'Ha! Ha! Ha! Was there ever such a sober sentimental interview?' 1887. Etching after the drawing by Abbey. 9 7/8 x 8 5/8. As published in SHE STOOPS TO CONQUER: A Comedy by Dr. Goldsmith with drawings by Edwin A. Abbey Harper & Brothers, New York, New York, 1887, deluxe edition, folio. Unsigned proof on tissue. Housed in an elegant gold leaf and black frame.$175.
Click on the titles for images.
Mefisto, New York. 1932. Wood engraving. 6 9/16 x 4 1/2 (sheet 8 1/4 x 6 1/2). $2,750.
Reaching Beyond. c. 1933. Wood engraving. 8 x 6 9/16 (sheet 9 1/4 x 8). Unsigned. $100.
Subway Work at Night. Moscow. 1935. Wood engraving. 10 1/4 x 11 3/4. (sheet 13 1/4 x 14 5/8. Wide margins with deckle edges on top and bottom. Printed on Japanese mulberry paper). Paper folds in the margins. $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.
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. $750 the pair.
The Black Tower, Atlantic City, New Jersey. c. 1920. Etching and drypoint. Hausberg 135.ii. Edition 75, # 1 in this state. 4 7/8 x 6 7/8 (sheet 12 1/4 x 17 1/2). Printed on cream laid paper. Signed, titled and number in pencil. $500.
City Towers (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/' in pencil. $2,500 for the pair.
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. There are two tears in the left hand margin. There is a professionally repaired 3-inch tear in the clouds on the left. Unsigned, annotated 'trial' and 'City Tower' in pencil. A magnificent, unique proof. $2,500 for the pair.
Creek Scene II. c. 1932. Etching and drypoint. Hausberg 146.ii. 8 7/8 x 12 (sheet 12 3/8 x 15 5/2). Printed on cream wove paper. Signed, titled, date and annotated 'A imp et 1932' in pencil. $375.
Fairmont Dam. (Philadelphia) c. 1912. Etching and drypoint. Hausberg 135. 5 5/16 x 8 7/8 (sheet 11 1/2 x 13). Printed on cream laid paper. Signed and titled in pencil. Annotated 'cat #124' and '3' in pencil in another hand. The Fairmont Dam is located on the Schuylkill River in Philadelphia. $275.
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.
House on Cliff Walk, Newport, Rhode Island 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. $750 the pair.
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. $325.
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. $250.
610 Race St[reet] Stoop. 1913. Etching. Not in Hausberg. 3 3/8 x 8 13/16 (sheet 6 1/16 x 10 1/2). A rich impression printed on cream wove paper. Slightly toned; printing folds along the right-hand platemark. A rich impression of this very Whistlerian image. Signed and titled in pencil. $450.
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. $475.
California Hills. c. 1935. Woodcut printed in colors. 11 3/8 x 13 1/2 (sheet 13 x 15 1/2). Edition 150, #9. Printed on the full sheet of Japanese mulberry paper.Published by the artist in conjunction with the Federal Art Project, WPA (Works Progress Administration). With artist's monogram AGA in the block, lower right. The artist carved the block and printed the impression. Signed titled, numbered and annotated '3' in pencil. $1,250.
Brazilian Builders. 1933. Etching. Ryan 59. 8 1/2 x 16 1/2 (sheet 19 1/4 x 11). Printed on cream-colored wove paper. Illustrated: 1933 cover, Herald Tribune Magazine; Fine Prints of the Year, 1934. Awarded the prize for best print, Philadelphia Print Club, 1934. A brilliant impression of this dramatic image. Signed and titled in pencil. $4,000.
The Connectors. 1934. Etching. Ryan 66. 9 7/8 x 13 (sheet 16 7/8 x 13 1/8). 1934 - honorable mention, Society of American Etchers; 1042: purchase prize by the Cincinnati Art museum. A fine impression of this dramatic image printed on cream wove paper. Signed in pencil. $5,750.
On the Reef. c. 1933. Etching. Ryan 79. 6 7 /8 x 14 7/8(sheet 8 1/2 x 16 1/2). Edition not known. Printed on pale cream-colored paper. A rich impression of this dramatic image. Signed in pencil. $2,500.
Sky Riders. 1935. Etching. Ryan 85. 11 7/8 x 8 7/8 (sheet 15 x 12 3/4). A rich impression printed on pale cream-colored laid paper. Signed in pencil. $5,750.
Steel Workers. c. 1935. Etching. Not in Ryan. 7 x 5 (sheet 11 5/16 x 8 7/8). A rich impression printed on pale cream-colored wove paper. Signed and annotated '3rd P[roof] in pencil. $4,500.
Click on the titles for images.
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. $850.
A Devil of Notre Dame. 1929. Etching. Fletcher 255.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 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. A glowing impression printed on simili-Japan paper. Signed, dated and annotated 'I' in pencil. $2,750.
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. Signed in pencil. Illustated in Churches of France by Dorothy Noyes Arms (Macmillan, NY, 1929), page 20. Signed in pencil. $1,750.
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.
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. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $5,500.
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. $1,750.
Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Gargoyle series #3. Edition 75. A fine impression printed on cream laid paper. Signed in pencil. $3,200.
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 fo the books by John and Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. $2,750.
Dawn, Lake Como. 1920. Etching and aquatint printed in colors. Fletcher 53.ii. 7 1/8 x 5 1/8(sheet 11 9/16 x 9 1/16). Edition of 150 in color in this state and 75 printed in black and white (total edition 179). Printer: Frederick Reynolds. Illustrated: Print Connoisseur vol. 1, #2 (December 1920): 110. Printed on cream laid on the full sheet with deckle edges. Signed in pencil. $2,250.
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. Italian Series #15. Illustrated: Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,500.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.iii. 7 1/4 x 6 3/4 (sheet 13 3/8 x 8 3/4). Edition 137. Italian series #19. Illustrated: Anderson, American Etchers Abroad 1880-1930. Italian series. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed on cream laid paper from an antique volume. Signed, dated and annotated 'Ed. 100' 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: American Etchers: Kerr Eby. A rich impression on cream laid paper. Signed in pencil. $2,250.
French Church Series
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.
Église Saint Gervais, Gisors. 1932. Etching. Fletcher 249.ii. 10 x 8 5/16 (sheet 16 3/8 x 11 7 11/16). Edition 129. French Church Series #35. A fine impression printed by David Strang on the full sheet of cream 'J Whatman' laid paper. Signed, dated and annotated 'Ed. 100 I' in pencil. $225.
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 about a thousand hours to etch th extraordinary detail. Signed in pencil. $3,750.
The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $375.
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. A rich impression with plate tone printed on cream laid paper. Signed and dated in pencil. $275.
Other European Images
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.
Cavendish Common. 1938. Etching. F 370.ii. 6 1/2 x 14 19/16. English series #16. Edition 50. A glowing impression on white wove paper with full margins. Printed signature. $750.
The Old Order (The Church of St. Mary) and Arlington Row and Bridge over Coln River at Bibury. 1948. Etching. Fletcher 412.ii. 5 1/4 x 7 7 /8 (sheet 7 7/8 x 10 3/4). English series #14. Edition 150 for the Albany Print Club (total edition 200). A glowing impression on cream laid paper on the full sheet with deckle edges. Signed, dated and annotated 'Private collection B' indicating an exceptionally fine proof reserved for Margery Arms Roberts. $375.
Puerta del Obispo, Zamora (The Bishop's Door, Zamora). 1933. Etching. F 266. 12 1/x x 7 1/8. Trial proof, apart from the edition 160. Spanish Church series, #9. Signed, and annotated "trial proof xxv.III." and "Bon à tirer. No. III. J.T.A." A beautifully printed trial proof. $675.
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.
Stony Stratford, Rocks (Sketch). 1939. Etching. Fletcher 318. 6 7/8 x 4 7/8 (sheet 11 3/8 x 8 5/16). Edition 25. Demonstration Series #76: The Lenox Gallery, The New York Public Library, New York, N.Y., January 27, 1939 - 2 hours. A fine impression printed on the full sheet of cream wove paper. Signed, dated and annotated 'Third State, Stony Stratford, Rocks - Proof from demonstration plate drawn, etched, and printed in two hours, the New York Public Library, January 27, 1929. To Charles E. Pont, with my best wished. John Taylor Arms - 1939'. $200.
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. $250.
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. $1,250.
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Conductor I: Rehearsal. c. 1933. Pencil study for the drypoint, Morning Exercises. Flint 117. 12 1/2 x 9. Signed, lower right. $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 Stenberg, Chicago. Gift of Marcus to a Texas collector. Signed and annotated 'No. 25' in pencil by the artist. $12,500.
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Duck Blind 1925. Etching. Paff 245. 7 3/4 x 10 3/4(sheet 11 1/2 x 15). Edition 150. A rich impression in excellent condition, printed on cream 'J Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. $4,000.
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. $4,000.
Instruction. 1940. Lithograph. Fath 41. 10 7/16 x 12 5/16. Edition of 250 for Associated American Artists. Printed on white wove paper. Signed in pencil. $3,750.
The Bi-Centennial Pageant of George Washington.
For images, click on Bicentennial.
1932. Suite of 20 etchings illustrating events in Washington's life by: Arthur Heintzelman, Robert Nisbet, Sears Gallagher, Earl Horter, William Auerbach-Levy, Ernest Roth, Eugene Higgins, Ralph Boyer, Allen Lewis, Levon West, George Hand Wright, Kerr Eby, F. Luis Mora,Albert Sterner, Samuel Chamberlain, Louis Conrad Rosenberg, John Winkler, Ernest Lawson, Walter Tittle, Childe Hassam. Edited by John Taylor Arms and Harry A. Ogden, New York. Published by the George Washington Memorial Association, Inc. Sheet size: 14 3/4 x 19 3/4. Printed on 'G.W.' countermarked paper, on the full sheets with deckle edges. Sheet size: 19 1/2 x 14 3/4. Each image is signed in pencil. Lacking the original portfolio box; each image and sheet in pristine condition. The complete set of 20: $1,250.
Duck Pond. (Malden, Maine). 1888. Etching. 5 3/4 x 12 (sheet 13 1/2 x 19). A fine impression printed in black-brown ink with carefully wiped plate tone. Printed on cream wove paper with full margins. Signed in the plate. $175.
[Seaside Farm]. 1888. Etching. 4 x 10 (sheet 10 1/4 x 15 13/16). A rich impression with plate tone printed on cream laid paper. Tear in the lower margin, well outside the image; otherwise fine condition. Signed in the plate. $175.
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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.
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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.
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Reps. Etching and drypoint. Galvin 52.ii. 5 3/4 x 8 5/8 (sheet 10 x 12 7/8). A fine impression printed in sepia ink. Printed in cream wove paper, on the full sheet with deckle edges on two sides. Excellent condition apart from glue staining in the upper margin, well away from the image. Signed in the plate in letter text; signed in pencil, lower right; cowboy on horseback pencil remarque, lower left. $3,500.
Desert Night. 1926. Etching and aquatint. Seeber 187. 9 5/8 x 7 3/8 (sheet 11 5/8 x 10 5/8) Edition 40, #23. Series: Desert set. A beautiful impression printed on simili-Japan paper. Signed and titled in pencil. $2,500.
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.
Evening, Arizona. Etching. Seeber 367. 5 x 6 7/8 (sheet 8 7/8 x 11 5/8). Presentation plate for the Booklyn Society of Etchers. A beautiful impression printed in gray ink. A beautiful impression with extremely pale toning on pale cream colored wove paper. Signed in pencil. $850.
Longs Peak, Estes Park, Colorado (no. 2). c. 1916. Etching and aquatint printed in colors. Seeber 43. 6 1/8 x 8 3/8 (sheet 9 x 12 1/4). Series: Estes Park. A beautiful impression printed on white wove paper. Signed and annotated 'del et imp' in pencil, indicating a proof etching and printed by Burr himself. $3,250.
Ober Steinberg, Suisse. 1900-1905. Watercolor on paper. 9 1/4 x 13 1/2. Signed, lower left; titled, lower right. $1,250.
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. $6,500.
For small images, click on John Carroll. For large images, click on the titles.
[Head of a Woman]. c. 1929. Lithograph. 9 1/2 x 7 5/8. Illustrated: Clinton Adams, American Lithographers, 1900-1960, page 61. $750.
Head of Inez [the artist's wife]. c. 1929. Lithograph. 6 3/4 x 5 11/16. Edition 30, #7. $450.
Self Portrait. c. 1929. Lithograph. 8 7/8 x7 1/4. Edition 32, #8. $750.
Six Girls. c. 1929. Lithograph. 11 1/4 x 10 3/8. Edition 44, #5. Signed in pencil. $750.
Click on the titles for images.
Hélène of Septeuil (enfant au perroquet). c. 1889-1890. Drypoint. Breeskin, 134. 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 blue-green laid paper with a F Andbia AGL countermark, from an antique volume. Signed “Mary Cassatt” in pencil. Price upon request.
Denise Holding Her Child. c. 1905. Drypoint. Breeskin 204.ii. 8 1/4 x 5 3/4 (sheet 10 1/16 x 7 1/4). Posthumous printing on cream laid paper from an antique volume. Unsigned. $2,000.
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 old laid paper from an antique volume. $2,000
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 old laid paper from an antique volume. $2,000.
The Manicure. c. 1905. Drypoint. Breeskin 199. 7 13/16 x 5 1/2 (sheet 10 3/8 x 7 3/16). Posthumous printing on cream laid paper from an antique volume. Unsigned. $2,000.
Margot Wearing a Bonnet, No. 1. c. 1902. Drypoint printed in colors. Breeskin 179. 9 3/16 x 6 1/2. Unsigned. Posthumous printing with good color on wove paper with full margins. $2,750.
Sara Smiling. c. 1904. Drypoint printed in colors. Breeskin 195. 7 3/4 x 5 5/15 (sheet13 x 10). Posthumous printing with good color on wove paper with full margins. Unsigned. $2,500.
Seattle - The Puget Sound. Un nouvo Moudo de esplorare -- assimilore. (A new way to explore -- assimilate). 1955-6
Click on the title for an image.
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.
In Deep Vermont. c. 1947. Wood engraving. Springfield 81. 5 7/8 x 8 7/8 (sheet 10 1/2 x 13 1/2). Edition 250 for Associated American Artists. A rich impression printed by the artist on off-white wove paper. Signed, titled and annotated 'imp' in pencil. $275.
May Sunlight. 1941. Wood engraving. Springfield 61. 5 x 9 7/8 (sheet 9 3/8 x 12 1/2). Edition 250 for Associated American Artists. A rich impression printed by the artists on off-white wove paper. Signed, titled and annotated 'imp' in pencil. $275.
Ramshackle Barn.1929. Wood engraving printed with plate tone. Springfield 13. 6 1/2 x 7 1/2 (sheet 8 7/8 x 8 3/4). A rich impression printed on cream wove paper. Provenance: Springfield Art Museum deaccession Signed and annotated titled' in pencil. $275.
[Road in Vermont]. c. 1947. Lithograph. 5 1/4 x 8 (sheet 7 1/2 x 10 1/2). A rich impression printed by the artist on cream wove paper. Printing folds in the margin, outside the image; otherwise fine condition. Cheffetz's lithographs are rare. Provenance: Springfield Art Museum deaccession Signed and annotated 'imp' in pencil. $175.
Watercolor and Oils.
Barmaids. 2009. Watercolor on rag paper. 30 x 22. Signed, lower right. $1,200.
Them Thar Shoes. 2008. Oil on board. 8 x 10. Signed lower right. $1,000.
Fine Prints
Bad Girls series.
Easy to Pick Up. 2009. Etching and aquatint. 14 7/8" x 11 7/8. Edition plus 5 artist's proofs. Series: Bad Girls. A pristine impression printed on copperplate paper with full margins. Signed in pencil. $750.
She Had No Bed of Her Own. 2009. Etching and aquatint. 19 3/4 x 15 3/4.Edition plus 5 artist's proofs. Series: Bad Girls. A pristine impression printed on copperplate paper with full margins. Signed in pencil. $750.
Broadway Babes series.
Fifth Avenue. 2011. Lithograph. 8 3/8 x 5 1/4 (sheet 13 1/4 x 9 3/8). Series: Broadway Babes. A pristine impression printed on Canson Edition paper. Printed by James Reed, Milestone, Graphics. Signed, titled and numbered in pencil. $400.
Siren. 2011. Lithograph. 10 7/8 x 9. Edition 2. Series: Broadway Babes. A pristine impression printed by James Reed, Milestone, Graphics on , on the full sheet of Canson Edition paper. Signed, titled and numbered in pencil. $600.
Individual ImagesA Day in the Country. 1996. Intaglio. Amity 150. 15 7/8 x 20 5/8. Edition 50 with 5 artist's proofs. Printed on Velouwe. Signed in pencil. $500.
"As I was Say'n' to the Duchess." 1994. Etching and aquatint. Amity 130. 14 5/8 x 7 7/8. Edition 25 with 5 artist's proofs. Printed on Rives BFK. Prize: 10th Annual National Print Exhibition, Florida Printmakers Society. Exhibited at the 1998 World Print Festival in Slovenia. Signed in pencil. Framed $1,000; unframed $900.
Cygnus. 1977. Silkscreen and collage. 30 x 20. Star series. Edition 50. Printed on coated paper. Signed in pencil. $750.
Dreams. 2000. Etching and aquatint. Chernow 175. 10 3/4 x 13 1/4. Edition 15 with three artist's proofs. A unique impression printed in blue; edition 15 in siena on Copperplate Deluxe paper, on the full sheet with deckle edges. Signed, titled and numbered in pencil. $750 in blue; $600 in siena.
Lady Love. 2009. Lithograph from one stone. 7 x 6 1/2. Edition 15. A fine impression printed on Somerset paper. Signed in pencil. $500.
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.
A Small Cafe. 2000. Etching and aquatint. Chernow 176. 9 3/4 x 13. Edition 15, with 3 artist's proofs. Printed on Copperplate Deluxe. A pristine impression with full margins. Signed in pencil. $600.
Small Town Girl. 2002. Etching and aquatint. 9 3/4 x 7 7/8. Signed in pencil. $600. Small Town Girl. 2002. Etching and aquatint. 9 3/4 x 7 7/8. Signed in pencil. $600.
Spring. 2002. Etching and aquatint. 6 7/8 x 9 3/4. Edition 12. A pristine impression on the full sheet. Signed in pencil. $600.
Summer. 2010. Lithograph from one stone, printed on Arches paper. 8 3/4 x 7 1/2. Edition 7. Signed in pencil. $500.
Swingtime. 2009. Etching and aquatint printed on Arches paper. 10 x 8. Edition 12. Signed in pencil. $500.
Time After Time. 1989. Lithograph with watercolor. 22 3/8 x 30 5/8. Edition 56 (plus 5 artist's proofs). A bright impression printed on the full sheet of Arches paper. Signed and numbered 4/56 in pencil. $650.
Two for the Show. 2008. Lithograph from one stone printed on Rives paper. 10 1/2 x 15 1/2. Edition 6. Signed in pencil. $600.
Manhood. c. 1855. Engraving. Proof impression. Image: 15 1/2 x 22 3/4; sheet 20 1/2 x 28. 'From the Original Painting by Thomas Cole in the possession of Revd. Gorham D. Abbott, Spingler Institute, New York.'Publication line: Boston - Published by B.B. Russell, 55 Cornhill. Printed on warm white wove paper with margins. One scratch in the outer right-hand margin; otherwise excellent condition. $2,000.
The Voyage of Life: Childhood, Youth, Manhood, Old Age. c. 1855. Engravings. Images: 15 x 22 3/4; sheets 21 3/16 x 28 3/8. 'From the Original Painting by Thomas Cole in the possession of Revd. Gorham D. Abbott, Spingler Institute, New York.' Printed by J.H. Daniels, Boston; published by James H.Earle, 10 Hawley Street, Boston. Excellent condition, apart from a tear in the margin in Childhood. Signed in the plate. It is rare to find the complete set issued by the same publisher and in good condition. The Voyage of Life is one of the key landmarks in American art. $5,000 the set.
Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 (framed 35 x 30). Signed and dated, lower right. Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. $10,000.
Wood engravings from the collection of Dr. Eugene Allen Noble.
Intimité. 1910. 2 7 3/8 x 5 1/4. Proof on tissuepaper. Signed and titled 'Intimité Mus. Arts Decoratif Paris' in pencil. $125.
Lady Mildmay & Daughter Lady Mildmay & Daughter. Private collection NY. 7 3/16 x 5 1/16. Proof on tissue paper. Signed, titled and annotated, ' This Proof’s a little richer than the other T.C.' in pencil. $150.
Portrait of Mrs. Phipps N.Y. 1912. 7 3/4 x 4 3/16. Proof on tissue paper. Signed, titled and dedicated 'To E.A. Noble' in pencil. $150.
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.
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 "The Paradise Crater," Blue Book Magazine, (August 17, 1945).
[Futuristic Helicopters.] Conte crayon. 9 3/4 x 7. Initialed, lower right. Framed and glazed. $425.
[Futuristic Aircraft.] Conte crayon. 11 1/4 x 7. Initialed, lower center. Framed and glazed. $425
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Book Stalls. c. 1931. Wood engraving. Duffy 100. 3 11/16 x 5 3/16 (sheet 5 3/4 x 6). Proof apart from the signed edition of 100. Published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number. Unsigned. $175.
Chimneys. c. 1930. Wood engraving. Duffy 123. 4 15/16 x 3 1/16 (sheet 7 1/4 x 5). Proof apart from the signed edition of 50. As published in 1931 in the Weyhe Gallery in The Checkerboard Cook Number. Unsigned. $175.
Houses in Snow. 1931. Wood engraving. Duffy 150. 27/8 x 3 3/16 (sheet 7 1/8 x 5 9/16). Proof apart from the signed edition. As published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number.Unsigned. Backside of double sided checkerboard tail piece. c. 1931. Wood engraving. Duffy H.H. 5 1/16 x 3 3/8 (sheet 7 1/8 x 9/16). Unsigned. $175.
Queensboro Bridge, NY. 1930. Etching and aquatint. Duffy 139. 11 x 7 3/16 (sheet 14 x 11 5/8). Edition 50, #15 (only 40 proofs were printed). Signed, dated, titled, numbered and annotated 'aquatint' in pencil. A rich, carefully inked impression printed on cream laid paper. An extremely rare Marinesque image in Cook's oeuvre. Price upon request.
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John Brown. 1939. Lithograph. Cole 34. 14 3/4 x 10 3/4 (18 1/4 x 13 1/4). Edition 250 for Associated American Artists. Illustrated in Clinton Adams, American Lithographers, 1900-1960, plate 90; Hults The Print in the Western World, p.474. A fine impression on the full sheet of white wove paper with deckle edges. Signed in pencil. Price upon request.
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Flowers
Lily. c. 1930. Watergraph in green, grey, gold and white. 11 7/8 x 10 1/16. Signed in pencil. $325.
Red Waterlily. c. 1930. Watergraph in red, green, brown, black, grey and white. 11 7/8 x 10. Signed in pencil. $325.
White Waterlily. c. 1930. Watergraph in aqua, green, brown, black, grey, red and white. 11 7/8 x 10. Signed in pencil. $325.
Landscapes
Landscape. c. 1930. Watergraph black and grey. 9 7/8 x 14 (sheet 13 1/8 x 161/8). Unsigned. Signed in pencil. $175.
The Pool. c. 1930. Watergraph ingreen, brown, black, grey and mauve. 10 x 8 (sheet 16 x 13 1/4). Signed in pencil. $325.
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Racing Images.
At the Barrier. c. 1940. Etching and drypoint. 6 x 4 (sheet 9 3/16 x 7 1/16). Edition 50. A rich impression with plate tone, printed on 'J.Kool' laid paper. Signed, titled and annotated in pencil. $250.
Exercise - Lexington Track. c. 1940. Etching and aquatint. 6 7/8 x 8 5/8 (sheet 8 7/16 x 12 3/16). Drying tack holes in the margins. A rich tonal impression, printed on cream laid paper. Signed and titled in pencil. $400.
Exercise - Lexington Track. c. 1940. Etching and aquatint printed in colors. 6 7/8 x 8 5/8 (sheet 9 3/4 x 12 1/4). Drying tack holes in the margins. A rich tonal impression, printed on cream laid paper. Signed and titled in pencil. $500.
Hurdle - Race. c. 1940. Etching. 6 15/16 x 8 7/16(sheet 9 5/8 x 12 1/4). Edition 50. Drying tack holes in the margins. A rich impression printed on '[AR]ches (France)' laid paper. $250.
In the Stretch. c. 1940. Etching. 4 7/16 x 5 7/8 (sheet 7 3/8 x 8 1/2). Edition 50. A fine impression printed on 'J.Kool and Comp' laid paper with full margins. Signed, titled and annotated in pencil. $250.
Leaving the Paddock. c. 1940. Lithograph. 7 7/8 x 11 7/8 (sheet 13 1/8 x 18 1/8). Edition 30. Printed on cream wove paper. Signed, titled and annotated in pencil. $350.
Muddy Track.c. 1940. Etching. 3 x 4 15/16 (sheet 8 1/8 x 11 3/4). Edition c. 50. Drying tack holes in the outer margins. A rich impression with plate tone printed on the full sheet of simili-Japan paper. Signed and titled in pencil. $250.
On the Track. c. 1940. Lithotint. 10 x 14 1/8 (sheet 13 7/8 x 18). Edition 30, #7. Illustrated: Beall, American Prints in the Library of Congress. Printed on cream Rives wove paper. Signed, titled and numbered in pencil. $350.
Paddock. c. 1940. Etching. 6 1/4 x 9 1/8. Signed and titled in pencil. $275.
Race Stables - Kentucky. c. 1940. Color aquatint. 4 3/8 x 5 7/8 (sheet 8 x 11 1/2). Edition 30. Drying tack holes in the margins. Printed on cream wove paper. Signed and titled in pencil. $500.
Study [of Horses]. c. 1940. Etching. 3 x 4 7/8 (sheet 9 5/8 x 12 1/4). Edition 30. Slightly toned. Drying tack holes in the margins printed on cream laid paper. Signed, titled and annotated in pencil. $175.
Trouble at the Post. c. 1940. Etching and drypoint. 5 5/16 x 4 3/8 (sheet 9 x 8 1/8). A rich impression printed with plate tone on cream laid paper. Signed, titled and annotated in pencil. $225.
Two Year Olds at the Gate. c. 1940. Lithotint. 10 x 13 15/16 (sheet 14 x 17 7/8). Fine impression of Rive wove paper. Signed, titled and numbered in pencil. $350.
Unsaddling Paddock - Hialeah. c. 1940. Lithograph. 13 7/8 x 9 15/16. Edition 30. Signed, titled and annotated in pencil. $350.
Images of Women.
Girl Arranging Her Hair. c. 1940. Lithograph. 15 9/16 x 11 3/4 (sheet 18 x 14 1/8). Edition 35. A tonal impression printed on 'France' wove paper on the full sheet with deckle edges. A large, impressive lithograph. Signed, titled and annotated in pencil. $300.
Girl Undressing. c. 1940. Etching. 4 15/16 x 2 15/16 (sheet 8 7/8 x 7 5/8). A rich impression with plate tone, printed on 'J.Kool & Comd' laid paper. Signed, titled and annotated in pencil. $175.
Nude Back. c. 1940. Etching. 4 15/16 x 3 15/16 (sheet 8 3/4 x 7 1/8). Edition 50. Printed on cream laid paper. Signed, titled and annotated in pencil. $175.
Sugar Papa. c. 1940. Lithotint. 9 7/8 x 7 1/2 (sheet 18 x 14). Edition 35, #9. Printed on cream Rives wove paper. Signed, titled and numbered in pencil. $375.
Five-forty-nine. c. 1939. Lithograph. 12 5/8 x 19 (sheet 15 1/4 x 20 5/8). Illustrated: Beall, American Prints in the Library of Congress, p. 125. A rich impression printed on cream wove paper. Signed and titled in pencil. $750.
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. $5,000.
Grand Canal, Venice. 1883. Etching. Poole 19. 11 5/8 x 19 1/4 (sheet 16 7/8 x 24 5/8). Edition 100 signed proofs on Japan paper, and a number of unsigned proofs. Illustrated: Holme, Modern Etching and Engraving; Print Collector's Quarterly 25 (1938): 320. In 1887, the print was published by Frederick Keppel and Company, New York, under the title, Desdemona's House, Grand Canal Venice. A rich impression with plate tone printed on Japan paper with full margins. The plate was destroyed. Monogrammed and titled 'Canal Grande Venezia' in the plate. Signed in pencil. $4,500.
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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.
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.
Turkey Hill. 1932. Etching. Giardina 74.ii. 9 3/4 x 16 3/8. Edition 100. Illustrated: Print Collector's Quarterly 26 (1939): 94. A rich, tonal impression printed on laid paper with a crown and shield watermark and wide margins. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,150.
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.
Winter Wheat. 1933. Etching. Giardina176. 6 3/8 x 11 5/8. Edition 100. The scene is probably Connecticut. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $400.
Maine
Devil's Back or The Breakers. 1938. Charcoal drawing. A study for the aquatint (Giardina 197). 14 1/2 x 21 1/2 (sheet 15 1/4 x 22 3/4). The aquatint is illustrated in the Print Collector's Quarterly 26 (1939): 502. Signed and dated, lower right. The scene is on the Maine coast. $2,500.
Digging Clams. 1931. Etching. Giardina 163. 8 3/8 x 12 5/8 (sheet 11 3/4 x 15 7/8). Edition 350 for the Chicago Society of Etchers.A rich impression printed on 'France' cream wove paper with full margins. Brown paper tape along three edges. Signed in pencil. The scene is Maine. $450.
The Fish Weir. 1921. Etching. Giardina 46. 4 5/16 x 7 5/8. Edition 50. $250.
Hatchet Cove. 1937. Etching, aquatint and sandpaper ground. Giardina 194. 9 x 13 7/8 (sheet 11 3/4 x 16 5/8). Trial proof, apart from the edition of about 100. A very rich impression with atmospheric tonal wiping, printed by Eby. Signed and annotated "trial proof" in pencil. $1,250.
Little Franklin. 1937. Etching and sandpaper ground. Giardina 192.vi. 8 1/2 x 14 5/8. Edition 100. Little Franklin is a ledge located off the coast of Friendship, Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $550.
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.
Shadows on the Agawa, No. 2. 1929. Etching. Giardina 139.iii. 11 1/16 x 10 3/4 (sheet 16 5/8 x 13 7/8). Edition 90. A rich impression, printed by the artist on hand-made laid paper. Signed in pencil. $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. $550.
Massachusetts
High Land, Cape Cod. 1921. Etching. Giardina 54. 6 x 10 1/16. 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.$175.
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. $1,500.
The Fleischmann Estate: The Polo Field. c. 1920-25. Pencil study for the etching, Giardina 114. 8 x 13 (sheet 9 1/2 x 14 1/2). Signed in pencil. $450.
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.
Edge of the Sahara. 1922. Etching. Giardina 78. 4 9/16 x 12 3/8 (sheet 6 11/16 x 14 1/16). Edition 75. A rich impression with subtle plate tone printed on cream Van Gelder paper by the artist himself. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $200.
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. Edition 30. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene depicts a Bedouin tent in the Algerian desert. $250.
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.
Porthleven. 1925. Etching and drypoint. Giardina 104. 9 x 14 1/8. Trial proof, apart from the edition of 90. Porthleven is a port in Cornwall, England. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $250.
Spring in Cornwall. (Surrey). 1925. Etching. Giardina 106.iii. 11 3/8 x 8 1/4 (sheet 16 3/8 x 10). Edition 90. Some inking traces in the margins; otherwise fine condition. A fine impression on cream 'Van Gelder Zonen' laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $175.
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. $650.
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.
Born in Brooklyn, Evans was a pupil of P.R.B. Pierson. He exhibited at the Chicago Exposition in 1893, the Paris Exposition in 1900, as well as in London, Berlin, Vienna, Munich and New York. He was awarded bronze medals at the Buffalo Exposition in 1901 and at the St. Louis Exposition in 1904. He received a silver medal at the Panam Pacific International Exposition in 1915. He lived and worked in Brooklyn, New York. His work is in the New York Public Library, the Carnegie Institute, and in the Brooklyn Institute of Art and Science.
Evans was a disginguished 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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Albrecht Dürer, Painter-Engraver. 1877. Wood engraving after the mural by Edwin Austin Abbey (1852-1911), done in 1877. This was Abbey's first mural, and was painted for the President's Room of Harper Brothers, Franklin Square, New York. 4 1/8 x 7 31/16. Signed in pencil. A proof on tissue paper, affixed to a backing sheet at the four corners. $250.
Portrait of Johnson. 1935. Wood engraving after a sculpture by James E. . 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.
Abraham Lincoln. 1933. Wood engraving after a photograph by Bradley. 11 x 7 1/2 (sheet 18 x 13 7/8). A fine impression printed on cream wove paper. Signed and dated in the block; signed in pencil. A fine example of Evans' technical expertise. $250.
Napoleon. 1933. Wood engraving after a photograph by Bradley. 5 1/16 x 5 1/2 (sheet 11 1/4 x 8 7/8). A fine impression printed on white tissue tipped onto bristol board at the corners. Signed in pencil. A fine example of Evans' technical expertise. $250.
Little Dutch Girl. 1895. Wood engraving after Marcia Oakes Woodbury (1865-1913). 7 3/4 x 4 5/8 (sheet 11 1/8 x 9 7/8). Signed and dated in pencil by Evans. $75.
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End of the El. (End of the Bowery) 1933. Lithograph. 9 3/8 x 13 1/8. Edition 50, #25. Signed and numbered in pencil. A fine impression of this scarce lithograph. $1,750.
Evening, Fifth Avenue. 1965. Lithograph printed in colors. 22 5/8 x 18 (sheet 25 1/2 x 19 3/4). Edition 50. A fine impression printed on "BFK Rives" watermarked paper, on the full sheet with deckle edges. Signed in pencil. A pristine impression of this imposing image. $950
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Plaza Group -- Towers of Manhattan. c.1930. Etching. 10 x 5 5/16 (sheet 11 7/8 x 7 3/16). A rich impression on pale cream-colored wove. Pristine condition. Signed in pencil. A stunning view of the Plaza, the Sherry Netherland Hotel and the surrounding buildings. $500.
Metropolis, Union Square. 1938. Etching and aquatint. Smith I-83. 11 7/8 x 15 (sheet 13 7/8 x 18). Edition 35. Illustrated: Print Collector's Quarterly 24 (December, 1937): 338; Salpater, Handy Artist, page 58. A very rich impression printed on cream wove paper. Provenance: Shearson Lehman Brothers Corporate Art Colllection. Signed in pencil. $2,750.
Derelict. 1933. Etching and drypoint.9 x 13 3/4 (sheet 12 1/8 x 17). An extremely rich impression with drypoint burr printed on cream wove paper. Signed, titled and annotated '#1' pencil. $2,500.
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Express Stop. 1948. Etching. 6 1/2 x 5 7/8 (sheet 9 3/4 x 8 3/4). Edition 125 for the New York Society of Etchers, Graveurs, Lithographers and Woodcuters. LC 2, Illustrated: Beall, American Prints in the Library of Congress, p.177; Whistler to Weidenaar: American Prints 1870-1950, Museum of Art, Rhode Island School of Design, 1987. A fine impression with plate tone printed on cream laid paper. Signed in pencil. $750.
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.
Christmas Pudding. 1942. Etching. 4 7/8 x 2 7/8 (sheet 9 3/16 x 5). A fine impression with plate tone printed on watermarked laid paper. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.
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New York Set
Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Anotated 'Nov. 1980' on the mat. $475.
Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Printed on white wove paper. Signed, titled and dated in pencil. $300.
Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Anotated 'Nov. 1980' on the mat. $475.
Siren on the Sea - Dusk.c. 1980. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $300.
Siren on the Sea - Retreating Storm. c. 1980. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in chalk. $300.
Siren on the Sea - Sunrise. c. 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. $350.
Siren on the Sea - Windy Afternoon. c. 1980. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $300.
Paris Set
Paris - Toward the Louvre from Pont St. Michel. c. 1986. Lithograph with pastel coloring. 8 x 10 9/16 (sheet 13 7/8 x 18). Edition 40. Signed in pencil. $150.
Paris - Toward Notre Dame from Pont St. Michel. (Sunset and yellow sky). c. 1987. Lithograph with pastel coloring. 7 1/2 x 12 (sheet 13 3/4 x 8). Edition 40. Signed in pencil. $150.
Karl Marx' 'Capital' in Lithographs. Series of 62 lithographs. Each sheet 22 3/4 x 15 1/4. White Plains, NY:, 1933. Edition 133 issued privately. Lithographs printed by E. Desjobert, Paris, France. Each plate is signed by the artist. Typography by S.A. Jacobs, New York. Printed on watermarked BFK Rives paper. Covered in burlap, lined in red. This copy dedicated to Elmer Rice, the Pulitzer Price-winning American playwright, and with the original invoice. $17,000 the set.
Primary Accumulation was created, Hugo Gellert wrote, as a "translation into graphic form of the revolutionary concepts of Das Kapital. The set was first published in Paris in 1933 by Desjobert in signed editions of 133 impressions on BFK Rives cream, wove paper. The second edition was published in New York in 1934 by Ray Long and Richard Smith on 'BFK RIVES' watermarked laid paper. This impression of Primary Accumulation is from the second edition of 1934 and represents the thirteenth lithograph in the series. Second edition impressions were not hand signed and no edition was specified. It would be surprising, however, (particularly with the political climate of the times) to learn that this was a large edition. The strong and visually compelling construction of his imagery paces Hugo Gellert among the greatest American social artists of the Art Deco era.
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[2]. PRIMARY ACCUMULATION: secret of primary accumulation.
[3]. PRIMARY ACCUMULATION: secret of primary accumulation. [2 of 3]
[4]. PRIMARY ACCUMULATION: secret of primary accumulation. [3 of 3]
[5]. PRIMARY ACCUMULATION: The expropriation whereby the countryfolk were divorced from the land.
[6]. PRIMARY ACCUMULATION: The expropriation whereby the countryfolk were divorced from the land.
[7] PRIMARY ACCUMULATION: The expropriation whereby the countryfolk were divorced from the land.
[8]. PRIMARY ACCUMULATION: The expropriation whereby the countryfolk were divorced from the land.
[9]. PRIMARY ACCUMULATION: Savage legislation against the expropriated from the end of the fifteenth century onwards -- Acts of Parliament to force down wages.
[10]. PRIMARY ACCUMULATION: Savage legislation against the expropriated from the end of the fifteenth century onwards -- Acts of Parliament to force down wages.
[11]/ PRIMARY ACCUMULATION: Savage legislation against the expropriated from the end of the fifteenth century onwards -- Acts of Parliament to force down wages.
[12]. PRIMARY ACCUMULATION: Origin of the capitalist farmer -- Repercussion of the agrarian revolution on industry -- Creation of the home market for industrial capital.
[13]. PRIMARY ACCUMULATION: Repercussion of the agrarian revolution on industry-- creation of the home market for industrial capital.
[14]. PRIMARY ACCUMULATION: Origin of the industrial capitalist.
[15]. PRIMARY ACCUMULATION: Origin of the industrial capitalist.
[16]. PRIMARY ACCUMULATION: Origin of the industrial capitalist.
[17]. PRIMARY ACCUMULATION: Origin of the industrial capitalist.
[18]. PRIMARY ACCUMULATION: origin of the industrial capitalist
[19]. PRIMARY ACCUMULATION: historical tendency of capitalist accumulation.
[20]. COMMODITIES: The Two Factors of a Commodity.
[21]. COMMODITIES: The Two Factors of a Commodity
[22]. COMMODITIES: twofold character of the labor embodied in commodities.
[23]. COMMODITIES: twofold character of the labor embodied in commodities.
[24]. COMMODITIES: The Form of Value, or Exchange-value.
[25]. COMMODITIES: The Mystery of the Fetishistic Character of Commodities Exchange.
[26]. MONEY, OR THE CIRCULATION OF COMMODITIES.
[27]. TRANSFORMATION OF MONEY INTO CAPITAL.
[28]. TRANSFORMATION OF MONEY INTO CAPITAL: Purchase and Sale of Labor Power.
[29]. THE LABOR PROCESS AND THE PROCESS OF PRODUCING SURPLUS VALUE.
[30]. THE PRODUCTION OF SURPLUS VALUE.
[31]. THE PRODUCTION OF SURPLUS VALUE.
[32]. CONSTANT CAPITAL AND VARIABLE CAPITAL.
[33]. RATE OF SURPLUS VALUE: Degree of Exploitation of Labor Power.
[34]. THE WORKING DAY: Limits of the Working Day.
[35]. THE WORKING DAY: The Greed for Surplus Labor.
[36]. THE WORKING DAY: Struggle For a Normal Working day; Laws to Enforce the Extension of the Working Day, Passed From the Middle of the 14th to the End of the 17th Century.
[37]. THE WORKING DAY: Struggle for a Normal Working Day Repercussion of the English Factory Acts on Other Countries.
[38]. CONCEPT OF RELATIVE SURPLUS VALUE.
[39]. COOPERATION.
[40]. DIVISION OF LABOR AND MANUFACTURE: twofold origin of manufacture; the detail worker and his implement.
[41]. DIVISION OF LABOR AND MANUFACTURE: the capitalist character of manufacture.
[42]. MACHINERY AND LARGE-SCALE INDUSTRY: development of machinery.
[43]. MACHINERY AND LARGE-SCALE INDUSTRY: Development of Machinery.
[44]. MACHINERY AND LARGE-SCALE INDUSTRY: the value transferred by machinery to the product
[45]. MACHINERY AND LARGE-SCALE INDUSTRY: Primary effects of machino-facture upon the worker
[46]. MACHINERY AND LARGE-SCALE INDUSTRY: Prolongation of the Working Day
[47]. MACHINERY AND LARGE-SCALE INDUSTRY: Intensification of Labor
[48]. MACHINERY AND LARGE-SCALE INDUSTRY: The factory
[49]. MACHINERY AND LARGE-SCALE INDUSTRY: struggle between the worker and the machine
[50]. TRANSFORMATION OF THE VALUE, OR THE PRICE, OF LABOR POWER INTO WAGES
[51]. SIMPLE REPRODUCTION
[52]. LAW OF CAPITALIST ACCUMULATION
[53]. LAW OF CAPITALIST ACCUMULATION: effect of crises on the better-paid part of the working-class
[54]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: price of land
[55]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: labor rent; rent in kind
[56]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: money rent
[57]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: share farming and small peasants' property
[58]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: small peasants' property
[59]. TRANSFORMATION OF SURPLUS VALUE INTO GROUND-RENT: small peasants' property
[60]. HISTORICAL TENDENCY OF CAPITALIST ACCUMULATION
[Wadsworth Atheneum Barn - Hartford, CT]. 1949. Woodcut printed in colors. 6 1/8 x 8 (sheet 8 1/4 x 12 3/8). A fine impression printed on Japanese mulberry paper. Signed in pencil. $200.
Fishermen's Haven. 1945. Lithograph. 9 x 11 5/8 (sheet 10 1/2 x 13 1/4). Edition 250 for Associated American Artists. A fine impression printed on white wove paper with full margins. Signed in pencil. $275.
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.
Butch and Edna. 1930. Lithograph. 8 x 11/16 (sheet 10 x 14). Printed on cream wove paper. Signed, titled and annotated 'Merry Christmas to Paul Zimmerman' in pencil. $125.
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. $150.
Sun-Drenched Road [Tunisia]. 1927. Etching. 10 1/2 x 13 (sheet 11 1/8 x 15). Edition 50. Printed on cream-colored laid paper. Signed and annotated '-50 - 3rd state' in pencil; titled verso. $175.
Etchings.
The Bill Boards, New York. c. 1919. Etching. Cortissoz, Clayton 87. 4 5/8 x 6 (sheet 6 3/8 x 9 5/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Provenance: William Macbeth Gallery, New York. Signed and dated 1896 in the plate; signed with the cypher in pencil. $8,500.
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. Framed and glazed. A superb proof of this exceptionally rare image. $22,500.
House on the Main Street, Easthampton. 1922. Etching. Cortissoz/Clayton 213. 6 x 12 1/4 (sheet 9 3/4 x 15 1/4). 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. $4,750.
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. $6,500.
Midsummer. 1919. Etching. Clayton 150. 8 7/8 x 6 7/8 (sheet 11 3/4 x 9 1/4). Printed on cream laid paper from a gold-leafed book. Signed with the cypher and annotated 'imp' in pencil indicating a proof printed by the artist. On the verso is a cancelled etching by Hassam, The Great Dance 1916. Clayton 91. 8 1/4 x 9 7/8. Printed in sepia ink. 5 diagonal cancellation lines. Double-sided etchings are rarely found in Hassam's oeuvre. $6,750.
Old Lace. 1915. Etching and drypoint. Clayton 56. 7 1/2 x 7 1/4 (sheet 10 5/8 x 9 1/2). Printed on cream wove paper, with deckle edges and drying tack holes in the margins as usual. Signed "Cos Cob CH 1915" in the plate; monogrammed with the cypher and annotated 'imp' in pencil indicating an impression printed by the artist. Reproduction silver Hassam-style frame. $4,750.
Toby's, Cos Cob. October 31, 1915. Etching and drypoint. Clayton 55. 6 7/8 x 8 7/8 (sheet 9 1/4 x 10 1/8). A unique proof printed on cream wove paper from a Bible. Signed with the cypher and annotated 'imp' in pencil, indicating an impression printed by the artist. $5,500.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 3/4 x 10). Printed on cream laid paper with full margins. Signed with the cypher in pencil. Price upon request.
Lithographs and Lithotint.
Avenue of the Allies. 1918. Crayon and lithotint. Kleeman 2; Griffith 43. 12 1/2 x 6 5/8 (sheet 18 7/8 x 13). Edition 117. As published in Art and the Great War by A. E. Gallatin. Signed and annotated in the stone "Childe Hassam 1918"; signed with the cypher in pencil. An excellent impression printed on fine off-white wove paperwith full margins. $7,500.
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 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. 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.
Red Cross Nurse (Portrait of Cecilia Beaux). 1918. Lithograph. Kleeman 33; Griffith 39. 11 1/2 x 9 1/4 (sheet 17 3/4 x 11 5/8). Edition 50. Signed and annotated in the stone "Childe Hassam Aug 29th 1918 East Gloucester"; signed with the cypher in pencil. A fine impression printed on Japanese mulberry paper with an oak leaf watermark. Full sheet with deckle edges. $5,250.
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. $7,500.
Extra. 1939. Lithograph. 15 1/2 x 12 1/2 sheet 20 3/8 x 15 7/8). Edition 25, #13. Printed on fine wove paper; some wrinkling inherent in the paper. A lively, scarce image. Signed, dated, titled and editioned in pencil. $750.
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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. $550.
Click on the titlez for images.
Enfant de la Montagne (A Mountain Child). 1927. Drypoint. 9 1/2 x 7 3/4 (sheet 16 1/4 x 13 9/16). Edition 100. A glowing impression printed cream laid paper. Printed on the full sheet with deckle edges. Signed in pencil. $225.
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. $225
The Pilgrim. 1919. Drypoint. 7 7/8 x 5 7/8 (sheet 11 x 9 15/16). Printed on cream wove paper. Illustrated: Arms. 'Arthur William Heintzelman, Etcher', Prints vol. 3, #4 (May, 1933): page 5. Signed and dedicated in pencil to 'Eugene A. Noble'. $175.
Portrait of Albert Schweitzer. 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.
Young Amish Man. 1945. Drypoint. 9 15/16 x 8 15/16 (sheet 15 13/16 x 12). A rich impression printed on 'BFK' cream wove paper. Signed and titled in pencil. $500.
Bankrupt. c. 1928. Woodcut. 4 3/8 x 2 1/2 (sheet 4 7/8 x 3 1/2). Printed on cream wove paper. Signed in pencil. $275.
Baseball. 1928. Woodcut 6 3/4 x 8 5/8 (sheet 10 5/8 x 14 1/2). Printed on sturdy mulberry paper. Signed, dated and titled in pencil. $950.
Centaurs. c. 1927. Woodcut. 3 3/4 x 2 5/8 (sheet 5 1/8 x 3 5/8). Printed on sturdy Japanese mulberry paper. Signed in pencil. $325.
Cop. 1927. Woodcut. 12 x 7 1/2 (sheet 16 1/2 x 10 1/2). Printed on Japanese mulberry paper. Signed, dated and titled; signed and annotated 'Chicago' verso. $850.
Creation. 1928. Woodcut. 7 3/8 x 8 3/4 (sheet 10 1/2 x 12 3/8). Printed on sturdy Japanese mulberry paper. Signed, dated and titled in pencil. $750.
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. $600.
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.
Ghost on the Stair. c. 1927. Woodcut. 4 5/16 x 2 1/2 (sheet 7 5 1/6 x 5 5/16). Printed in sturdy Japanese mulberry paper. Signed and titled in pencil. $325.
Hall Bedroom. 1928. 2 x 1 1/4 (sheet 3 7/8 x 3 1/4). Printed on 'Hand {Made}' wove paper. Signed in pencil. $175.
Hand and Rose. 1928. Woodcut. 1 3/4 x 1 3/8 (sheet 4 1/2 x 3 3/4). Printed on grey laid paper. Signed in pencil. $175
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.
In the Last Day the Sea Will Be Master. 1940. Woodcut. 3 7/8 x 2 1/2. (sheet 5 1/4 x 4 1/2). Printed on sturdy Japanese mulberry paper. Signed in pencil. $325.
March. c.1927. Woodcut. 4 5/16 x 2 5/16 (sheet 8 7/8 x 6 3/4). Printed on cream wove paper. Signed in pencil. $275.
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.
Pisces. 1928. Woodcut. 8 3/8 x 7 5/16 (sheet 14 9/16 x 10 1/2). Illustrated: Print Collector's Quarterly 29 (1942): 164. Printed on sturdy Japanese mulberry paper. $850.
Pont and War. c.1927. Woodcut. 5 x 4 (sheet 9 x 6 7/8). Printed on thick fibrous Japanee mulberry paper. Signed in pencil. $500.
Prairie Child. 1926. Woodcut printed in colors. 9 1/4 x 8 3/8 (sheet 13 1/2 x 10 3/4). Signed and titled in pencil. $750.
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.
Secret. Woodcut. 5 x 4 (sheet 8 7/8 x 6 3/4). Printed on fibrous Japanese mulberry paper. Signed in pencil. $475.
Silence. Woodcut. 4 5/16 x 2 7/16 (sheet 7 9/16 x 6 1/8). Printed on fibrous Japanese mulberry paper. Initialed in the plate. Signed in pencil.$475.
The Four Evangelists. 1951. Woodcut. x 6 1/2. Matthew, Mark, Luke and John are presented in medieval iconography. $125.
Mount Vernon - Rear. c. 1930. Etching. 8 5/8 x 11 1/2 (sheet 11 1/4 x 15 5/8). Series: Historic Homes of Virginia A fine impression printed on cream wove paper, on the full sheet with deckle edges. Signed in pencil. $175.
Washington Arch in Snow (with traveller). c. 1930. Lithograph printed in blue ink. 11 1/4 x 9 7/16 (sheet 16 x 12). A tonal impression printed in blue ink on off-white wove paper with full margins. Signed in pencil. Hoover has captured a charming winter scene. $1,750.
Washington Arch in Snow (with traveller). 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 greyish tones suggest the snow. Signed in pencil. $1,750.
Washington Arch in Snow (with traveller and bus). c. 1930. Lithograph.11 1/4 x 9 7/16 (sheet 16 x 12). Edition c. 40.Illustrated: Beall, American Prints in the Library of Congress, page 220. A tonal impression printed on off-white wove paper with full margins. Signed in pencil. Hoover has captured a charming winter scene. $1,750.
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Going to Market (Viga Canal, Mexico). 1912. Woodcut printed in colors. Mason and Mason 93. 11 1/2 x 4 1/4 (sheet 15 x 7 7/8). Illustrated: The New Wave, page 40. A subtle tonal impression printed on fine Japanese paper. Monogrammed and signed in pencil in the image. $775.00
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.
The Return. 1907. Woodcut printed in colors. Mason 75. 15 3/8 x 8 1/4 (sheet 19 1/8 x 10 1/2). Signed numbered '21.' in pencil in the image. A rich impression with glowing colors, printed on tissue-thin paper with full margins. $1,500.
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 up.
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.
Click on the titles for images.
Floral Drypoints.
Bayonet rush. (jointed bog rush. Juncus militaris). 1932. Drypoint. Jaques 410. 13 3/4 x 4 (sheet 16 3/4 x 8 3/4). A rich impression printed with plate tone on Japanese mulberry paper. Signed in pencil. $300.
Chinese Lanterns. (Physalis alkekengi). 1923. Drypoint. Jaques 337. 9 1/2 x 5 7/8 (sheet 13 x 10 1/4). Printed on the full sheet of Japanese mulberry paper. A fine impression with plate tone. Printed on Japanese mulberry paper, on the full sheet with deckle edges. Provenance: the artist's estate. Unsigned. Annotated "1st". $150.
Clematis. (Clematis integrifolia). 1933. Drypoint with hand coloring. Jaques 407. 10 x 5 3/4 (sheet 13 3/8 x 7 7/8). Printed on Japanese mulberry paper. Unsigned. Provenance: the artist's estate. $400.
Columbine. 1931. Drypoint. Jaques 392. 9 3/8 x 4 11/16 (sheet 12 1/2x 8 1/2). A rich impression with plate tone, printed on Japanese mulberry paper. Annotated "1st proof" in pencil. $200.
Dandelions in the Grass. (Taraxacum officinale). 1919. Drypoint. Jaques 278. 13 1/4 x 5 1/4 (sheet 15 7/8 x 5 1/4). A rich impression printed with plate tone in grey-green ink on Japanese mulberry paper. Provenance: the artist's estate. Unsigned. $225.
Darlingtonia. (Darlingtonia Californica) 1934. Jaques 415. 14 x 9 1/4 (sheet 15 3/4 x 10 1/2). A rich impression printed on Japanese mulberry paper. Signed, titled and annotated "Phantom print." $325.
Eucalyptus Balls (Seeds). February, 1933. Drypoint with hand coloring. Jaques 405. 7 1/2 x 5 5/8 (sheet 10 x 7 1/2). A rich impression printed on Japanese mulberry paper. Signed and titled in pencil. $450.
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. $750.
Grapes. 1937. Jaques 429. Drypoint. 7 13/16 x 4 7/8 (sheet 10 3/8 x 8 1/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. $275.
Love Apples. 1939. Drypoint. Jaques 454. 12 3/8 x 7. Two rich impresions on Japanese mulberry paper. Provenance: the artist's estate. Signed and titled in pencil $450.
Lychee Nuts (Litchi chinensis). 1938. Drypoint. Jaques 444. 11 7/8 x 8 3/8 (sheet 16 x 10 1/8). A very rich impression printed with plate tone on Japanese mulberry paper. Signed and titled in pencil. $350.
Pearbuds. 1924. Drypoint with hand coloring. Jaques 343. 10 7/8 x 5 7/8 (sheet 15 1/8 x 9 1/2) . Excellent color and condition, printed with plate tone on Japanese mulberry paper. Signed in pencil. $750.
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. $500 the pair.
Spiderwort. (Tradescantia bracteata. Bracted Spiderwort). 1926. Drypoint. Jaques 353. 13 7/8 x 7 7/8 (sheet 13 7/8 x 10 1/2). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Unsigned. $250.
Sweetbriar (little). 1922. Etching and drypoint. Jaques 324. 5 7/8 x 2 7/8 (sheet 8 3/16 x 5 3/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Monogrammed in the plate; annotated "1st proof" in the artist's hand. The artist also made a larger plate of the same subject. $125.
Sycamore Balls 1932. Drypoint. Jaques 398. 11 13/16 x 5 7/8 (sheet 15 1/2 x 10).A rich impression with plate tone on Japanese mulberry paper. $400.
Walnuts (Junglans). 1937. Drypoint. Jaques 437. 8 7/8 x 6 3/4 (sheet 14 1/2 x 9 5/8). A very rich impression printed on Japanese mulberry paper. The small dark area, lower left, is a fragment of mulberry paper on the verso. Provenance: the artist's estate. Signed, titled and annotated "1st proof - and a good one too" in pencil. $350.
Woodbine (Parthenocissus quinquefolia). 1937. Drypoint with hand coloring. Jaques 425. 11 x 7 1/4 (sheet 14 1/2 x 10 1/2). Printed on tissue paper. Provenance: the artist's estate. Signed and titled in pencil. This is what Bertha Jaques termed a "ghost" or "phantom" print. It is a second pull from the plate without reinking it. The result is a delicate, ethereal image. $550.
Woodsfolk -- Mushrooms. 1938. Drypoint. Jaques 448. 6 x 8 (sheet 7 5/8 x 9 7/8). A very rich impression with plate tone on cream Rives watermarked paper. Signed and titled in pencil. $325.
Wool Grass. October, 1932. Drypoint. Jaques 399. 13 1/4 x 5 1/2 (sheet 17 3/4 x 12). A Several print folds. rich impression printed with plate tone on white wove paper. Signed and titled in pencil. $250.
Landscape and Architectural Etchings and Drypoints. Signed in pencil.
Click on the images for larger screens.
Dumb Bell Inn -- Near London. 1913. Etching. Jaques 220. 9 13/16 x 5 15/16 (sheet 11 x 8). A rich impression with plate tone, printed on cream wove paper. A rich impression with plate tone. $175.
The Mail Boat, Venezuela. 1931. Drypoint. 7 3/4 x 9 7/8 (sheet 12 x 14 1/4). Edition 100. A rich impression, with plate tone, printed on off-white paper with a partial 'tweed' watermark. Signed in pencil. $225.
Yuki no yougure. (Snow at Dusk). c. 1920. Watercolor on Japanese paper with a chrysanthemum watermark. 37 1/2 x 25 1/4. Original frame: 45 x 32. The shop on the right sells cigarettes. An extremely large and dramatic image in fine condition. Works by this short-lived artist are rare. Signed "K. Kato" lower right. $2,500.
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A Bend in the Road. c. 1934. Linocut. 4 1/2 x 4 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed and dedicated "my grateful appreciation of Carl Fro Kallog and all his family" in pencil. $125.
[Winter Storm]. c. 1934. Linocut. 3 13/16 x 3 1/8 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
Dirty Deborah (Greenland). 1933. Lithograph. Burne-Jones 96. 8 7/8 x 6 5/8 (sheet 12 5/8 x 11 1/2). Edition 150. Illustrated: Kent, Salamina; Chegodaev, Rockwell Kent. A fine impression printed on Rives wove paper. Signed and titled in pencil. $975.
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. $225.
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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. Signed in pencil. Elegantly framed. $975.
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. Signed in pencil. Elegantly framed. $975.
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Vermont Cottage. c. 1927. Woodcut. 2 9/16 x 4 1/2 (sheet 5 1/4 x 8 7/8). Printed on sturdy laid paper. Signed and titled in pencil. $175.
Whitaker's Road. c. 1934. Woodcut. 3 3/16 x 4 1/2 (sheet 6 x 7 7/8). Printed on cream laid paper with full margins. Signed and titled in pencil. $125.
Nude Bending. c. 1950. Drawing. 14 x 9 1/2 (sheet 15 3/4 x 11 3/4). Signed in pencil, lower right. Lansky ws a friend of Yasuo Kuniyoshi at the Woodstock art colony. This drawing is an elegant study in pure line. $350.
Click on the titles for images.
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. $775.
Lambing: January. 1933. Wood engraving. Boston Public Library 216.ii. 8 x 10 3/8 (sheet 11 1/2 x 12 5/16). Series: The Farmer's Year: A Calendar of English Husbandry (London, Collins. 1933; New York: Longmans Green and Co, 1933.) Edition 100, #20 (from the second lifetime printing c. 1978). Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored wove paper with full margins. Signed, titled and numbered in pencil. $1,750.
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.
To the Milking: July. 1933. Wood engraving. Boston Public Library 218.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.) Edition 100, #42 (from the second lifetime printing c. 1978). Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored wove paper with full margins. Signed, titled and numbered in pencil. $1,750.
Winnowers, Majorca. 1939. Wood engraving. Boston Public Library 424. 6 x 7 5/8 (sheet 7 1/2 x 11). Edition 200, #111. Presentation print for The Woodcut Society. Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. $950.
New York
Skyscrapers. 1929. Wood engraving. Boston Public Library 148. 5 5/8 x 4 1/4 (sheet 6 3/4 x 6 1/2). Edition 30, #29. Printed on pale cream-colored Japanese mulberry paper with full margins. A fine, well-inked proof of this very rare image. Signed, titled and numbered in pencil. $4,250.
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. $125.
New York images
Arch, Midnight. 1930. Drypoint. McCarron 84. 8 1/8 x 11 5/8 (sheet 11 3/8 x 15 3/8). Edition of 99 recorded impressions. Illustrated American Etchers: Martin Lewis. A rich, well-inked impression printed on cream laid paper with full margins. Signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. $13,000.
Bay Windows. 1929. Drypoint and sandpaper ground. McCarron 80. 11 3/4 x 7 7/8 (sheet 15 7/8 x 10 3/8). Edition 104. A fine impression printed on white laid paper with a cross watermark, on the full sheet with deckle edges. Signed and annotated "imp" in pencil, indicating a proof printed by the artist himself. Price upon request.
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. $24,000.
(Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 39 1/2 x 26 1/8). 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). Louise Deming Louis was the artist's wife. $10,000.
East Side Night, Williamsburg Bridge. 1928. Etching. McCarron 71. 9 7/8 x 12 (sheet 14 x 16 1/4). Edition of 69 recorded impressions. A rich impression printed on cream laid paper, with full margins (the top sheet corners trimmed). Signed and annotated "imp" in pencil, indicating a proof printed by the artist himself. $12,500.
The Great Shadow. 1925. Drypoint. McCarron 44. 9 7/8 x 7 inches (sheet 15 1/4 x 11 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 'First imp' in the lower left-hand margin and 'I' in the lower right-hand margin in pencil. $7,500.
Rain on Murray Hill. 1928. Drypoint. McCarron 75. 7 13/16 x 11 3/4 (sheet 10 7/8 x 16 5/16). Edition 110 recorded impressions. Illustrated: Fine Prints of the Year, 1926. A rich impression with drypoint burr and plate tone, printed cream wove paper. Signed in pencil. Price upon request.
Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 111 1/2 x 14 1/2). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression printed on cream wove paper with full margins. Dedicated in pencil, 'To Chas Furth in appreciateion of many courtesies. Sep. 26th '29.' Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Price upon request.
Shadow Dance. 1929. Drypoint. McCarron 88. 9 1/2 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; A fine impression printed on cream laid paper with full margins. Signed in pencil. Price upon request.
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 extant. $15,000.
Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron 89.ii. 10 x 15 (sheet 13 1/2 x 18 1/2). Edition 115 recorded impressions. Illustrated: American Etchers: Martin Lewis. A fine impression printed on Whatman white paper with full margins. Signed in pencil. Price upon request.
The Feathered Hat. 1930. Pencil drawing. 8 7/8 x 5 15/16. Drawn on the full sheet of cream sketch paper. Estate seal verso: Lucille Deming Lewis Collection; estate inventory number LDL-459. Signed in pencil. Initialed by the artist's wife, Patricia Lewis. $750.
Figure Study. 1940-41. Pencil drawing. 8 x 4 15/16. Drawn on the full sheet of sketch book paper. Related to the two female figures in 'Chance Meeting', McCarron 131; a. Woman on left holding grocery bag, b. Woman on right standing. Estate stamp verso: Lucille Deming Collection. Estate inventory number LDL-986. Signed in pencil. Initialed by the artist's wife, Patricia Lewis. $850.
[Rainy Afternoon]. c.1928. Conte crayon drawing. 8 3/4 x 7 1/16. Drawn on tan wove paper from a small notebook. The drawing has overtones of Wet Saturday (McCarron 81). Unsigned. Estate seal verso: Lucille Deming Lewis Collection; estate inventory number LDL-794. $1,250
Connecticut images
Day's End. 1937. Drypoint. McCarron 120.ii/iii. Sixth trial proof. 9 3/4 x 13 3/8 (sheet 13 1/4 x 17 1/8). Edition 34 proofs (including 8 trial proofs). A rich impression with carefully-wiped plate tone printed on cream wove paper. Signed and inscribed '6th trial proof' in pencil $30,000.
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.
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. Price upon request. $9,750.
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. 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 edges, backed with mulberry paper; otherwise fine condition. Estate stamp verso: Lucille Deming Collection. 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. $9,500.
The Empire State Building. 1930. Etching. 19 x 8 (sheet 21 5/8 x 11 9/16). A rich, well-inked impression printed on cream wove paper with full margins. Signed and dated in pencil. $2,500.
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Hudson Bridge (George Washington Bridge). 1929. Lithograph. Flint 30 14 1/4 x 8 3/4 (sheet 16 x 11 5/16). Edition 15, #8 (Flint states that the edition was probably 25-50 proofs). A rich tonal impression printed on the full sheet of 'Rives' wove paper. Housed in a silver leaf frame. Signed, dated and numbered in pencil. $6,500.
Subway Construction. 1931. Lithograph. Flint 86. 16 5/8 x 12 3/4 (sheet 11 1/2 x 15 7/8). Edition 50, #3 . A rich tonal impression printed on the full sheet of 'BFK' (Rives) wove paper. Housed in a silver leaf frame. Signed, dated and numbered in pencil. $7,500.
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Italy
My Birthplace. 1939. Etching. Embury 63. 8 7/8 x 6 7/8 (sheet 13 x 11 1/4). N Edition 178 for Associated American Artists. A fine impression in pristine condition, printed with plate tone on cream wove paper. Provenance: the artist. Signed, dated and titled in pencil. $250.
Vermont
Elms By the Lake. 1937. Etching. Embury 58. 7 3/4 x 10 7/8 (sheet 12 7/8 x 15 14/16). Edition 152 for Associated American Artists. A fine impression in pristine condition, printed with plate tone on cream wove paper. Provenance: the artist. Signed, dated and titled in pencil. $325.
Route 7. 1946. Etching. Embury 96. 8 3/4 x 11 3/4 (sheet 12 x 15 7/8). Edition 250 for Associated American Artists. A rich impression printed on white wove paper with full margins. Signed in pencil. $350.
Tree Portraits. 1969. Etching. Embury 150. 10 1/2 x 7 3/4 (sheet 16 3/4 x 13). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of white wove paper. Provenance: the artist. Signed, dated and titled in pencil. $300.
Tree Rhythm. 1953. Etching. Embury 99. 11 5/8 x 9 3/4 (sheet size 15 7/8 x 13 inches). Edition 250 for Associated American Artists. A fine impression in pristine condition printed on cream-colored wove paper. Provenance: the artist. Signed and dated in pencil. $300.
Trees and Mountains 1936. Etching. Embury 55. 8 7/8 x 11 (sheet size 10 3/4 x 13 inches). Edition 198 for Associated American Artists. A fine impression in pristine condition printed on cream-colored wove paper. Illustrated: Craven, A Treasury of American Prints. Signed and dated in pencil. $350.
The Perfume Magnolia. Oil on canvas board. 16 x 12 (framed 21 1/2 x 17 1/2). Signed in pencil "Bertha Lum" lower right. Pristine condition. Price upon request..
The Perfume Water Lily. Oil on canvas board. 12 x 16 inches (framed 17 1/2 x 21 1/2). Signed in pencil "Bertha Lum" lower right. Provenance: Kennedy Galleries, label verso. Pristine condition. Price upon request.
Landscape. 1932. Etching. 5 1/2 x 12 (sheet 11 3/8 x 16 3/4). A rich impression printed in black-brown ink on cream wove paper. Signed in pencil. $175.
Venetian Noontide. 1912. Etching. Bruette 187. 9 11/16 x 11 5/8 (sheet 10 x 12 1/4). A rich impression with tonal wiping, printed on cream laid paper. Signed in pencil. Illustrated: Print Collector's Quarterly 6 (1916): 115. $975.
Silent Night. 1945. Etching with drypoint and aquatint. 8 5/8 x 11 13/16 (sheet 12 x 15). A rich impression with plate tone, printed on cream wove paper with full margins. Commissioned by W.C. Hamilton and Sons, paper manufacturers in Miquon, PA, as a Christmas Greeting. Signed and titled in pencil. $275.
Incalculable Forces. c.1936. Etching and aquatint. 14 x 8 1/4 (sheet 16 3/8 x 10 3/8). Edition 100, #18. A richly-inked impression on pale cream-colored paper watermarked. Pristine condition. Signed,annotated "S.A.E." [Society of American Etchers], titled and numbered in pencil. A dramatic view of the Manhattan Skyline with the Empire State building seen from the Brooklyn Bridge. $9,000.
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 extrememly rich impression printed on Rives wove paper, on the full sheet with deckle edges. Provenance: gift of the artist to Baldwin-Wallace College, Berea, OH. Signed and titled in pencil. $6,750
Click on the titles for images.
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.
The Bowery. 1928. Lithograph. Sasowsky 16. 8 1/4 x 11 3/4 (sheet 11 13/16 x 14 3/8 at the top and 15 5/8 at the bottom of the sheet. Irregularly trimmed). Edition 31 according to Marsh's notebook; however, the lithograph is annotated "30 proofs" in Marsh's hand. An excellent impression printed on chine collé. Signed and annotated in pencil. $7,500.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.
Gaiety Burlesk. April 20, 1930. Etching. Sasowsky 102.vii. 11 3/4 x 9 3/4 (sheet 15 9/16 x 13 1/8). Proof before the 1969 posthumous edition of 100 for the Whitney Museum (there were about 39 lifetime impressions). Illustrated: Beall, American Prints in the Library of Congress, p. 293. Printed on white wove paper with full margins. Annotated 'Proof' in pencil, lower left; with the 'WM' (Whitney Museum) blindstamp, lower right. This is one of Marsh's most important images. $1,750.
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. With the 'WM' (Whitney Museum) blindstamp, lower right. $1,250.
Steeplechase. July 18, 1932. Etching. Sasowsky 138.x. 8 x 11 (sheet 13 x 15 1/2). Proof #18 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 10 lifetime impressions and a posthumous edition of 100 in 1956). Printed on white wove paper with full margins. With the 'WM' (Whitney Museum) blindstamp, lower right. This is one of Marsh's most delightful images. $1,750.
Click on the title for an image.
Bather (Nude Bather, Seated, Facing Window). 1925. Lithograph. Flint 7. 14 1/8 x 10 3/4 (sheet 18 9/16 x 12 3/8). Very few impressions; no published edition. Fine impression apart from vertical uneven printing line. Printed on cream wove paper,with wide margins and a deckle edge on one side. Unsigned. Exhibited: Whitney Museum of American Art, December 18, 1979 - February 24, 1980, and at the National Museum of American Art, November 21, 1980 - December 12, 1980. This is a rare image, probably a proof impression. $1,500.
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. $1,750 the pair.
Old Mill near Newport. 1887. Etching. 9 1/4 x 6 3/4 (sheet 12 7/8 x 9 5/8). As published by Frederick A. Stokes in Representative Etchings By Artists Of To-day In America. A fine impression printed on cream wove paper with deckle full margins. Signed and dated in the plate; signed and titled in letterpress below. $325.
Leaving the Shop. 1929. Etching. 8 x 9 13/16 (sheet 9 3/4 x 12 1/2). Illustrated: Craven, A Treasury of American Prints; Kraeft, Great American Prints 1900-1950; Graphic Excursions from the Dave and Reba Williams Collection. A rich impression with plate tone printed on cream laid paper. $800.
Click on the title for an iamge.
An Apple Orchard, Easthampton, L.I. (Mulford's Orchard, East Hampton, Sept. 21st, 1883). 1883. Etching. Klackner 36, Gilcrease 45. 11 5/8 x 17 1/2 (sheet 14 3/8 x 21 15/16). A rich impression printed on chine mounted on simili-Japon. Signed, titled (written in reverse) and dated in the plate; also signed in pencil. Klackner quotes Moran, "Etched directly from nature. A close study of the peculiarly distorted and picturesque forms of fruit trees warped by the sea winds." Original carved wood frame. $2,500.
Sunrise -- The Pond, Easthampton, L.I. (Morning: Hook Pond and Old Bridge.) 1883. Etching. Klackner 39, Gilcrease 47. 4 1/2 x 7 (sheet 9 x 12). Printed on cream wove paper, as published in the American Art Review. Unsigned. $350.
Click on the titles for images.
Boston
Louisberg Square. 1930. Wood engraving. Boston Public Library 119. 6 7/8 x 7 7/8(sheet 11 1/8 x 10 3/8). Edition 70, #24. Illustrated: American Institute of Graphic Arts Fifty Prints of the Year, 1931. A fine impression, printed on Japanese mulberry paper. Excellent condition. Signed, titled and numbered in pencil. $850.
Cambridge and England: Harvard University
Fogg Museum Courtyard[Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 452. 1 1/4 X 2 1/2 (sheet 4 3/4 x 6 1/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Printed on cream wove paper. Unsigned. $200.
John Harvard's Chapel, Southwark Cathedral [Borough of Southwark, London, England] 1948. Wood engravng. Boston Public Library 434. 3 1/8 X 2 3/8 (sheet 7 11/16 x 4 7/8). No edition; few proofs only. Printed on fine wove paper. Unsigned. $150.
Harvard Hall [Harvard University, Cambridge, Massachusetts]. 1944. Wood engraving. Boston Public Library 369 3 1/4 X 2 5/8 (sheet 6 1/16 x 5). Edition 20. A fine impression, printed on cream wove paper. Excellent condition. Unsigned. $200.
Hollis Hall [Harvard University, Cambridge, Massachusetts]. 1944. Wood engravng. Boston Public Library 439. 3 1/8 X 4 3/4 (sheet 5 3/8 x 7 11/16). No edition; few proofs only A fine impression, printed on fine wove paper on the full sheet with deckle edges. Excellent condition. Unsigned. $200.
Laboratory Interior [Harvard University, Cambridge, Massachusetts]. 1949. Wood engraving. Boston Public Library 457. 2 7/16 X 2 3/8 (sheet 6 1/8 x 4 5/8. No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. A fine impression, printed on 'bourne deckle edge ' countermarked paper. Unsigned. $100.
Littauer Center Staircase[Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 450. 1 1/8 X 2 1/4 (sheet 5 x 6 1/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Printed on cream wove paper. Unsigned. $150.
Lowell House Tower [Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 449. 4 3/4 X 2 13/16 (sheet 6 1/4 x 4 3/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Unsigned. $200.
Stoughton Hall [Harvard University, Cambridge, Massachusetts]. 1948. Wood engravng. Boston Public Library 426. 3 3/4 X 4 7/8 (sheet 5 5/8 x 8 1/2. No edition; few proofs only. A fine impression, printed on cream wove paper. Slight residual inking, lower right; otherwise excellent condition. Unsigned. $225.
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Landscapes
Florida Pines. c. 1932. Etching. 4 x 4 3/4 (sheet 8 x 8 7/8). A rich impression with plate tone, printed on cream wove paper. Signed and titled in pencil. $175.
Idylle. c. 1935. Drypoint. 7 15/16 x 8 7/8 (sheet 12 x 14 1/4). Edition 12. A rich impression with plate tone printed on Japanese vellum. Signed, titled and annotated 'Ed. 12' in pencil. $150.
[Kent Hills, CT]. c. 1930. Soft ground etching. 4 x 4 3/4 (sheet 9 1/4 x 11 3/8). Printed on cream laid paper. Signed in pencil. $75.
Wood Interior. [Large plate]. 1923. Etching and drypoint. Edition 80, #24. 11 x 14 (sheet 14 x 17 1/4). Printed on simili-Japan paper. Signed, titled, numbered and annotated '$30' in pencil. $200.
[Woodland Interior # 4]. 1930. Etching. Miniature print. 2 1/2 x 3 1/2 (sheet 4 5/8 x 5 1/2). Printed in sepia ink on cream wove paper. Signed in pencil. $75.
Riverscapes pulit
The Hurrying River. 1925. Drypoint. 6 7/8 x 9 (sheet 11 x 14 7/16). Awarded the Bryan Prize for the Best American Print, 6th International Print Makers Exhibition, Los Angeles, 1926. Printed on cream wove paper. Signed, titled and annotated 'drypoint', '$25', 'plate #1' and 'So KENT CONN' in pencil. $175.
Lane's Falls. 1930. Etching. Nisbet 39. 6 7/8 x 5 (sheet 12 1/2 x 9 3/4). Printed with plate tone on white wove paper with deckle edges. Signed, titled, numbered and annotated '$15' in pencil. $75.
Rushing Waters. 1940. Etching. 4 x 5 (sheet 5 13/16 x 6 1/2). Printed with plate tone on cream wove paper. Signed, titled and annotated '$10' and '98' in pencil. $75.
Rushing Waters No. 2. 1940. Etching and drypoint. Miniature print. 2 1/2 x 3 7/16 (sheet 4 1/2 x 6 5/8). Printed with plate tone on cream wove paper. Initialed and annotated 'null' in pencil. $95.
The South Wind. 1935. Drypoint. 8 x 10 (sheet 10 1/2 14 3/4). Illustrated: Fine Prints of the Year, 1935. A rich imprssion with drypoint burr. Printed with plate tone on simili Japan paper. There is light foxing in the margins, outside the image. Signed and titled in pencil. $175.
[Summer Day]. 1930. Etching. Nisbet 60. 7 7/8 x 9 3/4 (sheet 11 1/8 x 13). A rich impression with plate tone printed on cream wove paper with two sides deckle edges. Signed and numbered in pencil. $175.
Seascapes
[Bowe's Rocks No. 2], South Portland, ME. 1930. Etching. 4 x 5 (sheet 7 1/16 x 8 9/16). Printed on cream wove paper. Signed and annotated '1st proof' and '1' in pencil. $75.
Ledge at Harrings. Etching. 4 x 5 (sheet 9 1/2 x 12 5/8). Printed on cream wove 'Van Gelder Zonen Holland' watermarked paper with deckle edges. There are tack holes along the margins from drying. Signed, titled, numbered and annotated '$12' in pencil. $75.
Maine Coast No. 2. c. 1940. Drypoint. 4 x 4 15/16 (sheet 6 1/16 x 8 1/2). Printed with plate tone on cream wove paper. Signed in pencil. $75.
[Maine Coast No. 3]. c. 1940. Etching. 1 5/8 x 3 1/8 (sheet 6 3/8 x 8 1/8). Printed on cream wove paper. Signed and annotated '1st try' in pencil. $95.
[Maine Coast No. 4]. c. 1940. Drypoint. Miniature print. 2 7/16 x 3 3/8 (sheet 4 7/8 x 5 15/16). Printed on cream wove paper. Signed in pencil. $95.
South Portland [Maine]. 1940. Etching and drypoint. Miniature print. 1 11/16 x 3 1/8 (sheet 7 1/2 x 9 1/8). Printed on cream wove paper. Signed, titled and annotated '$12' and 'No. 972' in pencil. $95.
The Artist. 1959. Lithograph. 8 5/8 x 12 (sheet 13 x 16 3/4). Edition 250, #111. A richly-inked impression prints on white wove paper, on the full sheet with deckle edges. Signed, titled and numbered in pencil. Although this is not a self-portrait, it is dramatic rendering based upon the artist's image. $150.
Rain in May. Woodcut printed in colors. 28 1/2 x 21 1/2 (sheet 24 1/4 x 33 1/2). Edition 35, #23. Signed and titled in pencil. $3,500.
Spring: Iris and Tradescantia. c. 1973. Watercolor on Japanese mulberry paper. 17 7/8 x 12 1/2. Signed 'Ying' and sealed. $2,500.
Santa Fe Goat. 1939. Lithograph. 12 5/8 x 19. Illustrated: Beall, American Print in the Library of Congress, p. 125. A rich, well-inked impression printed on cream wove paper by Paul Roeher. The Atchison, Topeka and Santa Fe Railway,often abbreviated as Santa Fe, was one of the larger railroads in the United States. 'Goat' refers to train, known as a steam goat. Signed and titled in pencil. $750.
New York
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. $850.
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.
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.
The East River from the Brooklyn Waterfront. Watercolor on grey paper. 10 x 12. Signed, upper right. $3,500.
The Elevated. 1921. Etching. Wuerth 789. 9 7/8 x 6 7/8 (sheet 13 3/8 x 9 3/8). Edition probably 50. A richly inked inpression printed by the artist on the full sheet of laid paper from an antique volume. Signed and annotated 'imp' in pencil. $775.
Madison Avenue. 1923. Etching. Wuerth 11. 12 x 9 1/8. Edition probably 50. Illustrated: Bryant, Joseph Pennell's New York Etchings. Signed in pencil. $850.
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.
Nassau Street. 1904. Lithograph. W 158.10 11/16 x 6 1/4. New York series. Commission for the Society of Iconophiles. Signed in pencil. $350.
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.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 10 x 12 1/16). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on simili-Japan paper. Pennell used black-brown ink to suggest the tones of evening. Signed and annotated 'imp' in pencil. $2,000.
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. $1,250.
The Woolworth Building. 1915. Etching. Wuerth 675. 11 7/8 x 7 3/8 (sheet 15 x 9 1/4). Edition about 100. A rich, tonal impression printed on antique laid paper from an old volume. The inking and wiping suggest a misty morning. 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 from an old volume. The inking and wiping suggest an early evening glow. Signed and annotated 'imp' in pencil. $775.
Pennsylvania
The Lair of the Locos, Philadelphia. 1911. Etching. Wuerth 711. 11 3/4 x 9 7/8 (sheet 13 7/8 x 10 15/16). Railroad series. Edition probably 50. A carefully-wiped impression printed in blalck/brown ink on creame laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil indicatig an impression printed by the artist. $2,250.
Pennsylvania Railroad Station, Philadelphia. 1919. Etching. Wuerth 713. 11 3/4 x 8 (sheet 13 1/2 x 9 1/4). Railroad series. Edition probably 50. Railroad series. A carefully-wiped impression printed on fine pale blue-grey wove paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $1,250.
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.
South America: The Panama Canal
This is Pennell's most famous lithographic series. In January of 1912, Pennell went to the Isthmus of Panama to draw the work on the canal for Century Magazine and London Illustrated News. There were 28 large lithographs in the series (issued in an edition of 50. (There were also etchings). Pennell published the series in his book Joseph Pennell's Pictures of the Panama Canal (Philadelphia: Lippincott, 1912). Four of the most famous and striking works are those below:
At the Bottom of Gatun Lock. 1912. Lithograph. Wuerth 229. 17 x 22 1/4 (sheet 18 5/16 x 25). Panama Canal series #7. Edition 50. A rich, well-inked printing on 'Fabriano (Italy)' countermarked laid paper, on the full sheet with deckle edges. Signed and titled in pencil. $2,250
Dinner Time, Gatun Lock. 1912. Lithograph. Wuerth 227. 22 x 16 7/8 (sheet 25 7/8 x 20 7/8). Panama Canal series #3. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Illustrated: Beall, American Prints in the Library of Congress, page 349. Signed in pencil. $2,500
End of the Day - Gatun Lock. 1912. Lithograph. Wuerth 226. 16 15/15 x 22 1/4 (sheet 18 15/16 x 25). Panama Canal series #7. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Illustrated: Beall, American Prints in the Library of Congress, page 352. Signed in pencil. $2,500
French Canal and American Cranes. 1912. Lithograph. Wuerth 219. 16 15/15 x 22 1/4 (sheet 18 15/16 x 25). Panama Canal series #2. Edition 50. A rich, well-inked printing on 'Fabriano Italy' countermarked laid paper, on the full sheet with deckle edges. Signed in pencil. $975. The Gates of Pedro Miguel Lock. 1912. Lithograph. Wuerth 231. 22 x 16 7/8 (sheet 24 7/8 x 18 5/8). Panama Canal series #19. Edition 50. A rich, well-inked printing on 'MBM' countermarked laid paper, professionally backed with archival paper.o Printed on the full sheet with deckle edges. Signed and titled in pencil. $2,250.
The Guard Gate, Gaton Lock. 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
Albert Hall. 1903. Etching. Wuerth 267.ii. 3 3/8 x 5 1/2 (sheet 6 3/8 x 9 3/8). A rare working proof with the figures added in pencil. Four printing folds, the artist's fingerprints in the margins. Printed on off-white laid paper by the artist. Signed, titled and annotated 'imp' in pencil. $375.
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.
Cab Stand, Street in Bloomsbury. 1893. Etching. Wuerth 158. 6 5/8 x 9 5/8 (sheet 8 x 10 1/8). A rich, tonal impression printed on Japanese mulberry paper. A charming, and exceptionally rare image. Signed, titled and annotated 'cab/stand 3 printed (destroyed)' in pencil. $1,250.
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.
Church of St. Mary-le-Strand [London]. 1906. Etching. Wuerth 421. 6 x 3 5/8 (sheet 8 1/2 x 5 3/4). The plate has been reduced from 10 x 8. THe original etching includes both the Church of St. Mary-Le-Strand and St. Clement Danes. The plate was cut into sections. The image above actually shows the Church of St. Clement Dane's. Pennell had previously etched that Church in the same year (Wuerth 411). Extremely rare proof and example of Pennell's working technique. Printed on simili-Japan paper. Signed and titled in pencil. $175.
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. $4,500.
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. Slightly toned; otherwise excellent condition. A fine impression printed on cream wove paper. An extremely scarce and important historical image. Signed in pencil. $2,500.
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 proof' in pencil. $1,950.
Mist on the Thames. 1903. Aquatint. Wuerth 247. 8 1/4 x 10 3/8 (sheet 10 x 11 7/8). Edition 100, #38 for L'Estammpe Originale (Wuerth states the edition as probably 40). A rich, tonal impression printed by the artist on Japanese mulberry papere. Signed, numbered and annotated 'del sc imp' (drew, etched, printed) in pencil by the artist. This is one of Pennell's most dramatic and Whistlerian nocturnes. $4,250.
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. $1,750.
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. Bartholomew's Gate. 1907. Etching. Wuerth 448. 9 3/8 x 8 1/2 (sheet 12 1/2 x 10 7/16). Edition probably 75. A subtle impression with plate tone, printed on cream laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $325.
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.
Under Canon 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.
The Underground Station. 1893. Etching. Wuerth 167. 10 1/8 x 4 1/2 (sheet 12 1/8 x 14 3/4). Series: Easter Set, #17. Trial proof before the edition of 15. Printed on cream laid paper. Signed, dated and annotated 'trial proof' in Pennell's hand. A rich impression of this extremely rare image. $975.
Waterloo Bridge. 1893. Etching. Wuerth 160. 6 1/2 x 9 1/2 (sheet 8 7/8 x 11 1/8). Edition probably 30. Series: Easter Set, #19. A rich impression with selective plate tone pinted on antique cream laid paper. Signed in Pennell's pencil. A rich impression of this extremely rare image. $975.
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.
France and Spain
The Bridge of Alcantara, Toledo. 1904. Etching. Wuerth 322. 10 x 7 7/8 (sheet 12 1/4 x 9 1/8). Edition probably 25 pencil-signed proofs, and an unsigned edition published in 1909 by Gesellschaft fur Vervielfaltigunde Kunst. Plate destroyed.A rich subtle proof on fine laid paper. Signed in pencil. $375.
Rouen from Bon Secours. 1907. Etching. Wuerth 464. 7 7/8 x 12 1/2 (sheet x 15 5/8). Edition probably 90. Printed on aid paper from an antique French journal. A glowing impression, printed by the artist. Signed and annotated 'imp' in pencil. $350.
South Door, Beauvais. 1907. Etching. Wuerth 472. 11 x 8. Edition probably 35. Laid down onto mat board. A rich impression with plate tone, printed by the artist. Signed and annotated 'imp' in pencil. $200.
Zaandam. 1897. Lithograph. Wuerth 66. 8 x 10 1/2 (sheet 12 x 15 5/8). Probably published in The Artist Engraver, 1904. Printed on the full sheet of cream laid paper. Signed, dated and titled in the stone. $175.
Italy
The New Bay of Baiae. 1913. Lithograph. W 372. 16 1/2 x 21 5/8. Series: Carrara, the Marble City. Edition 25. First plate issued by the Senefelder Club, London. Collector' seal: Heinrich Stinnes. Signed in pencil. $650.
Piazza St. Peter's: Sunset. c. 1911. Conte crayon and pastel on brown paper. 8 3/4 x 12 3/8. Signed, lower center. $3,750.
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.
Two pencil and ink drawings for the two-volume book by Francis Marion Crawford, Salve Venetia: Gleanings from Venetian History )NY and London: MacMillan, 1906).
Ponte Canonica. c. 1902. Pencil and ink drawing. 11 1/4 x 9. Signed and titled, lower left. Volume 1, page 356. Laid onto board as done for publication. $1,750.
Via Garibaldi. Pencil and ink drawing. c. 1902. 11 1/2 x 8. Signed and titled, lower center. Laid onto board as done for publication. Volume I, p. 318. $1,750.
The Block Printer. c. 1932. Etching. 9 3/4 x 6 7/8 (sheet 12 5/8 x 9 1/4). A rich impression printed on the full sheet of Japanese vellum with deckle edges. An extremely dramatic image. Signed and titled in pencil. $950.
New York World's Fair. 1939-40. Watercolor. 19 1/8 x 24. Signed, lower left; dated, titled and annotated 'No 215 N.F.S. title -- option only --' verso. $800.
Peck Slip. (East River, New York). 1935. Wood engraving. 8 15/16 x 11 7/8 (sheet 11 1/2 x 16). A fine impression printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. $450.
Harvard Hall N.Y.C.. 1931. Etching and drypoint. 8 7/8 x 6 1/2 (sheet 13 x 9 7/8). Trial proof of the final state. Edition 100. A rich impression on simili-Japan paper, printed by Charles White, ther master printer. Signed, dated, annotated and titled in pencil. $400.
The New York Stock Exchange from Wall Street. c. 1931. Etching and drypoint. 8 3/4 x 5 1/2 (sheet 11 3/8 x 8). A rich impression with tonal wiping on cream laid paper. Signed in pencil. $500.
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Pony Cart. c. 1930. Color woodcut. 10 3/4 x 14 5/8. New York Public Library 29. Edition 20-30. Stamped "New York City W.P.A. Art Project." Signed and titled in pencil. A fine impression of this scarce image. $750.
Piece for Tropic. 1979. Offset lithograph, four-color collage. Tropic Magazine, The Miami Herald, Dec. 30, 1979. 12 3/8 x 21 1/2. Dated and initialed in the stone. Edition of 600,000. Few lithographs from the edition have survived. $975.
Evening Music. 1946. Etching and aquatint. 10 x 7 (sheet 15 5/8 x 11). Edition 250 for Associated American Artists. A rich, glowing impression printed on cream wove paper with full margins. Signed in pencil. $2,000.
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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.
Waterfront. c. 1930. Waterfront. Etching. 3 1/8 x 16 3/4 (sheet 6 3/4 x 18 7/8). Edition 250, #42. Printed for Associated American Artists. A rich impression with plate tone. Signed in pencil. $275.
Fountain of Aye Sophia, Constantinople. 1927. Drypoint. American Etchers 44. 5 3/16 x 6 7/16 (sheet 7 3/4 x 9 7/8). A rich impression printed on fine cream wove paper. Signed in pencil. $225.
The Grand Mosque. 1926. Drypoint. 6 1/8 x 11 7/8 (sheet 7 5/16 x 12 3/8). A rich impression printed on cream laid paper with a rampant lion watermark, taken from an antique volume. Signed in pencil. $275.
Mudejar Doors, Seville. 1925. Etching. American Etchers 27. 9 7/16 x 6 7/8 (sheet 16 1/2 x 10 3/8). Edition 75. Illustrated: American Etchers. A rich, tonal impression printed on cream wove paper. Signed in pencil. $250.
St. Étienne, Toulouse. 1925. Etching. American Etchers 32. 10 x 4 5/8 (sheet 14 5/16 x 8 1/2). Edition 75. Illustrated: American Etchers. A rich, tonal impression printed on cream wove paper. Signed in pencil. $250.
Via del Pianta, Rome. 1928. Drypoint. McMillan 66. 7 3/4 x 6 9/16 (sheet 10 3/4 x 8 1/4). A rich impression with selective plate tone printed on cream laid paper from an antique volume. Signed in pencil. $275.
Girl in White. c.1931. Lithograph. 9 x 15 1/8 (sheet 13 1/8 x 19 1/4). Edition 75, # 42. A toned impression printed on cream wove paper. Signed, titled and numbered in pencil. $375.
Second Class (Night Train). c.1930. Lithograph. 13 7/8 x 9 7/8 (sheet 16 x 12). Edition 80, # 1. Exhibited at The New York Coliseum by Midtown Galleries, N.Y. Six hinge stains in the margins, well outside the image. Signed and titled in pencil. $475.
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. Huge stains in the margins, well outside the image. A tonal impression printed on 'France' wove paper. Midtown Galleries label. An unusual self protrait. $750.
Summer Studio. c.1931. Lithograph. 9 7/8 x 11 1/2 (sheet 11 3/8 x 11 1/2). Edition 12, # 9. Exhibited at The Print Club of Philadelphia, January 26 - February 14, 1931 with the title 'Sleeper'. 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.' Printed on cream wove paper with a Midtown Galleries label. A charming and unusual self portait. Signed, numbered and titled in pencil. $750.
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Paintings
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. $4,500.
La Doma, Florence. Oil on panel. 8 x 12 (framed 13 1/4 x 17 1/2). Reproduction period frame. Unsigned. Provenance: Roth's studio. $850.
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. $950.
Poplars, Gubbio. c. 1924. Pencil and oil sketch. 20 x 16. Reproduction period frame. Unsigned. Provenance: Roth's studio. $975.
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. $7,000.
Etchings: Italy
Ca' d'Oro, Venice. 1913. Etching and drypoint. 9 x 11 7/8 (sheet 11 1/8 x 13 7/8). A rich, tonal impression with drypoint burr printed in simili-Japan paper. Signed, dated and titled in pencil. $1,250.
Grim Florence. 1907. Etching. 9 x 11 1/2 (sheet 11 x 12 3/4). A fine impression with rich tonal wiping, printed on cream laid paper. Signed, titled and annotated 'Firenze 07' in pencil. $675.
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 $750.
New York
A Merry Christmas from Ernest and Elizabeth Roth. 1937. Etching. 6 1/4 x 4 3/16 (sheet 9 1/8 x 7). A rich impression with plate tone printed on cream laid paper. The location is South Street, across from Jeannette Park and Coentie's Slip in Manhattan. Signed and dated in the plate. $125.
Christmas Greetings Ernest and Elizabeth Roth 1740-1940. 1940. Etching. 6 x 4 (sheet 6 3/4 x 4 5/8). A rich impression with plate tone printed on cream laid paper. The location is probably Fulton Street in lower Manhattan. Signed and dated in the plate. $125.
Click on the titles for images.
Foundry. 1938. Lithograph printed in colors. 16 x 10 1/4 (sheet 20 3/16 x 14 1/2). Edition 40. Signed and annotated in pencil. A rich impression on white wove paper with full margins. Signed in pencil. $1,950.
The Ginza. c. 1950. Color serigraph. 15 x 21. Edition 30, #26. Affixed to a backing board. "The Ginza" referrs to the Japanese shopping district, much like Manhattan's Fifth Avenue. Signed and numbered in pencil. $175.
In the Alleghenies. Etching and drypoint. 7 7/8 x 10 (sheet 9 1/2 x 13). A rich impression printed on cream wove paper. Signed in pencil. $450.
Lowell. Drypoint. 7 7/8 x 9 15/16 (sheet 11 3/16 x 13 3/16). A rich impression with drypoint burr printed on cream wove paper. Signed in pencil.
The Mob. 14th of July in Paris. c. 1931. Etching and drypoint. 10 x 6 7/8 (sheet 13 9/16 x 10). Edition 35. Illustrated: Fine Prints of the Year, 1931 ; Beall, American Prints in the Library of Congress, p.432. A rich impression with drypoint burr. Printed on the full sheet of cream wove paper. Signed and titled in pencil. $350.
Big Sister. c. 1931. Etching and drypoint. 10 x 6 7/8 (sheet 13 9/16 x 10). Edition 35. Illustrated: Fine Prints of the Year, 1931 ; Beall, American Prints in the Library of Congress, p.432. A rich impression with drypoint burr. Printed on the full sheet of cream wove paper. Signed in pencil. $275.
Lower Manhattan seen from Montague Terrace, Brooklyn Heights. 1931. Aquatint. 9 7/8 x 14 (sheet 11 3/4 x 17 1/8). First state. A richly-inked impression printed on Japan paper with full margins. Signed and inscribed 'First state' in pencil. $3,500.
Bandit's Cave. 1920. Etching. Morse 195.viii. 6 7/8 x 4 7/8 (sheet 8 3/8 x 6 1/4). Edition 500 for The New Republic. Invisibly repaired tear in the left-hand margin, just into the image. A rich impression with plate tone printed on cream laid paper. Signed in pencil.Framed. $850.
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 pro 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. 7 3/8 x 9 3/8. (sheet 12 1/2 x 13 7/8). Printed on cream wove paper, on the full sheet with deckle edges. Original tack holes from drying in the margins. Signed, title and annotated '100 proofs' in pencil by Sloan. Annotated 'Peter Platt imp' in pencil, lower left. Platt was Sloan's early printer. Annotated in pencil along the left margin, 'Proof included in John Sloan 1971 National Gallery Extn'. Exhibited: National Gallery, 1971; Pennsylvania Academy of Fine Arts, 1972; Krushaar Galleries. Signed, titled and annotated '100 proofs' and 'Proof included in John Sloan 1971 National Gallery Extn'in pencil by Sloan. $5,500.
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 safternoon, 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.
Washington Arch. 1923. Etching. Morse 212.v. 8 x 5 (sheet 10 7/8 x 7 5/8). One of 20 proofs printed by Ernest Roth, from the total edition of 100 in this state. There were no editions of previous states, as the etchings were used as Christmas cards. A fine impression on cream laid paper with wide margins. Roth used selective plate tone in the sky to suggest a grey day, and cleanly wiped the snow, leaving plate tone to suggest the shadows of the children playing, lower right. Signed, titled and annotated "100 proofs" by Sloan in pencil. Annotated "Ernest Roth imp" by Roth. $2,750.
The Molo,Venice. 1914. Drypoint. 6 3/4 x 8 3/8 (image and sheet). Illustrated: Print Collector's Quarterly 4 (1914): 181. A rich impression printed on cream laid paper. Annotated on the original mat, possibly in the artist's hand, 'Edition exhausted before 1920' and 'Note: Margins of this proof cut at plate mark because it tore in printing. Otherwise very fine impression and should have brought $75.' $275.
Windmill and Haystack. c. 1913. 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 England. Signed in pencil. $200.
Alpha Delta Phi, Amherst, Mass.
c. 1929. Linoleum cut. 6 x 8. A fine impression printed in Japanese mulberry paper. Signed in pencil. $250.
c. 1955. Linoleum cut. 5 3/4 x 7 7/8. A fine impression printed in Japanese mulberry paper. Signed in pencil.$125.
Church and Schoolhouse, Storrowton.
c. 1955. Linoleum cut. 6 x 8. A fine impression printed in Japanese mulberry paper. Signed in pencil. $125.
c. 1929 Linoleum cut. 7 3/8 x 6. A fine impression printed in Japanese mulberry paper. Signed in pencil. $250.
John M. Greene Hall, Smith College.
c. 1929. Linoleum cut. 5 3/8 x 7 7/8. A fine impression printed in Japanese mulberry paper. Signed in pencil.$250.
c. 1955. Linoleum cut. 7 1/2 x 6. A fine impression printed in Japanese mulberry paper. Signed in pencil.$125 in black and white; $175 in color.
c. 1955. Linoleum cut. 6 x 8. A fine impression printed in Japanese mulberry paper. Signed in pencil.$125.
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. Lithograph. 12 1/4 x 11 (sheet 14 3/8 x 14 1/2). A fine impression printed on 'Strathmore Woromoco Damask Made in U.S.A.' countermarked paper. Signed in pencil. $475.
Click on the title for an image.
The Box at 'Faustus'. Drypoint. 11 x 8 7/8. Edition 100, #39.A rich impression on pale blue-green paper. Signed in pencil. $250.
Click on the small images for larger pictures. The large image files are hyperlinked.
Nature Studies
After Cat (after a drawing by Eric). c. 1964. Linoleum cut. 3 1/8 x 4 1/2 (sheet 5 3/4 x 7 3/8). Edition 6, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
Cricket. c. 1964. Linoleum cut. 3 x 5 (sheet 6 1/2 x 10 1/4). Edition 32, #8. The vertical line above the cricket is actually a piece of mulberry fiber inherent in the paper. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
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.
Garg-owl. 1967. Linoleum cut. 9 x 6 1/4 (sheet 12 x 10 1/4). Edition 30, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $225.
Peace Totem. c. 1964. Linoleum cut. 12 x 2 3/4 (sheet 16 1/2 x 7 1/2). Edition 30, #14. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $250.
Sam-I-Am c. 1964. Linoleum cut. 5 x 5 1/2 (sheet 10 x 12). Edition 32, #5. A fine impression printed on colored Japanese mulberry paper. Signed, titled and numbered in pencil. $250.
Worm Hunter c. 1964. Linoleum cut. 4 x 6 1/2 (sheet 9 3/4 x 15). Edition 16, #12. A fine impression printed on textured Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
Figure Studies
The Juggler c. 1964. Linoleum cut printed in colors. 8 1/2 x 9 (sheet 16 1/2 x 10 1/2). Edition 48, #11. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
Statue-Fisherboy 1967. Linoleum cut. 9 1/2 x 7 5/8 (sheet 11 x 13 3/8). Edition 16, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $100.
Waiting for Sue c. 1964. Linoleum cut. 7 x 6 (sheet 8 3/4 x 10 1/2). Edition 16, #15. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $100.
Love Images
Love c. 1964. Linoleum cut. 3 1/4 x 2 7/8 (sheet 6 5/8 x 4 3/4). Edition 64, #22. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $170.
Ted c. 1964. Linoleum cut. 6 1/4 x 9 1/2 (sheet 8 1/2 x 13 1/4). Edition 15, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. Ted was Jane VonBosse's husband's name. $250.
Valentine's Day (from The Tempest by William Shakespeare) 1965. Linoleum cut. 5 x 4 3/4 (sheet 8 5/8 x 10 3/8). Edition 16, #6. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
Landscape Studies
Cliff House c. 1964. Linoleum cut. 3 x 4 (sheet 7 x 8 1/2). Edition 32, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Cyclamen c. 1964. Linoleum cut. 4 5/8 x 7 1/8 (sheet 9 1/2 x 12 5/8). Edition 24, #23. A fine impression printed on green 'Ingres d'Arches' laid paper. Signed, titled and numbered in pencil. $250.
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. $250.
Hybrid Fertility c. 1964. Linoleum cut. 11 3/4 x 8 5/8 (sheet 12 x 16 1/2). Edition 20, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $225.
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. $225.
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. $225
Plant Form c. 1964. Linoleum cut. 10 x 4 3/8 (sheet 14 3/4 x 10). Edition 24, #17. A fine impression printed on 'Weston' wove paper. Signed, titled and numbered in pencil. $225/pair.
Plant Form c. 1964. Linoleum cut. 10 x 4 3/8 (sheet 14 3/4 x 10). Edition 24, #12. A fine impression printed on blue-toned Japanese mulberry paper. Unsigned; numbered in pencil. $225/pair.
River (mirror-image calligraph) c. 1964. Linoleum cut. 14 1/8 x 8 (sheet 19 x 13). Edition 32, #5. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $250.
The Seed 1964. Linoleum cut. 9 3/8 x 14 1/8 (sheet 12 1/4 x 17 1/2). Edition 32, #2. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $250.
The Seed 2 c. 1964. Linoleum cut. 6 3/8 x 2 1/2 (sheet 13 5/8 x 10 1/8). Edition 24, #1. A fine impression printed on textured Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Star Fragment 1966. Linoleum cut. 1 1/4 x 1 1/2 (sheet 5 7/8 x 7 1/2). Edition 64, #1. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $75.
Storm Tree c. 1964. Linoleum cut. 7 1/4 x 8 1/2 (sheet 10 1/4 x 13). Edition 20, #10. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $175.
Last but not Least!
Little Caboose c. 1964. Linoleum cut. 4 x 3 1/2 (sheet 10 x 10 3/4). Edition 20, #19. A fine impression printed in red ink on yellow-tan Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Oak Creek Canyon. 1928. Oil on canvas. 22 x 28 (framed 28 1/2 x 34 1/2). Signed, lower right. $8,000.
Click on the titles for images.
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. $9,750.
Lower Fifth Avenue. 1960. Lithograph. Stuckey 256. 10 1/8 x 15 3/4 (sheet 13 1/8 x 19 1/4). Edition 40. A fine impression printed on cream-colored wove paper. Signed and annotated in pencil. Price upon request.
North Village, Port Clyde, Maine. October, 1938. Lithograph. Stuckey 77. 9 x 15 3/16. Edition 60. A fine impression printed on the full sheet of white wove paper. Signed in pencil and inscribed 'Ed/60' in pencil. Framed and glazed. $975.
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. $975.
Click on the titles for images.
Canadian Riders. 1930. Drypoint. 10 7/8 x 14 3/8. Trial proof, apart from the edition of 100. A very right impression. $650.
Sir Rabindranath Tagore. c. 1939. Drypoint. 13 3/4 x 7 1/8 (sheet 17 3/16 x 11 3/4). An extremely rich impression with plate tone printed on simili-Japan paper by the artist himself. Signed, titled and annotated 'imp' in pencil. $450.
Click on the titles for images.
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Family and Friends. 1857-1904.
Annie. 1857-58. Etching. Kennedy 10.v; Glasgow 7.vii. 4 5/8 x 3 1/8 (sheet 6 7/8 x 5 1/4). Glasgow records 53 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on cream laid paper with full margins. Signed "Whistler" in the plate, lower left, and "Imp. Delâtre Rue St. Jacques. 171" lower right. $2,750.
Annie Seated. 1858-59 Etching and drypoint. Kennedy 30.ii; Glasgow 32.iii. 5 3/4 x 3 3/4. Illustrated: Beall, American Prints in the Library of Congress; Lumsden, The Art of Etching; Keppel, The Golden Age of Engraving. Signed in the plate. A fine impression on cream laid paper with full margins. $1,750. Another impression on very slightly blue-toned paper with wide margins. Signed and titled in the plate. $1,850.
One of the most charming of Whistler's early etchings, this portrait study of Annie Haden was etched around 1859. The etching is not to be found among the Twelve Etchings from Nature, having only been available as an independent print. Annie Haden was the eldest daughter of Whistler's half-sister, Deborah and the famous etcher, Sir Francis Seymour Haden. At the time of this etching, she would have been about 10 or 12 years old.
Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii; Glasgow 33.ii. 9 x 6 (sheet 10 1/2 x 7 5/16). Glasgow records 67 known impressions. A very rich impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy’s hair. In the first statethere were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, onehead remains visible in this strong early impression of the final state. Printed on fine cream laid paper. Signed and dated in the plate. Framed (the dark outline in the top of the mat is a reflection). $7,500.
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. $4,500.
Drouet, Sculpteur. 1859. Drypoint. Kennedy 55.ii; Glasgow 35.ii (restored). With the cancellation lines in the nose erased. Two of the cancellation lines are just visible on the bridge of Drouet's nose. 8 7/8 x 6 (sheet 11 x 8 7/8). Illustrated: Salaman, Modern Masters of Etching: Whistler. A good impression on cream colored laid paper with full margins and deckle edges. Signed in the plate.$1,750.
Fumette. 1858. Etching. Kennedy 13.iv; Glasgow 12.v. 6 3/8 x 4 1/4 (sheet 8 x 5 3/8). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature(French set). A very rich impression in warm brown/black ink printed on off white wove paper with a partial Strathmore Lily watermark. Signed in the plate. $2,500.
La Meère Gérard. 1858. Etching. Kennedy 11.iv. 22.v; Glasgow 24.iv. 5 x 3 1/2 (sheet 7 1/8 x 5 1/4). Glasgow records 52 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). . A rich proof printed in warm brown/black ink on cream laid paper. Collector's seal verso: Thomas Jefferson Coolidge Jr. (Lugt 1429). Signed in the plate. $1,750.
The Menpes Children. 1904. Etching. Kennedy 261; Glasgow 300.i. 2 5/8 x 4 (sheet 10 x 7 1/2). This plate serves as the frontispiece in the deluxe edition of the book by Mortifier Menpes, Whistler As I Knew Him (London, 1904). One foxing spot in the margin, well outside the image; otherwise excellent condition. A fine impression printed on cream paper with full margins. Signed with the butterfly in the plate. $1,250.
The Music Room. 1859. Etching and drypoint. Kennedy 33 ii; Glasgow 39.iv. 5 11/16 x 8 1/2 (sheet 8 1/2 x 11 1/4). Glasgow records 52 known impressions. An exceptionally rich impression printed on antique laid paper. Unsigned. $9,750.
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. $3,500.
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. $3,500.
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. $2,750.
Venus. 1859. Etching. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 8 7/8 (sheet 9 1/2 x 12 1/2). Glasgow records 27 known impressions. A very rich proof printed in black ink on Japanese vellum. Signed and dated in the plate. Price upon request.
The Wine Glass. 1859. Etching. Kennedy 27.ii; Glasgow 38.ii. 3 1/4 x 2 1/4 (sheet 5 7/8 x 4 3/8). There was no formal edition of the plate; Glasgow records only 39 known impressions. A well-inked, beautifully wiped impression printed on cream laid paper. Signed in the plate. Price upon request.
London and The Thames. 1859-1879.
The 'Adam and Eve', Old Chelsea. 1879. Etching and drypoint. Kennedy 175.ii; Glasgow 182.iii. 6 15/16 x 11 7/8 (sheet 9 1/4 x 14 1/2). Glasgow records 90 known impressions. Illustrated: Illustrated: Beall, American Prints in the Library of Congress; Salaman, The Great Painter-Etchers from Rembrandt to Whistler.; Modern Masters of Etching. A rich impression with plate tone, printed on fine laid paper. Signed with the butterfly in the plate. $3,500.
Black Lion Wharf. 1859. Etching. Kennedy 42.iii; Glasgow 54.iv. 6 x 8 7/8 (sheet 8 3/8 x 10 1/8). Glasgow records 101 known impressions. Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set), plate 1. Professionally repaired tear in the top margin, outside the image. A rich impression with plate tone, printed on fine laid paper. Signed and dated in the plate. $4,750.
Eagle Wharf (Tyzac, Whiteley & Co). 1859. Etching.Etching. Kennedy 41; Glasgow 50.i. 5 7/16 x 8 7/16 (sheet 6 3/8 Probably a proof from the 1871 edition of the Thames Set published by Ellis and Green. A rich impression printed in black ink on 'Van Gelder' cream laid paper on the full sheet with deckle edges. Illustrated: Tyler, American Etchings of the Nineteenth Century. Signed and dated in the plate. $5,500.
Early Morning. 1878. Lithotint. Way 7, Levy 16, Tedeschi, Stratis and Spink 9.iii/iv. 6 1/2 x 10 3/16 (sheet 7 3/8 x 10 11/16). Edition 15 in states i and ii; 'several hundred' in iii and iv, according to Way. A fine impression on cream wove paper, with the legend outside the image trimmed. Printed by Way for inclusion in the July 18, 1878 issue of Picadilly but never issued. Signed with the butterfly in the stone. $5,500. or Scenes on the Thames and Other Subjects" (Thames Set #). Printed in black ink on 'Bede' fine cream laid paper. Unsigned. $2,500.
The Forge. 1861. Drypoint. Kennedy 68.iv; Glasgow 86.vi. 7 1/2 x 12 1/2 (sheet 9 1/4 x 14). Glasgow records 92 known impressions. Series: A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects (Thames Set), plate 3. A rich, glowing proof printed on fine Japanese paper. Signed and dated in the plate. $4,750.
Fulham. 1879. Etching and drypoint. Kennedy 182.ii; Glasgow 61.v. 5 1/4 x 8 1/8 (sheet 11 1/4 x 15 3/4). Glasgow lists 61 known impressions. A rich proof with plate tone printed on Japanese vellum, before publication by the Fine Art Society, January 28, 1879. Signed with the butterfly in the plate. $2,500.
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. $7,000.
Limehouse. 1859. Etching. Etching. Kennedy 40.iii; Glasgow 48.iii/vi. 5 x 7 7/8 (sheet 7 7/8 x 10 1/16). Glasgow records 81 known impressions. Issued as plate 12 in 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). A proof printed on 'Hallines' laid paper. Signed and dated in the plate. $5,500.
Longshoremen. 1859. Drypoint. Kennedy 45; Glasgow 52.iv. 5 7/8 x 8 3/4 (sheet 7 1/8 x 10 1/8). Glasgow records 37 known impressions. A rich proof with plate tone, printed on cream colored laid paper. Signed in the plate. $4,750.
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). Printed by Thomas Way and issued by Boussod, Valadon and Co. in the portfolio, Art Notes. From the 1887 printingfor Art Notes in the edition of about 70 printed on the thin, greyish "chine" mounted on white/ivory wove paper (there were 30 impressions pulled on mounted Japan with larger sheets of wove backing). Monogrammed with the butterfly in the plate. A fine impression in excellent condition. $6,500.
Old Hungerford Bridge. 1861. Etching. Kennedy 76.iii; Glasgow 76.iv. 5 3/8 x 8 1/8 (sheet 6 7/8 x 9 5/8). Issued as plate 6 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). A rich impression with plate tone, printed on off-white laid paper. Signed in the plate. $4,000.
Old Westminster Bridge. 1859. Etching. Kennedy 39, Glasgow 47.iii/iv. 3 x 7 7/8 (sheet 9 3/8 x 13 3/4). Glasgow records 74 known impressions. Signed and dated in the plate. Issued as plate 4 of 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). A fine proof with plate tone printed on (Hallines) laid paper with a partial 'HP' in a shield watermark. Signed and dated in the plate. $3,750.
The Pool (Wapping Wharf). 1859. Etching. Kennedy 43.iv; Glasgow 49.iii/vi. 5 3/8 x 8 3/8 (sheet 9 3/4 x 9 13/16). Issued as plate 7 of 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). Glasgow records 83 known impressions. A fine proof with plate tone printed on on laid paper with a partial 'HP' in a shield watermark. Signed and dated in the plate. $4,500.
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii; Glasgow 70.vi. 10 5/8 x 7 5/8 (sheet 13 1/2 x 9 5/8). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). 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. A rich impression printed on fine cream laid paper. Signed in the plate. Price upon request.
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. 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 ofthe 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. Price upon request.
Thames Police (Wapping Wharf). 1859. Etching. Kennedy 44.iii; Glasgow 53.v (restored). 8 7/8 x 5 7/8 (sheet 10 x 13 7/8). Glasgow records 80 known impressions. Issued as plate 2 of 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). Printed on 'Hallines' laid paper. Signed and dated in the plate. $5,500.
Vauxhall Bridge. 1861. Etching. Kennedy 70.ii; Glasgow 75.ii. 2 5/8 x 4 1/2 (sheet 3 5/8 x 7 3/4).Glasgow records 36 known impressions. A rich proof printed on pale cream laid paper with a partial watermark. Signed and dated in the plate. $2,250.
W. Jones, Lime-Burner, Thames Street. 1859. Etching and drypoint. Kennedy 46.ii; Glasgow 55.ii. 9 3/4 x 6 7/8 (sheet 10 15/16 x 7 5/16). 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. A well-inked, cleanly wiped proof printed on antique cream laid paper. Signed and dated in the plate. $11,500.
The French Set and Paris. 1857-1861.
En Plein Soleil. (In full sun). 1858. Etching. Kennedy 15.ii; Glasgow 11.iii. 3 7/8 x 5 1/4 (sheet 5 x 6 7/16). Glasgow records 43 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). A rich proof with bistre ink, printed on cream laid paper with full margins. Signed 'Whistler' in the plate, lower left, and 'Imp. Delatre Rue St. Jacques. 171' lower right. $3,250.
The Rag Rag Pickers, Quartier Mouffetard, Paris. 1857. Etching and drypoint. Kennedy 23.v; Glasgow 29.v. 6 x 3 1/2. Series: Douze Eaux-Fortes d'après Nature (French set). A fine impression on cream laid paper with wide margins. Signed in the plate. $1,250.
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. $3,500.
Italy: The First Venice Set. 1979-1880.
The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191.vii; Glasgow 233.vii/ix. 9 1/4 x 12. Series: “Venice, a Series of Twelve Etchings” (First Venice set). Edition 100; Glasgow records 59 known impressions. Illustrated: Print Collector's Quarterly 1 (1911): 53. A fine, atmospheric proof printed in black/brown in on toned laid paper with a partial Strasbourg lily watermark and an '1814' countermark. Monogrammed with the butterfly and annotated 'imp' on the tab in pencil by Whistler. Price upon request.
The Netherlands. 1886.
Barges, Dordrecht. 1886. Etching. Kennedy 244; Glasgow 262. 2 1/2 x 3 3/4 (sheet 4 1/4 x 6 3/4). There was no lifetime edition. Glasgow lists only 10 other known impressions. A fine impression printed in black ink on white laid paper, before the plate was corroded. An acidic mat caused weakness in the window area, well outside the image. Monogrammed with the butterfly in pencil. $5,500.
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. An acidic mat caused weakness in the margins, well outside the image. Monogrammed with the butterfly in pencil. $5,500.
Please click on the link to the Glasgow online catalogue raisonné James McNeill Whistler: The Etchings A Catalogue Raisonné.
Lithographs.
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 onthe full sheet. Monogrammed in the stone. $6,500.
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 11 1/8 x 7 3/4). As printed by Way and published in The Studio, London April 16, 1894 with their blindstamp.Slightly toned; otherwise fine condition. Printed on the full sheet of cream wove paper. Monogrammed with the butterfly in the stone. $875.
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 and 30 posthumous impressions printed by Goulding in 1904. The stone was cancelled. Printed on cream laid paper with a Strasbourg Lily/LVG with a IV watermark (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. $4,500.
Little Evelyn. 1896. Lithograph. Way 110; Levy 159; Tedeschi, Stratis and Spink 146. 7 x 4 1/2 (sheet 12 5/8 x 9 1/2). Printed by Thomas Way for The Art Journal, 1896. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone, to the left of Evelyn's shoulder. $650.
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.
Nursemaids: les bonnes de Luxembourg. 1894. Lithograph. Way 84; Levy 79; Tedeschi, Stratis and Spink 81. 9 x 6 1/2 (sheet 12 1/2 x 9). Edition of about 3,000 published in The Art Journal, December, 1894. A fine impression printed on ivory colored wove paper. Monogrammed with the butterfly in the stone. $850.
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. A fine impression printed on cream wove paper. Monogrammed with the butterfly in the stone. $875.
Savoy Pigeons. 1896. Lithograph. Way 118; Levy 164; Tedeschi, Stratis and Spink 154. 8 x 5 3/4 (sheet 11 1/8 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $600.
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. $3,500.
Avenue Cremorne Gardens. Pencil, ink and watercolor. 7 7/8 x 10 3/4 (sheet 10 1/2 x 12 3/4. Exhibited at the Parkin Gallery. Signed in the image; titled beneath the image, lower left, in the artist's hand. The image appears to depict Whistler and his wife, Beatrix. $3,500.
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. $2,500.
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. $3,500.
Wiggins was commissioned by the Weyerhaeuser Lumber Company to make a series of landscapes on the Cascade Mountain Range. The images were to be used in a calendar, published by the Weyerhaeuser Lumber Company. The commission was not completed.
Click on the images for larger screens.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Pickled Herring Wharf. 1925. Etching with drypoint. 6 7/8 x 10 1/8 (sheet 10 1/8 x 12 15/16). Edition 30. The etching was awarded a silver medal from the Printmakers Society of California in 1930. A very rich impression printed on cream wove paper with deckle edges on three sides.. Signed and annotated in pencil. A Whistlerian image, reminiscent of the Lime-Burner in the Thames set. $650.
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. $950.
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. $950.
Refuge. c.1935. Etching, drypoint and aquatint. 9 1/4 x 14 1/8 (sheet 13 x 17 1/2). Edition 50. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $875.
Silent Night. c.1935. Etching, drypoint and aquatint. 10 x 14 3/4 (sheet 13 1/8 x 17 7/8). Edition 60. A rich atmospheric impression printed on wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $1,250.
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. $975.
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. $1,100.
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. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $$950. Another impression on cream wove paper, with a faint mat line. $750.
The Veteran. c.1935. Etching, drypoint and aquatint. 9 7/8 x 11 1/4 (sheet 13 1/8 x 16 7/8). Edition 56. A rich impression printed on 'Rives' wove paper. Signed, titled and annotated in pencil. $1,150.
Winter Moon. c.1935. Etching, drypoint and aquatint. 9 x 11 3/4 (sheet 12 1/2 x 15). A proof from the cancelled printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $275.
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. $950.
Seed Time and Harvest. 1937. Lithograph. Cole 2. 7 7/16 x 12 1/8 (sheet 11 3/4 x 15 7/8). Edition 250 for Associated American Artists. A fine impression on the full sheet of 'Rives' cream wove paper with deckle edges. This work relates to Wood's "Corn Series" paintings. Signed in pencil. $5,800.
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 the full sheet of white wove paper with deckle edges. A rare proof of this striking image. $750.
Mother and Child (Artist and Child). 1921. Linoleum cut. 9 1/2 x 6 (sheet 12 1/4 x 11). First state, before the lettering 'MERRY XMAS' above the oval, and 'FROM THE ZORACHS' below the oval. A rich proof printed on Japanese mulberry paper. Pencil sketch of a foot, verso. A charming and unusual self-portrait. Signed and dated in pencil. $2,500.
This file was updated April 23, 2012.
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