103 Stories. (Empire State Building.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

A Quiet Glimpse of Central Park. 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,050.

Angled Reflections. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $1,050.

Balance. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

<Brooklyn Bridge, from the Ferry. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Cables, Brooklyn Bridge. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $1,000

Connections. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,300.

Façade: the Flatiron. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Fifth Avenue. 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Framed. (New York Skyline through Brooklyn Bridge Cables.). 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $1,100

Freedom, horizontal. (Statue of Liberty.) 2013. Shot in infrared. 16 x 24. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Grand Central Station. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $1,000

Industrial Elegance. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Inside Grand Central. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Into the City. (Roosevelt Island Bridge.) 2014. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Intricate Simplicity. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Just Outside. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,150.

Lady Liberty, vertical. 2013. Shot in infrared. 24 x 16. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Majesty. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. Finalist in the Empire State Building Photo Contest 2016. Featured as the profile picture of the Empire State Building across its social media channels including Facebook, Twitter, Instagram and Pinterest in March, 2017. $1,150. $1,150.

Mirrored Sky. (One World Trade Center.) 2013. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Morning Glow. (Brooklyn Bridge and the New York Skyline.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,050.

New Beginnings. (World Trade Center.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Reaching to the Sky. (Financial District.) 2013. 16 x 24. Shot in infrared. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

<Sky over Manhattan. (Brooklyn Bridge.) 2014. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $1,200.

Steel. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.

Strength. (Manhattan Bridge.) 2015. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $950.

Through the Bridge: A view of Manhattan and Brooklyn through the Manhattan Bridge. 2015. 24 x 36. (Matted and framed.) Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $2,500.

Unexpected Symmetry. (Brooklyn Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

Webbing. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.

The fine art Chromaluxe metal panel prints use Chromaluxe panels and a UV coating that is bonded to substrates that include .045� a Chromaluxe metal panel. Chromaluxe panels have superior fade, moisture, stain and scratch resistant properties, making them modern and durable. The Chromaluxe metal panels are signed, titled and numbered on the back with an oil based archival paint pen. All Chromaluxe metal panels measure 16 x 24 or 24 x 16 with hanging hardware on the back.

John Taylor Arms, N.A. 1887-1953.

Click on the titles for images. Click on the pictures for larger images. The groupings are, in order: America, Italy, Gargoyles, France, Spain, Sweden, Switzerland, England.

America

New York

American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David Llewellyn Reese, New York. An extremely rich tonal impression printed in dark brown ink, 1921, on cream laid paper with full margins. Signed and titled in pencil. $6,500.

Cobwebs (Brooklyn Bridge). 1921. Etching. Fletcher 85. 9 5/8 x 7 1/2 (sheet 12 1/8 x 10 1/2). Edition 75 (+ 10 trial proofs). Illustrated: Beall, American Prints in the Library of Congress. A fine impression printed on cream wove paper by Frederick Reynolds. Signed, titled and numbered in pencil. $5,000.

Boston

Massachusetts General Hospital, Boston 1928. Etching. Fletcher 210. 9 1/8 x 6 5/8 (sheet 11 x 8 1/2). Edition 103 (+ 4 trial proofs). A fine impression printed with plate tone on Japanese vellum by Frederick Reynolds. $325.

Connecticut

Apple Tree (The Blighted Tree, Fairfield or La Pommier). 1920. Etching. Fletcher 67. 7 7/8 x 7 1/16 (sheet 11 5/8 x 9). Edition 75 (+ 2 trial proofs). A fine impression printed on the full sheet of [FJ Hea]d & Co cream wove paper by Frederick Reynolds. $375.

Out of Studio Window (Out of My Studio Window or De La Fenêtre de mon Atelier). 1920. Etching. Fletcher 77. 4 1/2 x 5 3/4 (sheet 8 1/16 x 9 3/8). Edition 75 (+ 4 trial proofs). A fine impression printed on the full sheet of [FJ Hea]d & Co cream wove paper by Frederick Reynolds. $275.

Italy

The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Published as the frontispiece for the book by Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. $2,350.

La Bella Venezia, or The Grand Canal, Venice. 1930. Etching. Fletcher 232. 7 1/8 x 16 1/2 (8 3/8 x 17 1/2). Italian Series, #18. Trial proof, apart from the edition of 81 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 192; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A rich impression with subtle tonal wiping printed on cream wove paper. Signed, dated, titled and annotated and 'trial proof II', 'collection j' (Hugh Fisher, England), and 'ct' (Carling trial) in pencil. $6,500.

Church of Saint Francis and the Natizone, Cividale. 1940. Etching. Fletcher 238.iii. 7 1/2 x 10 1/2 (sheet 79 5/8 x 16). Edition 128 (+ 6 trial proofs). Italian series #22. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 139. A rich impression in red/brown ink printed on antique laid paper by Henry E. Carling. Signed,dated, titled and annotated 'cp' (Carling printed) in pencil. $700.

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 105 in color in this state and 80 printed in black and white (+ 3 trial proofs).. 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 (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,350.

La Mangia, Siena (La Torre del Mangia, Siena). 1921. Etching. Fletcher 192.15 x 8 (sheet 17 7/8 x 11 3/4). Edition 115. Italian series #10. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 38; American Etchers: John Taylor Arms; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A fine impression printed on A[rches] laid paper by Frederick Reynolds. Signed and dated in pencil. $1,750.

Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.

From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.

Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.

Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. $1,850.

Shadows of Venice. ( Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p.114. A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. Shadows of Venice. was the artist's diploma print for his acceptance as a member of The Royal Society of Painter-Etchers in 1934. $2,500.

Venetian Mirror (The Grand Canal, Venice). 1933. Etching. Fletcher 289.ii. 6 1/4 x 14 1/4 (sheet 10 3/16 x 18 1/8). Edition 169 (+ 27 trial proofs). Italian Series #27. Illustrated:Prints vol. VI, no. 2, 1935, p. 79;. Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 119. Printer: David Strang. A rich impression on 'David Strang' cream laid paper with full margins. Signed, dated 1935, titled and annotated 'II' in pencil. $7,500.

Venetian Filigree ( Cà D'Oro Venezia). 1931. Etching. Fletcher 235.ii. 10 3/4 x 11 (sheet 13 7/8 x 18 5/8). Edition 150 (+ 4 trial proofs). Italian Series #20. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p.188; Fine Prints of hte Year, 1932;Prints vol. III, no. 2, 1933, page 3; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 117. Printer: Henry E Carlingg. A rich impression on pale blue/green laid paper on the full sheet with deckle edges. Housed in an elegant 21 1/2 x 22-inch gold leaf frame. Signed, titled and annotated 'cp' (Carling printed) in pencil. $6,500.

Via Facchini, Pisa. 1927. Etching. Fletcher 194. 11 3/8 x 5 1/2 (sheet 15 7/8 x 10 1/4). Edition 110. Italian series #11. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 24. A fine impression printed on 'M BAS' laid paper. Signed and dated in pencil. $400.

Volterra. The Town in the Clouds. 1927. Etching. Fletcher 196. 7 15/16 x 8 1/4 (sheet 12 7/8 x 11 5/8). Edition 100. Italian series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 30. A fine impression printed on 'FJ Head & Co' laid paper by Frederick Reynolds. Signed, dated and titled in pencil. $325

Gargoyles

Une Chimère. 1947. Etching. Fletcher 408.ii. 3 x 2 3/8. Edition 201 in this state (total edition 226). Miniature series #38. Gargoyle series #14. Awards: Miniature Print Purchase Prize, 5th Annual Exhibition, Boston Printmakers, Boston, MA. Signed, dated and annotated 'II' in pencil. $650.

A Devil of Notre Dame. 1929. Etching. Fletcher 222.ii. 7 x 4 7/8 (sheet 13 x 9). Gargoyle Series #13.Edition 255. The artist's own personal proof, apart from the edition of 100 for Churches of France by Dorothy Noyes Arms (Macmillan, NY, 1929.) An exceptionally rich impression printed on grayish laid paper with a foolscap watermark from an antique volume. Signed, dated, annotated extensively, 'Personal proof,' 'A Devil of Notre Dame', 'Frontispiece for 'Churches of France', 'Number 12 of the 'Gargoyle Series','Second (published) edition', Printed by Peter Platt at New York on old grayish paper', 'Collection "b" 'pp' [personal proof]. $1,950.

A Gargoyle, Lincoln Cathedral. 1920. Etching. Fletcher 92. 1 7/8 x 3 1/16(sheet 6 x 9 1/2). Gargoyle Series #2. Minature Series #5. Edition 50. A rich impression printed with plate tone on cream wove paper. Signed, dated and titled in pencil. $450

The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/5 (sheet 9 5/8 x 7 3/4). Gargoyle series #1. Artist's proof aside from the edition of 75. A rich impression printed on cream laid paper. Signed and annotated in pencil. $2,750.

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 3/4 x 7 (sheet 15 3/4 x 10 1/2). Gargoyle Series #8. Edition 130. Illustrated: Print Collector's Quarterly 21 (1934):126; American Etchers: John Taylor Arms. A glowing impression printed on simili-Japan paper. Signed, dated and annotated 'I' in pencil. $2,600.

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustated: Dorothy Noyes Arms, Churches of France p.20. Signed in pencil. $1,750.

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.e collection b I' apart from the edition of 185. Gargoyle series #11. Illustated: Dorothy Noyes Arms, Churches of France p.8; Print Collector's Quarterly 21 (1934):12; Illustrated: American Etchers: John Taylor Arms. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $4,500.

Sentinnels (Sentinnels in the Night). 1922. Etching and aquatint. Fletcher 123.ii. 4 3/8 x 7 3/8 (sheet 7 7/8 x 9 7/8). Annotated 'Private collection cI' apart from the edition of 135. Gargoyle series #9. A fine impression printed on blue-green laid paper. Signed in pencil. $1,350.

Through Wind and Weather. (Notre Dame Gargoyle, Through Wind and Weather). 1922. Etching. Fletcher 118. 7 1/8 x 8 (sheet 9 x 11 3/8). Gargoyle Series #7. Edition 75 (+ 3 trial proofs). A 1/16-inch circular stain in the lower margin, outside the image; otherwise excellent condition. A rich impression printed on Hand[made] laid paper. $1,000

Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Edition 75. Gargoyle series #3. Illustated: Dorothy Noyes Arms, Churches of France p.20; Beall, American Prints in the Library of Congress, p. 34. A fine impression printed on cream laid paper. Signed in pencil. $2,500.

France

Abside de la Cathédrale de Saint Pierre et Saint Paul, Troyes (Apse of the Cathedral of Saints Peter and Paul, Troyes). 1929. Etching. Fletcher 224.ii. 12 1/2 x 7 3/8 (17 3/4 11 7/8). French Series, #29. Edition 127 in this state + 2 printed by Griggs in 1932 and 5 by Strang in 1937-38 (+ 20 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 156; Fine Prints of the Year, 1930. A fine impression printed in 1929 by Henry E. Carling with plate tone on pale blue/green laid paper. Signed, dated, titled 'Cathédrale de Saint Pierre et Saint Paul, Troyes' and annotated 'cp' (Carling printed) in pencil. $800.

Basilica of the Madeleine, Veézelay (The Abbey Church of Ste. Madeleine). 1929. Etching. Fletcher 223.iii. 12 x 7 3/8 (17 3/4 11 7/8). French Series, #28. Edition 134 (+ 6 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 146; American Etchers: John Taylor Arms. A fine impression printed with plate tone on white laid paper. Signed, dated and titled 'The Abbey Church of Ste. Madeleine' in pencil. $550.

Cathedral of St. Cyr and Sainte Julitta, Nevers. 1929. Etching. Fletcher 221. 13 x 5 5/8 (15 5/8 10 1/8). French Series, #27. Edition 255 (+ 6 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 140;Fine Prints of the Year, 1929; American Etchers: John Taylor Arms. A fine impression printed on white laid paper. Signed, dated and titled 'Nevers. The Cathedral of St. Cyr and Ste Julitta' in pencil. $550.

Chartres (Cathedral of Notrre Dame from the River). 1927. Etching. Fletcher 193.ii. 13 1/4 x 10 (sheet 16 3/4 x 11 1/4). French Church Series #14. Edition 100. Illustrated: Dorothy Noyes Arms, Churches of France, p. 56. A fine impression printed on cream laid paper. Signed, dated '1928' and annotated Second state' in pencil. $800.

Church of Saint Jean l'Aigle, Orn. 1940. Etching. Fletcher 343.ii. 3 1/4 x 5 3/8 (sheet 7 1/2 x 5 1/4). Edition 551. French Church Series #43; Miniature series #26. Annotated 'sp' in pencil indicating a proof printed by David Strang. A fine impression on Japanese mulberry pencil. Signed,dated and annotated in pencil. $150.

The Crown of Normandy (St. Ouen, Rouen). 1928. Etching. Fletcher 211.ii. 13 1/4 x 6 3/16 (sheet 16 3/8 x 7 3/4). French Church Series #21. Edition 100 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 50. A rich impression printed on cream laid paper. Signed, dated and titled 'The Crown of Normandy, St. Ouen, Rouen' in pencil. $750.

Église de Notre Dame, Bourg-En-Bresses. 1927. Etching. Fletcher 187. 8 3/4 x 4 (sheet 11 1/2 x 7). Edition 100. French Church Series #11. Illustrated: Dorothy Noyes Arms, Churches of France, p. 122. A fine impression printed on antique blue-green laid paper. Signed and dated in pencil. $275.

Église Saint Michel, Pont L'Évêque. 1927. Etching. Fletcher 198. 9 1/4 x 4 4/8 (sheet 10 3/4 x 7 7/18). Edition 117. French Church Series #17. Illustrated: Dorothy Noyes Arms, Churches of France, p. 40; Beall, American Prints in the Library of Congress, p. 17. A fine impression printed by Frederick Reynolds on antique blue-green laid paper. Signed and dated in pencil. $300.

Gloria: Saint Riquier. (The Church of Saint Riquier; Gloria Ecclesiae Antiquae). 1937. Etching. Fletcher 307.iii/iv. 13 7/8 x 8 5/8 (sheet 8 1/16 x 11 3/8). Edition 175 (Total 237+ 12 trial proofs). French Church series # 39. Illustrated: Fine Print of the Year, 1938. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'Third state' and 'sp' (Strang printed) in pencil. $850.

In Memoriam. The North Portal of Chartres Cathedral. 1938. Etching. Fletcher 317. 14 5/8 x 12. Edition 312. French Church Series #40. Winner of the Artist Member Prize, Annual Exhibition, Baltimore Water Color Club, The Baltimore Museum of Art, 1939. Illustrated: Albert Reese, American Prize Prints of the Twentieth Century, 1949 Print Collector's Quarterly 26 (1939): 368. Printer: David Strang. It took Arms about a thousand hours to etch the extraordinary detail. Signed in pencil.Framed. $3,750.

Lescure, Une Tour des Remparts. (A Rampart Tower in Lescure). 1928. Etching. Fletcher 217. 6 3/8 x 3 15/16 (sheet 10 3/8 x 7 3/16). Commissioned as a Christmas card for The Architectural Forum, 1928. A fine impression printed by Frederick Reynolds on pale blue/green laid paper. Signed, dated and titled in pencil. $250.

Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. Illustrated: Prints vol. VII, no. 3, 1937, p. 170. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.

Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.

Notre Dame de Laòn. 1929. Etching. Fletcher 219.iii. 14 x 9 5/8 x (sheet 17 1/4 x 11 1/4). Edition 135. French Church Series #26. Illustrated: Dorothy Noyes Arms, Churches of France, p. 174; American Etchers: John Taylor Arms. 2 professionally-repaired tears in the right-hand margin, one extending just into the image. A fine impression printed cream laid paper by Henry E. Carling. Signed and dated in pencil. $375.

Notre Dame du Val, Provins (La Tour, Notre Dame du Val, Provins and Thibaut) 1931. Etching. Fletcher 240.ii. 8 11/16 x 5 1/8 x (sheet 13 x 8 5/8). Edition 155 (+ 19 trial proofs). French Church Series #30. A fine impression printed cream laid paper by Charles S. White. Signed, dated, titled 'Tour, Notre Dame du Val, Provins' and annotated 'Plate etched for Frontispiece of limited Edition (150 copies) of "Contemporary American Etching" 1931. Published by American Art Dealers Association' and 'WI' (Charles White)' in pencil. $375.

Rodez. (The Tower of Notre Dame). 1927. Etching. Fletcher 189. 11 7/8 x 4 15/16 (sheet 15 1/4 x 7 3/4).Edition 120. French Church Series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 114; American Etchers: John Taylor Arms. A fine impression printed cream laid paper by Frederick Reynolds. Signed and dated in pencil. $350.

The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. Illustrated: Dorothy Noyes Arms, Churches of France, p. 22. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $600.

Rouen; The Cathedral of Notre Dame from the South. 1925. Etching. Fletcher 162. 8 1/8 x 7 5/8 (sheet 14 1/4 x 9 1/8). French Church Series #4. Edition 150. Illustrated: Dorothy Noyes Arms, Churches of France, p. 50; Fine Prints of the Year, 1925. A fine impression printed on antique cream laid paper. Signed and dated in pencil. $500.

La Rue Sauton, Paris (The South Transept of Notre Dame, Seen from the Rue Sauton and Viguereune) 1924. Etching. Fletcher 144. 13 1/2 x 7 1/2 (sheet 18 1/4 x 11 5/8). French Church Series #1. Edition 200. Illustrated: Dorothy Noyes Arms, Churches of France, p. 4. A fine impression printed on Made [in England] cream laid paper. Signed and dated in pencil. $950.

Saint Bénigne, Dijon (The Cathedral of St. Bénigne, Dijon). 1924. Etching. Fletcher 195. 10 3/8 x 6 3/4 (sheet 12 3/4 x 8 3/8). French Church Series #15. Edition 110. Illustrated: Dorothy Noyes Arms, Churches of France, p. 136. A rich impression with plate tone printed on cream laid paper. Signed and dated in pencil. $450.

Saint Germain L'Auxerrois, Paris (St. Germain L'Auxerre). 1928. Etching. Fletcher 215.9 7/8 x 5 (sheet 12 3/8 x 7 1/8). French Church Series #24. Edition 362 (+ 1 trial proof). Illustrated: Dorothy Noyes Arms, Churches of France, p. 145. Commission for the Chicago Society of Etchers. A fine impression printed with plate tone cream laid paper by Frederick Reynolds. Signed, dated and titled in pencil. $375.

Sunlight on Stone, Caudebec-en-Caux. 1931. Etching. Fletcher 241.ii. 14 1/4 x 7 1/2 (sheet 16 1/2 x 11 5/8). French Church Series #31. Edition 164 (+ 28 trial proofs). Illustrated: Print Collector's Quarterly 21 (1934): 140. A rich impression with plate tone printed by Henry E. Carling on 'Dard Hunter' cream laid paper. Signed, dated, titled and annotated 'cp (Carling printed) in pencil. $1,750.

A Tower of St. Front, Perigueux (Perigueux's Tower of Saint Front). 1928. Etching. Fletcher 212. 11 7/8 x 5 5/8 (sheet 13 1/2 x 8 3/8). French Church Series #22. Edition 200 (+ 2 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 96. A fine impression printed on cream laid paper. Signed, dated and titled in pencil. $400. .

Spain

Burgos (A Spanish Town Revisited) 1924. Etching. Fletcher 142. 8 5/8 x 13 1/8 (10 1/2 x 15 3/4). Spanish Church Series, #2. Edition 175 (+ 2 trial proofs). A fine impression printed on FJ Head and Co. laid paper with a partial countermark. Signed and dated in pencil. $400.

La Colegiata, Toro. 1935. Etching. Fletcher 284.ii. 9 3/4 x 12 3/4 (11 1/2 x 18 1/8). Spanish Church Series, #12. Edition 153. Illustrated: Fine Print of the Year, 1936. A rich, well-inked impression printed by David Strang on blue/green laid paper. Signed, dated, titled and annotated 'II' and 'sp' in pencil. $975.

La Giralda, Seville (Seville IVRS). 1924. Etching. Fletcher 145. 12 1/8 x 7 5/8 (sheet 14 1/2 x 9 5/8). Edition 154. Spanish Church Series #4. Printed by Frederick Reynolds on cream wove paper. $325.

Puerta del Obispo, Zamora (The Bishop's Door, Zamora). 1933. Etching. Fletcher 266.ii. 12 1/2 x x 7 1/8 (17 x 11 3/8). Edition 160 (+ 30 trial proofs). Spanish Church series, #9.A rich impression printed in red/brown ink on cream laid paper. Signed, dated, titled and annotated 'Second and published state' and 'sp' indicating a proof printed by David Strang in 1937-38. $600.

Puerta Principal de la Iglesia de San Pablo, Valladolid. (Miniature, San Pablo, Valladolid) 1934. Etching. Fletcher 278.ii. 7 3/8 x 5 1/2 (9 3/4 x 7 1/2). Spanish Church Series, #11. Edition 170 (+ 12 trial proofs). A fine impression with plate tone printed on cream laid paper with a partial watermark. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $300.

Santa Maria Major, Ronda. 1935. Etching. Fletcher 288.ii. 8 x 5 3/8 (12 1/8 x 9). Spanish Church Series, #13. Edition 165 (+ 7 trial proofs). Commission for the American College Society of Print Collectors. A rich, well-inked impression printed by David Strang on 'David Strang' countermarked cream laid paper. Signed, dated, titled and annotated 'Plate etched for the American College Society of Print Collectors' and 'sp' (Strang printed) in pencil. $425.

Stone Tapestry, San Isidoro, León . (South Portal of the Collegiate Church of San Isidor, Leon).1936. Etching. Fletcher 267. 11 5/8 x 3 (14 1/8x 7 5/8). Spanish Church Series, #10. Edition 154 (+ 18 trial proofs). A fine impression with plate tone printed on cream wove paper. Signed, dated and titled in pencil. $325.

Sweden

Stockholm. 1940. Etching and aquatint. Fletcher 95.III. 7 1/2 x 13 1/2 . Edition 395 in this state (total edition approximately 413). Scandinavian Series #1. A glowing impression on blue-green laid paper with full margins. Signed in pencil. $1,750.

Switzerland

Chateau Stockalper, Brique(The correct spelling is Brigue, not Brique). 1927. Etching. Fletcher 2202. 10 3/16 x 4 15/16 (sheet 11 1/2 x 7 116). Edition100 (+ 2 trial proofs). A fine impression printed by Peter Platt on the full sheet of antique cream laid paper. Signed, dated and annotated 'px' (Platt printe) in pencil. $225.

England

Afterglow (Geddington, England, Sketch). 1938. Etching. Fletcher 315.ii. 3 1/4 x 5 3/8 (sheet 9 3/16 x 11 5/8). English Series #3. Edition 250 for The Print Collector's Quarterly volume 26 (April 1939). Awards: 1948 Purchase Prize, 5th Annual Cooperative Exhibition, Pennsylvania State Teachers' College. Printed on cream laid paper, on the full sheet with deckle edges. Signed, dated and annotated 'state II' in pencil. $275.

Anglia Antiqua, West Walton (The Church of West Walton). 1937. Etching. Fletcher 310.ii. 5 3/8 x 2 15/16(sheet 11 1/2 x 9 5/16). ENGLISH SERIES #1 Minature Series #20. Edition 209 (+ 13 trial proofs). Commission for The Print Makers' Society of California. A rich impression printed with plate tone on cream laid paper. Signed, dated, titled and annotated 'Plate etched for The Print Makers' Society of California 1937.' $250.

This England (Fairford, Gloucestershire). St. Mary Church, Fairford on the Coln. 1952. Etching. Fletcher 426. ii. 6 3/8 x 11 5/16 (sheet 10 1/2 x 15 5/8). Edition 150 Planned; 82 pulled. Titled, dated, signed and annotated 'C485' in pencil. $375.

The Old Exe Bridge. (Vieux Pont à Exeter). 1920. Etching. Fletcher 61. 6 3/8 x 4 5/8 (sheet 9 3/8 x 6 1/2). Edition 100 (+ 2 trial proofs). A fine impression printed on the full sheet of white laid paper by Frederick Reynolds. $300.

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.

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 greenish toned 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.

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.

Otto Henry Bacher. 1856-1909.

Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.

George Wesley Bellows. 1882-1925.

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Artists Judging Works of Art. 1916. Lithograph. Mason 18. 14 1/2 x 19 (sheet 18 3/4 x 26 7/8). Edition aproximately 52. A rich impression printed on Japanese mulberry paper, on the full sheet with deckle edges. This is a fine lifetime impression. Provenance: H.V. Allison and Co. Inc., New York; Chapellier Galleries, Inc, New York; Galleries Marcus Steinberg, Chicago. Gift to a Texas collector. Signed, titled and annotated 'No. 25' in pencil by the artist. Housed in a reproduction gold leaf period frame. Price upon request.

The Pool-Player. 1921. Lithograph. Mason 83. 5 1/2 x 10 (sheet ). Edition 40. A rich impression printed on Japan paper, with full margins. This is a fine lifetime impression. Provenance: H.V. Allison & Co. Inc. Signed in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist. Price upon request.

Preliminaries (to the Big Bout). 1916. Lithograph. Mason 24. 15 7/8 x 19 5/8 (sheet 19 7/8 x 23 3/4). Edition 67.An exceptionally rich lifetime impression with tonal wiping, printed on fine Japanese mulberry paper, with full margins. Dedicated: 'This proof is for 'Christina White Holbrook', titled and signed in pencil by the artist. Price upon request.

Tennis (Tennis Tournament). c. 1921. Lithograph. Mason 71. 18 3/8 x 20 (sheet 20 x 21 3/8 ). Edition probably 63. A rich impression printed on chine appliqué mounted on plate paper, as issued. This is a fine lifetime impression. Signed, annotated 'imp' and numbered '6' in pencil by the printer, Bolton Brown; signed and titled in pencil by the artist. Housed in a reproduction period gold leaf frame (32 1/2 x 34 1/2). Price upon request.

The Tournament (Tennis at Newport). c. 1921. Lithograph. Mason 72. 14 3/4 x 18 7/8 (sheet 20 1/2 x 24). Edition probably 63. A rich impression printed on chine appliqué mounted on plate paper. Signed, annotated 'imp' and numbered '42' in pencil in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist.Housed in a reproduction period gold leaf frame (29 x 32 1/2). Price upon request.

Frank Weston Benson, N.A. 1862-1951.

Boats at Dawn 1920. Etching. Paff 190.iii. 7 3/4 x 10 7/8 (sheet 10 3/8 x 14 3/8). Edition 150. A rich impression with subtle plate done printed on Japanese mulberry paper on the full sheet with deckle edges. Provenance: the artist's family. Signed in pencil. $2,750.

On the Kedgwick 1923. Etching. Paff 222. 7 3/4 x 11 3/4 (sheet 11 1/2 x 15 9/16). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression in excellent condition, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $2,750.

The Punter 1927. Etching. Paff 273. 7 7/8 x 11 7/8 (sheet 10 3/4 x 14). Edition 150. A rich impression with plate tone printed on cream laid paper. Signed in pencil. $2,750.

Two Canoes 1927. Etching. Paff 266.i/iii 5 7/8 x 7 3/4 (sheet 9 5/8 x 10 3/4). Trial proof A-5, prior to the edition 150. An extremely rich impression with plate tone, printed on cream wove paper on the full sheet with deckle edges. Provenance: the artist's family. Signed and annotated 'A-5' in pencil. $2,750.

Two Canoes 1927. Etching. Paff 266.iii. 5 7/8 x 7 3/4 (sheet 9 x 11 1/4). Edition 150. An extremely rich impression with plate tone, printed on cream laid paper on the full sheet with deckle edges. Provenance: the artist's family. Signed in pencil. $2,750.

William Harry Warren Bicknell. 1860-1947.

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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.

Isabel Bishop. American. 1902-1988

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Double Date Delayed or Entry-E 1948. Etching. Teller 43. 5 x 3 1/2 (sheet 12 7/8 x9 7/8). Incomplete edition of 35 printed by the artist. This proof is from the subsequent lifetime edition of 50 published in 1978 by Associated American Artists, New York. It was printed by Stephen Sholinsky of Stem Graphics, New York. The sheet bears his embossed blindstamp on the front lower right. A fine impression in pristine condition printed on cream wove paper. Signed and numbered 1/50 in pencil. $600.

Leaning on the Wall. 1927. Etching. Teller 4. 4 x 3 (sheet 11 x 8 7/8). Edition 100, #18 from the lifetime edition printed in 1967; there were only proofs earlier. A rich impression with plate tone printed on cream wove paper.Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. 'Remembering the Ladies: Women and the Art Association of Newport.' Signed and dated in ink verso, possibly in another hand. Signed and numbered in pencil by the artist. $550.

Noon Hour. 1935. Etching. Teller 18. 6 7/8 x 4 7/8 (sheet 11 3/8 x 8 1/2). Edition 250 published by Associated American Artists in 1946 (were a few earlier impressions from a proposed edition of 40). Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on cream laid paper. Signed in pencil by the artist. $3,500.

Edward Borein. 1873-1945.

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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.

Catherine (Therin) Brooks, B.F.A. American. Born 1976.

Hortus Conclusis (Enclosed Garden) 2008. Oil/mixed media on board. 17 1/2. x 14 1/2 , Signed, titled and annotated, verso. Housed in a thematically- decorated silver leaf frame.

This painting is a part of a body of work the artist made before transitioning gender and continuing to paint under the name 'Therin Brooks' in 2015. $1,500.

George Elbert Burr, N.A. 1859-1939.

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.Illustrated: American Etchers: George Elbert Burr. 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 printed 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. $2,750.

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. $4,500.

Letterio Calapai. 1902-1993.

Underground 1946. Etching and aquatint.17 3/4 x 11 7/8(sheet 20 5/8 x 16). Artist's proof; edition not known. A rich impression printed on cream-colored wove paper. Signed and annotated 'artist's proof' in pencil. $7,500.

John Carroll. 1892-1959.

Marion Greenwood. c. 1929. Lithograph. 9 1/2 x 7 5/8. Illustrated: Clinton Adams, American Lithographers, 1900-1960, page 61. $750.

Mary Cassatt. 1845-1926.

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Hélène of Septeuil (enfant au perroquet) (child with a parakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate tone. Printed on antique blue-green laid paper with a F And AGL countermark. Signed 'Mary Cassatt' in pencil. Price upon request.

Looking into the Hand Mirror, No.2. c. 1905. Drypoint. Breeskin 202. 7 5/16 x 5 (sheet 11 1/7 x 7 3/16). Posthumous impression. Printed on antique cream laid paper. $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 antique cream laid paper. $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. $2,950.

Mario Cassisa. Italian. 1929-2008.

Seattle - The Puget Sound. Un nouvo Moudo de esplorare -- assimilore. (A new way to explore -- assimilate). 1955-65 Collage with pen and ink, on wove paper mounted on masonite. 16 3/4 x 12 (sheet 19 11/16 x 13 3/4). Signed and dated in ink. $350.

Samuel Chamberlain, N.A. 1895-1975.

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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.

Ann Chernow, N.A. Born 1936.

Cygnus. 1977. Silkscreen and collage. 30 x 20. Star series. Edition 50. Printed on coated paper. Signed in pencil. $850.

Lollipop Lane. 2005. Etching. Chernow 157. 1 7/8 x 2 7/8. Edition 5, #1. A fine impression printed in black/brown ink on white wove paper on the full sheet with deckle edges. Signed, titled and numbered in pencil. $300.

Isaac Carpenter Clark. 1892-1959.

Ponset Barns - Winter. c. 1937. Etching and aquatint. 7 1/8 x 8 7/8(sheet 10 1/8 x 12). Edition 72, #2. Exhibited: Lyme Art Association. A rich impression with tonal wiping, printed by the artist on cream wove paper. Signed, titled, numbered and annotated 'imp' in pencil. $175.

Thomas Cole. 1801-1848.

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 Rev^d. 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. $1,250.

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 Rev^d. 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.

Samuel Colman. 1832-1920.

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.

Alphaeus Philemon Cole, N.A. American. 1876-1988.

Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 (framed 35 x 30). Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. Housed in a gold leaf frame. Signed and dated, lower right. $5,500.

Timothy Cole. 1852 - 1931.

Portrait of Mrs. Phipps N.Y. 1912. 7 3/4 x 4 3/16. Proof on tissue paper. Provenance: collection of Dr. Eugene Allen Noble. Signed, titled and dedicated 'To E.A. Noble' in pencil. $150.

Jean Cologero. Italian-American. 1922-2001.

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.

Grattan Condon. American. 1887-1966.

Illustrations for Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945.

[Futuristic Helicopters.] c. 1944. Conte crayon drawing. 9 1/2 x 7 framed 15 7/8 x 13 3/8). Illustration for the text: Illustration for the text: 'The world was at peace and prosperous' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 13. Initialed, lower right. Framed and glazed. $850.

[Futuristic Aircraft.] c. 1944. Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 7 5/8). Illustration for the text: 'The put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Framed and glazed. $850.c. 1944. Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 7 5/8). Illustration for the text: 'The put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Framed and glazed. $850.

Howard Norton Cook. 1901-1980.

Lower Manhattan. 1930. Lithograph. Duffy 132. 13 7/8 x 10 1/8 (sheet 15 3/4 x 11 1/2). Edition 75 (only 35 proofs were printed). Signed, dated and annotated '75' in pencil. A rich, carefully inked impression printed on cream wove paper. Available housed in a gold and silver modernist style frame. $12,500.

Skyscrapers. c. 1950. Pastel. on illustration board. 29 3/4 x 19 7/8. Provenance: Lewis A.Shepard, Mr.and Mrs. Archie Burack, The New Britain Museum of American Art, New Britain, Connecticut. Signed verso and lower right. $25,000.

Roger L. Crossgrove. 1921-2016.

Still Life with Four Pears and Three Apples. 1985. Watercolor monotype printed in colors. 14 3/8 x 21 (image and sheet). Signed, dated and titled in pencil, lower right. Housed in a 25 x 31 1/2-inch copper frame with grey accents. $750.

Three Athletes (Vaulters VIII). 1979. Watercolor monotype printed in colors. 14 3/8 x 21 (image and sheet). Exhibited: 'Roger L. Crossgrove: Three Decades -- Works on Paper and Photographs', William Benton Museum of Art, January 22 - March 10, 1991. Signed and dated in pencil, lower right. $550.

David T. Darling . Active c. 1920-1950.

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Landscapes

Pine Tree. c. 1930. Watergraph (stencils with watercolor). 10 x 8 (sheet 11 1/4 x 9 1/8). Sun toning; otherwise good condition. A fine impression in blue, green, brown, black and gray on cream wove paper. Numbered 12 in the lower right-hand margin. Signed in pencil. $275.

The Pool. c. 1930. Watergraph ingreen, brown, black, grey and mauve. 10 x 8 (sheet 16 x 13 1/4). Signed in pencil. $275.

Portraits

Portrait of the Artist's Wife, Mollie Shuger Darling. c. 1930. Watergraph in russet, brown, red and burnt umber. 11 7/8 x 9 7/8. $275.

[Tallulah.] c. 1930. Watergraph (stencils with watercolor) 11 7/8 x 9 7/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet, brown, red and yellow on cream wove paper. Numbered '54' in the lower right-hand margin. Signed in pencil in the image. $275.

[Vilma.] c. 1930. Watergraph (stencils with watercolor). 11 7/8 x 9 7/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet on cream wove paper. Numbered '58' in the lower right-hand margin. Signed in pencil in the image. $275.

[Vilma: Blue] c. 1930. Watergraph (stencils with watercolor). 11 7/8 x 9 7/8 (sheet 17 3/8 x 14 3/16. A fine impression printed in black, grey, blue, aqua, red and white. Unsigned. $275.

Frank Duveneck. 1848-1919.

Bridge of Sighs (2nd plate). 1885. Etching. Poole 29.i/ii. 12 x 9 3/4 (sheet 14 x 11 3/4). Rare impression of the first state before the edition 100 signed proofs of the second state published by Robert Dunthorne, London. Illustrated: Print Collector's Quarterly 25 (1938): 318. A rich impression with plate tone printed on sturdy wove paper with full margins. Provenance: Cincinnati Museum (duplicate); Dr. Sam L. Greenwood; Baldwin-Wallace College, Berea, Ohio. Monogrammed, dated and annotated 'Venice' in the plate; signed in pencil. $4,500.

Wayne Lambert Davis. 1904 - 1988.

Left Behind. c. 1942. Drypoint. 8 1/2 x 6 (sheet 14 1/2 x 10 1/4). A rich, tonal impression printed on cream wove paper. Signed in ink and titled in pencil. $400.

Maria Hampshire Eaton. c. 1860-1940.

St. Paul's. c. 1925. Etching and drypoint.6 3/4 x 5 1/4 (sheet 10 5/8 x 8 7/8). A rich impression printed on cream wove paer. Signed and titled in pencil. $175.

Kerr Eby, N.A. 1889-1946.

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Connecticut

The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $825.

Driftway, Moonlight 1931. Etching and aquatint. Giardina 168.viii. 8 5/8 x 15 5/8 (sheet 2 1/2 x 18 7/8). Edition 100. A rich, tonal impression printed on cream wove paper. Mat line from a former mount; otherwise excellent condition. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $1,500.

Goin' Home. 1928. Etching. Giardina 133.iii. 11 x 6 7/8 (sheet 15 1/2 x 10 1/16). Edition 90. A rich impression with plate tone, printed on watermarked cream laid paper with full margins. Signed and annotated 'Ed90' and 'imp' in pencil, indicating a proof printed by Eby. $550.

New England Winter. 1933. Etching. Giardina 176. 6 15/16 x 13 13/16 (sheet 11 3/4 x 13 3/4). Edition 90.Illustrated: Fine Prints of the Year, 1931; Reese, American Prize Prints of the Twentieth Century. The scene is probably Westport, Connecticut, where Eby lived. Signed and annotated' Ed. 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $975.

Snow Fields. 1924. Etching. Giardina 92. 7 1/2 x 12 3/4 (sheet 9 3/4 x 14 7/8). Edition 90-100. Soiling in the right and lower margins, outside the image. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $875.

Snow on the Aspetuck. 1927. Etching. Giardina 109.iii. 6 1/16 x 10 7/8 (sheet 9 x 13 3/4). Trial proof, apart from the edition of 90. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $875.

Still Hollow. 1936. Etching, aquatint, and sandpaper ground. Giardina 185.ii. 10 3/16 x 14 1/2 (sheet 13 1/16 x 17 7/8). Edition 100. Illustrated: Fine Prints of the Year, 1936. A rich tonal impression printed on cream laid paper. A rich impression printed on white wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed by Eby. $2,250 the pair.

Accompanied by the preliminary drawing: Still Hollow. c. 1936. Preliminary pencil drawing for the etching, Giardina 185.ii. 11 3/4 x 12 1/2 (sheet 12 1/4 x 15 5/8). A fine drawing on watercolor board. Signed in pencil, lower right. $2,250 the pair.

A Summer Day. c. 1922. Etching. Giardina 88.ii. 5 5/8 x 9 5/8. Unpublished; a small number of proofs printed. Very rare. The scene is probably in Connecticut. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450.

Tide Mill Marshes. 1927. Etching. Giardina 111. 7 x 12 1/2 (sheet 11 3/8 x 16 5/8). Edition 90. A rich tonal impression printed on cream laid paper. A rich impression printed on cream laid paper with full margins. Signed and annotated 'Ed90' and 'imp' (imprimit)in pencil, indicating a proof printed by Eby. $1,750 the pair.

Accompanied by the preliminary drawing: Tide Mill Marshes. c. 1927. Preliminary pencil drawing for the etching, Giardina 111. 9 9/16 x 14 1/2. A fine drawing on watercolor board. Signed in pencil, lower right and lower left. Annotated in pencil "Connecticut Shore" on the verso. $1,750 the pair.

The Whales Back. 1925. Etching. Giardina 95.iii. 6 1/2 x 12 (sheet 10 x 16). Triap proof, prior to the edition of 90. Illustrated in Fine Prints of the Year, 1927. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $925.

White Tails in the Morning. 1935. Etching. Giardina 183.ii. 8 1/4 x 12 1/2 (sheet 10 5/8 x 14 7/8). Edition approximately 100. A rich impression with subtle plate tone, printed by the artist on cream wove paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is probably Connecticut. $325.

Maine

Devil's Back or The Breakers. 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.

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 Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $450. 1928. Etching. Giardina 131.ii/vi 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof of the second state, before cross hatching on the the water and shading on the boats and the water, before the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper. Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $325.

Night, High Island, Maine. 1928. Etching. Giardina 131.ii/vi 12 5/8 x 6 7/8 (16 3/4 x 10 5/8). Trial proof of the second state, before cross hatching on the the water and shading on the boats and the water, before the edition of 90. Illustrated: American Etchers: Kerr Eby. A rich impression printed on cream wove paper. Signed annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $325.

The Storm. 1937. Etching and sandpaper ground. Giardina 191. 9 1/2 x 15 7/8 (sheet 11 7/8 x 18 1/2). Edition 100. Illustrated: Prints VII, 3 (1938): 175. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.

White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $500.

Massachusetts

High Land, Cape Cod. 1921. Etching. Giardina 54. 6 x 10 1/16 (sheet 8 3/4 x 12 1/2). Edition of 90. A fine impression with plate tone, on cream-colored laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $225.

New York

Burns Brothers, Sutton Place. 1922. Etching. Giardina 90.iv. 12 1/4 x 8 3/4 (sheet 16 x 12). Edition 50. A rich, tonal impression printed on cream-colored laid paper. Signed and annotated 'imp' in pencil. $1,750.

No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iv. 16 x 10 3/8. Edition 90. No 1 Wall Street, the former Irving Trust Company headquarters, is located at the intersection of Wall Street and Broadway in Manhattan's financial discrict. Trinity Church is in the background. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.

Pennsylvania

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.

The South

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.

The East

Goatherd, Algeria. 1922. Etching. Giardina 80.ii. 5 1/2 x 6 2/3. Edition about 50. $225.

Nomads 1922. Etching and drypoint. Giardina 79.ii. 9 7/16 x 13 3/8 (11 x 14 3/8). Trial proof, apart from the edition of 30. A very rich impression with tonal wiping. Light soiling in the lower right-hand corner; otherwise fine condition.Signed and annotated '1st trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. The etching depicts a Bedouin encampment in the Algerian desert. $175.

Steps and Doorways. 1922. Etching. G75. 9 7/8 x 4 11/16. Edition 50-90. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Street Cafes 1922. Drypoint. Giardina 82. 11 x 6. Edition 25. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Street of the Red Sea. 1922. Etching. Giardina 76. 10 7/8 x 4 11/16. Edition 50. The print was based on Eby's visit to Algeria during 1920-21. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Europe: England

Pauldavid. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 1/8 x 16 5/8). Edition 90.A rich impression with atmospheric tonal wiping. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. The scene is Pouldavid, a small town in Brittany, France. $275.

Killan Pass [Landscape with Mountain]. c. 1925. Etching. Giardina 105.vii/ix. 8 1/2 x 12 1/2 (sheet 10 x 14). Unpublished; small number of proofs only. A rich impression with tonal wiping, printed by the artist on cream laid paper, on the full sheet with deckle edges. Trial proof with additional work on the cloud aove the small peak; zigzagging line forms circle in upper left corner. Signed and annotated "trial proof" and 'imp' in pencil, indicating a proof printed by the artist. Signed in pencil. $275.

Porthleven. 1925. Etching and drypoint. Giardina 104.ix. 8 13/16 x 14 1/8 (sheet10 3/4 x 15 11/16) . Trial proof, apart from the edition of 90. Illustrated: American Etchers: Kerr Eby. An extremely rich impression printed on cream wove paper. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $250.

Spring in Cornwall. 1925. Etching. Giardina 106.ii/iii. 11 3/8 x 8 1/4 (sheet 14 1/8 x 9 1/2). Trial proof with the two horizontal scratches removed, prior to the edition of 90. Some inking traces in the margins; otherwise fine condition. A fine impression printed by Eby on cream Van Gelder Zonen paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Spring in Cornwall. 1925. Etching. Giardina 106.iii. 11 3/8 x 8 1/4 (sheet 14 1/2 x 111 1/2). Edition 90. Illustrated Print Collector's Quarterly 26 (1039):86. A fine impression printed by Eby on cream wove paper. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Europe: France

Pauldavid. [Pouldavid]. 1927. Etching. Giardina 119.ii/iii. 7 7/8 x 12 7/8 (sheet 12 x 17). Trial proof of the second state, before the edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated 'trial' in pencil. $275.

Pauldavid [Pouldavid]. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 3/8 x 16 1/8). Edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated ;Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.

Saint Agricol Church, Avignon. c. 1919. Pen and ink drawing. 10 3/8 x 7 (sheet 11 1/4 x 8 3/8). Titled 'St. Agricol' , lower left; unsigned. $450.

World War I.

"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A rich impression with plate tone, printed on antique laid paper. Illustrated: Flint, Contemporary American Etching, 1930. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.

Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 10 x 14). Trial proof, apart from the edition of 75. A fine impression printed with plate tone, printed on cream wove Van Gelder with full margins. Signed and annotated 'trial proof' 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.

Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.

Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 5/8 x 19 3/16). Edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.

Wash Day. Charcoal drawing. 10 1/2 x 13 1/2. Provenance: Child's Gallery, Boston; a prominent North Shore Family. Signed, lower left. $850.

The Willows. 1920. Drypoint. Giardina 41. 7 3/16 x 11 3/16. Edition 50. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.

Samuel Arlent Edwards. 1861-1938.

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.

Fritz Eichenberg. 1901-1990.

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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.

John William Evans. American. Born 1855.

Evans was a distinguished wood engraver, who did both reproductive and original work. In the late nineteenth and early twentieth centuries, wood engraving was the primary medium of reproduction in books and magazines. Wood engraving is a highly technical and demanding medium. Evans was one of the masters of the medium.

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Timothy Cole Engraving a Woodblock. 1935. Wood engraving after Alphaeus Philemon Cole (1876-1988). 6 3/16 x 5 (sheet 12 x 9). A rich impression printed on cream wove paper. Signed in pencil by Alphaeus P. Cole, signed and dated by John W. Evans. $500.

Portrait of Johnson. 1935. Wood engraving after a sculpture by James E.Kelly. 7 1/2 x 6 1/2. Printed on tissue paper. Thomas Johnson (1844 - 1904) was a wood engraver and illustrator. Signed in pencil by Evans and in ink by Johnson. $175.

Ernest Fiene. 1894-1965.

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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.

Washington Square, No. 2.1928. Lithograph. Coven 44. 14 3/8 X 11 5/8 (sheet 19 5/8 x 15 5/8). Edition 30, #28. Printed on the full sheet of cream wove paper. Signed,dated, titled and numbered in pencil. A fine impression of this scarce lithograph. $1,750.

Douglas Gorsline. 1894-1964.

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.

Gerald K. Geerlings. 1897-1998.

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Grand Canal, America (Electrical Buildings at Night). 1933. Drypoint. Czestochowski 31. 11 3/4 x 8 7/8 (sheet 12 x 18). Edition 100. Presentation print for the Chicago Society of'Chicago Fair 1933' in the plate, lower right. Signed in pencil. $2,750.

New York Set

Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Annotated 'Nov. 1980' on the mat. $750.

Cityscape Reflections - Misty Morning. 1980. Lithograph with pastel coloring. Czestochowski 42. Edition 40. 14 x 10 3/16 (sheet 18 x 14). Tape stains in the margins, not affecting the image; otherwise excellent condition. Printed on white wove paper. Signed, titled and dated in pencil. $500.

Siren on the Sea - Dusk. 1980-1983. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $500.

Siren on the Sea - Retreating Storm. 1980-1983. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in chalk. $500.

Siren on the Sea - Sunrise. 1980-83. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated '1980' in pencil. $500.

Siren on the Sea - Windy Afternoon. 1980-1983. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $500.

Daniel S. Goldenbloome.

[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. $125.

Eilas Mandel Grossman. 1898-1947.

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.

Arthur Hall. 1889-1981.

Wet Weather Branch. 1934. Etching. 4 x 7 3/5 (sheet 8 1/2 x 11 1/8). A fine impression printed on 'J Whatmans' cream wove paper. Signed in pencil. $200.

Thomas Schofield Handforth. 1894-1964.

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.

Childe Hassam, N.A. 1859-1935.

New York City.

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. $6,000.

The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on whitelaid paper with a '6' partial countermark. With the usual drying tack holes in the margins. Annotated 'New York C.H. 1916'in the plate; signed with the cypher in pencil. The etching is extremely scarce. $3,750. Available housed in a gold leaf frame.

Fifth Avenue, Noon, New York. 1916. Etching. Cortissoz, Clayton 77.ii. 9 3/4 x 7 1/4 (sheet 12 3/8 x 9 7/16). A fine impression with carefully-wiped plate tone printed on cream wove paper on the full sheet with deckle edges. Drying tack holes in the margins, as usual. Provenance: the artist, Milch Galleries, New York. Signed and dated 'April 1, 1916' in the plate; signed with the cypher in pencil and annotated 'imp' in pencil, denoting a proof printed by Hassam. $11,000.

Floor of the Stock Exchange. 1927. Etching. Cortissoz, Clayton 266. 9 7/8 x 14 3/4 (sheet 11 7/8 x 17 3/8). No published edition. A rich impression with carefully-wiped plate tone printed on cream wove paper. Drying tack holes in the margins. Dedicated in pencil 'Proof selected for Mrs. Lowinson by Childe Hassam'. Signed, dated and annotated in the plate; signed with the cypher in pencil. A superb proof of this exceptionally rare image. Price upon request.

Lafayette Street. 1918. Crayon and lithotint. Kleeman 18; Griffith 5. 14 5/8 x x 11 (sheet 18 x 11 3/4). Edition 59. A rich impression printed on Japanese mulberry paper with an oak leaf watermark. Signed and annotated in the stone "Childe Hassam 1918"; signed with the cypher in pencil. $7,500.

The Little Church Around the Corner. 1923. Etching. Cortissoz, Clayton 220.ii. 8 x 11 1/2 (sheet 10 5/8 x 11 3/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Signed and dated 'Jany.31, CH 1923 in the plate; signed with the cypher in pencil. The etching is extremely scarce. $3,500.

New York Bouquet. 1917. Lithograph. Kleeman 23; Griffith 2. 11 x 6 (sheet 14 5/8 x 10 1/2). Edition 93. Provenance: gift of Mrs. Hassam to the Springfield Museum of Fine Arts, and subsequently deaccessioned. Two stains from old hinges in the margins, well outside the image. Signed and annotated in the stone "Childe Hassam Nov, 14, 1917"; signed with the cypher in pencil. An excellent impression printed on Japanese mullberry paper with full margins and deckle edges on one side. $6,500.

Connecticut

Cos Cob Docks. 1915. Etching and drypoint. Cortissoz/Clayton 32. 7 x 5 (sheet 12 1/4 x 9 1/4). Edition 375 plus 25 presentation copies. As published in Cortissoz, Catalogue of the Etchings and Dry-Points of Childe Hassam, N.A. Illustrated: The American Magazine of Art 10 (1910) p.50; Czestochowski, 94 Prints by Childe Hassam. A fine impression printed on cream wove paper. Signed with the cypher in pencil. $2,250.

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. $4,500.

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. June 11, 1918. Lithograph. Griffith 19. 8 1/2 x 11 1/2 (sheet 11 7/16 x 17 7/8). Griffith 19. Edition 55. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. Signed "Childe Hassam June 1918" in the stone, and signed with the cypher in pencil. $3,000.

The White Kimono. 1915. Etching. Clayton 47. 7 1/2 x 10 7/8 (sheet 10 1/4 x 13 11/16). Edition c. 61. Printed on off-white hand made paper with full margins. APristine condition. Provenance: Gift of Maud Doane Hassam (850 Park Ave NYC) Thence, by descent to a direct descendant of Mr. Maud Doane Hassam. Signed with the cypher in pencil. Price upon request.

The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 314 x 9 5/8). Tack holes in the margins as usual, indicating that the sheet is untrimmed. A fine impression printed on cream paper with full margins and deckle edges on 3 sides. Signed with the cypherand annotated 'imp' in pencil signifying a proof printed by the artist. Price upon request.

Easthampton, Long Island, New York

House on the Main Street, Easthampton. 1922. Etching. Cortissoz/Clayton 213. 6 x 12 1/4 (sheet 9 3/4 x 15 1/4). Illustrated: Contemporary American Etching, 1930. Printed on cream wove paper on the full sheet with deckle edges on three sides with drying tack holes in the margins as usual. Signed with the cypher and annotated 'imp' in pencil, indicating an impression printed by the artist. $6,000.

This House. [Egypt Lane, Easthampton, Long Island, New York.] 1917. Etching. Cortissoz/Clayton 125.i/ii. 7 1/2 x 10 7/8 (sheet 9 1/2 x 12 9/16). Edition of 14 proofs in this state; no edition noted for state ii. A rich impression with tonal wiping, before removal of the sky. An extremely rich impression with tonal wiping, printed on cream laid paper on the full sheet with deckle edges on three sides, and with the artist's drying tack holes in the margins. Provenance: Descended in the estate of Maud Doane Hassam (850 Park Ave NYC), thence, by descent to a direct descendant of Mrs. Maud Doane Hassam. Titled 'This House' in pencil; signed with the cypher and annotated 'imp' and in pencil, indicating an impression printed by the artist. $5,000.

Gloucester.

Inner Harbor. (Gloucester) 1918. Lithograph. Kleeman 17; Griffith 16. 8 x 11 3/4 (sheet 10 3/8 x 17 7/8). Edition 104. Signed and annotated in the stone "Childe Hassam Gloucester 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. 3,000.

Gloucester

Inner Harbor. (Gloucester) 1918. Lithograph. Kleeman 17; Griffith 16. 8 x 11 3/4 (sheet 10 3/8 x 17 7/8). Edition 104. Signed and annotated in the stone "Childe Hassam Gloucester 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. $3,500.

The Spar Shop, Gloucester. 1918. Lithograph. Kleeman 37; Griffith 23. 7 3/4 x 11 7/8 (sheet 11 1/2 x 17 3/4). Edition 95. Three fingerprints and soiling in the margins An excellent impression printed on cream wove paper with full margins and deckle edges on three sides. Signed and annotated in the stone "Childe Hassam, E. Gloucester July 8, 1918"; signed with the cypher in pencil. $2,500.

The Thunderstorm, Gloucester. 1918. Lithograph. Kleeman 42; Griffith 26. 11 x 13 3/4 (sheet 11 3/8 x 17 13/16). Edition 6. Signed and annotated in the stone "Childe Hassam, Gloucester July 30, 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. Full margins with deckle edges on three sides. $3,500.

Albert Heckman. 1893-1971.

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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.

Arthur William Heintzelman. 1891-1965.

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Janine. Drypoint. 9 5/16 x 8 1/4 (sheet 15 1/4 x 12 3/4). A rich impression with plate tone printed on cream wove paper. Signed in pencil. $200.

Portrait of Albert Schweitzer. 1950. Etching. 11 3/6 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'Printed from Copper' in pencil; titled on the mat in the artist's hand. $1,250.

Helen West Heller. American. 1872-1955

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.

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.

Dune. 1927. Woodcut. 7 9/16 x 12 (sheet 12 1/8 x 15 5/8). Printed on sturdy Japanese mulberry paper. Signed, dated and titled in pencil. $850.

Flogging. 1927. Woodcut. 8 3/8 x 9 (sheet 16 5/16 x 12 7/16). Printed on Japanese mulberry paper. Signed, dated and titled in pencil. $750.

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.

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.

Poet 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.

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.

Jeff Hier.

The Four Evangelists. 1951. Woodcut. x 6 1/2. Matthew, Mark, Luke and John are presented in medieval iconography. $125.

Gustave Adolph Hoffman. 1869-1945.

Edge of the Woods. 1896. New England Winter: The Old Homestead. 1896. Etching and aquatint printed in grey-green. 7 3/4 x 11 3/4 (sheet 10 x 13 1/16). A rich impression in printed on grey=green ink on white wove paper. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $300.

Ellison Hoover. 1888-1955.

New York

Liberty. c. 1940. Lithograph, 13 3/8 x 9 3/8 (sheet 16 x 121/16). Edition of 50. #30. A ricly-inked tonal impression printed on cream wove paper with full margins. Signed and annotated 'No 30' upper left; signed in pencil lower right. $2,250.

Little Church Around the Corner. c. 1930. Lithograph. 10 5/8 in. x 8 3/8 (sheet 15 x 12). Edition c. 50. A tonal impression printed in black ink on off-white wove paper with full margins. Signed in pencil. $2,000.

The Pulitzer Fountain: Evening. c. 1930. Lithograph. 12 3/8 x 9 1/2 (sheet 16 1/8 x 12 1/4). A tonal impression printed on cream-colored wove paper with full margins. Signed in pencil. $2,000.

Paris

(Napoleon's Triumphal Arch). c. 1930. Lithograph printed in grey ink. 11 1/4 x 9 7/16 (sheet 16 x 12). A tonal impression printed in grey ink on off-white wove paper with full margins. The blue/gray tones suggest the snow at early evening. Signed in pencil. Hoover has captured a charming winter scene. $2,000.

Edward Hopper, N.A. 1882-1967.

Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 71/16). Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrated: Beall, American Prints in the Library of Congress: 222. A rich impression printed by the master printer, Peter Platt, on Van Gelder wove paper with full margins. Signed in pencil. Price upon request.

Earl Horter. 1881-1940.

New York

Old Chinatown (New York). 1932. Aquatint. 10 x 12 1/4 (sheet 11 5/8 x 13 1/4). A rich impression printed with plate tone on cream wove paper. Unsigned. $275.

Under Brooklyn Bridge. c. 1932. Etching. 9 1/4 x 7 1/2 (sheet 11 5/8 x 13 1/4). A rich impression printed with plate tone on cream wove paper. Unsigned; titled in pencil in the margin. $275.

Wall Street and Trinity Church. c. 1925. Etching and drypoint. 13 3/8x 7 1/8 (sheet 15 3/8 x 8 5/8). A rich impression printed with plate tone on cream laid paper. Signed in pencil. $850.

The Arthur Williams Estate. c. 1916. Etching and drypoint. 4 3/4 x 9 (sheet 8 x 10 7/8). A rich impression printed on dark cream wove paper. Signed and annotated 'A Williams Home N. York Edison Co' in pencil. $250.

America: Philadelphia

Candy Shop (Philadelphia). 1925. Etching. 8 1/2 x 6 3/4 (sheet 10 x 9 1/4). A rich impression with plate tone printed on cream wove paper. Unsigned; titled in pencil in Horter's hand. $250.

Dark House (Phildadlphia). c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on cream wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another proof is in the Library of Congress. $400.

Junk Shop (Philadelphia). 1932. Aquatint. 10 1/16 x 13 (sheet 12 1/2 x 15 1/2). Awarded the Mr. and Mrs. Frank G. Logan 3^rd prize, Art Institute of Chicago, March 24 - May 15, 1932. A subtle tonal impression printed on cream wove paper. Unsigned. $275.

[A Stroll in the Park, Philadelphia]. c. 1925. Etching. 6 3/46 x 12 3/4 (sheet 6 1/2 x 12 3/4). A rich impression printed on cream wove paper. Unsigned. $125.

Delaware

The Church in Woodland Park. (Old Swede's Church, Wilmington, Delaware). 1925. Etching. 10 3/8 x 6 1/4 (sheet 12 1/4 x 7 7/8). A rich impression with plate tone printed on simili-Japon paper. Signed in pencil. $200.

Virginia

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.

Louisiana

The Kitchen (New Orleans). c.1932. Aquatint. 12 1/2 x 10 1/2 (sheet 14 1/2 x 11 7/8). Illustrated: Beall,American Print in the Library of Congress, page 223; Showalter, Mad for Modernism: Earl Horter and His Collection. Signed in pencil. $500.

Europe

Archway, with Newsstand. (France). c. 1920. Etching. 5 3/8 x 4 (sheet 8 1/4 x 5 3/8). A rich impression with plate tone printed on cream wove paper. Unsigned. $100.

Ponte Fabricio, Rome. 1924. Aquatint printed in colors. 6 1/4 x 5 5/8 (sheet 9 3/4 x 7). A rich, tonal impression printed on cream wove paper. Signed in pencil. $275.

Helen Hyde. 1868-1919.

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Her Bit. 1918. Color etching. Mason and Mason 140. 6 7/8 x 4 7/8 (sheet 10 3/4 x 7 13/16). Signed numbered '34.' in pencil. A rich impression with glowing colors, printed on Japanese mulberry paper with full margins. Housed in a frame with patriotic motifs of an eagle with shield and American flags. A unique presentation of a child doing 'her bit' by knitting for the soldiers. $1,750.

Sunday Morning, San Angel, Mexico. 1912. Woodcut printed in colors. Mason and Mason 104. 10 5/8 x 16 5/8 (sheet 13 1/8 x 20 3/8). A colorful tonal impression printed on fine Japanese paper. A delightful large, impressive processional image. Monogrammed and signed in pencil in the image. $975.00

Wilson Irvine, N.A. American. 1869-1936.

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.

Bertha Clausen Jaques. 1863-1941.

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Floral Drypoints.

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.

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.

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. $550.

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. $250.

Narcissus. 1927. Drypoint with hand coloring. Jaques 343. 8 7/8 x 4 7/16 (sheet 13 1/8 x 7 3/16). Printed with plate tone on Japanese mulberry paper. Scattered foxing. Signed and titled in pencil. $850 the pair.

Philodendron (heartleaf). (Philodendron scandens oxycardium). 1935. Drypoint with hand coloring, and a proof without hand coloring. Jaques 416. 9 7/8 x 5 7/8. Both are beautiful impressions printed on Japanese mulberry paper. Unsigned. Provenance: the artist's estate. The frog, lower right, adds a charming touch. $500 the pair.

Red Haws. 1921. Jaques 327. Drypoint with hand coloring. 11 3/4 x 7 3/4. Provenance: the artist's estate. A fine impression with fresh, bright colors. Signed, lower right. Housed in a period 20 x 15 1/2-inch gold frame. $750.

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.

Wild Iris. Drypoint printed in colors. 15 ¼ x 5 7/8 (sheet 18 x 9 7/8). Printed on Japanese mulberry paper. Signed and titled in pencil. Grey background. $975 the pair.

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 Japanese 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 probably a second pull from the plate without reinking it. The result is a delicate, ethereal image. $450.

Landscape and Architectural Etchings and Drypoints. Signed in pencil.

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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. $15.

Troy Kinney, N.A. 1871-1931.

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. $250.

Otto Kuhler. 1894-1977.

Mighty Metropolis (as seen from the Staten Island Ferry). 1930. Etching. 9 3/8 x 13. Edition 30. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. $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 on cream laid paper with full margins. Signed in pencil. $975.

Armin Landeck. 1905-1984.

Approaching Storm, Manhattan. 1937. Drypoint. Kraeft 65. 9 1/8 x 8 3/8 (sheet 15 3/4 x 14 7/8). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression printed with tonal wiping on antique white wove paper. Anthony Kirk's embossed printer's chop in the lower left corner of the paper. Signed, dated and inscribed 'Ed 100' in pencil. $2,750.

Demolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression with tonal wiping, printed on white wove paper with full margins. Signed, dated and annotated in pencil. $2,250.

11 West 11th Street. 1939. Drypoint. Kraeft 110. 12 7/8 x 9 7/8(sheet 17 x 13 7/8). Edition 14. Excellent condition. A rich impression with tonal wiping, printed on white wove paper on the full sheet with deckle edges. Signed, dated and annotated in pencil. $2,500.

Manhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenance: estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. $2,250.

Manhattan Vista. 1938. Drypoint. Kraeft 70. 7 15/16 x 10 5/8 (sheet 10 11/16 x 14 1/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. $3,250.

Rooftop. 1941. Engraving. Kraeft 84. 4 7/8 x 8 7/8 (sheet 8 7/8 x 12 3/4). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression printed on white wove paper with full margins. Signed, dated and annotated in pencil. $2,250.

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression with plate tone printed on white wove paper. Signed, dated and inscribed 'Ed 100' in pencil. $3,500.

<York Avenue Tenements. 1938. Drypoint. Kraeft 74. 10 3/8 x 9 (sheet 14 1/8 x 12 3/8 ). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. Signed, dated and inscribed 'Ed 100' in pencil. $3,500.

G. Lansky. 20th Century.

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.

Clare Leighton, N.A. 1898-1989.

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Corsican Washerwomen. 1934. Wood engraving. Boston Public Library 258. 8 1/2 x 10 (sheet 7 1/2 x 11). Edition 215, #192. Presentation print for The Print Club of Cleveland in 1936. Illustrated: Fine prints of the Year, 1935. Very slightly toned; otherwise excellent condition. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. Signed, numbered and titled in pencil. $825.

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.

Stooking: August. 1933. Wood engraving. Boston Public Library 213.ii. 7 7/8 x 9 13/16 (sheet 11 1/2 14 3/4). Series: The Farmer's Year: A Calendar of English Husbandry (London, Collins: 1933; New York: Longmans Green and Co, 1933.) From the first English edition of 30, numbered xxx, #xv (there were 30 for the U.S. numbered in Arabic, and a second prints of 100 about 1978). Slight toning; otherwise good condition. A well-inked proof printed on Japanese mullberry paper with full margins. Signed, numbered and titled in pencil. $2,250.

John Harrison Levee. Born 1924.

Composition. 1958. Lithograph printed in colors. 11 3/4 x 8 5/8 (sheet 12 15/16 x 9 7/8). Edition 300, #147. Published by the Galerie de France, 3, Faubourg Saint Honore, Paris, January 1958. Signed and numbered in ink. $175.

Martin Lewis, N.A. 1881-1962.

New York images

Arch, Midnight. 1930. Drypoint. McCarron 84. 8 1/8 x 11 5/8 (sheet 11 1/16 x 14 3/4). Edition of 99 recorded impressions. Illustrated American Etchers: Martin Lewis. A rich, well-inked impression printed on Whatman antique paper. Signed and dedicated 'To Charles S. White with best regards - April 4^th - '30' in pencil. Price upon request.

Building a Babylon, Tudor City, NY. 1929. Drypoint. McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6^th trial proof (McCarron records 84 impressions, including 4 trial proofs). Illustrated I>L'Amérique de la Dépression: Artistes Engagés des Années 30, Musée-Gallerie de la Seita, Paris, 1996. A rich impression printed on FJ Head creamlaid paper with a partial initial countermark and a hand watermark. A rare proof, unknown to McCarron. Annotated '6^{t trial proof' and signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. 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. Reserved.

Derricks at Night. 1927. Drypoint. McCarron 62.ii. 7 7/8 x 11 7/8 (sheet 11 1/2 x 16 1/8). Edition of 104 recorded impressions. Illustrated: Contemporary American Etching, American Art Dealers Association, New York, 1930. A rich impression printed on cream wove paper, with full. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $11,000.

(Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 1/8 x 39 1/2). 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. $15,000.

Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margins. Signed in pencil. Price upon request.

The Glow of the City. 1929. Drypoint. McCarron 77. 11 1/4 x 14 1/4 (sheet 14 1/8 x 18 3/4). Edition of 110 recorded impressions, including 4 trial proofs. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year, 1930. A rich impression printed on Kalmer Swedish paper, with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Price on request.

Night in New York. 1932. Etching. McCarron 102. 8 3/8 x 8 7/8 (sheet 13 1/2 x 12). Edition 125 for The Chicago Society of Etchers with their blindstamp (there were an additional 10 proofs plus one trial). A rich impression with plate tone, printed on the full sheet of cream laid 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 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression printed on Swedish cream wove paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Price upon request.

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. An especially rich impression with drypoint burr and plate tone, printed in green/black ink on cream wove paper. Signed in pencil. Price upon request.

Relics (Speakeasy Corner). 1928. Drypoint. McCarron 74. 11 7/8 x 9 7/8 (sheet 17 1/8 x 13 3/4). Edition of 111. Illustrated: American Etchers: Martin Lewis. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. Signed in pencil. Price upon request.

Shadow Dance. 1930. Drypoint and sandpaper ground. McCarron 88. 9 3/8 x 10 7/8 (sheet 13 x 14 7/8). Edition 109 recorded impressions. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year 1931; Prints vol. II, no. 2, 1932, p. 18. A fine impression printed on white wove paper with full margins. Signed in pencil. Price upon request.

Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printed on cream wove paper. Signed in pencil. 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. Price upon request.

Snow on the 'El'. 1931. Drypoint and sandpaper ground. McCarron 95. 14 x 9 (sheet 17 1/2 x 12 5/8). Edition 49 recorded impressions (including 5 trial proofs). A rich, tonal impression printed on Whatman antique laid paper with full margins. Signed and dedicated 'To Beatrice Bruehl with all good wishes- from M.L. Dec. 25/43' in pencil. Price upon request.

Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8). Edition 92. A rich, tonal impression printed on laid paper. Signed in pencil. Price upon request.

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 rich, tonal impression printed on Whatman white paper with full margins. Signed in pencil. Price upon request.

Sunday Garden Inspection. 1927. Drypoint. McCarron 67.ii. 11 3/4 x 8 (sheet 16 x 11 5/8). Edition of 34 recorded impressions (intended edition 50). A rich, well-inked impression printed on cream wove paper with full margins. Signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. $3,000.