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New York in Fine Art.

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Albert Abramovitz. 1879-1963.

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Jobs Wanted. c. 1932. Wood engraving. 8 1/2 x 10 1/2 (sheet 11 x 12 7/8). A rich, dramatic impression printed on ivory wove Rolland Parchment. Signed in pencil. $1,500.

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Mefisto, New York. 1932. Wood engraving. 6 9/16 x 4 1/2 (sheet 8 1/4 x 6 1/2). Signed in pencil. $1,750.

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Deirdre Allinson. Born 1968.

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Manhattan: Lines and Perspectives. Black and White Photographs of New York.

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

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

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

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

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

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

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

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

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

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

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

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Grand Central Station. 2013. 16 x 24. Edition: 100 on silver gelatin paper and 100 on a Chromaluxe metal panel. $1,000

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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 prints are signed, titled and numbered with an archival Micron Pigma pen.

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

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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. Housed in a 26 1/2 x 15 3/4-inch gold and silver modernist frame. $6,500.

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

George Wesley Bellows, N.A. 1882-1925.

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

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The Pool-Player. 1916. Lithograph. Mason 24. 15 7/8 x 19 5/8 (sheet 23 x 27 1/4). Edition 67, #2. A rich impression printed on white wove paper paper, with full margins. This is a fine lifetime impression. Signed, numbered and titled in pencil by the artist. Price upon request.

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

Isabel Bishop. American. 1902-1988

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

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The Fountain or Drink of Water. c. 1946-47. Ink on paper. 2 7/8 x 2 3/8 (sheet 4 1/4 x 5). Provenance: James Fosburgh; Raydon Gallery, New York. Initialed in pencil lower right. $1,500.

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Leaning on the Wall. 1927. Etching. Teller 4. 4 x 3 (sheet 11 x 8 7/8). Edition 100, #18 from the lifetime edition printed in 1967; there were only proofs earlier. A rich impression with plate tone printed on cream wove paper. Signed and dated in ink verso, possibly in another hand. Signed and numbered in pencil by the artist. $550.

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

Sir Muirhead Bone. 1876-1953.

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Liberty Statue New York. 1923. Conte crayon and watercolor. 7 1/2 x 10 (sheet 8 5/16 x 10 5/8). Signed and annotated 'Liberty Statue New York. Sketched from a Ferry Boat July 1923.' and 'Muirhead Bone to Mrs David Keppel with kind regards Dec 1925'. $2,500.

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Manhattan Excavation. 1923-28. Drypoint. Dodgson 390.xvii/xix. 12 3/8 x 10 1/4 (sheet 15 3/4 x 13 3/4). Edition of 40 in this state (total 151 impressions in 19 states). Begun from nature on June 4, 1923 and finished in 1928. A rich, beautifully inked impression printed on the full sheet with deckle edges. Signed and annotated "XVII" in pencil. This is the most dramatic of Bone's New York etchings. The subject is an immense excavation for the foundation of a new building on Madison Avenue. $8,500.

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The Tuscania leaving New York. 1923. Photolithograph. 10 5/16 x 12 1/2 (sheet 11 3/4 x 14). Printed on grey wove paper. Signed, titled and dedicated 'To E[ugene} N[oble]. New York. July 23, 1923' in pencil. $650.

Letterio Calapai. 1902-1993.

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

Howard Norton Cook. 1901-1980.

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

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Skyscrapers. c. 1950. Pastel on illustration board. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: Lewis A.Shepard, Mr.and Mrs. Archie Burack, The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Price upon request.

Kerr Eby, N.A. 1889-1946.

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

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No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iv. 16 x 10 3/8. Edition 90. No 1 Wall Street, the former Irving Trust Company headquarters, is located at the intersection of Wall Street and Broadway in Manhattan's financial discrict. Trinity Church is in the background. $750.

Ernest Fiene. 1894-1965.

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Washington Square, No. 2. 1928. Lithograph. Coven 44. 14 3/8 X 11 5/8 (sheet 19 5/8 x 15 5/8). Edition 30, #28. Printed on the full sheet of cream wove paper. Signed,dated, titled and numbered in pencil. A fine impression of this scarce lithograph. $1,750.

Gerald K. Geerlings. 1897-1998.

New York Set

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

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

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

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

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

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

Childe Frederick Hassam, N.A. 1859-1935.

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The Bill Boards, New York. c. 1919. Etching. Cortissoz, Clayton 87. 4 5/8 x 6 (sheet 6 3/8 x 9 5/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Provenance: William Macbeth Gallery, New York. Signed and dated 1896 in the plate; signed with the cypher in pencil. Housed in an elegant beaded gold leaf frame. $6,000.

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

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

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

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

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The Little Church Around the Corner. 1923. Etching. Cortissoz, Clayton 220.ii. 8 x 11 1/2 (sheet 10 5/8 x 11 3/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Signed and dated 'Jany.31, CH 1923 in the plate; signed with the cypher in pencil. The etching is extremely scarce. $4,500.

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

Ellison Hoover. 1888-1955.

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

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

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

Edward Hopper, N.A. 1882-1967.

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Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7/8). Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. A rich impression printed by the master printer, Peter Platt, on Van Gelder wove paper with full margins. Signed in pencil. Housed in an 18 1/2 x 19 1/4-inch gold and silver modernist style frame. Price upon request.

Earl Horter. 1881-1940.

New York

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

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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.

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

Otto Kuhler. 1894-1977.

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

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Spires of Manhattan. c. 1930. Etching. 9 3/8 x 12 3/4. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. $975.

Armin Landeck. 1905-1984.

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

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

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11 West 11th Street. 1939. Drypoint. Kraeft 110. 12 7/8 x 9 7/8(sheet 17 x 13 7/8). Edition 100. Excellent condition. A rich impression with tonal wiping, printed on white wove paper on the full sheet with deckle edges. Signed, dated and annotated in pencil. $2,500.

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

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

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

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

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

Martin Lewis, N.A. 1881-1962.

Etchings and drypoints

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

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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 '6th trial proof' and signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. Price upon request.

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Cathedral Steps. 1931. Drypoint. McCarron 93. 10 1/2 x 16 3/4 (sheet 14 x 20). Edition 42 recorded impressions (including 7 trial proofs). A richly inked impression printed on cream wove paper. Signed in pencil. Reserved

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

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(Dock Workers under the Brooklyn Bridge). c. 1916-18. Aquatint and etching. McCarron 15. 17 3/4 x 23 3/4 (sheet 26 1/8 x 39 1/2). 5 recorded impressions (including 4 trial proofs), plus a proposed edition of 100 issued by Kennedy Galleries in 1973 (fewer proofs were printed). A fine impression printed on the full sheet of cream wove paper with deckle edges. Signed 'Martin Lewis (L. D. L.] 1973). Louise Deming Louis was the artist's wife. $15,000.

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

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

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Night in New York. 1932. Etching. McCarron 102. 8 3/8 x 8 7/8 (sheet 13 1/2 x 12). Edition 125 for The Chicago Society of Etchers with their blindstamp (there were an additional 10 proofs plus one trial). A rich impression with plate tone, printed on the full sheet of cream laid paper. Signed in pencil. $Price upon request.

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Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression printed on Swedish cream wove paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Price upon request.

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Rain on Murray Hill. 1928. Drypoint. McCarron 75. 7 13/16 x 11 3/4 (sheet 10 7/8 x 16 5/16). Edition 110 recorded impressions. Illustrated: Fine Prints of the Year, 1926. An especially rich impression with drypoint burr and plate tone, printed in green/black ink on cream wove paper. Signed in pencil. Price upon request.

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

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

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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. $17,500.

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Skyline, New York. 1919. Etching and drypoint. McCarron 36. 8 7/8 x 10 3/8 (sheet 12 1/4 x 14 . 11 recorded impressions (intended edition 50. Lewis states that he destroyed 6 of the 11 proofs returned to him by Kennedy). A luminous impression printed on beige wove paper. An extremely rare image as apparently only 5 proofs are extant. Price upon request.

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

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

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Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron 89.ii. 10 x 15 (sheet 13 1/2 x 18 1/2). Edition 115 recorded impressions. Illustrated: American Etchers: Martin Lewis. An impression is exhibited at in Washington, D.C. A rich, tonal impression printed on Whatman white paper with full margins. Signed in pencil. Price upon request.

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

Drawings

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Figure Study. 1940-41. Pencil drawing. 8 x 4 15/16. Drawn on the full sheet of sketch book paper. Related to the two female figures in 'Chance Meeting', McCarron 131; a. Woman on left holding grocery bag, b. Woman on right standing. Estate stamp verso: Lucille Deming Collection. Estate inventory number LDL-986. Signed and initialed in pencil by the artist's wife, Patricia Lewis. $50.

Nat Lowell. 1880-1956.

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The Empire State Building. 1930. Etching. 19 x 8 (sheet 2 5/8 x 11 9/16). A rich, well-inked impression printed on cream wove paper with full margins. Signed and dated in pencil. $1,750.

Louis Lozowick. 1892-1973.

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57th Street (Rubber Center). 1930. Lithograph. Flint 26. 14 3/4 x 7 1/2 (sheet 15 7/8 x 11 3/8). Edition 40, #12 . A rich tonal impression printed by George C.Miller on the full sheet of 'BFK' (Rives) wove paper. Provenance: Graphics International, Washington, D.C. Signed, dated and numbered in pencil. Price upon request. Available housed in a silver and gold modernist style frame.

James McBey. 1883-1959

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East River, Sunset. 1934. Etching. Hardie/Carter 270. 8 1/8 x 13 3/4 (sheet 11 1/8 x 15 7/8). Edition 80, #16. A rich impression with subtle tonal wiping, printed on cream wove paper. Signed and numbered in ink. $1,500.

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New York from Weehauwken. 1941. Etching. Hardie 277. 7 7/8 x 14 7/8. Edition 60, #2. With an unsigned proof from the cancelled plate. $1,750.

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Sub-Treasury Building, New York. March 10, 1930. Ink and watercolor on paper. 15 1/2 x 9 1/2. Signed, dated and titled in ink, lower right. The lower mat bevel is decorated to emulate cobblestones -- a charming touch. An elegant watercolor with bright, unfaded colors, in pristine condition. $3,500.

Samuel Margolies. 1897-1974.

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Storm Over City Hall. 1936. Etching and aquatint. 11 3/4 x 8 7/8 (sheet 16 x 11 1/2). Edition about 25. An extremely rich impression printed on Rives wove paper, on the full sheet with deckle edges. Provenance: gift of the artist to Baldwin-Wallace College, Berea, Ohio. Published by the New York City WPA. Another proof is in the collection of the Metropolitan Museum of Art. Signed and titled in pencil. $6,750.

John Marin. 1870-1953.

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Downtown, the El. 1921. Etching. Zigrosser 134. Edition of approximately 275. 6 3/4 x 8 3/4 (sheet 11 1/4 x 13 3/4). Published by the New Republic, New York, and printed by Peter Platt. A rich, tonal impression with plate tone printed on the full sheet of cream wove paper. Signed in pencil. $4,250.

Reginald Marsh. 1898-1954.

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Battery (Belles). 1938. Engraving. Sasowsky 177.vi. 9 x 12 (sheet 10 5/16 x 13 1/2). Edition 3 proofs and also 20 lifetime impressions in this state printed by the artist, plus an additional 111 posthumous impressions. Provenance: ACA Galleries, New York; a private collection. A rich impression printed by Marsh on cream wove paper. Signed and annotated 'forty proofs' in pencil. $6,750.

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Beach Picnic. July 11, 1939. Engraving. Sasowsky 182.iii. 5 x 7 (sheet 7 1/2 x 10). Edition 20. Printed on china paper affixed to a sturdy white wove support sheet. A rich impression of this very rare image. Signed in pencil. $3,500.

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Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.

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Girl in Fur Jacket Reading Tabloid. 1940. Etching. Sasowsky 205.vi. 12 x 6 (sheet 15 9/16 x 13 1/8). Proof #81 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 16 lifetime impressions and 16 posthumous impressions in 1956.). Printed on white wove paper with full margins. With the 'WM' (Whitney Museum) blindstamp, lower right. $1,250.

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League Print. 1949. Engraving. Sasowsky 234. 9 7/8 x 8 (sheet 12 1/2 x 9 7/8). Edition 200 for the Art Students League of New York. A fine impression printed on white wove paper with full margins. Signed in pencil. Available in a silver wood frame. $2,000.

Charles Frederick William Mielatz. 1861-1919.

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Breaking up a Tow -- North River (Hudson 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.

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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 himself. 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.

John Ericsson (1803-1889 invented the ship propeller and incorporated the landmark device into his design for the Civil War ironclad the Monitor. He was buried in New York. Ericsson's Day was a celebration of the centenary of his birthday on July 31, 1803.

Christopher Richard Wynne Nevinson. 1889-1948.

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From the Ferry. 1921. Drypoint. Leicester Galleries 50, Black 78. 7 3/8 x 4 7/8 (sheet 11 3/4 x 8 3/8). New York set. Printed on cream laid paper with wide margins, and a deckle edge on one side. Signed in pencil. Price upon request.

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Three A.M. - A Corner by Madison Square at Night. 1920. Drypoint. Leicester Galleries 45; Guichard 30; Black 72. 9 7/8 x 6 7/8 (sheet 18 3/8 x 11 1/2). American set. Edition 75. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 140. Pristine condition. A very rich, tonal impression. Printed on cream laid paper, on the full sheet with deckle edges. Signed in pencil. Price upon request.

Joseph Pennell. 1857-1926.

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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. $6,500.

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The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 3/4 x 17 1/4). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $850.

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The Bridges 1908. Etching and drypoint. Wuerth 492. 10 15/16 x 8 5/16 (sheet 13 3/4 x 9 1/2). Edition about 50. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $1,750.

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The City in 1915 (The Unbelieveable City, No. 2). 1915. Etching. Wuerth 679. 8 1/4 x 10 3/4 (sheet 11 3/16 x 15). Edition probably 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. A rich impression with selsetive plate tone printed on antique laid paper with a partial watermark. Signed and annotated 'imp' in pencil indicating a proof printed by the artist. $1,750.

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Hail America. [The Statue of Liberty]. 1908. Mezzotint. Wuerth 502. 8 1/2 x 14 7/8 (sheet 11 1/2 x 17). Trial working proof before the edition of c. 70. An extremely rich impresion printed on the full sheet of antique paper. Signed, annotated 'trial working proof' and 'imp' in pencil, indicating a proof printed by Pennell. Perhaps the artist's most iconic American image. $7,500.

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Montague Terrace, Children Skating. 1924. Etching. W 832. 8 x 9 7/8. Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. $500.

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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.

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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.

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Orgy of Building, An. 1923. Etching. W 808. 12 1/4 x 9 1/4. Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. $850.

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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, indicating a proof printed by the artist. $875.

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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.

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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. $950.

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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.

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The Woolworth, Through the Arch. 1921. Etching, sandpaper and drypoint Wuerth 785. 9 15/16 x 6 15/16 (sheet 12 1/4 x 7 5/8). Edition about 150 printed in Germany, numbered 1-150, and 50 printed in the U.S. This from the American printing by Pennell. A rich, tonal impression printed in black-brown ink on countermarked antique laid paper from an old volume. The inking and wiping suggest an early evening glow. Signed and annotated 'imp' in pencil. $775.

Charles Ernest Pont. 1898-1971.

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New York World's Fair. 1939-40. Watercolor. 19 1/8 x 24. Signed, lower left; dated, titled and annotated 'No 215 N.F.S. title -- option only --' verso. $500.

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Peck Slip. (East River, New York). 1935. Wood engraving. 8 15/16 x 11 7/8 (sheet 11 1/2 x 16). A fine impression printed on the full sheet of cream wove paper with deckle edges. Signed and titled in pencil. $350.

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Joseph Rajer. American. Born 1908.

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Pony Cart. c. 1930. Color woodcut. 10 3/4 x 14 5/8 (sheet 14 x 18). New York Public Library CW-29. Edition 20-30. A fine impression printed in black and grey-green ink on cream wove paper with full margins. Soiling in the margins, well outside the imae. Another impression is in the collection of the Metropolitan Museum of Art, New York. Stamped "New York City W.P.A. Art Project." An extremely scarce WPA print. Signed and titled in pencil. $300.

Herman Rose. American. 1909-2007.

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Waterfront. c. 1930. Waterfront. Etching. 3 1/8 x 16 3/4 (sheet 6 3/4 x 18 7/8). Edition 250, #42. Printed for Associated American Artists. A rich impression with plate tone. Signed in pencil. $275.

Louis Conrad Rosenberg, N.A. 1890-1983.

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Royal Insurance Building of Canada. (Royal Globe Insurance Company Building) 1927. Drypoint. 12 x 6 1/2 (sheet 17 1/2 x 10 1/2). A rich impression with selective plate tone printed in black/brown ink on cream wove paper. Signed in pencil. $750.

Ernest David Roth, N.A. American. 1879-1964.

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Christmas Greetings Ernest and Elizabeth Roth 1740-1940. 1940. Etching. 6 x 4 (sheet 6 3/4 x 4 5/8). A rich impression with plate tone printed on cream laid paper. The location is probably Fulton Street in lower Manhattan. Signed and dated in the plate. $125.

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The Plaza View from Central Park South. Oil drawing on panel. 9 x 10 (framed 11 3/4 x 17 1/2). Original frame, with remnants of a Salmagundi Club exhibition label. Provenance: Roth's studio. Unsigned. $950.

Louis H. Ruyl. Born 1870.

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Rockefeller Center. 1939. Etching and aquatint. 13 5/8 x 10 (sheet 15 1/2 x 11 7/8).A rich, tonal impression printed on cream wove paper. Signed and dated in pencil. $1,750.

Anton Friedrich Josef Schutz. 1894-1977.

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Plaza Lights. c. 1929. Aquatint. 9 7/8 x 13 7/8 (sheet 13 1/2 x 18 1/8).O A tonal, richly-inked impression printed on Japanese paper with full margins. Signed in pencil. The Hotel Pierre is in the foreground. In the center are the spire-topped Sherry-Netherland Hotel, the Savoy Plaza, the Squibb Building and the Heckscher Building. To the right is The Plaza Hotel. This is one of Schutz's most dramatic images. $4,000.

Plaza Lights. c. 1929. Aquatint. 9 7/8 x 13 7/8 (sheet 13 1/8 x 17 1/8). A hand-tinted impression printed on yellow toned Japanese paper with full margins. Signed in pencil. One of only a few impressions printed by the artist on his own hand-tinted yellow Japan paper. $4,000.

John Sloan, N.A. 1871-1951

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Calf Love. 1916. Etching. Morse 182. 4 1/4 x 2 3/4 (sheet 5 1/2 x 4 7/8). Edition 100. Signed and titled in pencil. A rich impression printed in black/brown ink on cream wove paper. Signed in pencil. $1,150.

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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. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. A fine impression on cream wove paper with full margins. Signed, titled,annotated '100 proofs' and '21' in pencil. $5,000.

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Fifth Avenue Critics. 1909. Etching. Morse 128.x/xi. 8 x 6 (sheet 11 3/4 x 9 3/8). Edition 100 in this state (few proofs in earlier states, and a large unsigned edition printed for the Gazette des Beaux Arts. . Series: New York City Life, secondplate. A rich impression printed by Platt on cream wove paper with full margins. Annotated '#14 Platt imp' in pencil in the lower left-hand margin.Signed, dated, titled and and annotated '100 proofs' in pencil by the artist. $2,750.

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Fourteenth Street. The Wigwam. (Tammany Hall). 1928. Etching. Morse 235.vii.9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Ernest Roth. Illustrated: Reese, American Prize Prints of the 20th Century; Fifty Prints of the Year, 1929..A rich impression printed on cream wove paper.Two hinge stains in the left-hand margin, well away from the image; otherwise fine condition. Signed 'Peter Platt imp' by the printer. Signed, titled and annotated '100 proofs' by Sloan. $3,500.

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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.

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Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 8 x 9 7/8. (sheet 11 1/8 x 10 1/4). An early rich impression printed on cream wove paper, on the full sheet with deckle edges. Signed, titled 'The Hell Hole' and annotated '100 proofs' in pencil by Sloan. $4,500.

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Kraushaar's. 1926. Etching. Morse 29.viii. 3 7/8 x 5 15/16 (sheet 7 x 11 1/16). A rich impression printed on Japanese bulberry paper with wide margins. 3 7/8 x 5 15/16). Annotated 'Erndst Roth imp' in pencil, lower left. Signed, title and annotated '100 proofs' in pencil by Sloan. Signed, titled and annotated '100 proofs' in pencil by the artist. $2,500 framed.

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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. $4,000.

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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. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. Illustrated: Charles Wisner Barrell, 'The Real Drama of the Slums as told in John Sloan's Etchingss' The Craftsman vol. 15, p. 560. Signed and annotated "Ernest Roth Imp' by the printer. Signed, titled and annotated '100 proofs' in pencil by Sloan. $2,000.

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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. Slight mat line; otherwise fine condition. A rich impression printed on Japanese mulberry paper. Signed in pencil. $3,750.

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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, ninth plate. 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.

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The Show Case. 1905. Etching. Morse 129.iii. 5 x 6 15/16 (sheet 9 3/4 x 12 1/2). Annotated "Peter Platt" in pencil (Platt printed part of the total edition of 100). Series: New York City Life, 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. $2,750.

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Sunbathers on the Roof. 1941. Etching. Morse 307. 6 x 7 (sheet 8 1/4 x 10 1/2). Edition 175 of which 125 were provided on commission to the American College Society of Print Collectors. A fine impression on cream laid paper on the full sheet with deckle edges. Signed and titled by Sloan in pencil. $3,750.

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Swinging in the Square (In the Park). 1912. Etching. Morse 156.iii. 4 x 5 1/8 (sheet 8 7/8 x 12 1/4). Edition 100. A rich impression, printed on 'Van Gelder Zonen Holland' laid paper, on the full sheet with deckle edges. Signed, titled and annotated "100 proofs" by Sloan in pencil. Sloan wrote "Walked down to the East Side this afternoon, enjoyed watching the girls swinging in the Square, Avenue A and 8th Street East. " Morse page 181. The scene is Tompkins Square Park in Manhattan. $2,250.

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Wake on the Ferry. 1949. Etching. Morse 313.iv. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression printed by the etcher, Ernest David Roth, on cream-colored Rives paper with wide margins. Roth used selective plate tone in the sky to suggest a rainy day. Signed, titled and annotated 'Ernest Roth imp.' by the printer. Signed, titled and annotated '200 proofs' by Sloan in pencil. $1,750.

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Woman with Hand to Her Chin. c.1913. Etching. Morse 165. 6 1/2 x 3 1/4 (sheet 10 1/2 x 6 5/8). A rich impression printed on cream wove paper mounted on a support sheet of mat board. Signed in pencil by Sloan’s widow Helen Farr Sloan and annotated 150 proofs; also signed by the printer June Baskin and annotated 'imp' (printed) lower left. $300.

Raphael Soyer, N.A. 1889-19587.

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Union Square. 1929-30. Cole 17A. 7 1/8 x 8 3/4. Edition 25. A well-inked impression printed on white wove paper. With the blindstamp of the printer Jacob Friedland in the lower margin (partially trimmed). Signed and titled in pencil. $2,250.

One of five New York scenes produced by Soyer in 1929-30 (Cole 15-18). All were done in very small editons (10-25), and are therefore very rare.

Edward Howard Suydam. 1885-1940.

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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. A fine impression on 'Strathmore Woromoco Damask Made in U.S.A.' countermarked paper. Signed in pencil. $475.

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Diana Thorne. 1895-1963.

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The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39.A rich impression on the full sheet of pale blue-green paper. Signed in pencil. $350.

William Walcot, R.E. 1874-1943.

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Brooklyn Bridge, New York (small plate). 1923. Etching with drypoint and aquatint. Dickins 86. 8 1/2 x 10 (sheet 11 3/8 x 14).Edition 375. New York set #4. A fine impression printed on cream paper with an 'A.C. & H.W D. Inc. NEW YORK' countermark. Collectors seal: Rose collection. Signed in pencil. $750.

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Lower Broadway - Downtown New York. 1924. Etching with drypoint and aquatint. Dickins 87. 5 15/16 x 4 5/8 (sheet 10 3/8 x 7 3/4). New York set. A fine impression printed on white paper with an 'A.C. & H.W D. Inc. NEW YORK' countermark. Signed in pencil. $475.

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Park Avenue. 1923. Etching with drypoint and aquatint. Dickins 87. 5 15/16 x 4 5/8 (sheet 10 3/8 x 7 3/4). New York set #5. A fine impression printed on white paper with an 'A.C. & H.W D. Inc. NEW YORK' countermark. Signed in pencil. $475.

Stow Wengenroth, N.A. American. 1906-1978.

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From the Weather Bureau. New York, New York. February, 1940. Lithograph printed in black and cream. Stuckey 106.ii. Two stone printing. 10 1/8 x 17 (sheet 16 x 21 5/8). Edition 40 in this state (total edition 43). Excellent condition. Signed and annotated 'Ed/40' in pencil. $8,000. Available housed in a gold leaf frame.

Lloyd William Wulff. Born 1913.

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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. Printed on the full sheet of white wove paper with deckle edges. A rare proof of this striking image. $950.

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Allinson Gallery Index

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