Click on the image for larger pictures; the large screens are interlinked.
Subway Work at Night. Moscow. 1935. Wood engraving. 10 1/4 x 11 3/4. (sheet 13 1/4 x 14 5/8). A rich impression printed on Japanese mulberry paper with wide margins and deckle edges on top and bottom. Accompanied by an old exhibition label. Signed in pencil. $450.
Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126.v/vi Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with plate tone on 'Van Gelder Zonen Holland' watermarked wove paper. Signed, dated, titled and annotated 'A imp del' in pencil. $275.
Bailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg 126.vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed cream wove paper with deckle edges. There is a horizontal tear well below the image. Unsigned. $250.
House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg 138.i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression printed by the artist on Japanese mulberry paper. Signed and annotated 'A imp' in pencil. $275.
House on Cliff Walk, Newport, R.I. or Caprice, Newport, Rhode Island. 1931/33. Etching. Hausberg 138.ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression with plate tone, printed on cream wove paper. Unsigned. $250.
Man By a Radiator. 1912. Etching. Hausberg 247.iii/iv. Only 2 impressions in this state. 16 x 8 7/8 (sheet 8 x 10 3/8). Vertical printing fold. Printed by the artist on Japanese mulberry paper. A fine impression of this rare image. Signed, annotated 'A imp 3rd st 2 only' in pencil. This appears to be a self portrait. $275.
Old Colony Statehouse, Newport, Rhode Island. c. 1931-1933. Etching. Hausberg 187. iii. 7 7/8 x 6 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream wove paper with deckle edges. Unsigned. $175.
103 Stories. (Empire State Building.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $750.
A Quiet Glimpse of Central Park. 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Angled Reflections. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $800.
Balance. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $950.
<Brooklyn Bridge, from the Ferry. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Cables, Brooklyn Bridge. 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $625.
Connections. (Manhattan Bridge.) 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Facade: the Flatiron. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $600.
Fifth Avenue. 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $700.
Framed. (New York Skyline through Brooklyn Bridge Cables.). 2013. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Freedom, horizontal. (Statue of Liberty.) 2013. Shot in infrared. 16 x 24. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Grand Central Station. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $625.
Industrial Elegance. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Inside Grand Central. 2013. 16 x 24. Edition: 100 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Into the City. (Roosevelt Island Bridge.) 2014. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $650.
Intricate Simplicity. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Just Outside. (Manhattan Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $725.
Lady Liberty, vertical. 2013. Shot in infrared. 24 x 16. Edition: 75 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Majesty. (Empire State Building.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. Finalist in the Empire State Building Photo Contest 2016. Featured as the profile picture of the Empire State Building across its social media channels including Facebook, Twitter, Instagram and Pinterest in March, 2017. $725.
Mirrored Sky. (One World Trade Center.) 2013. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $1,200.
Morning Glow. (Brooklyn Bridge and the New York Skyline.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
New Beginnings. (World Trade Center.) 2013. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $800.
Reaching to the Sky. (Financial District.) 2013. 16 x 24. Shot in infrared. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Sky over Manhattan. (Brooklyn Bridge.) 2014. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $750.
Steel. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 100 on a Chromaluxe metal panel. $675.
Strength. (Manhattan Bridge.) 2015. Shot in infrared. 24 x 16. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $675.
Through the Bridge: A view of Manhattan and Brooklyn through the Manhattan Bridge. 2015. 24 x 36. (Matted and framed.) Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $2,500.
Unexpected Symmetry. (Brooklyn Bridge.) 2013. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $750.
Webbing. (Brooklyn Bridge.) 2015. Shot in infrared. 16 x 24. Edition: 50 silver gelatin photos printed on Ilford Galerie fiber based digital silver paper and 50 on a Chromaluxe metal panel. $750.
The fine art Chromaluxe metal panel prints use Chromaluxe panels and a UV coating that is bonded to substrates that include .045†a Chromaluxe metal panel. Chromaluxe panels have superior fade, moisture, stain and scratch resistant properties, making them modern and durable. The Chromaluxe metal panels are signed, titled and numbered on the back with an oil based archival paint pen. All Chromaluxe metal panels measure 16 x 24 or 24 x 16 with hanging hardware on the back.
The works on silver gelatin paper showcase true silver gelatin fiber printing exposed on Ilford Galerie fiber based digital silver gelatin paper processed to archival standards. The silver gelatin photos are signed, titled and numbered with an archival Micron Pigma pen.New York: November 2013: Central Park
Duck Pond and Bridge. November 8, 2013. Color photograph printed on Hahnemuhle paper. 11 x 17 (sheet 12 x 18). Signed in pencil. $300.
Fall Foliage in Central Park. November 8, 2013. Color photograph printed on Hahnemuhle paper. 11 x 17 (sheet 12 x 18). Signed in pencil. $300.
New York: June 2013.
Chenin Building from the Top of the Rock. August 4, 2012. Black and white photograph on Hahnemuhle paper. 13 5/8 x 9 (sheet 18 x 12). Signed in pencil. $300.
Rockefeller Center, New York. August 4, 2012. Black and white photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $375.
Sunset over Manhattan from the Top of the Rock. August 4, 2012. Black and white image on Hahnemuhle paper. 9 1/8 x 13 7/8 (sheet 12 x 18). Signed in pencil. $400.
Sunset over Manhattan from the Top of the Rock. August 4, 2012. Color image printed on Hahnemuhle paper. 9 3/8 x 14 (sheet 12 x 18) Signed in pencil. $400.
Austin
Austin, Texas Capitol. February 1, 2012. Photograph taken with an infrared camera and converted to a black and white image. Printed in black and white on Hahnemuhle paper. 9 5/8 x 14 3/4 (sheet 12 x 18). Signed in pencil. $375.
Boston
Boston, view of the Prudential Tower and Arlington Street Church from the Public Garden. August 1, 2012. Photograph antiqued and printed in sepia on Hahnemuhle paper. 9 x 13 3/4 (sheet 12 x 18). Signed in pencil. $350.
Sydney
Sydney Harbor Bridge. March 28, 2008. Black and white photograph printed on Hahnemuhle paper. 9 x 12 (sheet 12 x 18). Signed in pencil. $350.
Sydney Opera House. March 28, 2008. Black and white photograph printed on Hahnemuhle paper. 10 x 13 1/2 (sheet 12 x 18). Signed in pencil. 375.
Figural Studies
Child from a Hill Tribe in Sapa, Vietnam. April 28, 2008. Color pohotograph printed on Hahnemuhle paper. 14 x 11 1/2 (sheet 12 x 18). Signed in pencil. $320.
Cambodian Girl, One of 10 in her Family, outside Angkor Wat. April 18, 2009. Color photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $320.
Novice Monk in Luang Prabang, Laos. March 15, 2009. Color photograph printed on Hahnemuhle paper. 10 x 13 3/8 (sheet 12 x 18). Signed in pencil. $360.
Offering, Little India, Singapore. August 30, 2008. Color photograph printed on Hahnemuhle paper. 13 1/2 x 10 1/8 (sheet 12 x 18).Photograph taken for a class with National Geographic photographer Michael Yamashita. Signed in pencil. $360.
Chinese Lantern, Chinatown, Singapore. March 15, 2009. Color photograph printed on Hahnemuhle paper. 14 x 9 3/8 (sheet 12 x 18). Signed in pencil. $275.
Fresh Bread for Kaya Toast, Singapore. January 18, 2008. Color photograph printed on Hahnemuhle paper. 13 1/2 x 10 1/4 (sheet 18 x 12). Signed in pencil. $360.
Click on the titles for images. Click on the pictures for larger images. The groupings are, in order: America, Italy, Gargoyles, France, Spain, Sweden, Switzerland, England.
America
New York
American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David Llewellyn Reese, New York. An extremely rich tonal impression printed in dark brown ink, 1921, on cream laid paper with full margins. Signed and titled in pencil. $5,500.
From Knoedler's Window MCMXXV. 1935. Etching and Aquatint. Fletcher 293.iv/v. 5 1/16 x 4 15/16 (sheet 12/7/8 x 9 1/8). Edition 271 in this state (total edition 377 in five states. An extremely rich tonal impression printed on the full sheet cream laid paper countermarked 'ENGLAND' with full deckle edges on all siges. Signed, dated and annotated 'IV' and titled in pencil. The work was a commission for a Knoedler Christmas card. $750.
Connecticut
Out of Studio Window (Out of My Studio Window or De La Fenêtre de mon Atelier). 1920. Etching. Fletcher 77. 4 1/2 x 5 3/4 (sheet 8 1/16 x 9 3/8). Edition 75 (+ 4 trial proofs). A fine impression printed on the full sheet of [FJ Hea]d & Co cream wove paper by Frederick Reynolds. $150.
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. Illustrated; Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,000.
Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state (+ 19 trial proofs). Italian Series #15. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 170; Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: and Printmaking in Venice, 1900-1940, p. 115. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $1,200.
La Mangia, Siena (La Torre del Mangia, Siena). 1921. Etching. Fletcher 192.15 x 8 (sheet 17 7/8 x 11 3/4). Edition 115. Italian series #10. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 38; American Etchers: John Taylor Arms; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A fine impression printed on A[rches] laid paper by Frederick Reynolds. Signed and dated in pencil. $1,750.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.ii/iii. 7 1/2 x 6 4/8 (sheet 15 2/4 x 10 1/2). Edition 12 in this state (total 147 + 9 trial proofs). Italian series #19. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed by Henry E. Carling on handmade cream wove paper from an antique volume. Signed, dated, titled and annotated 'cp' in pencil. $2,750.
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4 (sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 90; The Print Collector's Quarterly 21 (1934): 130; American Etchers: John Taylor Arms. A rich impression on cream laid paper. Signed in pencil. $1,750.
Porta del Paradiso, Venezia. 1930. Etching. Fletcher 230.ii. 7 1/2 x 3 3/4(sheet 12 1/2 x 7 3/4). Edition 141 in this state (total edition about 151). Printed by Henry E. Carling. Italian series #17. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 184; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. A rich impression on antique laid paper. Signed, dated and titled in pencil. $1,250.
Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,000
Stones of Venice. ( Il Ponte di Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 11 5/8 x 16 1/2). Italian Series, plate #16. Edition 140 (+ 14 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 208; The Print Collector's Quarterly 21 (1934): 136; Fine Prints of the Year, 1931; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p.114. A fine impression on cream laid paper. Signed,dated and annotated 'Edition 100' in pencil. Shadows of Venice. was the artist's diploma print for his acceptance as a member of The Royal Society of Painter-Etchers in 1934. $2,300.
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.
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.
The Gargoyle and His Quarry, Notre Dame. 1920. Etching.Fletcher 90. 7 1/8 x 5 1/4 (sheet 10 1/2 x 9 1/16). Gargoyle series #1. Edition 75. A rich impression printed on 'FJHead&Co' 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 5/8 x 7 (sheet 15 1/4 x 11 1/4). Gargoyle Series #8. Edition 130. Illustrated: Print Collector's Quarterly 21 (1934):126; American Etchers: John Taylor Arms. A glowing impression printed on Japanese mulberry paper with deckle edges on two sides. Signed in pencil. $2,500.
Guardians of the Spire (Amiens Cathedral Number 2).1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Illustrated: Dorothy Noyes Arms, Churches of France p.20. A rich impression printed on cream-colored antique laid paper.Signed and dated in pencil. $2,000.
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.
Church of Saint Jean l'Aigle, Orn. 1940. Etching. Fletcher 343.ii. 3 1/4 x 5 3/8 (sheet 7 1/2 x 5 1/4). Edition 551. French Church Series #43; Miniature series #26. Annotated 'sp' in pencil indicating a proof printed by David Strang. A fine impression on Japanese mulberry pencil. Signed,dated and annotated in pencil. $150.
Église 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.
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.
Lescure, Une Tour des Remparts. (A Rampart Tower in Lescure). 1928. Etching. Fletcher 217. 6 3/8 x 3 15/16 (sheet 10 3/8 x 7 3/16). Commissioned as a Christmas card for The Architectural Forum, 1928. A fine impression printed by Frederick Reynolds on pale blue/green laid paper. Signed, dated and titled in pencil. $250.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. Illustrated: Prints vol. VII, no. 3, 1937, p. 170. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Louviers Lace (Porte du Baptême, Eglise Notre Dame, Louviers. (Louviers lace, Baptismal Door, Church of Our Lady, Louviers). 1936. Etching. Fletcher 303.iii. 12 x 3 1/2 (sheet 15 7/8 x 7 3/8). Edition 166 (+ 3 trial proofs). French Church series # 38. A fine impression printed on cream laid paper. Signed, dated, titled and annotated 'sp' (Strang printed) in pencil. $750.
Notre Dame de Laòn. 1929. Etching. Fletcher 219.iii. 14 x 9 5/8 x (sheet 17 1/4 x 11 1/4). Edition 135. French Church Series #26. Illustrated: Dorothy Noyes Arms, Churches of France, p. 174; American Etchers: John Taylor Arms. 2 professionally-repaired tears in the right-hand margin, one extending just into the image. A fine impression printed cream laid paper by Henry E. Carling. Signed and dated in pencil. $375.
Notre Dame du Val, Provins (La Tour, Notre Dame du Val, Provins and Thibaut) 1931. Etching. Fletcher 240.ii. 8 11/16 x 5 1/8 x (sheet 13 x 8 5/8). Edition 155 (+ 19 trial proofs). French Church Series #30. A fine impression printed cream laid paper by Charles S. White. Signed, dated, titled 'Tour, Notre Dame du Val, Provins' and annotated 'Plate etched for Frontispiece of limited Edition (150 copies) of "Contemporary American Etching" 1931. Published by American Art Dealers Association' and 'WI' (Charles White)' in pencil. $375.
Rodez. (The Tower of Notre Dame). 1927. Etching. Fletcher 189. 11 7/8 x 4 15/16 (sheet 15 1/4 x 7 3/4).Edition 120. French Church Series #12. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 114; American Etchers: John Taylor Arms. A fine impression printed cream laid paper by Frederick Reynolds. Signed and dated in pencil. $350.
The Rose, Beauvais. 1925. Etching. Fletcher 161. 12 x 7 (sheet 15 1/4 x 10). Edition 156. French Church Series #3. Illustrated: Dorothy Noyes Arms, Churches of France, p. 22. A fine impression printed on cream laid paper with full margins. Signed and dated in pencil. $600.
Rouen; The Cathedral of Notre Dame from the South. 1925. Etching. Fletcher 162. 8 1/8 x 7 5/8 (sheet 14 1/4 x 9 1/8). French Church Series #4. Edition 150. Illustrated: Dorothy Noyes Arms, Churches of France, p. 50; Fine Prints of the Year, 1925. A fine impression printed on antique cream laid paper. Signed and dated in pencil. $500.
La Rue Sauton, Paris (The South Transept of Notre Dame, Seen from the Rue Sauton and Viguereune) 1924. Etching. Fletcher 144. 13 1/2 x 7 1/2 (sheet 18 1/4 x 11 5/8). French Church Series #1. Edition 200. Illustrated: Dorothy Noyes Arms, Churches of France, p. 4. A fine impression printed on Made [in England] cream laid paper. Signed and dated in pencil. $950.
Saint Bénigne, Dijon (The Cathedral of St. Bénigne, Dijon). 1924. Etching. Fletcher 195. 10 3/8 x 6 3/4 (sheet 12 3/4 x 8 3/8). French Church Series #15. Edition 110. Illustrated: Dorothy Noyes Arms, Churches of France, p. 136. A rich impression with plate tone printed on cream laid paper. Signed and dated in pencil. $450.
Sunlight on Stone, Caudebec-en-Caux. 1931. Etching. Fletcher 241.ii. 14 1/4 x 7 1/2 (sheet 16 1/2 x 11 5/8). French Church Series #31. Edition 164 (+ 28 trial proofs). Illustrated: Print Collector's Quarterly 21 (1934): 140. A rich impression with plate tone printed by Henry E. Carling on 'Dard Hunter' cream laid paper. Signed, dated, titled and annotated 'cp (Carling printed) in pencil. $1,750.
A Tower of St. Front, Perigueux (Perigueux's Tower of Saint Front). 1928. Etching. Fletcher 212. 11 7/8 x 5 5/8 (sheet 13 1/2 x 8 3/8). French Church Series #22. Edition 200 (+ 2 trial proofs). Illustrated: Dorothy Noyes Arms, Churches of France, p. 96. A fine impression printed on cream laid paper. Signed, dated and titled in pencil. $400. .
Spain
Burgos (A Spanish Town Revisited) 1924. Etching. Fletcher 142. 8 5/8 x 13 1/8 (10 1/2 x 15 3/4). Spanish Church Series, #2. Edition 175 (+ 2 trial proofs). A fine impression printed on FJ Head and Co. laid paper with a partial countermark. Signed and dated in pencil. $400.
La 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. Illustrated: Pearson, Fifty Prints exhibited by the [American Institute of Graphic Arts] 1926. Signed, dated, titled and annotated '$15' in pencil. $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.
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.
The Old Exe Bridge. (Vieux Pont à Exeter). 1920. Etching. Fletcher 61. 6 3/8 x 4 5/8 (sheet 9 3/8 x 6 1/2). Edition 100 (+ 2 trial proofs). A fine impression printed on the full sheet of white laid paper by Frederick Reynolds. $300.
Wilby Church, Northamptonshire, England. 1940. Etching. Fletcher 335.iii. 4 1/4 x 2 3/8 (sheet 6 1/16 x 4 11/16). Edition 432.English Series #7; Miniature Series # 24. Printed by David Strang on cream laid paper. Signed, titled, numbered, dated, annotated 'iii' and dedicated 'To Charles E. Pont from John Taylor Arms' in pencil. $150.
Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.
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.
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. $2,250.
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. $1,250.
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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. $175.
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.
A Sandstorm on the Little Colorado River, Arizona. 1920. Soft-ground etching. Seeber 189. 6 7/8 x 9 3/4 (sheet 9 5/8 x 13). Edition 40, #6. Series: Desert Set. Illustrated: American Etchers: George Elbert Burr; McCauley, "George Elbert Burr's Etchings of the Desert; " International Studio 83 (March, 1922). Printed in grey-brown ink on cream wove paper. Mat line, toning in the margins; otherwise good condition. Signed, titled, numbered and annotated in pencil. A fine impression printed by the artist. $1,000.
A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. $4,500.
Marion Greenwood. c. 1929. Lithograph. 9 1/2 x 7 5/8. Illustrated: Clinton Adams, American Lithographers, 1900-1960, page 61. $750.
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Hélène of Septeuil (enfant au perroquet) (child with a parakeet)./ c. 1889-1890. Drypoint. Breeskin, 134.v. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate tone. Printed on antique blue-green laid paper with a F and AGL countermark. Signed 'Mary Cassatt' in pencil. Housed in a silk mat with a gold liner and a 20 x 16-inch gold leaf frame. Price upon application.
Margot Wearing a Bonnet, No. 1. c. 1902. Drypoint printed in colors. Breeskin 179. 9 1/8 x 6 1/2 (sheet 15 x 11). Unsigned. Posthumous printing on white wove paper with full margins. Housed in a stunning arcival French mat and an elegant 17 1/2 x 13 1/2-inch gold leaf frame. $3,500.
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. $250.
Photographer not identified. Cyanotypes. c. 1900. Mr. Chase Criticising a pupil. Mr. Chase --- Sketching - out doors -- for his class -- Shinnecock Hills. L.I.[Mr. Chase Evaluating] before his students in an outdoor classroom].[Mr. Chase's Pupils -- in an indoor classroom] Cyanotype. c. 1900. Each hinged to a mount. $2,400 the group of four
Seven Seadly Sins. 2020. Seven mixed media lithographs by Ann Chernow, N.A. Nine poems by Jane Allinson, Ph.D. Edition 15 plus 3 artist's proofs. Each mixed media lithograph signd and titled in pencil by Ann Chernow, N.A. $1,250.
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; otherwise good condition, Signed and titled in pencil, possibly in another hand. $175.
Skyscrapers. c. 1950. Pastel. 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, lower right. Price upon request
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. $550.
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. $450.
[Tallulah.] c. 1930. Watergraph (stencils with watercolor). 8 1/8 x 5 3/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet on cream wove paper. Unsigned. Provenance: a collection of the artist's works. $175.
[Tallulah.] 1930. Watergraph (stencils with watercolor). 8 1/8 x 5 3/8 (sheet 17 1/2 x 14 1/4). A fine impression printed in subtle shades of russet, brown, yellow and red on cream wove paper. Unsigned but annotated #50y in the lower right-hand margin. Provenance: a collection of the artist's works. $175.
[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 '57' in the lower right-hand margin. Signed in pencil in the image. Provenance: a collection of the artist's works. $275.
St. Paul's. c. 1925. Etching and drypoint.6 3/4 x 5 1/4 (sheet 10 5/8 x 8 7/8). A rich impression printed on cream wove paer. Signed and titled in pencil. $175.
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Connecticut
The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. Hinge stains in the margins, well outside the image, otherwise good condition. A rich impression printed on cream wove paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $850.
Day's End, Driftway. 1939. Etching and aquatint. Giardina 196. 8 3/8 x 15 3/8 (sheet 11 3/8 x 18 1/2). Edition of approximately 100. A rich impression with plate tone printed on cream wove paper. Signed and annotated 'imp' in pencil indicating an impression printed by the artist. $1,250.
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. $1,50.
Snow Fields. 1924. Etching. Giardina 92. 7 1/2 x 12 3/4 (sheet 9 3/4 x 14 7/8). Edition 90-100. Illustrated: Flint, Contemporary American Prints, 1931; A rich impression with plate tone printed on cream laid paper. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $750.
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.
Tide Mill Marshes. 1927. Etching. Giardina 111. 7 x 12 1/2 (sheet 11 3/8 x 16 5/8). Edition 90. A rich tonal impression printed on cream laid paper. A rich impression printed on cream laid paper with full margins. Signed and annotated 'Ed90' and 'imp' (imprimit)in pencil, indicating a proof printed by Eby. Accompanied by the preliminary drawing: Tide Mill Marshes. c. 1927. Preliminary pencil drawing for the etching, Giardina 111. 9 9/16 x 14 1/2. A fine drawing on watercolor board. Signed in pencil, lower right and lower left. Annotated in pencil "Connecticut Shore" on the verso. $1,750 the pair.
The Whale's Back. 1925. Etching. Giardina 95.iii. 6 1/2 x 12 (sheet 10 x 16). Trial 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. $650
Maine
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. $750.
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. $750.
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.
Killan Pass [Landscape with Mountain]. c. 1925. Etching. Giardina 105.vii/ix. 8 1/2 x 12 1/2 (sheet 10 x 14). Unpublished; small number of proofs only. A rich impression with tonal wiping, printed by the artist on cream laid paper, on the full sheet with deckle edges. Trial proof with additional work on the cloud aove the small peak; zigzagging line forms circle in upper left corner. Signed and annotated "trial proof" and 'imp' in pencil, indicating a proof printed by the artist. Signed in pencil. $275.
Porthleven. 1925. Etching and drypoint. Giardina 104.ix. 8 13/16 x 14 1/8 (sheet10 3/4 x 15 11/16) . Trial proof, apart from the edition of 90. Illustrated: American Etchers: Kerr Eby. An extremely rich impression printed on cream wove paper. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $250.
Spring in Cornwall. 1925. Etching. Giardina 106.ii/iii. 11 3/8 x 8 1/4 (sheet 14 1/8 x 9 1/2). Trial proof with the two horizontal scratches removed, prior to the edition of 90. Some inking traces in the margins; otherwise fine condition. A fine impression printed by Eby on cream Van Gelder Zonen paper. Signed and annotated 'trial proof' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Spring in Cornwall. 1925. Etching. Giardina 106.iii. 11 3/8 x 8 1/4 (sheet 14 1/2 x 111 1/2). Edition 90. Illustrated Print Collector's Quarterly 26 (1039):86. A fine impression printed by Eby on cream wove paper. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Pauldavid. [Pouldavid]. 1927. Etching. Giardina 119.ii/iii. 7 7/8 x 12 7/8 (sheet 12 x 17). Trial proof of the second state, before the edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated 'trial' in pencil. $275.
Pauldavid [Pouldavid]. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 1/8 x 16 5/8). Edition 90. A rich impression with plate tone, printed on cream laid paper. Signed and annotated ;Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $275.
Saint Agricol Church, Avignon. c. 1919. Pen and ink drawing. 10 3/8 x 7 (sheet 11 1/4 x 8 3/8). Titled 'St. Agricol' , lower left; unsigned. $450.
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A rich impression with plate tone, printed on antique laid paper. Illustrated: Flint, Contemporary American Etching, 1930. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.
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.
NewYork
The East
Europe: England
Europe: France
World War I.
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina 182.iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist.Housed in an archival French mat and a 21 x 25-inch black and gold classical wood frame This is Eby's most famous etching. Price upon application.
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.
Elenora. 1981. Wood engraving. 6 7/8 x 3 3/4 (sheet 11 1/8 x 8 1/2). Proof apart from the edition for the Print Club of Cleveland. Printed on white wove paper. Signed and dedicated "To Jane" in pencil. $175.
Evans was a distinguished wood engraver, who did both reproductive and original work. In the late nineteenth and early twentieth centuries, wood engraving was the primary medium of reproduction in books and magazines. Wood engraving is a highly technical and demanding medium. Evans was one of the masters of the medium.
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Timothy Cole Engraving a Woodblock. 1935. Wood engraving after Alphaeus Philemon Cole (1876-1988). 6 3/16 x 5 (sheet 12 x 9). A rich impression printed on cream wove paper. Signed in pencil by Alphaeus P. Cole, signed and dated by John W. Evans. $500.
Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Provenance: acquired directly from the artist Annotated 'Nov. 1980' on the mat. Housed in a 15 x 11 1/8-inch gold leaf frame. $1,750.
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.
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.
New York City.
The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on whitelaid paper with a '6' partial countermark. With the usual drying tack holes in the margins. Annotated 'New York C.H. 1916'in the plate; signed with the cypher in pencil. The etching is extremely scarce. Housed in a period 18 x 14-inch gold leaf frame. $5,000. 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: Flint Contemporary American Etching, 1930. Printed on cream wove paper on the full sheet with deckle edges on three sides with drying tack holes in the margins as usual. Signed with the cypher and annotated 'imp' in pencil, indicating an impression printed by the artist. $4,500.
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. $3,500. Connecticut
Cod Cob Docks. 1915. Etching and drypoint. Cortissoz/Clayton 32. 7 x 5 (sheet 12 1/4 x 9 1/4). Edition 375 plus 25 presentation copies. As published in Cortissoz, Catalogue of the Etchings and Dry-Points of Childe Hassam, N.A. Illustrated: The American Magazine of Art 10 (1910) p.50; Czestochowski, 94 Prints by Childe Hassam. A fine impression printed on cream wove paper. Signed with the cypher in pencil. $2,250.
The Land of Nod. 1918. Lithograph. Griffith 20. 8 1/4 x 11 (sheet 11 1/2 x 17 7/8). Edition 52. Signed "Childe Hassam June 10th 1918" in the stone and signed with the cypher in pencil. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. $3,000.
The Little Schoolhouse, Land of Nod. June 11, 1918. Lithograph. Griffith 19. 8 1/2 x 11 1/2 (sheet 11 7/16 x 17 7/8). Griffith 19. Edition 55. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. Signed "Childe Hassam June 1918" in the stone, and signed with the cypher in pencil. $3,000.
The White Kimono. 1915. Etching. Clayton 47. 7 1/2 x 10 7/8 (sheet 10 1/4 x 13 11/16). Edition c. 61. Printed on off-white hand made paper with full margins. The artist's tack holes from drying in the margins as usual, indicating that the sheet is untrimmed. Good original condition. Provenance: Gift of Maud Doane Hassam (850 Park Ave NYC) Thence, by descent to a direct descendant of Mr. Maud Doane Hassam. Signed with the cypher and annotated 'imp' in pencil indicating that Hassam printed the impression himself. Price upon request. Housed in an archival French mat and an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame. Price upon request.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 314 x 9 5/8). The artist's tack holes from drying in the margins as usual, indicating that the sheet is untrimmed. A fine impression printed on cream paper with full margins and deckle edges on 3 sides. Signed with the cypher and annotated 'imp' in pencil signifying a proof printed by the artist. Housed in a silk mat with a gold liner, within an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame. Price upon request.
Gloucester, Massachusetts
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.
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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. $750.
Dune. 1927. Woodcut. 7 9/16 x 12 (sheet 12 1/8 x 15 5/8). Printed on sturdy Japanese mulberry paper. Signed, dated and titled in pencil. $450.
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. $450.
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. $450.
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. $450.
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. 4350.
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. $350.
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.'
(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 subtle tones suggest the snow at early evening. Signed in pencil. Hoover has captured a charming winter scene. $1,750.
East Side Interior. 1922. Etching and drypoint. Levin 85. 7 7/8 x 10 (sheet 11 x 13 1/4 inches. Remnants of brown tape, top margin verso; slight mat line; otherwise good original condition. A rich impression printed on Etruria Italian cream wove paper. Signed in pencil, lower right; titled verso, lower left. Awarded the Logan Prize and Bronze Medal, Chicago Society of Etchers, 1923. Illustrated: Fine Prints of the Year, 1927; Beall, American Prints in the Library of Congress: 221; Holme, Etchings of Today; Pearson, Fifty Prints exhibited by the [American Institute of Graphic Arts] 1926; Reese, American Prize Prints of the 20th Century. Signed in pencil. Housed in a 17 x 18 1/2-inch modernist black wood frame. Price upon application.
New York
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.
The Arthur Williams Estate. c. 1916. Etching and drypoint. 4 3/4 x 9 (sheet 8 x 10 7/8). Water stain in the lower right-hand margin, well outside the image. A rich impression printed on dark cream wove paper. Signed and annotated 'A Williams Home N. York Edison Co' in pencil. $250.
America: Philadelphia
Dark House (Phildadlphia). c. 1932. Aquatint. 10 1/4 x 11 (sheet 12 5/8 x 15 1/2). A rich impression printed with plate tone on cream wove paper. Unsigned; annotated 'Dark House (Aqua)' in Horter's hand. Another proof is in the Library of Congress. $400.
Junk Shop (Philadelphia). 1932. Aquatint. 10 1/16 x 13 (sheet 12 1/2 x 15 1/2). Awarded the Mr. and Mrs. Frank G. Logan 3rd prize, Art Institute of Chicago, March 24 - May 15, 1932. A subtle tonal impression printed on cream wove paper. Unsigned. $250.
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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
Narcissus. 1927. Drypoint with hand coloring. Jaques 343. 8 7/8 x 4 7/16 (sheet 13 1/8 x 7 3/16). Printed with plate tone on Japanese mulberry paper. Scattered foxing. Signed and titled in pencil. $500 the pair.
Spires of Manhattan. c. 1930. Etching. 9 3/8 x 12 3/4. A fine snowscene printed on cream laid paper with full margins. Signed in pencil. Housed in an 18 5/8 x 22 1/4-inch silver wood frame. Signed in pencil. $870.
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. $2,250.
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. Housed in a dramatic 14 1/2 x 17-inch stepped modernist black frame with subtle red highlights. $1,750.
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. Housed in a stunning 15 5/8 x 20 3/8 modernist wood frame. $2,000.
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. $1,500.
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. Landeck wrote 'I worked up in that area. They were just building the medical center at that time.' He referred to the Weill Cornell Medical Center. Signed, dated and inscribed 'Ed 100' in pencil. $2,500.
Haymaking: June. Wood engraving. Boston Public Library 212. 8 x 10 (sheet 10 7/8 x 14). Series: The Farmer's Year: A Calendar of English Husbandry. From the first English edition, numbered iv/xx (there were 30 for the U.S. numbered in Arabic, and a second printing of 100 about 1978). A fine, well-inked proof printed on Japanese mulberry paper with full margins. Good conditon. Numbered, titled, and signed in pencil. Signed, titled and numbered in pencil. $2,500.
Lambing: January 1933. Wood engraving. Boston Public Library 216. 8 x 10 7/16(sheet 10 1/4 x 13 1/4. Series: The Farmer's Year: A Calendar of English Husbandry. From the English edition of 20, numbered xvi/xx (there were 30 for the U.S. numbered in Arabic, and a second printing of 100 about 1978). A fine, well-inked proof printed on Japanese mulberry paper with full margins. Good conditon. Numbered, titled annotated 'second state' and signed. Signed, titled and numbered in pencil. $2,500.
To the Milking: July. 1933. Wood engraving. Boston Public Library 218. 7 7/8 x 9 13/16 (sheet 11 1/2 14 3/4). Series: The Farmer's Year: A Calendar of English Husbandry. From the first American edition of 30, numbered 5/30 (there was a British edition with Roman numerals and a second printing of 100 about 1978). There was also a 1923 English edition of 20 and an edtion of 100 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. $2,500.
Ploughing: November. 1933. Wood engraving. Boston Public Library 220. 7 3/8 x 9 7/8 (sheet 11 1/2 13 7/8). Series: The Farmer's Year: A Calendar of English Husbandry. Edition 100, #76, printed about 1978 (There were 50 impressions printed in 1933). 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. $2,000.
Stooking (also called Threshing): August.> 1933. Wood engraving. Boston Public Library 213. 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 20, numbered xv/xx (there were 30 for the U.S. numbered in Arabic, and a second printing of 100 about 1978). Slight toning; otherwise good condition. A well-inked proof printed on Japanese mullberry paper with full margins. Signed, titled and numbered in pencil. $2,500.
New York images
Building a Babylon, Tudor City, NY. 1929. Drypoint. McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions, including 4 trial proofs). Illustrated: L'Amérique de la Dépression: Artistes Engagés des Années 30, Musée-Gallerie de la Seita, Paris, 1996. A rich impression printed on FJ Head creamlaid paper with a partial initial countermark and a hand watermark. A rare proof, unknown to McCarron. Annotated '6t trial proof' and signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. Housed in a 23 x 17-inch gold leaf modernist frame. $12,500.\
Bay Windows. 1929. Drypoint and sandpaper ground. McCarron 80. 11 5/8 x 7 7/8 (29.7 by 19.4 cm.) (sheet 16 5/8 x 10 1/2 (42.4 by 26.9.). Edition 104.
A fine impression printed on wove paper with wide margins. Good condition apart from a very faint mat line. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Housed in a striking 22 x 17 1/-inch modernist gold leaf frame. Price upon request. 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. Housed in a 23 1/2 x 28 1/4-inch modernist gold leaf frame. Price upon request.
Derricks at Night. 1927. Drypoint. McCarron 62.ii. 7 7/8 x 11 7/8 (sheet 11 1/2 x 16 1/8). Edition of 104 recorded impressions. Illustrated: Flint Contemporary American Etching, American Art Dealers Association, New York, 1930. A rich impression printed on cream wove paper, with full margins. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. Housed in a striking 7 7/8 x 21 3/4-inch gold modernist frame. $11,000.
(Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 x 31). 5 recorded impressions (including 4 trial proofs), plus a proposed edition of 100 issued by Kennedy Galleries in 1973 (fewer proofs were printed). A fine impression printed on the full sheet of cream wove paper with deckle edges. Annotated '26/100' and signed 'Martin Lewis (L. D. L. 1973) by Louise Deming, the artist's wife. Housed in a dramatic 26 1/2 x 31 1/2-inch black/brown wood frame. $10,000. The last retail price I found for a lifetime impression was $40,000 in 2016.
Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margins. Signed in pencil. Housed in a 22 x 24-inch gold leaf modernist frame. 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; Contemporary American Etching, American Art Dealers Association, New York, 1930. Edition 107. A fine impression printed on Swedish cream wove paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Housed in a 19 3/8 x 21 3/8 > 1-inch black stepped wod frame. 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; Contemporary American Etching, American Art Dealers Association, New York, 1930. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. 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. Housed in a striking French mat and a 19 1/8 x 21 3/8-inch black wood modernist frame.$15,000.
Skyline, New York. 1919. Etching and drypoint. McCarron 36. 8 7/8 x 10 3/8 (sheet 12 1/4 x 14 . 11 recorded impressions (intended edition 50. Lewis states that he destroyed 6 of the 11 proofs returned to him by Kennedy). A luminous impression printed on beige wove paper. An extremely rare image as apparently only 5 proofs are noted. Signed in pencil. Housed in an archival French mat and a, 18 1/2 x 20 x 1 1/4-inch modernist gold leaf frame with brown wood sides. 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. Housed in a 21 x 22 1/2-inch gold and silver Art Deco style frame $25,000.
Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron 89.ii. 9 3/4 x 14 3/4 (sheet 13 7/16 x 18 7/16 ). Edition 115 recorded impressions. Illustrated: American Etchers: Martin Lewis; Cortissoz, Contemporary American Prints, 1931; "The Grand Central's Second Print Anniversary," Prints (November, 1932):41. A rich, tonal impression printed on white laid paper with full margins. Signed in pencil. Housed in a stunning archival black mat and a 20 x 24 3/4-inch modernist black wood frame. Price upon request.
Two A.M. 1932. Drypoint. McCarron 101.ii. 8 3/4 x 14 3/4 (sheet 13 3/8 X 18 7 13/16). Edition 44 recorded impressions, including 3 trial proofs. Slight mat line, otherwise good original condition. A rich,atmospheric impression printed on cream laid paper with full margins. Annotated '$36' in the lower right-hand margin; signed in pencil. Housed in a 17 1/8 x 22 1/2-inch silver wood frame. Price upon request.
Yorkville Night. 1947. Drypoint. McCarron 140. 8 1/2 x 11 3/8 (sheet 10 7/8 x 14 1/2). 18 recorded impressions, including 1 trial proof. Provenance: Henry Christensen, III. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. An extremely rare image. Signed in pencil. Housed in a dramatic 17 x 19 3/4-inch beaded gold leaf frame. Price upon request.
Connecticut images
Day's End. 1937. Drypoint. McCarron 120.ii/iii. Sixth trial proof. 9 3/4 x 13 1/2 (sheet 13 7/16/4 x 17). Edition 34 proofs (including 8 trial proofs). A rich, glowing impression with carefully-wiped plate tone printed on cream wove paper. Ex-collection Patricia Lewis. Signed pencil $35,000. Housed in an archival double mat and an 18 x 21-inch silver frame. Price upon request.
The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression printed on cream laid paper with full margins. Signed in pencil. Housed in a stunning 19 1/4 x 23 1/2 inch gold frame. $35,000.
Politics. 1936. Drypoint and sand ground. McCarron 118.ii. 9 3/4 x 10 5/8 (sheet 13 7/8 x 15). Trial proof 10, edition 27 (including 11 trial proofs). McCarron cites this impression to describe the second state. A rich, carefully inked impression printed on 'FJ Head & Co' cream wove paper with full margins. Price upon request.
Click on the titles for images.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. Housed in a dramatic French mat and a 17 x 19 3/8-inch subtle brown. wood frame. 4,000.
Girl in Fur Jacket Reading Tabloid. 1940. Etching. Sasowsky 205.vi. 12 x 6 (sheet 15 9/16 x 13 1/8). Proof #81 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 16 lifetime impressions and 16 posthumous impressions in 1956.). Printed on white wove paper with full margins. Unsigned, but with the 'WM' (Whitney Museum) blindstamp, lower right. $975.
Breaking up a Tow -- North River. c. 1905. Etching. 6 3/4 x 10 (sheet 9 1/8 x 12). Printed on Japanese mulberry paper with full margins. A rich impression with plate tone, printed by the artist. Signed, titled and annotated 'imp' in pencil. $750.
Ericsson's Day, No. 1. 1914. Etching. 6 x 9 (sheet 7 3/8 x 11). Printed on cream wove paper on the full sheet with deckle edges. Proof with subtle plate tone in sepia ink, printed by the artist. Accompanied by the pencil study, with a drawing of ships on the verso. 7 3/4 x 10 1/4 (sheet 7 3/16 x 12 5/16). The drawing unsigned; the etching signed in pencil. $1,250 the pair.
Spring: Iris and Tradescantia. c. 1973. Watercolor on Japanese mulberry paper. 17 7/8 x 12 1/2. Signed 'Ying' and sealed. Housed in a green 20 x 16-inch green French mat and a 25 1/2 x 21 1/2-inch gold Whistler-style frame. $2,250.
New York
September Morning: The First Ferry. 1929. Watercolor. 10 1/8 x 13 (image and sheet). Provenance: The Fine Art Society, London. A misty, impressionist watercolor on French papier vedâtre. Titled and dated '29' verso. Signed in pencil, recto, lower right. Housed in the original 19 1/8 x 232 5/8 gold leaf frame. $6,500.
The Biggest of All; Telephone and Telegraph Building. The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 1/2 x 17 1/8). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Title in pencil in the lower left-hand margin, signed and annotated 'imp' in pencil by the artist. $850.
The Bridges 1908. Etching and drypoint. Wuerth 492. 10 15/16 x 8 5/16 (sheet 13 3/4 x 9 1/2). Edition about 50. Illustrated: Keppel, The Golden Age of Engraving. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $1,750.
The City in 1915 (The Unbelieveable City, No. 2). 1915. Etching. Wuerth 679. 8 1/4 x 10 3/4 (sheet 11 3/16 x 15). Edition probably 75. Illustrated: Keppel, The Golden Age of Engraving; Bryant, Joseph Pennell's New York Etchings. A rich impression with selsetive plate tone printed on antique laid paper with a partial watermark.Signed and annotated 'imp' in pencil indicating a proof printed by the artist. $1,750.
Montague Terrace, Children Skating. 1924. Etching. Wuerth 832. 8 x 9 7/8 (sheet 8 1/2 x 13). Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. Printed on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $500.
New York, from Brooklyn. 1915. Etching. Wuerth 671. 7 3/8 x 11 3/4 (sheet 9 3/8 x 14). Edition probably 80. A rich impression with plate tone, printed by the artist on simili-Japan paper. Signed and annotated 'imp' in pencil. $1,250.
Nassau Street. 1904. Lithograph. Wuerth 158. 10 11/16 x 6 1/4 (sheet 12 x 8 1/2). Series: Lithographs of New York, #5. Commission for the Society of Iconophiles. A fine impression, on antique pale grey wove paper, with full margins. The Society of Iconophiles blindstamp in the lower left margin. $275.
An Orgy of Building: Shelton Hotel, 525 Lexington Avenue, New York, with the foundations of the Roosevelt Hotel in the Foreground. 1923. Etching. Wuerth 808. 12 1/4 x 9 1/4 (sheet 16 1/2 x 10 3/8). Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $750.
Standard Oil Building. 1923. Etching. Wuerth 817. 12 1/4 x 9 1/4 (sheet 13 1/2 x 10 1/16). Edition probably 50. A glowing impression, printed by the artist on antique cream wove paper. Signed and annotated 'imp' in pencil. $775.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 1/2 x 10 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on very fine antique cream laid paper. Pennell used light yellow-brown plate tone to suggest lingering sunlight. Signed and annotated 'imp' in pencil. $1,250.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 3/8 x 16 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on sturdy cream laid paper from an antique volume. Pennell used red-brown plate tone to suggest evening tinged with sunlight. Signed in pencil. $1,250.
The Telephone and Telegraph Foundation. 1924. Etching. Wuerth 827. 12 7/8 x 8 7/8 (sheet 15 3/16 x 9 7/8).Private plate, etched for McKenzie, Vorhees and Gmelin. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $850.
Wall Street. 1904. Etching. Wuerth 344. 11 3/4 x 7 7/16 (sheet 15 1/2 x 10 1/4). Edition about 75. A rich, tonal impression printed on Japanese mulberry paper. Signed in pencil. $975.
The Woolworth, Through the Arch. 1921. Etching, sandpaper and drypoint Wuerth 785. 9 15/16 x 6 15/16 (sheet 12 1/4 x 7 5/8). Edition about 150 printed in Germany, numbered 1-150, and 50 printed in the U.S. This from the American printing by Pennell. A rich, tonal impression printed in black-brown ink on countermarked antique laid paper. The inking and wiping suggest an early evening glow. Signed and annotated 'imp' in pencil. $775.
Pennsylvania
Plow Inn Yard. 1881. Etching. Wuerth 35. 9 7/8 x 6 7/8 (sheet 16 3/8 x 12 7/8). No published edition. A very rich impression, printed in black-brown ink on Japanese mulberry paper with wide margins. A rare proof of early (probably Philadelphia) image. Pennell etched several similar images that earned him the soubriquet of 'the Philadelphia Meryon.' Signed in pencil, with his early large signature. $750.
St. Louis.
The Levee, From Eads Bridge, St. Louis. 1919. Lithograph. Wuerth 592. 19 5/8 x 17 1/8 (sheet approximately 24 1/2 x 18 3/8). Edition 20. A fine impression on laid paper with full margins. Mounted, with some buckling in the lower right-hand margin, outside the image. Kamp Gallery, (St. Louis Missouri) blind stamp lower right-hand margin. Signed in the stone and in pencil. Housed in a stunning 31 3/4 x 21 1/8 x 1 3/8-inch wood frame with a gold fillet. A dramatic presentation of this exceptionally scarce lithograph. $975.
Panama Canal
The Guard Gate, Gatun Lock. Panama. 1912. Etching and drypoint. Wuerth 627. 12 1/2 x 9 1/2 (sheet 14 x 10 1/2). Edition of about 60. Panama Canal series. An extremely rich impression with drypoint burr and atmospheric tonal wiping, printed on Japanese mulberry paper by the artist. Signed and annotated 'imp' in pencil. $1,350.
United Kingdom: London
The Barber Shop. 1905. Etching. W 392. 10 7/8 x 8 9/16 (sheet 14 3/8 x 10 3/4). Edition probably 25. Printed on cream wove paper. Signed in pencil. Annotation on verso, in Pennell's hand, "Cote (report of imp. lithos)." Doodles on the front in the same crayon, probably by Pennell. A charming, Whistleresque image. Printed by Pennell. Signed in pencil. $450.
Cannon Street Station (from the River). 1905. Etching. Wuerth 385. 7 7/8 x 10 7/8 (sheet 8 7/8 x 12 1/2). Early pencil-touched proof before the edition of approximately 40. An extremely rich impression printed with plate tone on off-white antique laid paper. Excellent condition. Pencil additions in the center of the boat nearest the foreground. Signed, annotated 'imp' and 'destroyed' and titled 'London Cannon Street Station' in Pennell's hand. $850. See also Under Cannon St. Station. Wuerth 309.
The City, Evening. 1909. Mezzotint. Wuerth 506. 10 x 14 7/8 (sheet 10 3/4 x 17 5/16). Printed on cream laid paper from an antique volume, numbered '12' in ink, upper left. Irregular bottom margin. Edition about 50. Magnificent, glowing proof with watercolor additions. Signed, titled 'London out of my window' and 'imp' in pencil, indicating a proof printed by the artist. $3,750.
The Crystal Palace. 1905. Etching. Wuerth 367. 8 5/8 x 10 15/16 (sheet 9 7/8 x 13). Edition probably 75. A rich, tonal impression printed by Pennell on antique laid paper. Signed, titled, annotated 'imp' and 'plate destroyed' in pencil. $600.
Dark Day on the Embankment. 1909. Etching and aquatint. Wuerth 507. 9 7/8 x 12 3/4 (sheet 11 1/2 x 17 1/4). Edition probably 40. A rich, tonal impression printed by Pennell on cream laid paper from an antique volume. Signed and annotated 'imp' and 'Shot Tower Misty Morning' in pencil by the artist. $3,250.
Leadenhall Market II. 1903. Etching. Wuerth 254.10 7/8 x 8 3/8 (sheet 12 1/8 x 9 3/4). Faint mat line, otherwise excellent condition. A rich, tonal impression printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $450.
London. St. Anne's from Piccadilly Circus. 1905. Etching. Not illustrated in Wuerth; but listed. 7 13/16 x 9 15/16 (sheet 11 15/16 x 8 1/4). Unpublished. Printed by Pennell on antique grey-green wove paper. A fine impression of this extremely rare image. Signed, dated, titled and annotated 'imp' in pencil. $400.
Park Lane.1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2 (sheet 7 3/4 x 6 1/4).Printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. An extremely rare unredorded state. $250.
The Shops at Night: Changing Shifts. 1916. Lithograph. Wuerth 450. 15 3/4 x 20 3/4 (sheet 19 x 24 3/4. Series: The War Work in England. Edition 50. A rich impression printed on ivory laid paper. Signed in pencil $750.
St. Paul's from Bankside. 1905. Etching. Wuerth 393. 9 3/8 x 12 1/2 (sheet 10 x 14 3/4). Edition c. 50. A rich impression printed on laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $750.
The Thames from Richmond Hill. 1903. Etching. Wuerth 276. 7 7/8 x 9 7/8 (sheet 8 1/2 x 13 1/8). Edition probably 35. A rich impression printed by the artist on cream laid paper from an antique French volume. Signed and annotated 'imp' in pencil. $550.
Under Cannon St. Station. 1904. Etching. Wuerth 309. 8 1/2 x 11 (sheet 9 7/8 x 14 1/2). Trial proof before the edition of approximately 25. Printed on cream laid paper from an antique volume with the page number '450' in ink in the right-hand margin. Excellent condition apart from a rust spot from iron in the paper, top center, outside the image. Signed and annotated 'imp' and 'trial proof' and titled 'Under Charing Cross' in Pennell's hand. A rich impression of this very rare image, printed by the artist, and especially interesting for the difference in Pennell's and Wuerth's titles. $650.
Whitehall Court. 1903. Etching. Wuerth 275. 10 1/2 x 8(sheet 12 5/8 x 8 7/8). Edition 12. A rich impression printed on antique blue/green laid paper, probably from France. Printed by the artist. Signed, titled 'Whitehall Court -- with the lights of Charing Cross Bridge' , '12 printed' and annotated 'imp' in pencil. A unique proof with white watercolor highlights in the lights on the bridge and the reflections in the water. $3,500.
bridge and the reflections in the water. $3,500.
Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8 (sheet 12 3/8 x 14 3/8). Printed on laid wove paper. A rich impression printed by the artist. Signed and annotated 'imp' in pencil. Housed in a 19 x 21 3/8-inch black Whistler style frame. $4,500.
France
Flower and Butter Market, Rouen. 1907. Etching. Wuerth 463. 11 x 8 5/8 (sheet 14 1/4 x 10). Edition probably 75. A fine impression printed by the artist on laid paper. Signed and annotated 'imp' in pencil. $300.
The West Front, Amiens. 1907. Etching. Wuerth 482. 11 7/8 x 8 3/4 (sheet 12 7/8 x 15 5/8). Edition probably 35. A rich impression, printed by the artist on antique laid paper. Signed and annotated 'imp' in pencil. $400.
[Flowering Carob Tree, San Giorgio Maggiore Island, Venice]. c. 1923. Oil on canvas. 18 x 24. Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. Remembering the Ladies: Women and the Art Association of Newport. Signed 'Jane Peterson' lower right. Housed in an elegant gold leaf French style frame, with a linen liner and a gold lip. Price upon request.
Alley Cats. 1933. Etching and drypoint. 8 x 10 3/8. Edition 50. Signed and titled in pencil. Sold with the pencil drawing.
Back of the Billiard Hall. Orange, Virginia. November 7, 1931. Ink study for the etching. 7 1/2 x 10 3/4 (sheet 9 7/8 x 14 1/16). Signed, dated and titled in pencil. Drawn on fine off-white laid paper with a sketch of a cat in the right-hand margin. Sold with the etching. $1,750 the pair.
Calf Love. 1916. Etching. Morse 182. 4 1/4 x 2 3/4 (sheet 5 1/2 x 4 7/8). Signed and titled in pencil. Edition 100. A rich impression printed in black/brown ink on cream wove paper. Signed in pencil. $1,150.
Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/8 (sheet 9 3/4 x 11 3/4). Series: New York City Life, first plate. Edition 100. A fine impression on cream wove paper with full margins. Signed, titled, annotated '100 proofs' and '21' in pencil. Housed in an archival mat and a striking 13 1/2 x 14 3/4-inch black and gold wood frame. $4,000.
Fifth Avenue Critics. 8 x 6 (sheet 9 3/4 x 12 1/4). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for the Gazette des Beaux- Arts. Series: New York City Life, second plate. A rich impression printed on the full sheet of cream wove paper with deckle edges on four sides. Tack holes from drying along the outer sheet edges. Annotated '14' in pencil in the lower left-hand margin, probably by the printed, Peter Platt. Signed, dated, titled and annotated '100 proofs' in pencil by the artist. $3,000.
Fourteenth Street. The Wigwam. (Tammany Hall). 1928. Etching. Morse 235.vii.9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Ernest Roth. Illustrated: Reese, American Prize Prints of the 20th Century; Fifty Prints of the Year, 1929; Contemporary American Etching, American Art Dealers Association, New York, 1930. A rich impression printed on cream wove paper.Two hinge stains in the left-hand margin, well away from the image; otherwise fine condition. Signed 'Peter Platt imp' by the printer. Signed, titled and annotated '100 proofs' by Sloan. $3,500.
Girls Sliding. 1915. Etching. Morse 171.iv. 4 1/4 x 5 7/8 (sheet 8 3/4 x 11 7/8). A fine impression on cream wove paper. Annotated "Peter Platt imp" in pencil (Platt printed 30 of the total edition of 100). Signed, titled and annotated "100 proofs" in pencil. $2,500.
Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 8 x 9 7/8. (sheet 11 1/8 x 10 1/4). An early rich impression printed on cream wove paper, on the full sheet with deckle edges. Provenance: Kraushaar Galleries. Signed, titled 'The Hell Hole' and annotated '100 proofs' in pencil by Sloan. $4,500.
The Lafayette. 1928. Etching. Morse 233/vi. 4 7/8 x 6 7/8 (sheet 8 1/8 x 9 3/8). Proof prior to the intended edition of 100, that was probably closer to 80. A rich impression on cream paper with a fleur-de-lys watermark. Signed and titled "John Sloan (by H[elen] F[arr]S[loan])" in pencil (presumably because it was part of the artist's personal collection). Annotated "First state 2-'24'28" in pencil by Sloan." Morse notes 'Proofs of 1st state dated March 24, 1928.' p.259. An extremely rare proof. Housed in a double grey and cream colored atchival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $2,500.
The Little Bride. 1916. Etching. Morse 138. 4 7/8 x 6 3/4 (sheet 9 3/8 x 12). Series: New York City Life. Printed on cream wove paper with deckle edges on two sides. Illustrated: Charles Wisner Barrell, 'The Real Drama of the Slums as told in John Sloan's Etchings' The Craftsman vol. 15, p. 560. Signed and annotated "Ernest Roth Imp' by the printer. Signed, titled and annotated '100 proofs' in pencil by Sloan. $3,000.
Love on the Roof. 1914. Etching. Morse 167.ii. 5 7/8 x 4 1/4 (sheet 10 1/2 x 6 1/4). Edition 100. A rich impression printed on Japanese mulberry paper. Signed in pencil. $2,750.
Roofs, Summer Night. 1906. Etching. Morse 137.ii. 5 1/4 x 7 (sheet 9 1/2 x 12 1/8). Series: New York City Life, plate 9. A fine impression on cream laid paper on the full sheet with deckle edges. Annotated 'Peter Platt imp.' by the printer. Signed, titled and annotated "100 proofs" by Sloan in pencil. $3,750.
The Show Case. 1905. Etching. Morse 129.iii. 5 x 6 15/16 (sheet 9 3/4 x 12 1/2). Annotated "Peter Platt imp" in pencil (Platt printed part of the total edition of 100). Series: New York City Life, third plate. A fine impression on cream wove paper, printed on the full sheet with deckle edges. Tack holes from drying in the outer margin edges, as usual. Signed, titled and annotated "100 proofs" in pencil. $3,000.
Swinging in the Square (In the Park). 1912. Etching. Morse 156.iii. 4 x 5 1/8 (sheet 8 7/8 x 12 1/4). Edition 100. A rich impression, printed on 'Van Gelder Zonen Holland' laid paper, on the full sheet with deckle edges. Signed, titled and annotated "100 proofs" by Sloan in pencil. Sloan wrote "Walked down to the East Side this afternoon, enjoyed watching the girls swinging in the Square, Avenue A and 8th Street East. " Morse page 181. The scene is Tompkins Square Park in Manhattan. $1,900.
Wake on the Ferry. 1949. Etching. Morse 313.iv. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression printed by the etcher, Ernest David Roth, on cream-colored Rives paper with wide margins. Roth used selective plate tone in the sky to suggest a rainy day. Signed, titled and annotated 'Ernest Roth imp.' by the printer. Signed, titled and annotated '200 proofs' by Sloan in pencil. $1,250.
Old French Market, Louisiana. c. 1928. Etching. 8 7/8 x 11 3/4 (sheet 11 x 14 1/2). A very rich impression printed on "Fabiano Italy" countermarked paper. Signed in pencil. Annotated in pencil by the artist, "To, Eugene A. Noble. I agree with you that an artist should follow his work to the bitter end and so I hope to do. Have patience." Annotated by a different hand, probably Eugene A. Noble, "E.A. N." "Old French Market LA" "This is the first print from the first plate by E.H. Suydam. $1,750.
Planters Tavern, Greenwich Street, New York. 1926. Conte crayon drawing. 12 1/4 x 11 (sheet 14 3/8 x 14 1/2). Provenance: Schwartz Galleries, Manhattan. A fine impression on 'Strathmore Woromoco Damask Made in U.S.A.' countermarked paper. Signed in pencil. $475.
The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39.A rich impression on the full sheet of pale blue-green paper. Signed in pencil. $300.
James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9). Illustrated: Contemporary American Etching, American Art Dealers Association, New York, 1930. An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower left: "Walter Tittle / London." Signed and annotated 'imp' in pencil. $400.
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Black Jesus. c. 1980s-90s. Housepaint on plywood. 32 1/4 x 15 1/2. The vertical and horizontal pieces are 6 inches wide. Fair original condition. Provenance: the artist to a well-known collector, by descent to his family. Signed horizontally 'MOSET' lower center. $3,000.
Black Snake Hanging from its Tail. c. 1980s-90s. Housepaint on plywood. 28 1/2 x 3 x 1/4 inches. Good condition apart from some splits in the wood. Signed 'MOSET' horizontally, center right. Provenance: the artist to a well-known collector, by descent to his family. $950
Wild Guinea Chicken. c. 1980s-90s. Housepaint on plywood. 11 1/4 x 12 1/4 x 3/4 inches. Minor paint loss. Some splits in the wood, noticeable mainly on the verso.
Lacking a beer/soda can tab hanger. Provenance: the artist to a well-known collector, by descent to his family. Signed 'MOSET', lower right. $1,250
French Orchids. c. 1980s-90s. Housepaint on plywood. 12 x 13 3/4 x 3/4 inches. A knot inherent in the wood, lower center; several splits in the wood, visible mostly on the verso, otherwise good condition. Lacking a beer/soda can tab hanger. Signed 'MOSET' lower right. $1,500
[Jump Up.] c. 1980s-90s. Housepaint on plywood. 16 1/2 x 12 1/2 x 1/2 inches. Knots holes inherent in the wood, several splits, minor paintloss. Provenance: the artist to a well-known collector, by descent to his family. Signed 'MOSET' lower right. $1,500.
[Mule and Tree. ] c. 1980s-90s. Housepaint on plywood. 15 x 16 1/4 x 1/2 inches. Signed 'MOSET' lower right. Knots and holes in the wood, several splits, paint loss notably on 2 small areas on the edges. Lacking a beer/soda can tab hanger. Provenance: the artist to a well-known collector, by descent to his family. Signed 'MOSET' lower center. $1,500
Prissy Lady. c. 1980s-90s. Housepaint on plywood. 15 1/2 x 13 3/4 x 13/4 inches. Signed 'MOSET' Signed, lower right. Knot holes and splits inherent in the wood; scattered paint loss. Provenance: the artist to a well-known collector, by descent to his family. Signed 'MOSET' lower right. $1,500
Self Portrait in Red with Walking Sticks. c. 1980s-90s. House paint on plywood. 33 1/2 x 16 1/2 x 1/2 inches. A few scratches with paint loss, otherwise good condition. Provenance: the artist to a well-known collector, by descent to his family. Signed 'MOSET' lower center. $3,000.
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Worm Hunter c. 1964. Linoleum cut. 4 x 6 1/2 (sheet 9 3/4 x 15). Edition 16, #12. A fine impression printed on textured Japanese mulberry paper. Signed, titled and numbered in pencil. $100.
Love (black background) 1966. Linoleum cut. 2 7/8 x 3 1/4 (sheet 4 3/4 x 6 5/8). Edition 64, #22. A fine impression printed on Japanese mulberry paper. Signed, titled and numbered in pencil. $125.
Love Apple(Black background). 1967. Linoleum cut printed in brown, red, orange, black and tan. 19 1/2 x 12 1/2 (sheet 22 1/2 x 14 3/16). Edition 18. A vivid impression printed
Seymour Haden, Jr, Seated. 1857-58. Etching. Kennedy 29.ii; Glasgow 9.iii. 5 5/16 x 3 3/4 (sheet 11 7/8 x 7 3/8). Glasgow records only 23 known impressions. A rich, tonal impression printed on cream laid paper with wide margins. Arthur Charles Haden, Whistler's nephew, would have been around six years old at the time this portrait was made. Unsigned. $2,500.
Seymour Standing Under a Tree. 1858-59. Etching. Kennedy 31.ii/iii; Glasgow 30.ii/iii. 5 3/16 x 3 3/4 (sheet 11 3/4 x 8). Glasgow records 28 known impressions. A fine impression printed on fine cream laid paper, with wide margins and deckle edges on 3 sides. Signed in the plate. $2,500.
Liverpool London and the Thames. 1859-1879.
J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52.iv/iv; Glasgow 62 vi/vi. 10 1/8 x 7 1/2 (sheet 12 3/4 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects" (Thames Set), plate 8. Illustrated: Salaman, The Great Painter-Etchers from Rembrandt to Whistler, Print Collector's Quarterly 1 (1911): 36; Salaman, Modern Masters of Etching: Whistler.. An extremely rich impression with plate tone, printed on the Japanese mulberry paper with full margins. Unsigned. Housed in a 19 5/8 x 14 5/8-inch black and gold Hogarth style frame. $3,500.
Free Trade Wharf. 1877. Etching. Kennedy 163.v; Glasgow 171.iv.viii. 5 3/8 x 8 3/8 (sheet 7 x 10 3/8). Published in this state by the Fine Art Society, London, in 1879 in an edition of 100. A very rich impression in brown ink with with plate tone printed on fine cream laid paper with full margins. Monogrammed with the butterfly in the plate. $4,750.
Landscape with Horses. 1859. Etching and drypoint. Kennedy 36.ii; Glasgow 45.ii. 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8). Glasgow records 32 known impressions. A scarce early etching -- there was no published edition. A fine impression with atmospheric tonal wiping printed on AR[CHES] cream laid paper with full margins. A fine impression with atmospheric tonal wiping. Signed in the plate, lower center. $2,750.
Limehouse. 1859. Etching. Kennedy 40.iii; Glasgow 48.iii/vi. 5 x 7 7/8 (sheet 8 x 107/8). The state before the clouds are indicated with slanting drypoint lines between and above the masts. These lines are partially removed in the fifth and sixth states. Glasgow records 81 known impressions. Issued as plate 12 in 'A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects' (Thames Set). Illustrated: Salaman, The Great Painter-Etchers from Rembrandt to Whistler, Guichard, British Etchers, 1850-1940; Illustrated: Kappel, The Golden Age of Engraving; Lumsden, The Art of Etching, 301. Very slightly toned; otherwise good original condition. A rich proof printed on the full sheet of cream laid paperwith a partial Strasbourg Lily watermark. Signed and dated in the plate. Housed in a 17 1/2 x 21 1/2-inch reproduction gold Whistler frame. $3,500.
Price's Candle Factory. 1876-77. Drypoint. Kennedy 154.i/iv; Glasgow 166.i/xiii. 5 7/8 x 8 7/8 (sheet 7 3/4 x 12 1/4). There was no published edition of this rare image. Glasgow lists 19 other known impressions. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper. Signed with the butterfly and annotated 'imp' in the margin. An exceptionally rare image. Price upon request.
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii; Glasgow 70.vi. 10 3/4 x 7 3/4 (sheet 12 7/8 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set) plate 5. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler; Guichard, British Etchers, 1850-1940. One 2-mm missed inking spot between the two ship masts on the right; otherwise an excellent proof. A rich impression printed on antique cream laid paper. Signed in the plate. $8,500.
Shipbuilder's Yard, Liverpool. 1875. Drypoint. Kennedy 146.iii; Glasgow 142.iv. 5 7/8 x 8 7/8 (sheet 7 3/4 x 12 1/4). There was no published edition of this rare image. Glasgow lists 22 other known impressions. An extremely rich impression with drypoint burr printed by Whistler on fine laid paper countermarked 'PD'. Provenance: Howard Mansfield to Harris Whittemore to a family friend as a wedding gift in 1942. Annotated in an unknown hand '3HM' [Howard Mansfield] lower left margin and '1.(ut 25)'lower right margin and initialed 'OEX' verso. Monogrammed with the butterfly in the plate. Price upon request.
The French Set and Paris. 1857-1861.
Bibi Valentin. 1859. Etching and drypoint. Kennedy 50.ii; Glasgow 34.ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. $3,750.
Fumette. 1858. Etching. Kennedy 13.iv; Glasgow 12.v. 6 3/8 x 4 1/4 (sheet 7 7/8 x 5 3/4). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature(French set). A rich tonal impression in warm brown/black ink on 'Austin' off-white laid paper. Signed in the plate. Housed in an archival French mat and a dramatic 14 x 11 1/2 x 1-inch gold leaf frame. $3,500.
The Unsafe Tenement. 1858. Etching. Kennedy 17,iv; Glasgow 18.iv. 6 1/8 x 8 3/4 (sheet 8 1/4 x 10 3/8). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature (French set). Illustrated: Salaman, The Great Painter Etchers from Rembrandt to Whistler. A very rich impression with plate tone printed in brown/black ink on fine laid paper with full margins. Signed in the plate. $2,750.
Venus. 1859. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. There was no published edition. A very rich impression printed in black ink on fine Japanese mulberry paper. Provenance: estate of Alvin B. Glaser Signed and dated in the plate. Housed in an archival French mat and an 11 1/2 x 14-inch gold leaf frame. Price upon request.
The Wine Glass.> 1859. Etching. Kennedy 27.ii; Glasgow 38.ii. 3 1/4 x 2 1/4 (sheet 6 1/8 x 4 1/4). There was no formal edition of the plate; Glasgow records only 39 known impressions. A delicate impression printed on vellum. Signed in the plate. Housed in an 18 1/4 x 16 1/4 x 1 1/2-inch antique Whistler-style silver leaf frame. Price upon application.
Italy. 1879-1880.
The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper. Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. $8,750.
The Netherlands. 1886.
The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in an archival French mat and a 10 x 11 1/4 x 1-inch gold leaf period carved Celtic design frame. $3,000.
Lithographs: Family and Friends.
The Doctor. 1895. Lithograph. Way 78; Levy 117; Tedeschi, Stratis and Spink 110. 18 1/2 x 6 (sheet 10 x 7 3/8). Edition of about 3,000 published in The Pageant, November, 1896. A fine impression printed on off-white glossy wove paper.Unsigned. $600.
The Little Café au Bois. 1894. Lithograph. Way 56, Levy 87, Stratis, Spink and Tedeschi 91.i. 8 1/2 x 6 (sheet: 11 1/8 x 9). A fine lifetime impression printed on 'Van Gelder Zonen' countermarked laid paper. Way lists 28 lifetime impressions (Goulding printed 41 posthumously on April 12, 1904). Provenance: collector's seal of Henry Harper Benedict (Lugt 2936), a New Yorker who amassed an imprtant Whistler collection of 270 etchings and 1643 lithographs. Signed with the butterfly in the stone and in pencil. $10,000.
Nude Model Reclining. 1893. Transfer lithograph with stumping. Way 47, Levy 75, Tedeschi, Stratis and Spink 73.
iii. 4 1/2 x 8 1/16 (sheet 7 7/8 x 12 3/16). Way listed 25 lifetime proofs, although the number was at least forty-four (Goulding printed 30 posthumous impressions on November 30, 1904). Printed on cream laid paper with a foolscap watermark. Signed with the butterfly in the stone and in pencil. Housed in a 17 1/4 x 21 1/4-inch Whistler style gold leaf frame. $8,000.
Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25 lifetime impressions plus a few proofs recorded by Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). A foxing spot, otherwise excellent condition.Printed on ivory laid paper from an antique volume, numbered 178 recto and 177 verso, lower right. A well-inked lifetime impression of this extremely scarce print. Signed with the butterfly in the stone. Housed in an archival French mat and a dramatic 18 1/2 x 16 1/4-inch gold and black frame with a subtle gray lip. $6,500.
Unfinished Sketch of Lady Haden. 1895. Lithograph with scraping. Way 143; Levy 139; Tedeschi, Stratis and Spink 116.ii/iii. 11 13/16 × 7 7/8 (sheet 13 5/16 × 9 3/8). No published edition; Way listed 8 impressions. The stone was erased by 1905. An impression with strong contrasts printed on fine laid paper. Monogrammed with the butterfly in the stone. $3,500.
Lithographs: England.
Charing Cross Railway Bridge. 1896. Transfer lithograph with with stumping, scraping and incising. Way 120, Levy 166, Tedeschi, Stratis and Spink 157. 5 1/8 x 8 1/2 (sheet 81/4 x 13). Way lists 27 impressions (Goulding printed 36 posthumous impressions on April 29, 1904, after which the stone was defaced). Printed by Goulding on 'Pro Patria' watermarked laid paper. The verso of the paper has ink script that, when showing through to the front, looks like lines of mist in the water and sky. The text is in Greek and Latin. According to Martha Tedeschi, other Whistler lithographs are also printed on paper with similar text. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $4,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405).
Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street. Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. $6,500.
Chelsea Shops. 1888. Lithograph. Way 20, Levy 33, Tedeschi, Stratis and Spink
24.ii. 7 3/8 x 5 3/8 (sheet 10 x 7 7/8). Way lists 17 lifetime impression (Goulding printed 30 posthumous impressions 1904, after which the stone was erased). Printed on cream laid paper. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 406. Signed with the butterfly in the stone and in pencil. A fine impression of this very rare image. $6,500.
The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135.ii. 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream laid paper. Way lists 15 lifetime impressions (Goulding printed 30 proofs on April 11, 1904). Collector's seal verso: LDB (not in Lugt). Presumably one of the 15 lifetime impressions. Monogrammed with the butterfly above the awning in the stone. Housed in a 23 x `9 3/4-inch silver and black frame with a silk mat. A fine impression of this scarce image. $2,800.
Gaiety Stage Door. 1879 and 1887. Lithograph. Way 10, Levy 21, Tedeschi, Stratis and Spink 14.ii. 4 7/8 x 7 5/8 (13 1/16 x x 14 3/4). A fine impression on cream Japanese paper (large set), mounted onto white plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone and in pencil. $4,500. Another proof, monogrammed in the stone, $2,500.
Lindsey Row, Chelsea. 1888. Lithograph. Way 20; Levy 33; Tedeschi, Stratis and Spink 23. 5 x 8. Edition of 56 posthumous impressions printed by Goulding, in addition to the 14 lifetime impressions printed by Way. A fine impression printed on countermarked 'A.W.P.& A.O.L.' cream laid paper with full margins. Monogrammed with the butterly, center right. Housed in a 14 x 17 1/2-inch period gold leaf frame. $3,250.
Little Doorway, Lyme Regis. 1895. Lithograph. Way 83, Levy 122, Tedeschi, Stratis and Spink 119. 9 x 6 (13 1/2 x 9 3/4). Edition of 15 lifetime impressions listed by Way Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). Printed on cream laid paper with a Strasbourg Lily/LVG with a IV countermark (Chicago 289), indicating a posthumous impression. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $3,750.
The Master Smith. 1895. Lithograph. Way 84; Levy 123; Tedeschi, Stratis and Spink 120.i/ii. 4 1/2 x 5 1/2 (sheet 76 x 5 3/8). Only 15 lifetime impressions (in 2 states) listed by Way; Goulding printes 38 impressions on 14 December, 1903. The stone was erased in 1903. Printed on cream wove proofing paper. Monogrammed with the butterfly in the stone. A fine impression of this extremely rare lithograph. $7,500.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 11 1/4 x 8 3/4). Printed on smooth ivory wove paper. As published in the December 27, 1890 edition of The Whirlwind. The printed text has been trimmed off, and annotations added in a later hand. $2,500.
Old Battersea Bridge. 1879 and 1887. Lithograph. Way 12, Levy 24, Spink 18.ii. 5 7/8 x 13 1/8 (sheet 13 5/8 x 19 3/8). From the 1887 "small set" printed by Thomas Way and issued by Boussod, Valadon and Co. for Notes in 1887. The total edtion was 100, comprised of an edition of about 70 printed on the thin, greyish "chine" mounted on white/ivory wove paper, and also 30 impressions pulled on mounted Japan with larger sheets of wove backing. This impression is from the 'small set'.Illustrated: Print Collector's Quarterly 3(1913: 280. Printed in black on ivory-colored paper Monogrammed with the butterfly in the plate. A fine impression in goog original condition. Whistler made the drawing directly on the lithographic stone, working on a boat below the bridge. $4,500.
The Sunny Smithy. 1895. Lithograph. Way 85; Levy 130; Tedeschi, Stratis and Spink 121. 5 1/2 x 8 (sheet 9 1/16 x 12 5/16). Only 4 impressions listed by Way. Printed on Japanese vellum. Monogrammed with the butterfly in the stone in the center of the anvil. $7,500
The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is frequent. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. According to Way, 'it is doubtful if half a dozen copies exist beyond the twelve proofs on mounted Japanese paper. A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Illustrated: Print Collector's Quarterly 3(1913: 279. Signed with the butterfly in the stone. $15,000. Accompanied by the Ando Hiroshige (1797-1868) woodblock that was apparently a major influence upon Whistler's image, Kyobashi
and the Bamboo Bank of the Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Good color and condition.
The Tyresmith. 1890. Lithograph. Way 27, Levy 41, Tedeschi, Stratis and Spink 36. 6 3/4 x 6 7/8 (sheet 1- 5/8 x 7 7/8).Illustrated: Print Collector's Quarterly 3(1913: 283. Printed in cream laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published editon was machine printed from supplementary stones on smooth ivory wove paper, which has often discolored to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. $1,750.
The Whitesmiths, Impasse des Carmélites.> 1894. Transfer lithograph with stumping. Way 53, Levy 84, Tedeschi, Stratis and Spink 92. iii. 8 5/8 x 6 3/8 (sheet 11 x 7 7/8). Way listed 28 lifetime proofs (Goulding printed 40 posthumous impressions on December 11, 1903). Printed on fine ivory laid paper. Signed with the butterfly in the stone and in pencil. $6,500.
Victoria Club. 1879 and 1887. Lithograph. Way 11.ii; Levy 22; Tedeschi, Stratis and Spink 15.ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A rich impression printed on greyish ivory proofing paper mounted on ivory plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone. Housed in an elegant 20 x 17-inch beaded silver frame. $2,750.
Lithographs: France.
La Fruitière de la Rue de Grenelle (The Fruitseller in Grenelle Street). 1894. Lithograph. Way 56, Levy 87, Stratis, Spink and Tedeschi 106. 9 x 6 (sheet 11 1/4 x 8 3/4). Way lists 33 impressions; Goulding printed 31 posthumous impressions on October 15, 1903. A good impression printed in black ink on white machinemade wove paper. Fair condition -- horizontal center fold, a small 1/4-inch stain in the lower right, outside the image. Monogrammed with the butterfly on the awning. Housed in a 21 3/4 x 19 3/4-inch gold Whistler-style frame. A charming presentation of this scarce Whistler lithograph. $2,000.
Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). Illustrated: Print Collector's Quarterly 3(1913: 298. A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame. $5,000.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.i/ii. 11 7/8 x 7 1/2 (sheet 13 x 8 3/8). Edition 34 in three states (Goulding printed 45 posthumous impressions in 1904. A fine impression of the very rare first state, printed on Japanese mulberry paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. Housed in an archival French mat and an 18 3/4 x 14-inch gold leaf frame. $6,500.
The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.iii/iii. 11 7/8 x 7 1/2 (sheet 14 1/4 x 9 3/4). Edition 34 in three states (additionally, Goulding printed 45 posthumous impressions in 1904. A fine lifetime impression printed on off-white laid paper. Collector's seal verso, lower left, faint brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone. $3,000.
Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were only 28 impressions before the plate was cancelled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $1,750.
Whistler in Painting Jacket. (after the painting by Whistler. Gallatin 4). 1897. Photogravure. Gallatin 137. 9 7/8 x 7 1/4 (sheet 12 1/4 x 8 15/16). Published by Virtue & Co. Ltd (publishers of The Art Journal). Titled in the plate, below the image. $190.
J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $2,500.
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Along the Docks -- New York. c. 1985. Etching and drypoint. 10 x 13 3/4 (sheet 14 3/4 x 19 1/4) . Edition 50, #1. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, numbered and titled in pencil. A dramatic of the Manhattan docks. $350.
<Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Final, previous to the edition 40. An atmospheric impression printed on buff-colored laid paper with sold leafi on the left0hand sheet edge, incicating that the artist had employed paper that had been in a book. Signed and dated in the plate. Signed, titled and annotated 'Final state' and 'Jones Proof'in pencil. $650.
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet) 22 1/4 x 19. Edition 40. Fine condition apart from creasing in the lower left-hand sheet corner and a mark in the upper margin, both well outside the image. A dramatic richly-inked impression printed on the full sheet of Rives laid paper with deckle edges. Signed and dated in the plate. Signed, titled and annotated in pencil. $500.
Old Brownstones-- New York. 1983. Etching and drypoint. 8 7/ 8 x 12 1/3 (sheet 16 5/8 x 16 1/4). Third state. Printed on Rives cream wove paper with full margins. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, titled and annotated '3rd state -- 1983' and Steves'in pencil. A dramatic view of Manhattan. $350.
The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 5/8 x 18 1/8). Edition 100, #19. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, numbered and titled in pencil. A dramatic view of the Chrysler Building. $375.
Under the Bridge -- New York. 1985. Etching and drypoint. 9 1/2 x 12 1/8 (sheet 13 7/8 x 18 7/8 x 22). Edition 27, #26). Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in excellent condition. Titled and numbered in pencil. by the artist; signed and initialed in pencil by the artist's estate. Provenance: the artist's estate A dramatic view of the lower East Side in New York. $350.
Brookside. c.1935. Etching, drypoint and aquatint. 11 7/8 x 10 (sheet 15 x 13). Edition 75. A rich atmospheric impression printed on 'France' countermarked cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Reflections. c.1935. Etching, drypoint and aquatint. 12 3/4 x 7 1/4 (sheet 15 3/4x 10 7/8). Edition 60. A rich atmospheric impression printed cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Snowstorm. c.1935. Etching, drypoint and aquatint. 10 1/4 x 12 1/8 (sheet 13 3/8 x 15 7/8). 2nd state, trial proof. A rich atmospheric impression printed on 'France' wove paper on the full sheet with deckle edges. Signed, titled and annotated '2/1' in pencil. $750.
Symphony in White. c.1935. Etching, drypoint and aquatint. 11 1/2 x 9 3/8 (sheet 15 3/4 x 12 5/8). Edition 50. A rich atmospheric impression printed on 'Arches' wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $750.
Two Trees. c.1935. Etching, drypoint and aquatint. 11 3/4 x 9 7 /8 (sheet 14 3/4 x 12 1/2). Edition 50. Illustrated: Print collector's Quarterly volume 24, #4 (December 1937): 463. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $750.
Winter Woodland. c.1935. Etching, drypoint and aquatint. 11 3/8 x 9 3/4 (sheet 16 x 13). Printed on 'France' cream wove paper with full margins. Signed, dated and titled in pencil. $750.
Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blindstamp. Signed, numbered and titled in pencil. Printed on on cream wove paper with full margins. A rare proof of this striking image. $500.
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Thank you for visiting this website.Reginald Marsh. 1898-1954.
Charles Frederick William Mielatz. 1861-1919.
Pang Tseng-Ying. 1916-1997.
Joseph Pennell. 1857-1926.
America.
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Jane Peterson. 1876-1965.
Grant Tyson Reynard. 1877-1968.
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Portraits of Whistler.
Paul César Helleu. 1859-1927.
Thomas Robert Way. 1861-1913.
Lawrence Nelson Wilbur. 1897-1988.
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