiling in the right and lower margins, outside the image. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $875.
Snow on the Aspetuck. 1927. Etching. Giardina 109.iii. 6 1/16 x 10 7/8 (sheet 9 x 13 3/4). Trial proof, apart from the edition of 90. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $875.
Still Hollow. 1936. Etching, aquatint, and sandpaper ground. Giardina 185.ii. 10 3/16 x 14 1/2 (sheet 13 1/16 x 17 7/8). Edition 100. Illustrated: Fine Prints of the Year, 1936. A rich tonal impression printed on cream laid paper. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed by Eby. $2,250 the pair.
Accompanied by the preliminary drawing: Still Hollow. c. 1936. Preliminary pencil drawing for the etching, Giardina 185.ii. 11 3/4 x 12 1/2 (sheet 12 1/4 x 15 5/8). A fine drawing on watercolor board. Signed in pencil, lower right. $2,250 the pair.
A Summer Day. c. 1922. Etching. Giardina 88.ii. 5 5/8 x 9 5/8. Unpublished; a small number of proofs printed. Very rare. The scene is probably in Connecticut. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450.
Tide Mill Marshes. 1927. Etching. Giardina 111. 7 x 12 1/2 (sheet 11 3/8 x 16 5/8). Edition 90. A rich tonal impression printed on cream laid paper. A rich impression printed on cream laid paper with full margins. Signed and annotated 'Ed90' and 'imp' (imprimit)in pencil, indicating a proof printed by Eby. Accompanied by the preliminary drawing: Tide Mill Marshes. c. 1927. Preliminary pencil drawing for the etching, Giardina 111. 9 9/16 x 14 1/2. A fine drawing on watercolor board. Signed in pencil, lower right and lower left. Annotated in pencil "Connecticut Shore" on the verso. $1,750 the pair.
The Whales Back. 1925. Etching. Giardina 95.iii. 6 1/2 x 12 (sheet 10 x 16). Triap proof, prior to the edition of 90. Illustrated in Fine Prints of the Year, 1927. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $925.
White Tails in the Morning. 1935. Etching. Giardina 183.ii. 8 1/4 x 12
1/2 (sheet 10 5/8 x 14 7/8). Edition approximately 100. A rich impression with subtle plate tone, printed by the artist on cream wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is probably Connecticut. $325.
Maine
Devil's Back or The Breakers. c. 1938. Conte crayon drawing with blue and gold watercolor washes. A study for the aquatint (Giardina 197).13 x 19 1/4 (sheet 15 7/16 x 22 1/8). Drawn on sturdy white watercolor paper. Titled in pencil; unsigned. The aquatint is the reversed image of the drawing. The scene is on the Maine coast. $2,500.
Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450.
1928. Etching. Giardina 131.ii/vi 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof of the second state, before cross hatching on the the water and shading on the boats and the water, before the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper. Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $325.
Night, High Island, Maine. 1928. Etching. Giardina 131.ii/vi 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof of the second state, before cross hatching on the the water and shading on the boats and the water, before the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper. Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $325.
The Storm. 1937. Etching and sandpaper ground. Giardina 191. 9 1/2 x 15 7/8 (sheet 11 7/8 x 18 1/2). Edition 100. Illustrated: Prints VII, 3 (1938): 175. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.
White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $500.
Massachusetts
High Land, Cape Cod. 1921. Etching. Giardina 54. 6 x 10 1/16 (sheet 8 3/4 x 12 1/2). Edition of 90. A fine impression with plate tone, on cream-colored laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $225.
Burns Brothers, Sutton Place. 1922. Etching. Giardina 90.iv. 12 1/4 x 8 3/4 (sheet 16 x 12). Edition 50. A rich, tonal impression printed on cream-colored laid paper. Signed and annotated 'imp' in pencil. $1,750.
No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iv. 16 x 10 3/8. Edition 90. No 1 Wall Street, the former Irving Trust Company headquarters, is located at the intersection of Wall Street and Broadway in Manhattan's financial discrict. Trinity Church is in the background. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.
Moravian Home for Old Ladies. c. 1919. Pencil drawing. 6 1/2 x 8 1/8. Unsigned; titled 'Moravian Home for Old Ladies' lower right. $500.
Oaks and Moss. 1931. Etching. Giardina 166. 9 5/8 x 13 7/8 (sheet 11 1/4 x 15 1/2). Unpublished etching, only a small number of proofs printed. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. with the pencil study Oaks and Moss. c. 1931. Pencil drawing. 9 5/8 x 13 7/8 (sheet 11 3/4 x 16). Drawin on white wove paper. Titled lower left; unsigned. $1,250 the pair.
Goatherd, Algeria. 1922. Etching. Giardina 80.ii. 5 1/2 x 6 2/3. Edition about 50. $225.
Nomads 1922. Etching and drypoint. Giardina 79.ii. 9 7/16 x 13 3/8 (11 x 14 3/8). Trial proof, apart from the edition of 30. A very rich impression with tonal wiping. Light soiling in the lower right-hand corner; otherwise fine condition.Signed and annotated '1st trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. The etching depicts a Bedouin encampment in the Algerian desert. $175.
Steps and Doorways. 1922. Etching. G75. 9 7/8 x 4 11/16. Edition 50-90. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Street Cafes 1922. Drypoint. Giardina 82. 11 x 6. Edition 25. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Street of the Red Sea. 1922. Etching. Giardina 76. 10 7/8 x 4 11/16. Edition 50. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Pauldavid. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 1/8 x 16 5/8). Edition 90.A rich impression with atmospheric tonal wiping. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is Pouldavid, a small town in Brittany, France. $275.
Killan Pass [Landscape with Mountain]. c. 1925. Etching. Giardina 105.vii/ix. 8 1/2 x 12 1/2 (sheet 10 x 14). Unpublished; small number of proofs only. A rich impression with tonal wiping, printed by the artist on cream laid paper, on the full sheet with deckle edges. Trial proof with additional work on the cloud aove the small peak; zigzagging line forms circle in upper left corner. Signed and annotated "trial proof" and 'imp' in pencil, indicating a proof printed by the artist. Signed in pencil. $275.
Porthleven. 1925. Etching and drypoint. Giardina 104.ix. 8 13/16 x 14 1/8 (sheet10 3/4 x 15 11/16) . Trial proof, apart from the edition of 90. Illustrated: American Etchers: Kerr Eby. An extremely rich impression printed on cream wove paper. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $250.
Spring in Cornwall. 1925. Etching. Giardina 106.ii/iii. 11 3/8 x 8 1/4 (sheet 14 1/8 x 9 1/2). Trial proof with the two horizontal scratches removed, prior to the edition of 90. Some inking traces in the margins; otherwise fine condition. A fine impression printed by Eby on cream Van Gelder Zonen paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Spring in Cornwall. 1925. Etching. Giardina 106.iii. 11 3/8 x 8 1/4 (sheet 14 1/2 x 111 1/2). Edition 90. Illustrated Print Collector's Quarterly 26 (1039):86. A fine impression printed by Eby on cream wove paper. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Pauldavid. [Pouldavid]. 1927. Etching. Giardina 119.ii/iii. 7 7/8 x 12 7/8 (sheet 12 x 17). Trial proof of the second state, before the edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated 'trial' in pencil. $275.
Pauldavid [Pouldavid]. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 3/8 x 16 1/8). Edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated ;Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Saint Agricol Church, Avignon. c. 1919. Pen and ink drawing. 10 3/8 x 7 (sheet 11 1/4 x 8 3/8). Titled 'St. Agricol' , lower left; unsigned. $450.
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A rich impression with plate tone, printed on antique laid paper. Illustrated: Flint, Contemporary American Etching, 1930. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 10 x 14). Trial proof, apart from the edition of 75. A fine impression printed with plate tone, printed on cream wove Van Gelder with full margins. Signed and annotated 'trial proof' 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina 182.iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching. Housed in a an archival French mat and a 21 x 25-inch black and gold classical wood frame. $20,000.
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 5/8 x 19 3/16). Edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
Wash Day. Charcoal drawing. 10 1/2 x 13 1/2. Provenance: Child's Gallery, Boston; a prominent North Shore Family. Signed, lower left. $850.
The Willows. 1920. Drypoint. Giardina 41. 7 3/16 x 11 3/16. Edition 50. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.
Emma, Lady Hamilton (after George Romney). 1902. Mezzotint. 4 ¾ x 4 (sheet 8 x 6). Printed on Japanese vellum, Published in New York in 1902 by L. Katz, 314 Columbus Avenue. Signed in pencil. $100.
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The Artist and the Seven Deadly Sins. 1975. Wood engraving. 9 5/8 x 7. Edition 100. This is a self-portrait. The seven deadly sins are: pride, avarice (greed) , envy, gluttony, lust, sloth (idleness), slander. $975.
Elenora. 1981. Wood engraving. 6 7/8 x 3 3/4 (sheet 11 1/8 x 8 1/2). Proof apart from the edition for the Print Club of Cleveland. Printed on white wove paper. Signed and dedicated "To Jane" in pencil. $175.
Evans was a distinguished wood engraver, who did both reproductive and original work. In the late nineteenth and early twentieth centuries, wood engraving was the primary medium of reproduction in books and magazines. Wood engraving is a highly technical and demanding medium. Evans was one of the masters of the medium.
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Timothy Cole Engraving a Woodblock. 1935. Wood engraving after Alphaeus Philemon Cole (1876-1988). 6 3/16 x 5 (sheet 12 x 9). A rich impression printed on cream wove paper. Signed in pencil by Alphaeus P. Cole, signed and dated by John W. Evans. $500.
Portrait of Johnson. 1935. Wood engraving after a sculpture by James E.Kelly. 7 1/2 x 6 1/2. Printed on tissue paper. Thomas Johnson (1844 - 1904) was a wood engraver and illustrator. Signed in pencil by Evans and in ink by Johnson. $175.
Washington Square, No. 2.1928. Lithograph. Coven 44. 14 3/8 X 11 5/8 (sheet 19 5/8 x 15 5/8). Edition 30, #28. Printed on the full sheet of cream wove paper. Signed,dated, titled and numbered in pencil. A fine impression of this scarce lithograph. $1,750.
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Grand Canal, America (Electrical Buildings at Night). 1933. Drypoint. Czestochowski 31. 11 3/4 x 8 7/8 (sheet 12 x 18). Edition 100. Presentation print for the Chicago Society of'Chicago Fair 1933' in the plate, lower right. Signed in pencil. $2,750.
New York
Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Annotated 'Nov. 1980' on the mat. Housed in a 15 x 11 1/8-inch gold leaf frame. $1,250.
Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting the image; otherwise excellent condition. Printed on white wove paper. Signed, titled and dated in pencil. $500.
Siren on the Sea - Dusk. 1980-1983. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $500.
Siren on the Sea - Retreating Storm. 1980-1983. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in chalk. $500.
Siren on the Sea -
. 1980-83. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated '1980' in pencil. $500.
Christmas from the Gorslines. 1942. Etching. 4 7/8 x 2 7/8 (sheet 8 3/4 x 5 7/8). A fine impression on off-white laid paper with deckle edges on 2 sides. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.s
Old Palaces on the Lagoon, Venice. 1927. Etching and drypoint. 8 1/2 x 13 1/2 (sheet 11 1/2 x 16 1/2). A rich impression with drypoint burr printed on simili-Japan by the artist. Signed, dated, titled and annotated in pencil. $350.
Loading the Catch [Katwyck Aan Zee] c. 1892. Watercolor. 14 1/2 x 17 1/2 (framed 19 1/2 x 23 1/2). Signed, lower left. Housed in an archival French mat and champagne gold American Impressionist style frame. $2,000.
Once a Cow [Tunisia]. c. 1929. Etching. 6 3/16 x 5 1/4 (sheet 11 x 15). Edition 50. Printed on cream-colored laid paper. Illustrated: Holme, Etchings of Today, 1929. Signed and annotated '50' in pencil; titled verso. $160.
New York City.
The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on whitelaid paper with a '6' partial countermark. With the usual drying tack holes in the margins. Annotated 'New York C.H. 1916'in the plate; signed with the cypher in pencil. The etching is extremely scarce. $3,750. Available housed in a gold leaf frame.
Floor of the Stock Exchange. 1927. Etching. Cortissoz, Clayton 266. 9 7/8 x 14 3/4 (sheet 11 7/8 x 17 3/8). No published edition. A rich impression with carefully-wiped plate tone printed on cream wove paper. Drying tack holes in the margins. Dedicated in pencil 'Proof selected for Mrs. Lowinson by Childe Hassam'. Signed, dated and annotated in the plate; signed with the cypher in pencil. A superb proof of this exceptionally rare image. Price upon request.
The Little Church Around the Corner. 1923. Etching. Cortissoz, Clayton 220.ii. 8 x 11 1/2 (sheet 10 5/8 x 11 3/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Signed and dated 'Jany.31, CH 1923 in the plate; signed with the cypher in pencil. The etching is extremely scarce. $3,500.
New York Bouquet. 1917. Lithograph. Kleeman 23; Griffith 2. 11 x 6 (sheet 14 5/8 x 10 1/2). Edition 93. Provenance: gift of Mrs. Hassam to the Springfield Museum of Fine Arts, and subsequently deaccessioned. Two stains from old hinges in the margins, well outside the image. Signed and annotated in the stone "Childe Hassam Nov, 14, 1917"; signed with the cypher in pencil. An excellent impression printed on Japanese mullberry paper with full margins and deckle edges on one side. $6,500.
Connecticut
Cod Cob Docks. 1915. Etching and drypoint. Cortissoz/Clayton 32. 7 x 5 (sheet 12 1/4 x 9 1/4). Edition 375 plus 25 presentation copies. As published in Cortissoz, Catalogue of the Etchings and Dry-Points of Childe Hassam, N.A. Illustrated: The American Magazine of Art 10 (1910) p.50; Czestochowski, 94 Prints by Childe Hassam. A fine impression printed on cream wove paper. Signed with the cypher in pencil. $2,250.
The Land of Nod. 1918. Lithograph. Griffith 20. 8 1/4 x 11 (sheet 11 1/2 x 17 7/8). Edition 52. Signed "Childe Hassam June 10th 1918" in the stone and signed with the cypher in pencil. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. $3,000.
The Little Schoolhouse, Land of Nod. June 11, 1918. Lithograph. Griffith 19. 8 1/2 x 11 1/2 (sheet 11 7/16 x 17 7/8). Griffith 19. Edition 55. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. Signed "Childe Hassam June 1918" in the stone, and signed with the cypher in pencil. $3,000.
The White Kimono. 1915. Etching. Clayton 47. 7 1/2 x 10 7/8 (sheet 10 1/4 x 13 11/16). Edition c. 61. Printed on off-white hand made paper with full margins. APristine condition. Provenance: Gift of Maud Doane Hassam (850 Park Ave NYC) Thence, by descent to a direct descendant of Mr. Maud Doane Hassam. Signed with the cypher and annotated 'imp' in pencil indicating that Hassam printed the impression himself. Price upon request. Housed in an archival French mat and an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame. Price upon request.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 314 x 9 5/8). Tack holes in the margins as usual, indicating that the sheet is untrimmed. A fine impression printed on cream paper with full margins and deckle edges on 3 sides. Signed with the cypher and annotated 'imp' in pencil signifying a proof printed by the artist. Housed in a silk mat with a gold liner, within an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame. Price upon request.
Easthampton, Long Island, New York
House on the Main Street, Easthampton. 1922. Etching. Cortissoz/Clayton 213. 6 x 12 1/4 (sheet 9 3/4 x 15 1/4). Illustrated: Contemporary American Etching, 1930. Printed on cream wove paper on the full sheet with deckle edges on three sides with drying tack holes in the margins as usual. Signed with the cypher and annotated 'imp' in pencil, indicating an impression printed by the artist. $4,000.
This House. [Egypt Lane, Easthampton, Long Island, New York.] 1917. Etching. Cortissoz/Clayton 125.i/ii. 7 1/2 x 10 7/8 (sheet 9 1/2 x 12 9/16). Edition of 14 proofs in this state; no edition noted for state ii. A rich impression with tonal wiping, before removal of the sky. An extremely rich impression with tonal wiping, printed on cream laid paper on the full sheet with deckle edges on three sides, and with the artist's drying tack holes in the margins. Provenance: Descended in the estate of Maud Doane Hassam (850 Park Ave NYC), thence, by descent to a direct descendant of Mrs. Maud Doane Hassam. Titled 'This House' in pencil; signed with the cypher and annotated 'imp' and in pencil, indicating an impression printed by the artist. $5,000.
Gloucester.
Inner Harbor. (Gloucester) 1918. Lithograph. Kleeman 17; Griffith 16. 8 x 11 3/4 (sheet 10 3/8 x 17 7/8). Edition 104. Signed and annotated in the stone "Childe Hassam Gloucester 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. 3,000.
Gloucester
Inner Harbor. (Gloucester) 1918. Lithograph. Kleeman 17; Griffith 16. 8 x 11 3/4 (sheet 10 3/8 x 17 7/8). Edition 104. Signed and annotated in the stone "Childe Hassam Gloucester 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. $3,500.
The Spar Shop, Gloucester. 1918. Lithograph. Kleeman 37; Griffith 23. 7 3/4 x 11 7/8 (sheet 11 1/2 x 17 3/4). Edition 95. Three fingerprints and soiling in the margins An excellent impression printed on cream wove paper with full margins and deckle edges on three sides. Signed and annotated in the stone "Childe Hassam, E. Gloucester July 8, 1918"; signed with the cypher in pencil. $2,500.
The Thunderstorm, Gloucester. 1918. Lithograph. Kleeman 42; Griffith 26. 11 x 13 3/4 (sheet 11 3/8 x 17 13/16). Edition 6. Signed and annotated in the stone "Childe Hassam, Gloucester July 30, 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. Full margins with deckle edges on three sides. $3,500.
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Clay Banks. c. 1950. Lithograph printed in colors. 13 3/4 x 19 13/16 (19 x 23 5/8). Edition 15. Printed on the full sheet of white wove paper, with deckle edges. Signed, titled and annotated in pencil. A glowing impression of this scarce print. $250.
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Janine. Drypoint. 9 5/16 x 8 1/4 (sheet 15 1/4 x 12 3/4). A rich impression with plate tone printed on cream wove paper. Signed in pencil. $200.
Portrait of Albert Schweitzer. 1950. Etching. 11 3/6 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'Printed from Copper' in pencil; titled on the mat in the artist's hand. $1,250.
Dune. 1927. Woodcut. 7 9/16 x 12 (sheet 12 1/8 x 15 5/8). Printed on sturdy Japanese mulberry paper. Signed, dated and titled in pencil. $850.
Flogging. 1927. Woodcut. 8 3/8 x 9 (sheet 16 5/16 x 12 7/16). Printed on Japanese mulberry paper. Signed, dated and titled in pencil. $750.
Hooves. 1927. Woodcut. 7 1/2 x 12 (sheet 11 7/8 x 15 1/8). Printed on heavy Japanese mulberry paper. Signed, dated and titled in pencil. $850.
Mother Earth. 1928. Woodcut. 8 1/4 x 6 1/4 (sheet 14 7/16 x 10 1/2). Signed, dated and titled in pencil. $850.
November Twilight. 1928. Woodcut. 4 5/16 x 6 (sheet 7 1/4 x 10). Printed on sturdy Japanese mulberry paper. Signed, dated and titled in pencil. $650.
Saint Francis Singing. 1928. Woodcut. 8 9/16 x 6 3/4 (sheet 4 5/16 x 10 1/2). Illustrated: Print Collector's Quarterly 29 (1942): 266. Printed on Japanese mulberry paper. Signed, dated and titled in pencil. $650.
New England Winter: The Old Homestead. 1896. Etching and aquatint printed in grey-green. 7 3/4 x 11 3/4 (sheet 10 x 13 1/16). A rich impression in printed on grey=green ink on white wove paper. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $300.
Fly Fishing, Lake Saranac. 1889. Etching. Goodrich 104. 14 x 20 1/2; plate 17 1/4 x 22 1/2; sheet 18 3/4 x 25 1/2. Proof from the posthumous edition of 100 printed by Charles White for the Metropolitan Museum of Art. (Lifetime intended edition 100, but probably not printed in full. Professionally backed with Japanese Okavara paper. A rich impression with subtle plate tone printed on simili-Japan paper. Signed and dated in the plate, lower left 'Winslow Homer Sc 1889'. Erased etched signature in the plate lower right, just under the image. Pencil annotations in the margin, not by Homer 'Fishing' lower left and 'White 4' lower right. Housed in a dramatic period 25 3/4 x 30 3/4 x 3/4-inch wood frame with a gold lip. $15,000.
New York
Liberty. c. 1940. Lithograph,
13 3/8 x 9 3/8 (sheet 16 x 121/16). Edition of 50. #30. A ricly-inked tonal impression printed on cream wove paper with full margins. Signed and annotated 'No 30' upper left; signed in pencil lower right. $2,250.
Little Church Around the Corner. c. 1930. Lithograph. 10 5/8 in. x 8 3/8 (sheet 15 x 12). Edition c. 50. A tonal impression printed in black ink on off-white wove paper with full margins. Signed in pencil. $2,000.
The Pulitzer Fountain: Evening. c. 1930. Lithograph. 12 3/8 x 9 1/2 (sheet 16 1/8 x 12 1/4). A tonal impression printed on cream-colored wove paper with full margins. Signed in pencil. $2,000.
Paris
(Napoleon's Triumphal Arch). c. 1930. Lithograph printed in grey ink. 11 1/4 x 9 7/16 (sheet 16 x 12). A tonal impression printed in grey ink on off-white wove paper with full margins. The blue/gray tones suggest the snow at early evening. Signed in pencil. Hoover has captured a charming winter scene. $2,000.
New York
Lower Manhattan. c. 1925. Etching and drypoint. 11 1/4 x 8 1/2 (sheet 12 1/2 x 9 5/8). A rich impression printed with plate tone on cream wove paper. Provenance: a collection of the artist's prints. Unsigned. $375.
Old Chinatown (New York). 1932. Aquatint. 10 x 12 1/4 (sheet 11 5/8 x 13 1/4). A rich impression printed with plate tone on cream wove paper. Unsigned. $275.
Under Brooklyn Bridge. c. 1932. Etching. 9 1/4 x 7 1/2 (sheet 11 5/8 x 13 1/4). A rich impression printed with plate tone on cream wove paper. Unsigned; titled in pencil in the margin. $275.
Wall Street and Trinity Church. c. 1925. Etching and drypoint. 13 3/8x 7 1/8 (sheet 15 3/8 x 8 5/8). A rich impression printed with plate tone on cream laid paper. Signed in pencil. $850.
The Arthur Williams Estate. c. 1916. Etching and drypoint. 4 3/4 x 9 (sheet 8 x 10 7/8). Water stain in the lower right-hand margin, well outside the image. A rich impression printed on dark cream wove paper. Signed and annotated 'A Williams Home N. York Edison Co' in pencil. $250.
America: Philadelphia
Candy Shop (Philadelphia). 1925. Etching. 8 1/2 x 6 3/4 (sheet 10 x 9 1/4). A rich impression with plate tone printed on cream wove paper. Unsigned; titled in pencil in Horter's hand. $150.
Dark House (Phildadlphia). c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on cream wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another proof is in the Library of Congress. $400.
Junk Shop (Philadelphia). 1932. Aquatint. 10 1/16 x 13 (sheet 12 1/2 x 15 1/2). Awarded the Mr. and Mrs. Frank G. Logan 3rd prize, Art Institute of Chicago, March 24 - May 15, 1932. A subtle tonal impression printed on cream wove paper. Unsigned. $250.
[A Stroll in the Park, Philadelphia]. c. 1925. Etching. 6 3/46 x 12 3/4 (sheet 6 1/2 x 12 3/4). A rich impression printed on cream wove paper. Unsigned. $125.
Louisiana
The Kitchen (New Orleans). c.1932. Aquatint. 12 1/2 x 10 1/2 (sheet 14 1/2 x 11 7/8). Illustrated: Beall,American Print in the Library of Congress, page 223; Showalter, Mad for Modernism: Earl Horter and His Collection. Signed in pencil. $500.
The Artist's Studio. c. 1914. Oil on canvas. 24 1/8 x 32. The canvas is in fine condition, having been professionally lined, cleaned and varnished. The painting is housed in a 29 1/2 x 37-inch reproduction Sully-style gold frame. Signed, lower right and also on the verso of the canvas in the center of the image. $5,000.
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Her Bit. 1918. Color etching. Mason and Mason 140. 6 7/8 x 4 7/8 (sheet 10 3/4 x 7 13/16). Signed numbered '34.' in pencil. A rich impression with glowing colors, printed on Japanese mulberry paper with full margins. Housed in a frame with patriotic motifs of an eagle with shield and American flags. A unique presentation of a child doing 'her bit' by knitting for the soldiers. $1,750.
Sunday Morning, San Angel, Mexico. 1912. Woodcut printed in colors. Mason and Mason 104. 10 5/8 x 16 5/8 (sheet 13 1/8 x 20 3/8). A colorful tonal impression printed on fine Japanese paper. A delightful large, impressive processional image. Monogrammed and signed in pencil in the image. $975.00
A Hazy Summer's Day. c. 1920. Oil on panel. 24 x 27 1/8 (framed 31 x 33 1/8). Signed, lower left. Price upon request.
Summer Landscape. c. 1920. Aqua-print (monotype). 14 1/2 x 17 1/2. Signed, lower left. Framed. $1,950.
In the 1920's, Irvine experimented with what he called "aqua-prints," in which he controlled the process of making marbelized paper in order to introduce naturalistic subject matter. He said that "any painter who in this day and age clings tenaciously to the one thing which he can do best, in a technical sense, and is satisfied, is not only standing still, he is actually retrograding." Irvine specialized in painting Connecticut landscapes, particularly in the spring. This aqua-print (monotype) is a fine example of his subtle rendering of a landscape -- possibly Old Lyme, Connecticut -- on a bright day.
Irvine's aquaprints are often mislabelled as watercolors.
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Bayonet rush. (jointed bog rush. Juncus militaris). 1932. Drypoint. Jaques 410. 13 3/4 x 4 (sheet 16 5/8 x 8 1/4). A rich impression printed with plate tone on Japanese mulberry paper. $150.
Fulcassiara (Night Shade #2. Solanum Dulcamara.) 1932. Drypoint with hand coloring. Jaques 432. 10 7/8 x 7 7/8 (sheet 15 1/8 x 10 1/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Signed and title in pencil. $400.
Narcissus. 1927. Drypoint with hand coloring. Jaques 343. 8 7/8 x 4 7/16 (sheet 13 1/8 x 7 3/16).
Printed with plate tone on Japanese mulberry paper. Scattered foxing. Signed and titled in pencil. $500 the pair.
Philodendron (heartleaf). (Philodendron scandens oxycardium). 1935. Drypoint with hand coloring, and a proof without hand coloring. Jaques 416. 9 7/8 x 5 7/8. Both are beautiful impressions printed on Japanese mulberry paper. Unsigned. Provenance: the artist's estate. The frog, lower right, adds a charming touch. $400 the pair.
Arcadia. 1921. Etching. Kinney 33. Fantasy. 6 1/2 X 7 3/4 (sheet 11 3/4 x 12 1/2).
Edition 170. Exhibited: Chicago Society of Etchers, The Art Institute of Chicago, Catalogue of an Exhibition of Etchings, Jan. 26-Feb.28, 1922; Print Makers Society of California, 3rd International Print Makers Exhibition, Los Angeles Museum Exposition Park, March 21-April 16, 1922. Illustrated: Print Collector's Quarterly 25 (1938): 280. A fine impression printed on wove paper on the full sheet with deckle edges. Signed in pencil. $125.
Mighty Metropolis (as seen from the Staten Island Ferry). 1930. Etching. 9 3/8 x 13. Edition 30. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. Housed in an 18 5/8 x 22 1/4-inch silver wood frame. Signed in pencil. $1,100.
Spires of Manhattan. c. 1930. Etching. 9 3/8 x 12 3/4. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. Housed in an 18 5/8 x 22 1/4-inch silver wood frame. Signed in pencil. $1,100.
Approaching Storm, Manhattan. 1937. Drypoint. Kraeft 65. 9 1/8 x 8 3/8 (sheet 15 3/4 x 14 7/8). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression printed with tonal wiping on antique white wove paper. Anthony Kirk's embossed printer's chop in the lower left corner of the paper. Signed, dated and inscribed 'Ed 100' in pencil. $2,750.
Demolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance:
estate of David Llewellyn Reese, New York. A rich impression with tonal wiping, printed on white wove paper with full margins. Signed, dated and annotated in pencil. $2,250.
11 West 11th Street. 1939. Drypoint. Kraeft 110. 12 7/8 x 9 7/8(sheet 17 x 13 7/8). Edition 14. Excellent condition. A rich impression with tonal wiping, printed on white wove paper on the full sheet with deckle edges. Signed, dated and annotated in pencil. $2,500.
Manhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenance:
estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. $2,250.
Manhattan Vista. 1938. Drypoint. Kraeft 70. 7 15/16 x 10 5/8 (sheet 10 11/16 x 14 1/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. $3,250.
Rooftop. 1941. Engraving. Kraeft 84. 4 7/8 x 8 7/8 (sheet 8 7/8 x 12 3/4). Edition 100. Provenance:
estate of David Llewellyn Reese, New York. A rich impression printed on white wove paper with full margins. Signed, dated and annotated in pencil.
$2,250.
York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression with plate tone printed on white wove paper. Signed, dated and inscribed 'Ed 100' in pencil. $3,500.
York Avenue Tenements. 1938. Drypoint. Kraeft 74. 10 3/8 x 9 (sheet 14 1/8 x 12 3/8 ). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. Signed, dated and inscribed 'Ed 100' in pencil. $3,500.
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Corsican Washerwomen. 1934. Wood engraving. Boston Public Library 258. 8 1/2 x 10 (sheet 7 1/2 x 11). Edition 215, #192. Presentation print for The Print Club of Cleveland in 1936. Illustrated: Fine prints of the Year, 1935. Very slightly toned; otherwise excellent condition. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. Signed, numbered and titled in pencil. $825.
The Malt House. 1923. Woodcut. Boston Public Library 1. 7 x 5 (sheet 8 1/2 x 6 ). Edition 50, #2. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. This is the artist's first woodcut. Signed, numbered and titled in pencil. $975.
Stooking: August. 1933. Wood engraving. Boston Public Library 213.ii. 7 7/8 x 9 13/16 (sheet 11 1/2 14 3/4). Series: The Farmer's Year: A Calendar of English Husbandry (London, Collins: 1933; New York: Longmans Green and Co, 1933.) From the first English edition of 30, numbered xxx, #xv (there were 30 for the U.S. numbered in Arabic, and a second prints of 100 about 1978). Slight toning; otherwise good condition. A well-inked proof printed on Japanese mullberry paper with full margins. Signed, numbered and titled in pencil. $2,250.
Composition. 1958. Lithograph printed in colors. 11 3/4 x 8 5/8 (sheet 12 15/16 x 9 7/8). Edition 300, #147. Published by the Galerie de France, 3, Faubourg Saint Honore, Paris, January 1958. Signed and numbered in ink. $175.
New York images
Arch, Midnight. 1930. Drypoint. McCarron 84. 8 1/8 x 11 5/8 (sheet 11 1/16 x 14 3/4). Edition of 99 recorded impressions. Illustrated American Etchers: Martin Lewis. A rich, well-inked impression printed on Whatman antique paper. Signed and dedicated 'To Charles S. White with best regards - April 4th - '30' in pencil. Housed in a striking 17 1/2 x 21 1/2-inch black wood frame. $19,000.
Building a Babylon, Tudor City, NY. 1929. Drypoint. McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions, including 4 trial proofs). Illustrated: L'Amérique de la Dépression: Artistes Engagés des Années 30, Musée-Gallerie de la Seita, Paris, 1996. A rich impression printed on FJ Head creamlaid paper with a partial initial countermark and a hand watermark. A rare proof, unknown to McCarron. Annotated '6t trial proof' and signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. Housed in a 23 x 17-inch gold leaf modernist frame. $12,500.
Cathedral Steps. 1931. Drypoint. McCarron 93. 10 1/2 x 16 3/4 (sheet 14 x 20). Edition 42 recorded impressions (including 7 trial proofs). A richly inked impression printed on cream wove paper. Signed in pencil. Price upon request.
Derricks at Night. 1927. Drypoint. McCarron 62.ii. 7 7/8 x 11 7/8 (sheet 11 1/2 x 16 1/8). Edition of 104 recorded impressions. Illustrated: Contemporary American Etching, American Art Dealers Association, New York, 1930. A rich impression printed on cream wove paper, with full margins. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $11,000.
(Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 x 31). 5 recorded impressions (including 4 trial proofs), plus a proposed edition of 100 issued by Kennedy Galleries in 1973 (fewer proofs were printed). A fine impression printed on the full sheet of cream wove paper with deckle edges. Signed 'Martin Lewis (L. D. L.) 1973) by Louise Deming, the artist's wife. Housed in a dramatic 26 1/2 x 31 1/2-inch black/brown wood frame. $12,000.
Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margins. Signed in pencil. Housed in a 22 x 24-inch gold leaf modernist frame. $22,500.
The Glow of the City. 1929. Drypoint. McCarron 77. 11 1/4 x 14 1/4 (sheet 15 1/4 x 18 3/4). Edition of 110 recorded impressions, including 4 trial proofs. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year, 1930. A rich impression printed on cream wove paper, with full margins. Titled in the lower center margin "The City Glow" possibly in another hand. Annotated 'last proof in lighter ink" and dedicated in pencil "To Dr. Eugene Noble -- with best wishes and much appreciation -- Sept. 27th 29." Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Housed in a dramatic 18 1/2 x 21 3/4-inch black wood frame. $60,000.
The Great Shadow. 1925. Drypoint. McCarron 44. 9 7/8 x 7 inches (sheet 13 3/4 x 10 1/4). Edition of 86 recorded impressions (intended edition 100). A superb impression with carefully wiped plate tone printed on cream wove paper, with full margins. Signed and annotated 'Great Shadow' in the lower left-hand margin and '14'in the lower centermargin in pencil. Housed in a striking 18 3/4 x 14 3/4 x 3/4-inch black wood frame with gold decorations. $7,500.
Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression printed on Swedish cream wove paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Housed in a 19 3/8 x 21 3/8 1-inch black stepped wod frame. $35,000.
Relics (Speakeasy Corner). 1928. Drypoint. McCarron 74. 11 7/8 x 9 7/8 (sheet 17 1/8 x 13 3/4). Edition of 111. Illustrated: American Etchers: Martin Lewis. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. Signed in pencil. $70,000.
Shadow Dance. 1930. Drypoint and sandpaper ground. McCarron 88. 9 3/8 x 10 7/8 (sheet 13 x 14 7/8). Edition 109 recorded impressions. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year 1931; Prints vol. II, no. 2, 1932, p. 18. 1/8-inch professionally repaired paper loss, over the left shoulder of the gentleman to the far right. A fine impression printed on cream colored Whatman antique paper with full margins. Signed in pencil. Housed in a double black and white archival mat and a 22 x 23 1/4 x 1-inch modernist gold leaf frame. $37,500.
Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printed on cream wove paper. Signed in pencil. Housed in a striking French mat and a 19 1/8 x 21 3/8-inch black wood modernist frame.$15,000.
Skyline, New York. 1919. Etching and drypoint. McCarron 36. 8 7/8 x 10 3/8 (sheet 12 1/4 x 14 . 11 recorded impressions (intended edition 50. Lewis states that he destroyed 6 of the 11 proofs returned to him by Kennedy). A luminous impression printed on beige wove paper. An extremely rare image as apparently only 5 proofs are noted. Housed in an archival French mat and a, 18 1/2 x 20 x 1 1/4-inch modernist gold leaf frame with brown wood sides. $9.750.
Snow on the 'El'. 1931. Drypoint and sandpaper ground. McCarron 95. 14 x 9 (sheet 17 1/2 x 12 5/8). Edition 49 recorded impressions (including 5 trial proofs). A rich, tonal impression printed on Whatman antique laid paper with full margins. Signed and dedicated 'To Beatrice Bruehl with all good wishes- from M.L. Dec. 25/43' in pencil. Housed in a 25 3/4 x 19 5/8 x 1-inch modernist gold leaf frame. $60,000.
Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8). Edition 92. A rich, tonal impression printed on laid paper. Housed in a 21 x 22 1/2-inch gold and silver Art Deco style frame $30,000. Signed in pencil. Price upon request.
Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron 89.ii. 9 3/4 x 14 3/4 (sheet 13 7/16 x 18 7/16 ). Edition 115 recorded impressions. Illustrated: American Etchers: Martin Lewis. A rich, tonal impression printed on white laid paper with full margins. Signed in pencil. Housed in a stunning archival black mat and a 20 x 24 3/4-inch modernist black wood frame. $42,500.
Yorkville Night. 1947. Drypoint. McCarron 140. 8 1/2 x 11 3/8 (sheet 10 7/8 x 14 1/2). 18 recorded impressions, including 1 trial proof. Provenance: Henry Christensen, III. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. An extremely rare image. Signed in pencil. Housed in a dramatic 18 1/4 x 21-inch burled wood frame. Price upon request.
Connecticut images
Circus Night. 1933. Drypoint and sandground. McCarron 103. 11 1/8 x 14 7/8 (sheet 12 x 15 1/2).
Edition 43 recorded impressions, some unsigned. Illustrated: Fine Prints of the Year, 1934. A rich, tonal impression printed on [S]WEDEN wove paper. Signed in pencil. Housed in a 20 1/4 x 24 1/4-inch period gold leaf frame. $27,500.
The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression printed on cream laid paper with full margins. Signed in pencil. $35,000.
Shadows -- Garage at Night. c. 1928. Conte crayon drawing. Study for the drypoint, McCarron 69. 10 1/8 x 12 3/4 (the drypoint measures 9 7/8 x 11 7/8). The drypoint is illustrated in Fine Prints of the Year, 1928. Paper losses in the upper and lower right-hand corners and a 3/8-inch tear in the upper right-hand corner. The catalogue raisonne mentions this study: "There is a preparatory drawing for this print in charcoal, pencil and brown crayon on gray brown paper (LDL-323, 255 x 330 mm), signed by Patricia Lewis after the artist's death. " (p. 130).
Small paper losses at top sheet corners and a 3/8-inch tear, backed with mulberry paper; otherwise fine condition. Estate stamp verso: Lucile Deming Collection [the artist's wife]. Signed and initialed by Patricia Lewis, the artist's daughter-in-law. The image is not reversed in the etching, as is often the case. Housed in a 16 x 20-inch triple mat. $7,500.
Politics. 1936. Drypoint and sand ground. McCarron 118.ii. 9 3/4 x 10 5/8 (sheet 13 7/8 x 15). Trial proof 10, edition 27 (including 11 trial proofs). McCarron cites this impression to describe the second state. A rich, tonal impression printed on 'FJ Head & Co' cream wove paper with full margins. Provenance: estate of Delores D. Di Paola. Signed and annotated 'trial proof 10' in pencil. Housed in a subtle silver-gold modern 17 3/4 x 18 5/8-inch frame frame that enhances the tonality of the evening sky. $9,750.
57th Street (Rubber Center). 1930. Lithograph. Flint 26. 14 3/4 x 7 1/2 (sheet 15 7/8 x 11 3/8). Edition 40, #12 . A rich tonal impression printed by George C.Miller on the full sheet of 'BFK' (Rives) wove paper. Provenance: Graphics International, Washington, D.C. Signed, dated and numbered in pencil. Housed in a striking modernist 26 1/2 x 18 1/2-inch gold frame with a silver lip. $22,500.
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Hilltop Elms. 1954. Etching. Embury 123. 10 7/8 x 9 3/4 (sheeet 16 3/4 x 2 5/8). Proof apart from the edition 250 for Associated American Artists. A fine impression printed in red/brown ink printed on cream-colored wove paper. Signed, dated and dedicated in pencil. $300.
Storm Over City Hall. 1936. Etching and aquatint. 11 3/4 x 8 7/8 (sheet 16 x 11 1/2). Edition about 25. An extremely rich impression printed on Rives wove paper, on the full sheet with deckle edges. Provenance: gift of the artist to Baldwin-Wallace College, Berea, Ohio. Published by the New York City WPA. Another proof is in the collection of the Metropolitan Museum of Art. Signed and titled in pencil. Housed in an archival mat with a gold liner and a dramatic 19 x 16 1/4-inch gold leaf frame. $5,750.
Downtown, the El. 1921. Etching. Zigrosser 134. Edition of approximately 275. 6 3/4 x 8 3/4 (sheet 11 1/4 x 13 3/4). Published by the New Republic, New York, and printed by Peter Platt. A rich, tonal impression with plate tone printed on the full sheet of cream wove paper. Signed in pencil. $4,250.
Click on the titles for images.
Battery (Belles). 1938. Engraving. Sasowsky 177.vi. 9 x 12 (sheet 10 5/16 x 13 1/2). Edition 3 proofs and also 20 lifetime impressions in this state printed by the artist, plus an additional 111 posthumous impressions. Provenance: ACA Galleries, New York; a private collection. A rich impression printed by Marsh on cream wove paper. Signed and annotated 'forty proofs' in pencil. Housed in a striking 16 1/8 x 19-inch black and silver modernist wood frame. $6,750.
Beach Picnic. July 11, 1939. Engraving. Sasowsky 182.iii. 5 x 7 (sheet 7 1/2 x 10). Edition 20. Printed on china paper affixed to a sturdy white wove support sheet. A rich impression of this very rare image. Signed in pencil. $3,500.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.
Girl in Fur Jacket Reading Tabloid. 1940. Etching. Sasowsky 205.vi. 12 x 6 (sheet 15 9/16 x 13 1/8). Proof #81 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 16 lifetime impressions and 16 posthumous impressions in 1956.). Printed on white wove paper with full margins. Unsigned, but with the 'WM' (Whitney Museum) blindstamp, lower right. $1,250.
Breaking up a Tow -- North River. c. 1905. Etching. 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. 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.
Spring: Iris and Tradescantia. c. 1973. Watercolor on Japanese mulberry paper. 17 7/8 x 12 1/2. Signed 'Ying' and sealed. $2,500.
New York
September Morning: The First Ferry. 1929. Watercolor. 10 1/8 x 13 (image and sheet). Provenance: The Fine Art Society, London. A misty, impressionist watercolor on French papier vedâtre. Titled and dated '29' verso. Signed in pencil, recto, lower right. Housed in the original 19 1/8 x 232 5/8 gold leaf frame. $6,500.
The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 3/4 x 17 1/4). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed and annotated 'imp' in pencil. $650.
The Bridges 1908. Etching and drypoint. Wuerth 492. 10 15/16 x 8 5/16 (sheet 13 3/4 x 9 1/2). Edition about 50. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $1,750.proof on paper selected by the artist for one of his most dramatic Manhattan images. Signed and annotated 'imp' in pencil. $1,450.
The City in 1915 (The Unbelieveable City, No. 2). 1915. Etching. Wuerth 679. 8 1/4 x 10 3/4 (sheet 11 3/16 x 15). Edition probably 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. A rich impression with selsetive plate tone printed on antique laid paper with a partial watermark.Signed and annotated 'imp' in pencil indicating a proof printed by the artist. $1,750.
Hail America. 1908. Mezzotint. Wuerth 502. 8 1/2 x 14 7/8 (sheet 11 1/2 x 17). Trial working proof before the edition of c. 70. An extremely rich impression printed on the full sheet of antique paper. Signed, annotated 'trial working proof' and 'imp' in pencil, indicating a proof printed by Pennell. Perhaps the artist's most iconic American image. $7,500.
Montague Terrace, Children Skating. 1924. Etching. Wuerth 832. 8 x 9 7/8 (sheet 8 1/2 x 13). Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. Printed on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $500.
New York, from Brooklyn. 1915. Etching. Wuerth 671. 7 3/8 x 11 3/4 (sheet 9 3/8 x 14). Edition probably 80. A rich impression with plate tone, printed by the artist on simili-Japan paper. Signed and annotated 'imp' in pencil. $1,250.
Nassau Street. 1904. Lithograph. Wuerth 158. 10 11/16 x 6 1/4 (sheet 12 x 8 1/2). Series: Lithographs of New York, #5. Commission for the Society of Iconophiles. A fine impression, on antique pale grey wove paper, with full margins. The Society of Iconophiles blindstamp in the lower left margin. $275.
New York, from Brooklyn. 1915. Etching. Wuerth 671. 7 3/8 x 11 3/4 (sheet 9 3/8 x 14). Edition probably 80. A rich impression with plate tone, printed by the artist on simili-Japan paper. Signed and annotated 'imp' in pencil. $1,750.
An Orgy of Building. 1923. Etching. Wuerth 808. 12 1/4 x 9 1/4 (sheet 16 1/2 x 10 3/8). Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $750.
Standard Oil Building. 1923. Etching. Wuerth 817. 12 1/4 x 9 1/4 (sheet 13 1/2 x 10 1/16). Edition probably 50. A glowing impression, printed by the artist on antique cream wove paper. Signed and annotated 'imp' in pencil. $775.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 1/2 x 10 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on very fine antique cream laid paper. Pennell used light yellow-brown plate tone to suggest lingering sunlight. Signed and annotated 'imp' in pencil. $1,250.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 3/8 x 16 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on sturdy cream laid paper from an antique volume. Pennell used red-brown plate tone to suggest evening tinged with sunlight. Signed in pencil. $1,250.
The Telephone and Telegraph Foundation. 1924. Etching. Wuerth 827. 12 7/8 x 8 7/8 (sheet 15 3/16 x 9 7/8).Private plate, etched for McKenzie, Vorhees and Gmelin. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $850.
Wall Street. 1904. Etching. Wuerth 344. 11 3/4 x 7 7/16 (sheet 15 1/2 x 10 1/4). Edition about 75. A rich, tonal impression printed on Japanese mulberry paper. Signed in pencil. $975.
The Woolworth, Through the Arch. 1921. Etching, sandpaper and drypoint Wuerth 785. 9 15/16 x 6 15/16 (sheet 12 1/4 x 7 5/8). Edition about 150 printed in Germany, numbered 1-150, and 50 printed in the U.S. This from the American printing by Pennell. A rich, tonal impression printed in black-brown ink on countermarked antique laid paper. The inking and wiping suggest an early evening glow. Signed and annotated 'imp' in pencil. $775.
Pennsylvania
Plow Inn Yard. 1881. Etching. Wuerth 35. 9 7/8 x 6 7/8 (sheet 16 3/8 x 12 7/8). No published edition. A very rich impression, printed in black-brown ink on Japanese mulberry paper with wide margins. A rare proof of early (probably Philadelphia) image. Pennell etched several similar images that earned him the soubriquet of 'the Philadelphia Meryon.' Signed in pencil, with his early large signature. $750.
Steam and Power, Pennsylvania Station, Philadelphia. 1919. Etching. Wuerth 705. 10 x 11 3/4 (sheet 10 5/8 x 13 1/8). Edition probably 75. Railroad series. A carefully-wiped impression printed on fine off-white laid paper from an antique volume. Printed by the artist. Signed in pencil. $5,000.
Panama Canal
The Guard Gate, Gatun Lock. Panama. 1912. Etching and drypoint. Wuerth 627. 12 1/2 x 9 1/2 (sheet 14 x 10 1/2). Edition of about 60. Panama Canal series. An extremely rich impression with drypoint burr and atmospheric tonal wiping, printed on Japanese mulberry paper by the artist. Signed and annotated 'imp' in pencil. $1,350.
United Kingdom: London
The Barber Shop. 1905. Etching. W 392. 10 7/8 x 8 9/16 (sheet 14 3/8 x 10 3/4). Edition probably 25. Printed on cream wove paper. Signed in pencil. Annotation on verso, in Pennell's hand, "Cote (report of imp. lithos)." Doodles on the front in the same crayon, probably by Pennell. A charming, Whistleresque image. Printed by Pennell. Signed in pencil. $450.
Cannon Street Station (from the River). 1905. Etching. Wuerth 385. 7 7/8 x 10 7/8 (sheet 8 7/8 x 12 1/2). Early pencil-touched proof before the edition of approximately 40. An extremely rich impression printed with plate tone on off-white antique laid paper. Excellent condition. Pencil additions in the center of the boat nearest the foreground. Signed, annotated 'imp' and 'destroyed' and titled 'London Cannon Street Station' in Pennell's hand. $850. See also Under Cannon St. Station. Wuerth 309.
Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably from an old volume. Annotated 'Rome' and 'Charing Cross Bridge from my Window' by the artist. A rich dark proof, printed by the artist himself. Signed and annotated 'imp' in pencil. $4,500.
The City, Evening. 1909. Mezzotint. Wuerth 506. 10 x 14 7/8 (sheet 10 3/4 x 17 5/16). Printed on cream laid paper from an antique volume, numbered '12' in ink, upper left. Irregular bottom margin. Edition about 50. Magnificent, glowing proof with watercolor additions. Signed, titled 'London out of my window' and 'imp' in pencil, indicating a proof printed by the artist. $3,750.
Coronation of King George V and Queen Mary in Westminster Abbey. June 22, 1911. 1911. Lithograph. Wuerth 197. 21 x 16 (sheet 25 1/8 x 20). Edition about 30. A fine impression printed on cream wove paper. An extremely scarce and important historical image. Signed in pencil. Housed in an elegant 20 x 24-inch Hogarth-style black wood and gilded frame with gilded corner ornaments. $2,250.
The Crystal Palace. 1905. Etching. Wuerth 367. 8 5/8 x 10 15/16 (sheet 9 7/8 x 13). Edition probably 75. A rich, tonal impression printed by Pennell on antique laid paper. Signed, titled, annotated 'imp' and 'plate destroyed' in pencil. $600.
Dark Day on the Embankment. 1909. Etching and aquatint. Wuerth 507. 9 7/8 x 12 3/4 (sheet 11 1/2 x 17 1/4). Edition probably 40. A rich, tonal impression printed by Pennell on cream laid paper from an antique volume. Signed and annotated 'imp' and 'Shot Tower Misty Morning' in pencil by the artist. $3,250.
Leadenhall Market II. 1903. Etching. Wuerth 254.10 7/8 x 8 3/8 (sheet 12 1/8 x 9 3/4). Faint mat line, otherwise excellent condition. A rich, tonal impression printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $450.
Lion Brewery, from the Embankment. 1903. Etching. Wuerth 237.i/ii before the plate was reduced. 10 1/2 x 8 (sheet 11 3/8 x 8 1/4). Trial proof, apart from the edition of 20 in this state (total edition about 40). An extremely rich tonal impression printed on laid paper from an antique volume. Signed and annotated 'tr[ial] proof' in pencil. $1,950.
London. St. Anne's from Piccadilly Circus. 1905. Etching. Not illustrated in Wuerth; but listed. 7 13/16 x 9 15/16 (sheet 11 15/16 x 8 1/4). Unpublished. Printed by Pennell on antique grey-green wove paper. A fine impression of this extremely rare image. Signed, dated, titled and annotated 'imp' in pencil. $400.
Park Lane.1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2 (sheet 7 3/4 x 6 1/4).Printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. An extremely rare unredorded state. $250.
Primitives: Copying Botticelli. National Gallery (The Two Madonnas). 1891. Etching. Wuerth 155. 6 7/8 x 4 15/16 (sheet 10 x 6 13/16). Edition probably 35. Sun toning, otherwise fine condition. Signed, titled and dedicated by Pennell in ink, 'To the Mr & Mrs. Blum "The Day before Xmas" in the National Gallery London drawn, etched and printed by Joseph Pennell."' A unique presentation proof for E.C. Blum, the curator of The Brooklyn Museum.
Exhibited : Botticelli Reimagined Victoria and Albert Museum, London, March 2 - 5 March 2016 - 3 July 2016 (V& A) and the Gemäldegalerie - Staatliche Museen zu Berlin, 24 September 2015 to 24.January.2016 (Gemäldegalerie). $2,000.
Song of the Search Lights (London in War Time). 1920. Resin aquatint. Wuerth 687. 4 x 6 7/8. Printed by the artist on cream wove paper. Signedand annotated 'imp' in pencil. Illustrated: Pennell, Etchers and Etching, 1920. $2,000.
St. Paul's from Bankside. 1905. Etching. Wuerth 393. 9 3/8 x 12 1/2 (sheet 10 x 14 3/4). Edition c. 50. A rich impression printed on laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $750.
The Thames from Richmond Hill. 1903. Etching. Wuerth 276. 7 7/8 x 9 7/8 (sheet 8 1/2 x 13 1/8). Edition probably 35. A rich impression printed by the artist on cream laid paper from an antique French volume. Signed and annotated 'imp' in pencil. $550.
Under Cannon St. Station. 1904. Etching. Wuerth 309. 8 1/2 x 11 (sheet 9 7/8 x 14 1/2). Trial proof before the edition of approximately 25. Printed on cream laid paper from an antique volume with the page number '450' in ink in the right-hand margin. Excellent condition apart from a rust spot from iron in the paper, top center, outside the image. Signed and annotated 'imp' and 'trial proof' and titled 'Under Charing Cross' in Pennell's hand. A rich impression of this very rare image, printed by the artist, and especially interesting for the difference in Pennell's and Wuerth's titles. $650.
Whitehall Court. 1903. Etching. Wuerth 275. 10 1/2 x 8(sheet 12 5/8 x 8 7/8). Edition 12. A rich impression printed on antique blue/green laid paper, probably from France. Printed by the artist. Signed, titled 'Whitehall Court -- with the lights of Charing Cross Bridge' , '12 printed' and annotated 'imp' in pencil. A unique proof with white watercolor highlights in the lights on the bridge and the reflections in the water. $3,500.
bridge and the reflections in the water. $3,500.
Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8 (sheet 12 3/8 x 14 3/8). Printed on laid wove paper. A rich impression printed by the artist. Signed and annotated 'imp' in pencil. Housed in a 19 x 21 3/8-inch black Whistler style frame. $4,500.
France
Flower and Butter Market, Rouen. 1907. Etching. Wuerth 463. 11 x 8 5/8 (sheet 14 1/4 x 108). Edition probably 75. A fine impression printed by the artist on laid paper. Signed and annotated 'imp' in pencil. $300.
The West Front, Amiens. 1907. Etching. Wuerth 482. 11 7/8 x 8 3/4 (sheet 12 7/8 x 15 5/8). Edition probably 35. A rich impression, printed by the artist on antique laid paper. Signed and annotated 'imp' in pencil. $400.
Greece
The Façade of the Parthenon. Sunset. 1913. Lithograph. Wuerth 333. 16 1/8 x 21 1/4 (sheet 18 1/8 x 24 1/4 ). Series: Pictures in the Land of the Temples #27. Edition 20. A fine impression printed on the full sheet of 'INCRES PMF (ITALIA)' laid paper. Signed in pencil. $1,750.
Italy
Rebuilding the Campanile. No II. 1911. Etching. Wuerth 621. 9 5/8 x 12 1/2 (sheet 11 x 15 1/16). Edition probably 50. A fine impression, on cream paper from an antique volume. Printed by the artist. Signed, titled 'Rebuilding the Campanile, Venice' and annotated 'imp' in pencil in pencil. $750.
[Flowering Carob Tree, San Giorgio Maggiore Island, Venice]. c. 1914. Oil on canvas. 18 x 24 (framed 27 x 32 1/2). Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. 'Remembering the Ladies: Women and the Art Association of Newport.' Signed "Jane Peterson" lower right. $20,000.
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Pony Cart. c. 1930. Color woodcut. 10 3/4 x 14 5/8 (sheet 14 x 18). New York Public Library CW-29. Edition 20-30. A fine impression printed in black and grey-green ink on cream wove paper with full margins. Soiling in the margins, well outside the imae. Another impression is in the collection of the Metropolitan Museum of Art, New York. Stamped "New York City W.P.A. Art Project." An extremely scarce WPA print. Signed and titled in pencil. $300.
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Alley Cats. 1933. Etching and drypoint. 8 x 10 3/8. Edition 50. Signed and titled in pencil. Sold with the pencil drawing.
Back of the Billiard Hall. Orange, Virginia. November 7, 1931. Ink study for the etching. 7 1/2 x 10 3/4 (sheet 9 7/8 x 14 1/16). Signed, dated and titled in pencil. Drawn on fine off-white laid paper with a sketch of a cat in the right-hand margin. $1,750 the pair.
New York
Royal Insurance Building of Canada. (Royal Globe Insurance Company Building) 1927. Drypoint. 12 x 6 1/2 (sheet 17 1/2 x 10 1/2). A rich impression with selective plate tone printed in black/brown ink on cream wove paper. Signed in pencil. $750.
Via del Pianta, Rome. 1928. Drypoint. McMillan 66. 7 3/4 x 6 9/16 (sheet 10 1/2 x 8 3/8). A rich impression with selective plate tone printed on '1802' antique cream laid paper. Signed in pencil. $275.
Summer Breezes No. 1 (Sleeper). c.1931. Lithograph. 13 7/8 x 9 3/4 (sheet 15 7/8 x 11 1/4). Edition 40, # 1. Hinge stains in the margins, well outside the image. A rich,tonal impression printed on 'France' wove paper.Provenance: Midtown Galleries. A striking and unusual self portrait. $1,500.
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Paintings
Roth Home, West Redding, Connecticut: Summer Day after Rain. c. 1920. Oil on canvas. 20 x 24 (framed 26 3/8 x 30 3/8). Signed, lower right. Roth dramatically achieves the effect of haze and heat on a summer afternoon. $3,500.
The Plaza View from Central Park South. Oil drawing on panel. 9 x 10 (framed 11 3/4 x 17 1/2). Original frame, with remnants of a Salmagundi Club exhibition label. Provenance: Roth's studio. Unsigned. $700.
Portion of the Jungfrau from Grindelwald. Oil on canvas. 20 x 24 (framed 27 x 30 3/4). Signed, lower right. This is possibly a view from the Lötschen Valley (Lötschental) near Kandersteg in the Swiss Alps. This is a large, impressive painting. $3,600.
Etchings
The Iron Grill, Venice. 1913. Etching. 10 3/8 x 7 3/4 (sheet 14 2/4 x 11 13/16). Edition 100. A very rich impression with plate tone, printed on cream laid paper with wide margins. Collector's seal verso: Viola and Remig Papp (not in Lugt). Signed, dated and titled in pencil Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. Collector's seal verso: Viola and Reming Papp (not in Lugt). Signed, dated and titled in pencil. $475.
Foundry. 1938. Lithograph. 16 x 10 1/4 (sheet 20 3/16 x 14 1/2). Edition 40, #6. A rich impression on cream wove paper with full margins. Signed and numbered in pencil. $750.
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. Housed in a double mat and a black 18 1/2 x 22 1/2-inch black wood frame. $4,000.
The Surf at Newport. Oil on canvas. 17 x 24 (framed 26 x 34). Lined; some craqueleur; otherwise fine condition. Carved gold leaf frame. Signed lower left. $5,500.
Calf Love. 1916. Etching. Morse 182. 4 1/4 x 2 3/4 (sheet 5 1/2 x 4 7/8). Signed and titled in pencil. Edition 100. A rich impression printed in black/brown ink on cream wove paper. Signed in pencil. $1,150.
Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/8 (sheet 9 3/4 x 11 3/4). Series: New York City Life, first plate. Edition 100. Provenance: Krushaar Galleries, N.Y.; Rhode Island School of Design Museum exhibition 'Art for your Collection', 1961. A fine impression on cream wove paper with full margins. Signed, titled,annotated '100 proofs' and '21' in pencil. $4,750.
Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 8 x 6 (sheet 11 3/4 x 9 3/8). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for the Gazette des Beaux Arts. A rich impression printed by Platt on cream wove paper with full margins. Annotated '#14 Platt imp' in pencil in the lower left-hand margin.Signed, dated, titled and and annotated '100 proofs' in pencil by the artist. $2,750.
Fourteenth Street. The Wigwam. (Tammany Hall). 1928. Etching. Morse 235.vii.9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Ernest Roth. Illustrated: Reese, American Prize Prints of the 20th Century; Fifty Prints of the Year, 1929..A rich impression printed on cream wove paper.Two hinge stains in the left-hand margin, well away from the image; otherwise fine condition. Signed 'Peter Platt imp' by the printer. Signed, titled and annotated '100 proofs' by Sloan. $3,500.
Girls Sliding. 1915. Etching. Morse 171.iv. 4 1/4 x 5 7/8 (sheet 8 3/4 x 11 7/8). A fine impression on cream wove paper. Annotated "Peter Platt imp" in pencil (Platt printed 30 of the total edition of 100). Signed, titled and annotated "100 proofs" in pencil. $2,500.
Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 8 x 9 7/8. (sheet 11 1/8 x 10 1/4). An early rich impression printed on cream wove paper, on the full sheet with deckle edges. Signed, titled 'The Hell Hole' and annotated '100 proofs' in pencil by Sloan. $4,500.
Kraushaar's. 1926. Etching. Morse 29.viii. 3 7/8 x 5 15/16 (sheet 7 x 11 1/16). A rich impression printed on Japanese mulberry paper with wide margins. 3 7/8 x 5 15/16). Annotated 'Ernest Roth imp' in pencil, lower left. Signed, title and annotated '100 proofs' in pencil by Sloan. Signed, titled and annotated '100 proofs' in pencil by the artist. Housed in a 14 1/2 x 1`5 1/2-inch modernist silver and gold frame. $2,500.
The Lafayette. 1928. Etching. Morse 233/vi. 4 7/8 x 6 7/8 (sheet 8 1/8 x 9 3/8). Proof prior to the intended edition of 100, that was probably closer to 80. A rich impression on cream paper with a fleur-de-lys watermark. Signed and titled "John Sloan (by H[elen] F[arr]S[loan])" in pencil (presumably because it was part of the artist's personal collection). Annotated "First state 2-'24'28" in pencil by Sloan." Morse notes 'Proofs of 1st state dated March 24, 1928.' p.259. An extremely rare proof. Housed in a double grey and cream colored atchival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $4,000.
The Little Bride. 1916. Etching. Morse 138. 4 7/8 x 6 3/4 (sheet 9 3/8 x 12). Series: New York City Life. Printed on cream wove paper with deckle edges on two sides. Illustrated: Charles Wisner Barrell, 'The Real Drama of the Slums as told in John Sloan's Etchings' The Craftsman vol. 15, p. 560. Signed and annotated "Ernest Roth Imp' by the printer. Signed, titled and annotated '100 proofs' in pencil by Sloan. $2,000.
Love on the Roof. 1914. Etching. Morse 167.ii. 5 7/8 x 4 1/4 (sheet 10 1/2 x 6 1/4). Edition 100. A rich impression printed on Japanese mulberry paper. Signed in pencil. $3,750.
The Show Case. 1905. Etching. Morse 129.iii. 5 x 6 15/16 (sheet 9 3/4 x 12 1/2). Annotated "Peter Platt" in pencil (Platt printed part of the total edition of 100). Series: New York City Life. A fine impression on cream wove paper, printed on the full sheet with deckle edges. Tack holes from drying in the outer margin edges, as usual. Signed, titled and annotated "100 proofs" in pencil. $2,750.
Swinging in the Square (In the Park). 1912. Etching. Morse 156.iii. 4 x 5 1/8 (sheet 8 7/8 x 12 1/4). Edition 100. A rich impression, printed on 'Van Gelder Zonen Holland' laid paper, on the full sheet with deckle edges. Signed, titled and annotated "100 proofs" by Sloan in pencil. Sloan wrote "Walked down to the East Side this afternoon, enjoyed watching the girls swinging in the Square, Avenue A and 8th Street East. " Morse page 181. The scene is Tompkins Square Park in Manhattan. $2,250.
Wake on the Ferry. 1949. Etching. Morse 313.iv. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression printed by the etcher, Ernest David Roth, on cream-colored Rives paper with wide margins. Roth used selective plate tone in the sky to suggest a rainy day. Signed, titled and annotated 'Ernest Roth imp.' by the printer. Signed, titled and annotated '200 proofs' by Sloan in pencil. $1,750.
Abbeville c. 1904. Drypoint. 6 7/8 x 8 7/8 (sheet 7 1/4 x 10). A rich impression with plate tone printed on cream wove paper. The location is probably Eaucourt sur Somme, Somme, France.
. Signed in pencil. $200.
Union Square 1929-30. Lithograph. Cole 17A. 7 1/8 x 8 3/4. Edition 25. A well-inked impression printed on white wove paper. With the blindstamp of the printer Jacob Friedland in the lower margin (partially trimmed). Signed and titled in pencil. $2,250.
One of five New York scenes produced by Soyer in 1929-30 (Cole 15-18). All were done in very small editons (10-25), and are therefore very rare.
Old French Market, Louisiana. c. 1928. Etching. 8 7/8 x 11 3/4 (sheet 11 x 14 1/2). A very rich impression printed on "Fabiano Italy" countermarked paper. Signed in pencil. Annotated in pencil by the artist, "To, Eugene A. Noble. I agree with you that an artist should follow his work to the bitter end and so I hope to do. Have patience." Annotated by a different hand, probably Eugene A. Noble, "E.A. N." "Old French Market LA" "This is the first print from the first plate by E.H. Suydam. $1,750.
Planters Tavern, Greenwich Street, New York. 1926. Conte crayon drawing. 12 1/4 x 11 (sheet 14 3/8 x 14 1/2). Provenance: Schwartz Galleries, Manhattan. A fine impression on 'Strathmore Woromoco Damask Made in U.S.A.' countermarked paper. Signed in pencil. $475.
The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39.A rich impression on the full sheet of pale blue-green paper. Signed in pencil. $350.
James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower left: "Walter Tittle / London." Signed and annotated 'imp' in pencil. $400.
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Nature Studies
Fledgling. c. 1964. Linoleum cut. 3 x 2 (sheet 8 x 6). Edition 16, #2. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $75.
Figure Study 9 1/2 x 7 5/8 (sheet 13 x 10 5/8). Edition 16, #16. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $100.
Love Images
Love (black background) 1966. Linoleum cut. 2 7/8 x 3 1/4 (sheet 4 3/4 x 6 5/8). Edition 64, #22. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Love (white background) 1966. Linoleum cut. 3 1/4 x 2 7/8 (sheet 9 5/8 x 7). Edition 64, #11. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Love Apple (Black background). 1967. Linoleum cut printed in brown, red, orange, black and tan. 19 1/2 x 12 1/2 (sheet 22 1/2 x 14 3/16). Edition 18. A vivid impression printed on wove paper paper. Signed, dated and annotated in pencil. $125.
Love Apple (Brown background). 1967. Linoleum cut printed in black, red, orange, brown and tan. 16 1/2 x 12 1/2 (sheet 21 3/4 x 15). Edition 18. A vivid impression printed on wove paper paper. The glare is from the camera. Signed, dated and annotated in pencil. $125.
Landscape Studies
Farm over the Hill c. 1964. Linoleum cut. 11 x 8 3/4 (sheet 16 x 13 5/8). Edition 16, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Hybrid Fertility c. 1964. Linoleum cut. 11 3/4 x 8 5/8 (sheet 12 1/4 x 16). Edition 20, #5. A fine impression printed on green Ingres d'Arches laid paper. Signed, titled and numbered in pencil. $125.
Hybrid Fertility c. 1964. Linoleum cut. 11 3/4 x 8 5/8 (sheet 12 1/4 x 16). Edition 20, #17. A fine impression printed on brown wove paper. Signed, titled and numbered in pencil. $125.
Last but not Least!
Little Caboose c. 1964. Linoleum cut. 4 x 3 1/2 (sheet 10 x 10 3/4). Edition 20. A fine impression printed in red ink on yellow-tan Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Dr. Frank Weitenkampf. c. 1913. Drypoint. 11 1/4 x 8 1/2 (sheet 14 1/4 x 10). A rich impression with drypoint burr, printed on Japanese mulberry paper. Signed and titled in pencil. $250.
New York
From the Weather Bureau. New York, New York. February, 1940. Lithograph printed in black and cream. Stuckey 106.ii. Two stone printing. 10 1/8 x 17 (sheet 16 x 21 5/8). Edition 40 in this state (total edition 43). 4 Signed and annotated 'Ed/40' in pencil. $8,000.
Maine
North Village, Port Clyde, Maine. ctober, 1938. Lithograph. Stuckey 77. 9 x 15 3/16 (sheet 15 1/8 x 19 3/8). Edition 60. Slight mat line, otherwise good condition. A fine impression printed on the full sheet of white wove paper. Signed and inscribed 'Ed/60' in pencil. $875.
Sea Neighbors, Eastport, Maine. September, 1931. Lithograph. Stuckey 11. 9 3/4 x 12 5/8. Edition 54. A fine impression in excellent condition printed on the full sheet of white wove paper. Signed in pencil. $875.
Please click on the titles for images and more extensive information on each work.
Early Work. 1854.
Anacapa Island. 1854. Etching. Kennedy Appendix 1; Glasgow 2.5 1/4 x 9 (sheet 14 x 10 7/8). With lettering at the top, above the ruled frame: 'PLATE No. 414'; within the frame, at centre top: 'ANACAPA ISLAND'; at the right: 'U. S. COAST SURVEY / A. D. BACHE, Supdt./ Sketch of ANACAPA ISLAND / IN / SANTA BARBARA CHANNEL / By Lieut. T. H. STEVENS, U. S. N. Assist. U. S. C. S. / 1854'; at the left: Note. Anacapa Island is due East of Santa Cruz Island in (approx.) Lat. 34 [degrees] 00' and Long. 119 [degrees] 23' W. from Greenwich Observatory. Variation of the Magnetic Needle, 13 [degrees] 21' E.'; at the bottom centre, 'View of the Eastern extremity of Anacapa Island - from the Southward.'; at the centre, a vertical arrow indicates 'Magnetic Meridian'; at the bottom, under the ruled frame, on the left, 'Drng by W. B. McMurtie' and on the right, 'Engg by J. A. Whistler, J. Young & C. A. Knight.' Printed on cream wove paper, with the usual center fold, as published. $975.
Family and Friends. 1857-1904.
Annie. 1857-58. Etching. Kennedy 10.v; Glasgow 7.vii. 4 5/8 x 3 1/8 (sheet 7 5/8 x 5 3/8). Glasgow records 53 impressions in museums. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on off-white laid paper with full marginsand a partial '6' countermark. Signed 'Whistler' lower left, titled 'Annie', center, and annotated 'Imp. Delâtre Rue St. Jacques. 171' in the plate lower right. $2,250. Annie. 1857-58. Etching. Kennedy 10.v; Glasgow 7.vii. 4 5/8 x 3 1/8 (sheet 7 5/8 x 5 3/84). Glasgow records 53 impressions in museums. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on off-white laid paper with full marginsand a partial '6' countermark. Signed 'Whistler' lower left, titled 'Annie', center, and annotated 'Imp. Delâtre Rue St. Jacques. 171' in the plate lower right. $2,250.
Nursemaid and Child. 1859. Etching. Kennedy 37.ii; Glagow 42.ii. 3 7/8 x 5 1/4 (sheet 7 3/4 x 8 7/8). Glasgow records 33 known impressions. There was no published edition of this rare etching. A rich impression printed on cream laid paper with full margins. Signed 'Whistler' in the plate, lower left. $2,500.
Seymour Haden, Jr, Seated. 1857-58. Etching. Kennedy 29.ii; Glasgow 9.iii. 5 5/16 x 3 3/4 (sheet 11 7/8 x 7 3/8). Glasgow records only 23 known impressions. A rich, tonal impression printed on cream laid paper with wide margins. Arthur Charles Haden, Whistler's nephew, would have been around six years old at the time this portrait was made. Unsigned. $2,500.
Seymour Standing Under a Tree. 1858-59. Etching. Kennedy 31.ii/iii; Glasgow 30.ii/iii. 5 3/16 x 3 3/4 (sheet 11 3/4 x 8). Glasgow records 28 known impressions. A fine impression printed on fine cream laid paper, with wide margins and deckle edges on 3 sides. Signed in the plate. $3,000.
Liverpool London and the Thames. 1859-1879.
J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52.iv/iv; Glasgow 62 vi/vi. 10 1/8 x 7 51/2 (sheet 12 3/4 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set), plate 8. Illustrated: Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler.. An extremely rich impression with plate tone, printed on the Japanese mulberry paper with full margins. Unsigned. $3,750.
Chelsea Wharf. 1863. Etching and drypoint. Kennedy 89; Glasgow 97.ii. 3 9/16 x 7 1/2 (sheet 8 3/16 x 12 1/8). A rich impression with drypoint burr and selective plate tone, printed on Japanese mulberry paper (that Whistler reserved for special impressions). Signed with the butterfly in the plate and 'Whistler' in pencil. A fine impression of this very rare image. Subsequently the plate was cancelled. Price upon request.
Dipping the Flag. 1877. Etching and drypoint. Kennedy 325; Glasgow 308.iii(?)/iv. 3 1/8 x 6 5/8 (sheet 8 1/2 x 13 1/4). Dipping the Flag formed part of the 'Jubilee ' alternatively 'Naval Review' set. Unique proof printed in red brown ink with tonal wiping on sturdy ivory paper. Signed with the butterfly in pencil. Price upon request. Housed in an archival French mat and a 13 x 17-inch reproduction gold leaf Whistler style frame. $13,500.
Free Trade Wharf. 1877. Etching. Kennedy 163.v; Glasgow 171.iv.viii. 5 3/8 x 8 3/8 (sheet 7 x 10 3/8). Published in this state by the Fine Art Society, London, in 1879 in an edition of 100. A very rich impression in brown ink with with plate tone printed on fine cream laid paper with full margins. Monogrammed with the butterfly in the plate. $4,750.
Greenhithe. (The Thames Towards Erith) 1877.Drypoint. Kennedy 165.iii/iv; Glasgow 48.iii/vi. 5 7/8 x 8 7/8 (sheet 8 1/8 x 12 9/16). Glasgow records 25 other known impressions. A fine, tonal early proof printed in black ink on 'Pro Patria' maid of Dort laid paper (Chicago, lithographs, paper #242). Monogrammed with the butterfly in the plate. $5,750.
Landscape with Horses. 1859. Etching and drypoint. Kennedy 36.ii; Glasgow 45.ii. 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8). Glasgow records 32 known impressions. A scarce early etching -- there was no published edition. A fine impression with atmospheric tonal wiping printed on AR[CHES] cream laid paper with full margins. A fine impression with atmospheric tonal wiping. Signed in the plate, lower center. $4,750.
W. Jones, Lime-Burner, Thames Street. 1859. Etching and drypoint. Kennedy 46.ii; Glasgow 55.ii. 9 7/8 x 6 7/8 (sheet 14 1/4 x 9 1/4). Glasgow records 98 known impressions. Issued as plate 9 in "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Illustrated: Print Collector's Quarterly 1 (1911): 35; Guichard, British Etchers, 1850-1940. A richly-inked impression printed on antique cream laid paper with a 'KL' countermark. Provenance: Rouiller Art Galleries, private New England collection. Signed and dated in the plate. $9,500.
Longshore men. 1859. Drypoint. Kennedy 45; Glasgow 52.iv. 5 7/8 x 8 3/4 (sheet 9 1/16 x 13 1/8). Glasgow records 37 known impressions. Two unobtrusive printing folds; otherwise good condition. A rich impression printed with plate tone on sturdy Japanese mulberry paper. Signed 'Whistler' and dated '1859' in the plate. Housed in a 17 x 21 1/2-inch black wood frame with a Whistler nameplate. $3,500.
Price's Candle Factory. 1876-77. Drypoint. Kennedy 154.i/iv; Glasgow 166.i/xiii. 5 7/8 x 8 7/8 (sheet 7 3/4 x 12 1/4). There was no published edition of this rare image. Glasgow lists 19 other known impressions. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper. Signed with the butterfly and annotated 'imp' in the margin. An exceptionally rare image. Price upon request.
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii; Glasgow 70.vi. 10 3/4 x 7 3/4 (sheet 12 7/8 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set) plate 5. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler; Guichard, British Etchers, 1850-1940. One 2-mm missed inking spot between the two ship masts on the right; otherwise an excellent proof. A rich impression printed on antique cream laid paper. Signed in the plate. Housed in an archival silk-covered mat with a gold lip in an elegant 19 5/8 x 16 5/8-inch Whistler style gold leaf frame. $10,000.
Shipbuilder's Yard, Liverpool. 1875. Drypoint. Kennedy 146.iii; Glasgow 142.iv. 5 7/8 x 8 7/8 (sheet 7 3/4 x 12 1/4). There was no published edition of this rare image. Glasgow lists 22 other known impressions. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper countermarked 'PD'. Provenance: Howard Mansfield to Harris Whittemore to a family friend as a wedding gift in 1942. Annotated in an unknown hand '3HM' [Howard Mansfield] lower left margin and '1.(ut 25)'lower right margin and initialed 'OEX' verso. Monogrammed with the butterfly in the plate. Price upon request.
The French Set and Paris. 1857-1861.
Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii; Glasgow 33.ii. 9 x 6. Glasgow records 67 known impressions. A fine impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy's hair and coat. In the first state there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, one head remains visible in this impression. Printed on fine cream laid paper. Signed and dated in the plate. Housed in a silk mat and 19 x 16-inch gold leaf frame. 3,750.
Bibi Valentin. 1859. Etching and drypoint. Kennedy 50.ii; Glasgow 34.ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. Housed in an archival inner mat with a silk outer mat an 18 x 20 1/2-inch a beaded silver frame. $3,750.
Fumette. 1858. Etching. Kennedy 13.iv; Glasgow 12.v. 6 3/8 x 4 1/4 (sheet 7 7/8 x 5 3/4). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature(French set). A rich tonal impression in warm brown/black ink on 'Austin' off-white laid paper. Signed in the plate. Housed in an archival French mat and a dramatic 14 x 11 1/2 x 1-inch gold leaf frame. $3,500.
The Unsafe Tenement. 1858. Etching. Kennedy 17,iv; Glasgow 18.iv. 6 1/8 x 8 3/4 (sheet 8 1/4 x 10 3/8). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). A very rich impression with plate tone printed in brown/black ink on fine laid paper with full margins. Signed in the plate. $2,750.
Venus. 1859. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. There was no published edition. A very rich impression printed in black ink on fine Japanese mulberry paper. Provenance: estate of Alvin B. Glaser Signed and dated in the plate. Housed in an archival French mat and a 14 x 11-inch gold leaf frame. $45,000.
The Wine Glass. 1859. Etching. Kennedy 27.ii; Glasgow 38.ii. 3 1/4 x 2 1/4 (sheet 6 1/8 x 4 1/4). There was no formal edition of the plate; Glasgow records only 39 known impressions. Provenance: Janet and John E. Marqusee collection; Davidson Galleries. A well-inked, beautifully wiped impression printed on cream laid paper. Signed in the plate. . Housed in an 18 1/4 x 16 1/4 x 1 1/2-inch antique Whistler-style silver leaf frame. $12,500.
Italy. 1879-1880.
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper. Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. $12,500.
The Netherlands. 1886.
The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in an archival French mat and a 10 x 11 1/4 x 1-inch gold leaf period carved Celtic design frame. $3,000.
Paris. 1893.
Newspaper Stall, Rue de Seine. 1893. Etching and drypoint. Kennedy 432.ii; Glasgow 474.ii. 3 3/16 x 7 13/16 (sheet 7 7/8 x 12). Glasgow records 13 known impressions. A very rich impression in warm brown/black ink printed on cream antique paper with a coat of arms with a tower watermark. Signed with the butterfly in the plate. Housed in an elaborate gold frame. $3,750.
Lithographs: Family and Friends.
Afternoon Tea. 1897. Lithograph. Way 147; Levy 224; Tedeschi, Stratis and Spink 173. 7 1/2 x 6 (sheet 14 13/16 x 9 9/16). Edition 100 printed by Clot, issued by Ambroise Vollard in L'Album d'estampes originales de la Galerie Vollard (second album, Paris 1897). A rich impression printed on the full sheet. Monogrammed in the stone. Monogrammed in the stone. Housed in an archival mat with a silver liner, and an elegant 18 1/4 x 16 3/4-inch silver leaf frame. $2,750.
The Doctor. 1895. Lithograph. Way 78; Levy 117; Tedeschi, Stratis and Spink 110. 18 1/2 x 6 (sheet 10 x 7 3/8). Edition of about 3,000 published in The Pageant, November, 1896. A fine impression printed on off-white glossy wove paper.Unsigned. $600.
Gants de Suede. (Suede Gloves.) 1890. Lithograph. Way 26, Levy 40, Tedeschi, Stratis and Spink 35. 8 1/2 x 4 (sheet 113/4 x 8 1/4). As printed by Way and published in The Studio, London April 16, 1894 with their blindstamp in the lower left-hand margin. A fine impression printed on cream wove paper with full margins. Monogrammed with the butterfly in the stone. Housed in an archival French mat and a 16 1/2 x 12 1/2-inch Whistler-style gold leaf frame. $975.
La Jolie Newyorkaise. (The Lovely Lady from New York). 1894. Lithograph. Way 61; Levy 92; Tedeschi, Stratis and Spink 99. 9 x 6 1/4 (sheet 15 x 10 1/8). Edition 30 printed by Way, and 30 printed posthumously by Goulding November 2, 1903. A fine impression printed from the later edition on the full sheet of 'O.W.P. & A.O.L.' laid paper. Collector's seal verso: Rosalind Birnie Philip (Lugt 405). Monogrammed with the butterfly in the stone. Housed in an archival French mat and a delicate 22 x 18-inch gold leaf frame. $3,500.
Reading. [Maude Franklin] 1879 and 1887. Lithograph. Way 13, Levy 25, Tedeschi, Stratis and Spink 17.iv. 8 3/8 x 6 3/8 (sheet 18 x x 13). Edition 100 in this state. A fine impression on greyish chine mounted on ivory plate paper (small set), printed by Way and issued by Boussod, Valadon and Co. in the portfolio, Notes 1887-88. (there were also 30 impressions pulled on mounted Japan with larger sheets of wove backing). Monogrammed with the butterfly in the stone. $6,500.
La Robe Rouge. (The Red Dress.) 1894. Lithograph. Way 68, Levy 96, Tedeschi, Stratis and Spink 107.ii. 7 1/2 x 6 (sheet 11 1/2 x 8 1/8). As published in The Studio, London, with their blindstamp, lower left. A well-inked impression printed on cream wove paper. Monogrammed with the butterfly in the stone. Housed in a silk mat with a gold lip in a 19 1/8 x 15 1/2-inch gold leaf frame. $1,750.
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25 lifetime impressions plus a few proofs recorded by Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). A foxing spot, otherwise excellent condition.Printed on ivory laid paper from an antique volume, numbered 178 recto and 177 verso, lower right. A well-inked lifetime impression of this extremely scarce print. Signed with the butterfly in the stone. Housed in an archival French mat and a dramatic 18 1/2 x 16 1/4-inch gold and black frame with a subtle gray lip. $6,500.
Unfinished Sketch of Lady Haden. 1895. Lithograph with scraping. Way 143; Levy 139; Tedeschi, Stratis and Spink 116.ii/iii. 11 13/16 × 7 7/8 (sheet 13 5/16 × 9 3/8). No published edition; Way listed 8 impressions. The stone was erased by 1905. An impression with strong contrasts printed on fine laid paper. Monogrammed with the butterfly in the stone. $7,500.
Lithographs: England.
Charing Cross Railway Bridge. 1916. Transfer lithograph with with stumping, scraping and incising. Way 120, Levy 166, Tedeschi, Stratis and Spink 157. 5 1/8 x 8 1/2 (sheet 81/4 x 13). Way lists 27 impressions (Goulding printed 36 posthumous impressions on April 29, 1904). Printed by Goulding on 'Pro Patria' watermarked laid paper. The verso of the paper has ink script that, when showing through to the front, looks like lines of mist in the water and sky. The text is in Greek and Latin. According to Martha Tedeschi, other Whistler lithographs are also printed on paper with similar text. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $4,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405).
Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. $6,500.
Chelsea Shops. 1888. Lithograph. Way 20, Levy 33, Tedeschi, Stratis and Spink
24.ii. 7 3/8 x 5 3/8 (sheet 10 x 7 7/8). Way lists 17 lifetime impression (Goulding printed 30 posthumous impressions 1904, after which the stone was erased). Printed on cream laid paper. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 406. Signed with the butterfly in the stone and in pencil. A fine impression of this very rare image. $6,500.
The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135.ii. 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream laid paper. Way lists 15 lifetime impressions (Goulding printed 30 proofs on April 11, 1904). Collector' seal verso: LDB (not in Lugt). Presumably one of the 15 lifetime impression. Monogrammed with the butterfly above the awning in the stone. Housed in a silver and black frame with a silk mat. A fine impression of this scarce image. $3,500.
Gaiety Stage Door. 1879 and 1887. Lithograph. Way 10, Levy 21, Tedeschi, Stratis and Spink 14.ii. 4 7/8 x 7 5/8 (13 1/16 x x 14 3/4). A fine impression on cream Japanese paper (large set), mounted onto white plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone and in pencil. $4,500. Another proof, monogrammed in the stone, $2,500.
Lindsey Row, Chelsea. 1888. Lithograph. Way 20; Levy 33; Tedeschi, Stratis and Spink 23. 5 x 8. Edition of 56 posthumous impressions printed by Goulding, in addition to the 14 lifetime impressions printed by Way. A fine impression printed on countermarked 'A.W.P.& A.O.L.' cream laid paper with full margins. Monogrammed with the butterly, center right. Housed in a 14 x 17 1/2-inch period gold leaf frame. $3,250.
Little Doorway, Lyme Regis. 1895. Lithograph. Way 83, Levy 122, Tedeschi, Stratis and Spink 119. 9 x 6 (13 1/2 x 9 3/4). Edition of 15 lifetime impressions listed by Way Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). Printed on cream laid paper with a Strasbourg Lily/LVG with a IV countermark (Chicago 289), indicating a posthumous impression. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $3,750.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 11 1/4 x 8 3/4). Printed on smooth ivory wove paper. As published in the December 27, 1890 edition of The Whirlwind. The printed text has been trimmed off, and annotations added in a later hand. $2,500.
Old Battersea Bridge. 1879 and 1887. Lithograph. Way 12, Levy 24, Spink 18.ii. 5 7/8 x 13 1/8 (sheet 13 5/8 x 19 3/8). From the 1887 "small set" printed by Thomas Way and issued by Boussod, Valadon and Co. for Notes in 1887. The total edtion was 100, comprised of an edition of about 70 printed on the thin, greyish "chine" mounted on white/ivory wove paper, and also 30 impressions pulled on mounted Japan with larger sheets of wove backing. This impression is from the 'small set'. Printed in black on ivory-colored paper Monogrammed with the butterfly in the plate. A fine impression in excellent condition. Whistler made the drawing directly on the lithographic stone, working on a boat below the bridge. $4,500.
The Sunny Smithy. 1895. Lithograph. Way 85; Levy 130; Tedeschi, Stratis and Spink 121. 5 1/2 x 8 (sheet 9 1/16 x 12 5/16). Only 4 impressions listed by Way. Printed on Japanese vellum. Monogrammed with the butterfly in the stone in the center of the anvil. $7,500
The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is commonly the case. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. According to Way, "it is doubtful if half a dozen copies exist beyond the twelve proofs on mounted Japanese paper." A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Signed with the butterfly in the stone. Accompanied by the Ando Hiroshige (1797-1868) woodblock that was apparently a major influence upon Whistler's image, . Kyobashi
and the Bamboo Bank of the Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Excellent color and condition.
The Thames. 1896. Lithotint with scraping on a prepared half-tint ground Way 125; Levy 178; Spink, Stratis, Tedeschi 161.iii. 10 1/2 x 7 11/16 inches (sheet 15 3/8 x 11). A subtle impression printed in black ink on chine appliqué. A Goulding impression from the posthumous editions of 16 printed on October 16,1903, 33 printed on November 26, 1903 and 40 printed on May 4, 1904, commissioned by Rosalind Birnie Philip. (Way recorded about 28 lifetime impressions.) Monogrammed with the butterfly in the stone. Housed in an archival French mat and a 20 1/2 x 17 3/4-inch beaded silver leaf frame. $9,000.
The Tyresmith. 1890. Lithograph. Way 27, Levy 41, Tedeschi, Stratis and Spink 36. 6 3/4 x 6 7/8 (sheet 10 5/8 x 7 7/8). Printed on cream wove paper, as published in the November 15, 1890 issue of The Whirlwind. Marginal tears, not affecting the image. Signed with the butterfly in the stone. Housed in a 15 x 14 3/4-inch gold wood frame with a ribbon decoration and grey highlights. $1,000.
The Tyresmith. 1890. Lithograph. Way 27, Levy 41, Tedeschi, Stratis and Spink 36. 6 3/4 x 6 7/8 (sheet 1- 5/8 x 7 7/8). Printed in cream laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published editon was machine printed from supplementary stones on smooth ivory wove paper, which has often discolored to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. $2,750.
The Whitesmiths, Impasse des Carmélites.> 1894. Transfer lithograph with stumping. Way 53, Levy 84, Tedeschi, Stratis and Spink 92. iii. 8 5/8 x 6 3/8 (sheet 11 x 7 7/8). Way listed 28 lifetime proofs (Goulding printed 40 posthumous impressions on December 11, 1903). Printed on fine ivory laid paper. Signed with the butterfly in the stone and in pencil. $6,500.
Victoria Club. 1879 and 1887. Lithograph. Way 11.ii; Levy 22; Tedeschi, Stratis and Spink 15.ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A rich impression printed on greyish ivory proofing paper mounted on ivory plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone. Housed in an elegant 20 x 17-inch beaded silver frame. $2,750.
Lithographs: France.
The Little Café au Bois. 1894. Lithograph. Way 56, Levy 87, Stratis, Spink and Tedeschi 91.i. 8 1/2 x 6 (sheet: 11 1/8 x 9). A fine lifetime impression printed on 'Van Gelder Zonen' countermarked laid paper. Way lists 28 lifetime impressions (Goulding printed 41 posthumously on April 12, 1904). Provenance: collector's seal of Henry Harper Benedict (Lugt 2936), a New Yorker who amassed an imprtant Whistler collection of 270 etchings and 1643 lithographs. Signed with the butterfly in the stone and in pencil. $10,000.
The Long Gallery, Louvre. 1894. Lithograph. Way 52; Levy 83; Tedeschi, Stratis and Spink 146. 8 3/8 x 5 3/4 (sheet 11 x 8). As published in The Studio, 1894, with their blindstamp. Printed on the full sheet of cream wove paper. Monogrammed with the butterfly in the stone. $825.
Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame. $3,750.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.i/ii. 11 7/8 x 7 1/2 (sheet 13 x 8 3/8). Edition 34 in three states (Goulding printed 45 posthumous impressions in 1904. A fine impression of the very rare first state, printed on Japanese mulberry paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. Housed in an archival French mat and an 18 3/4 x 14-inch gold leaf frame. $6,500.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.iii/iii. 11 7/8 x 7 1/2 (sheet 14 1/4 x 9 3/4). Edition 34 in three states (additionally, Goulding printed 45 posthumous impressions in 1904. A fine lifetime impression printed on off-white laid paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. $3,000.
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were only 28 impressions before the plate was cancelled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $1,750.
Whistler in Painting Jacket. (after the painting by Whistler. Gallatin 4). 1897. Photogravure. Gallatin 137. 9 7/8 x 7 1/4 (sheet 12 1/4 x 8 15/16). Published by Virtue & Co. Ltd (publishers of The Art Journal). Titled in the plate, below the image. $190.
J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $2,500.
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Along the Docks -- New York. c. 1985. Etching and drypoint. 10 x 13 3/4 (sheet 14 3/4 x 19 1/4) . Edition 50, #1. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, numbered and titled in pencil. A dramatic of the Manhattan docks. $350.
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet) 22 1/4 x 19. Edition 40. Fine condition apart from creasing in the lower left-hand sheet corner and a mark in the upper margin, both well outside the image. A dramatic richly-inked impression printed on the full sheet of Rives laid paper with deckle edges. Signed and dated in the plate. Signed, titled and annotated in pencil. $500.
Old Brownstones-- New York. 1983. Etching and drypoint. 8 7/ 8 x 12 1/3 (sheet 16 5/8 x 16 1/4). Third state. Printed on Rives cream wove paper with full margins. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, titled and annotated '3rd state -- 1983' and Steves'in pencil. A dramatic view of Manhattan. $350.
The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 5/8 x 18 1/8). Edition 100, #19. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, numbered and titled in pencil. A dramatic view of the Chrysler Building. $375.
Under the Bridge -- New York. 1985. Etching and drypoint. 9 1/2 x 12 1/8 (sheet 20 x 15 1/8 x 19). Edition 27, #26). Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in excellent condition, housed in an archival folder. The etching has bever been matted. Titled and numbered in pencil. by the artist; signed and initialed in pencil by the artist's estate. Provenance: the artist's estate A dramatic view of the lower East Side in New York. $350.
Brookside. c.1935. Etching, drypoint and aquatint. 11 7/8 x 10 (sheet 15 x 13). Edition 75. A rich atmospheric impression printed on 'France' countermarked cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Reflections. c.1935. Etching, drypoint and aquatint. 12 3/4 x 7 1/4 (sheet 15 3/4x 10 7/8). Edition 60. A rich atmospheric impression printed cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Snowstorm. c.1935. Etching, drypoint and aquatint. 10 1/4 x 12 1/8 (sheet 13 3/8 x 15 7/8). 2nd state, trial proof. A rich atmospheric impression printed on 'France' wove paper on the full sheet with deckle edges. Signed, titled and annotated '2/1' in pencil. $750.
Symphony in White. c.1935. Etching, drypoint and aquatint. 11 1/2 x 9 3/8 (sheet 15 3/4 x 12 5/8). Edition 50. A rich atmospheric impression printed on 'Arches' wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $750.
Two Trees. c.1935. Etching, drypoint and aquatint. 11 3/4 x 9 7 /8 (sheet 14 3/4 x 12 1/2). Edition 50. Illustrated: Print collector's Quarterly volume 24, #4 (December 1937): 463. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Winter Woodland. c.1935. Etching, drypoint and aquatint. 11 3/8 x 9 3/4 (sheet 16 x 13). Printed on 'France' cream wove paper with full margins. Signed, dated and titled in pencil. $750.
Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blindstamp. Signed, numbered and titled in pencil. Printed on on cream wove paper with full margins. A rare proof of this striking image. $500.
Mother and Child (Artist and Child). 1921. Linoleum cut. 9 1/2 x 6 (sheet 12 1/4 x 11). Initially, it appears that the image was used as a Christmas card, with lettering 'MERRY XMAS' above the oval, and 'FROM THE ZORACHS' below the oval. In this proof, the lettering has been inked over -- an efficient recycling of the image. A rich proof printed on Japanese mulberry paper professionally backed with archival paper. Pencil sketch of a foot, verso. Condition: 2 diagonal creases in the center of the image, a few pinholes, ink residue in the margins. A charming and unusual self-portrait. Signed and dated in pencil. $2,500.
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John Marin. 1870-1953.
Reginald Marsh. 1898-1954.
Charles Frederick William Mielatz. 1861-1919.
Pang Tseng-Ying. 1916-1997.
Joseph Pennell. 1857-1926.
America.
Europe
Jane Peterson. 1876-1965.
Joseph Rajer. American. Born 1908.
Grant Tyson Reynard. 1877-1968.
Louis Conrad Rosenberg, N.A. 1890-1983.
Doris Rosenthal. 1889-1971.
Ernest David Roth, N.A. American. 1879-1964.
Lewis Rubenstein. Born 1908
Anton Friedrich Josef Schutz. 1894-1977.
Warren W. Sheppard. 1858-1937
Jules André Smith. 1880-1959.
Raphael Soyer, N.A. 1889-19587.
Edward Howard Suydam. 1885-1940.
Diana Thorne. 1895-1963.
Walter Ernest Tittle. 1883-1969.
Jane Martin VonBosse. 1931-2011.
Cadwallader Lincoln Washburn. 1866-1965.
Stow Wengenroth, N.A. American. 1906-1978.
James Abbott McNeill Whistler. 1834-1903.
Accompanied by the Ando Hiroshige (1797-1868) woodblock that was apparently a major influence upon Whistler's image, Kyobashi and the Bamboo Bank of the Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Trimmed margins. Excellent color and condition.
$5,000 the pair.
Portraits of Whistler.
Paul César Helleu. 1859-1927.
Thomas Robert Way. 1861-1913.
Lawrence Nelson Wilbur. 1897-1988.
Ronau W. Woiceske. 1890-1953.
Lloyd William Wulff. Born 1913.
Marguerite Thompson Zorach. 1894-1964.