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Amazons on a Breton Beach. 1931. Drypoint. Wright 45.ii. 8 x 13 3/8 (sheet 10 3/4 x 17 1/4). Edition 76, #14. An extremely rich impression printed on cream 'J Whatman Hand Made' paper. Hinge stains in 3 corners, well outside the image. Illustrated: Salaman, Modern Masters of Etching. Signed and numbered in ink. $1,500.
Napoleon Bonaparte. (1769-1821). (Etching after Léon Cogniet (1794-1880). 6 3/4 x 5 1/4 (sheet 12 1/8 x 8 13/16). A fine impression with plate tone printed on cream laid paper with deckle edges on three sides. Signed in the plate and in pencil. $175.
Sir Sidney Smith, K.C.B. (1764-1840) 1802. Mezzotint. 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t. London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York; Great Newport Street, and No 51, Dean Street, Soho.' Signed, dated and titled in the plate. Vertical stain under the 'S' in Smith; otherwise apparently fine condition. Housed in a stunning 34 x 25 1/2-inch carved, patinated and gilded frame with ormolu corner mounts. $750.00
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John Bull jure qu'il est attaché au fils de Théodoros par un lien indissoluble. (John Bull vows that he is tied to the son of Theodorus by an indissoluble band.)
1868. Lithograph. Delteil 3657.ii/ii (with letters). 9 5/8 x 8 1/4 (sheet 12 x 11 3/16).
Series: Actualités, (News of the Day), plate 189. Published in Le Charivari August 22, 1868. Text: lower left:A.de Vresse,r. Rivoli 55.; lower right: Lith.Destouches, r. Paradis Pre.28. Six fold marks; sheet trimmed. Initialed in the stone, lower left. $350.
La Rentrée..
C'est drôle, je ne vois pas revenir la petite Confiance.
(The return
It's strange that , I don't seem to see little Confiance return.)
1868. Lithograph. Delteil 3669.iii/iii (with letters). 9 7/8 x 8 3/8 (sheet 11 3/4 x 11 3/16). Series: Actualités, (News of the Day), plate 220. Published in Le Charivari October 12, 1868. Text: lower left: A.de Vresse,r. Rivoli 55; lower right: Lith.Destouches, r. Paradis Pre.28. Vertical and horizontal folds; minor scattered foxing; sheet trimmed. Initialed in the stone, lower left. $125.
Ils brûlent, ces gros-là, ils brûlent!
---
Chauds les gros! Chauds!...
(They scorch these big ones, they burn!
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Big hot ones! Hot!)
1868. Lithograph. Hazard 3673.iii/iii (with letters). Not in Delteil 3673. 9 1/2 x 8 7/8 (sheet 11 3/4 x 11 3/4). Series: Actualités, (News of the Day), plate 222. Published in Le Charivari November 14, 1868. Text: lower left: A.de Vresse, R. Rivoli 55 lower right: Lith Destouches R.Paradis Pre. 28. Vertical and horizontal folds; sheet trimmed. Initialed in the stone, lower left. $175.
Les augures de la diplomatie n'osant ouvrir l'oiseau-Prussien pour savoir à quoi s'en tenir.
(The augures of diplomacy, don't dare to open the Prussian bird, to find what it might contain.)
1867. Lithograph. Hazard 3965.i/i (with letters). RARE. Not in Delteil. 10 1/8 x 9 (sheet 11 1/2 x 11 5/16). Series: Actualités, (News of the Day), plate 179. Published in Le Charivari October 3, 1867. Text: lower left: Lith. Destouches, r. Paradis Pre.28; lower right: A.de Vresse Edr. rue du Rivoli 55. Center vertical fold and minor water stains on the left. A delightful early railroad image. Initialed in the stone, lower right. This is a one of Daumier's rare and notable images. $300.
Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.vi. 11 13/16 x 14 7/8 (sheet 16 x 22). Edition of 125 in this state. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression printed on the full sheet of simili-Japan paper. Signed in pencil. $3,750.
Lifting an Inner Tube. 1917. Lithograph. 25 x 20 1/2. Series: "Making Guns" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Edition 200. A fine impression printed on off-white wove paper. Signed in pencil. $850.
Winston S. Churchill - Man of the Century. 1999. Reproductive lithograph after the portrait sketch by Alfred Kloke, originally drawn in Berlin, 1948. 13 x 13 (image and sheet). Published by Chartwell Booksellers, New York, in 1999. Edition 500, #100. $250.
Sorrow. c.1919. Conte crayon and watercolor on watercolor board. 13 7/8 x 17. Signed lower right; titled verso. $2,500.
Now Back the Bayonets. 1918. Lithographic poster, printed in red, black and yellow. 29 1/2 x 18 7/8 (image and sheet). Unobtrusive Vertical and horizontal fold marks; otherwise fine condition. An excellent impression with bright, fresh colors, printed on thin wove paper by Dangerfield Printing Co. Ltd, London. Signed in the stone.Housed in a 34 1/4 x 24 1/2-inch two-tone gold modernist frame. Price upon request.
Making the Engine. 1917. Lithograph. Leicester Galleries 27. 15 7/8 x 12 (sheet 19 7/8 x 15 5/8). Edition 200. One of a set of 6 lithographs entitled "Building Aircraft" published by the Stationary Office as part of the series, The Great War: Britain's Efforts and Ideals. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 115. A rich impression in pristine condition printed on white wove paper. Signed in pencil.Price upon request.
Coronation of King George V and Queen Mary in Westminster Abbey. June 22, 1911. 1911. Lithograph. Wuerth 197. 21 x 16 (sheet 25 1/8 x 20). Edition about 30. A fine impression printed on cream wove paper. An extremely scarce and important historical image. Signed in pencil. Housed in an elegant 20 x 24-inch Hogarth-style black wood and gilded frame with gilded corner ornaments. $2,250.
The 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.
Song of the Search Lights (London in War Time). 1920. Resin aquatint. Wuerth 687. 4 x 6 7/8. Printed by the artist on cream wove paper. Signedand annotated 'imp' in pencil. Illustrated: Pennell, Etchers and Etching, 1920. $2,000.
The Night Picket Boat at Hammersmith. 1916. Mezzotint. Hardie 125. 11 7/8 x 17 13/16 (sheet 19 3/8 x 24 1/2). A rich, atmospheric impression printed in black-brown ink on white wove paper with wide margins. A rich, atmospheric impression. This is Short's only war subject. Signed in pencil. $2,000.
Ypres II [Belgium]. c. 1910-1914. Charcoal and watercolor. 9 x 12 (sheet 9 1/16 x 13 3/4). Signed in pencil. $1,950.
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 18 3/4 x 11 1/2). Edition 90. Slight mat line, otherwise find condition. A rich impression with plate tone, printed on antique laid paper. Illustrated: Flint, Contemporary American Etching, 1930. Signed and annotated 'Ed 90' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
A Kiss for the Kaiser. 1919. Drypoint. Giardina 35. 9 3/16 x 8 1/2 (sheet 12 3/4 x 11). Edition 75. A richly-inked impression with tonal wiping, printed on cream laid paper. Signed and annnotated 'imp' in pencil, indicating a proof printed by the artist. $1,850.
Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 9 3/8 x 13 3/4). Published state from the edition of 75. Toning in the image area; otherwise find condition. A rich impression printed with plate tone, printed on cream wove Van Gelder paper with full margins. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
Open Action. 1926/1928. Etching. Giardina 124. 7 x 15 1/8 (sheet 12 3/4 x 15 1/4). Trial proof, prior to the edition of 90. An extremely rich, tonal impression printed on Van Gelder cream laid paper with wide margins and deckle edges on two sides. Signed and annotated 'trial' and 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,500.
September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina 182.iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching. Housed in a an archival French mat and a 21 x 25-inch black and gold classical wood frame. Price upon request.
Wash Day. Charcoal drawing. 10 1/2 x 13 1/2. Provenance: Child's Gallery, Boston; a prominent North Shore Family. Signed, lower left. $850.
The Willows. 1920. Drypoint. Giardina 41. 7 3/16 x 11 3/16. Edition 50. Signed and annotated 'imp' (imprimit) in pencil, indicating a proof printed Eby. $1,250.
War Sketches. New York: Wood, 1916. Edition 300. Slim folio, original dark gray paper portfolio containing 20 original lithographs "drawn from life on the battle front of France," each printed on cream wove paper, mounted on cardstock along the top margin. Each signed and numbered in pencil by the artist, who was "one of the official painters attached to the historical section of the Musée de l'Armée." Title page and prospectus laid in; original slipcase. $1,600.
1. The Old Bridge at Meaux. Sept., 1914.
2. Refugees on the Road between Château-Thierry and Mont Montmirail. Sept., 1914.Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 44, and annotated "The Retreat from Charleroy to the Marne."
3. La Trétoire on the Petit Morin. Sept., 1914.
4. An Arabian Chief. Oct., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 44, and annotated "Amed-Ben Mohamed, Nini's Arab, who belonged to our Moroccan troops."
5. Prisoners in Flanders. Road to Ramscapelle. Nov., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 74, and annotated The Retreat from Charleroy to the Marne.
6. Algerian Spahis in Artois. Nov., 1914. Spahis" were a member of a body of native Algerian cavalrymen in the French armed forces. They were disbanded after Algerian War of Independence which began in 1954 and ended in 1962; ending more than 130 years of French colonial rule over Algeria.
7. Battery on a Road in Artois. Dec., 1914. Illustrated: Frances Wilson Huard, My Home in the Field of Mercy, p. 214, and annotated "The loneliness of the roads -- in peace times always alive with traffic and pleasure-cars."
8. Trench in the Snow. Artois, Dec. 1914.
9. On the Way to the Trenches. Perryse, Dec., 1914.
10. Belgian Street Sentries at Nieuport. Dec., 1914.
11. A Street at Nieuport. Dec., 1914.
12. Types in the British Camp. Dec., 1914.
13. Observation Post near the Aisne. Jan., 1915.
14. Dawn in the Trenches near Berry au Bac. Jan., 1915.
15. Bouffignereux Woods. Feb., 1915.
16. 'Un Poilu' on the Road from Soissons to Venizel. Jan., 1915.
17. Second Line Trenches near Vie sur Aisne. Feb., 1915.
18. A Kitchen in the Ruins. Soissons, Feb., 1915.
19. Soissons Cathedral. March, 1915.
20. Kamarad. March, 1915.
Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on 'Arches' laid paper. Charles Huard's wife, Francis Wilson, lectured in America during the war and sold the etchings. The proceeds were used for maintaining a hospital in France.
Algerian Spahi in Cellar. 6 7/8 X 4 7/8 (sheet 9 5/8 X 8 1/4). Etching printd in black ink. Series: Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on Arches laid paper. Signed in pencil. $250.
Algerian Spahi in Cellar. 6 7/8 X 4 7/8 (sheet 9 5/8 X 8 1/4). Etching printed in sepia ink. Series: Twelve Etchings Made on the Front by Ch. Huard July 1916. Edition 150 printed on Arches laid paper. Signed in pencil. $250.
Courtyard of a house, rue du Tribunal, Soissons. Etching printed in black ink. 5 7/8 x 3 7/8 (sheet 9 5/8 x 8 1/8). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $125.
A Fruit Seller, rue du Commerce, Soissons. 6 7/8 x 4 7/8 (sheet 9 3/4 x 8 1/8). Edition 150. Etching printed in sepia ink. Printed on 'Arches' laid paper. Signed in pencil. $275.
The Market at Rheims. Etching printed in sepia ink. 5 7/8 x 3 7/8 (sheet 9 5/8 x 8). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $275.
Ruins of Fontenay. Etching printed in sepia ink. 5 7/8 x 7 7/8 (sheet 8 1/4 x 9 3/4). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $350.
Sketch of a door near the cathedral, Soissons. 1916/ Etching printed in sepia ink.6 7/8 x 4 7/8 (sheet 9 5/8 x 8 1/9). Edition 150. Printed on 'Arches' laid paper. Signed in pencil. $275.
View of the enemy's trenches from a periscope, near Soissons. Etching printed in black ink. 4 7/8 x 6 7/8 (sheet 8 1/4 x 9 3/4). Printed on 'Arches' laid paper. Signed in pencil. $300.
France at her Furnaces. 1917. Etching. Hardie 175. 8 x 15 (sheet 10 1/8 x 16 15/16). Edition 76, #A14. A rich impression printed on old laid paper with full margins. Signed and numbered in ink. $1,500.
Rouen. 1916. Etching. Hardie 172. 6 11/16 x 14 3/8 (sheet 7 13/16 x 15 9/16). Edition 76, #A19. An extremely rich impression printed printed on 'J. Whatman' laid paper from an antique volume. Signed and numbered in ink. $975.
The Seine at Rouen. 1916. Etching. Hardie 173. 6 x 8 13/16 (sheet 7 7/16 x 10). Edition 76, #A3. A rich impression printed on cream wove paper. Signed and numbered in ink. $650. (sheet 7 7/8 x 12).Edition 30, #3. A rich impression on antique laid paper. An extremely scarce image. Signed and numbered in ink. $650.
The Sussex. 1916. Etching. Hardie 171. 8 3/16 x 15 1/8 (sheet 9 3/4 x 16 3/16). Edition 76. Illustrated: Lumsden, The Art of Etching; Illustrated: Salaman,Modern Masters of Etching. A rich impression printed on antique laid . Signed and numbered in ink. $950.
Français Inconnus. 1917. Drypoint. Hardie 176. 6 x 9 7/8 (sheet 7 1/2 x 11 3/8). Edition 76, #A18. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,250.
The Somme. 1917. Watercolor. 9 1/2 in x 18 3/4. Signed and dated, lower left. Annotated verso, 'Bapaume Road'. Housed in an archival mat and a 15 1/2 x 26-inch black wood frame. $5,500.
Campbell Dodgson, C.B.E., Keeper of Prints and Drawings at the British Museum wrote: " The Great War produced its harvest of etchings and lithographs of trenches, craters, barbed wire, shattered houses and blasted trees; but most of them were literal representations of things seen. Mr. Percy Smith, with imagination rare among English etchers, and akin to that of the draughtsmen of the northern Renaissance, combines with his sympathetic treatment of the soldier marching or fallen, crippled, maimed and agonised, thevision of an awful Presence, relentless, patient, callous, exultant' 'awed.' in a single etching that can never be forgotten, by one culminating horror. 'The Dance of Death, 1914-1918," is not a pretty set of etchings, but it is one of the most serious and memorable works of art inspired by the War. Print Collector's Quarterly 8 (1921): 324-25.
Custom portfolio case. 19 x 16 x 1inches. Letterpress: THE DANCE OF DEATH 1924-1918. ETCHNGS BY PERCY SMITH. ELIZABETH HOUGHTON.
The Dance of Death. 1914-1918. 1921. Portfolio of 7 etchings with drypoint. Sheet: 18 1/2 x 15 1/2. Edition 100. Title page annotated in ink by the artist": "Set No. 36 of 100 proofs only of each plate. Percy Smith."Sold as a set only. Price upon request. Reserved.
1. Death Forbids. 1921. Etching and drypoint. 7 7/8 x 9 7/8 (sheet 10 5/16 x 13 3/8). Series: 'The Dance of Death 1914-1918,' #1. Edition 100. Remnants of glassine hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.
2. Death Marches. 1921. Etching and drypoint. 7 7/8 x 9 7/8 (sheet 10 5/8 x 13 1/4). Series: 'The Dance of Death 1914-1918,' #2. Edition 100, 36. Remnants of 2 glassine and 2 brown paper hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.
3. Death Awed. 1921. Etching and drypoint. 8 x 9 13/16 (sheet 10 1/2 x 14 1/2). Series: 'The Dance of Death 1914-1918,' #3. Edition 100. Illustrated: Print Collector's Quarterly 8 (1921): 324; Illustrated: Lumsden, The Art of Etching; Guichard, British Etchers. Edition 100. Remnants of glassine hinges; otherwise fine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.
4. Death Refuses. 1921. Etching and drypoint. 7 7/8 x 9 13/16 (sheet 10 1/2 x 14 1/2). Series: The Dance of Death 1914-1918, #5. Edition 100. Remnants of glassine hinges and page reinforcements; otherwise pristine condition. A rich impression with velvety drypoint burr, printed on cream wove paper. Signed and titled in pencil. Reserved.
5. Death Waits. 1921. Etching and drypoint. 7 7/8 x 9 3/4 (sheet 10 1/2 x 13 1/8). Series: The Dance of Death 1914-1918, #5. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint burr. Printed on cream wove paper. Signed and titled in pencil. Reserved.
6. Death Ponders. 1921. Etching and drypoint. 8 x 9 7/8 (sheet 10 5/8 x 13 1/2). Series: The Dance of Death 1914-1918, #6. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint bu, printed on cream wove paper. Signed and titled in pencil. Reserved.
7. Death Intoxicated. 1921. Etching and drypoint. 7 3/4 x 9 3/4 (sheet 10 1/2 x 13 3/8). Series: The Dance of Death 1914-1918, #7. Edition 100. Remnants of glassine hinges; otherwise pristine condition. A rich impression with velvety drypoint burr. Printed on cream wove paper. Signed and titled in pencil. Reserved.
German World War I Officer. c. 1914. Charcoal drawing. 18 1/3 x 6 5/8 (sheet 18 7/8 x 7). Drawn on cream laid paper watermarked "France". Signed lower left; estate stamp verso. The soldier is wearing a spiked helmet. $500.
Le Pope Niemetsky. Prisonnier de guerre au camp de Halle (Prusse), 1915. (Pope Niemetsky, Prisoner of war in the Halle Camp, Prussia). 1915. Drypont. Printed by Vernant and Dollé, and published in Revue de l'Art ancien et moderne. Unsigned. $65.
Earlier Wooden Hulled Naval Ships
Breaking up of the Agamemnon, No 1. 1840. Etching and drypoint. Schneiderman 133.viii/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on cream laid paper. Signed in pencil. $1,750.
Our Fathers
Our Fathers, To The Memory of the nameless Killed and Wounded. 1913. Set of 4 etchings. Each 12 1/4 x 8 1/4. Poem by Captain Ronald A. Hopwood. R.N. Each etching in fine condition, on the full sheet of cream wove paper. Each signed in pencil lower left. $1,250 the set.
Mediterannean Series.
Mediterranean Series. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
Gibraltar, Showing the Rock and the Warships Coming Out. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
Villefranche. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
Naples, Entrance to the Harbour. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
Mount Vesuvius, from the Sea. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
Malta, Valetta. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
The Pyramids from the Nile, showing Native River Craft and Nile Passenger Boats. 1913. Set of 6 drypoints. 6 1/4 x 14 3/4 (sheet 10 7/8 x 18 1/8). Edition 160, #29. Printed on 'JW Whatman' cream wove paper. Each signed in pencil. Each in its original mount in the original presentation portfolio. $3,750 the set.
The East: First Palestine Set - 1919.
Ras-El-Ain. 1919. Etching. Hardie 180. 7 7/8 x 12 7/8 (sheet 9 x 14 1/2). Edition 76, # 1. A rich impression with plate tone, printed on cream laid paper from an antique volume. Signed and numbered in ink. $700.
Dawn. The Camel Patrol Setting Out. October, 1919. Etching. Hardie 181. 8 7/8 x 14 7/8 (sheet 10 1/2 x 16 3/8). Ed. 76. Illustrated: Zigrosser, Six Centuries of Fine Prints. An extremely rich impression with drypoint burr and subtle tonal wiping. Printed on antique laid paper. Signed in ink. Price upon request.
The Desert of Sinai (No. 2). 1919. Etching. Hardie 184. 7 7/8 x 13 3/4 (sheet 9 5/8 x 15 1/2). Edition 76. Illustrated: Furst, Original Engraving and Etching: An Appreciation. Printed with plate tone on cream laid paper from an antique volume. Signed and numbered in ink. $550.
Sunset: Wadi-Um-Mukhsheib. 1919. Etching. Hardie 185. 7 x 13 (sheet 8 1/8 x 14 1/14). Edition 76, # A4 (American edition). Series: First Palestine Set. Mat line, well outside the image; otherwise in excellent condition. A rich impression with plate tone printed on laid paper from an antique volume. Signed and numbered in ink. $600.
The other etchings in the First Palestine Set are: The Mid-Day Halt, The Desert of Sinai (No. 1), Strange Signals, A Deserted Oasis. (The Desert of Sinai (No. 1) was issued in trial proofs only.)
Second Palestine Set - 1920.
Palestine. "Blue Bonnets O'er the Border." 1920. Etching and drypoint. Hardie 192. 6 7/8 x 12 3/8 (sheet 10 3/4 x 15 1/4). Edition 76, #6. Series: Second Palestine Set. A cleanly wiped impression with drypoint burr, printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.
Dust, Beersheba. 1920. Etching. Hardie 193. 8 15/16 x 15 3/8 (sheet 11 1/8 x 17 7/8). Edition 76, #21. Series: Second Palestine Set. A fine impression printed on cream laid paper from an antique volume. Signed and numbered in in ink. $1,100.
The Sniper (No. 2). 1920. Drypoint. Hardie 195. 7 3/8 x 11 7/8 (10 13/16 x 14 1/2). Edition 76, # 32. Series: Second Palestine Set. Printed on cream laid paper from an antique volume. An extremely rich impression printed in sepia ink with plate tone and drypoint burr. Signed and numbered in ink. $975.
The First Sight of Jerusalem, Nebi Samwil (No. 2). 1920. Etching. Hardie 197. 10 7/8 x 17 15/16 (sheet 13 5/8 x 20 1/4). Edition 76, #31. Series: Second Palestine Set. Printed with plate tone on antique wovepaper with full margins. Signed and numbered in ink and titled 'The First Sight of Jerusalem' in pencil. $1,200.
The Advance on Jerusalem. Wadi Ali. 1920. Etching. Hardie 198. 8 x 14 (sheet 10 1/4 x 15 1/16). Edition of 76 (plus 8 trial proofs), #13. Series: Second Palestine Set. A very rich impression printed on laid paper taken from an antique volume. Signed and numbered in ink. $750.
The Moonlight Attack, Jelil. 1920. Etching. Hardie 200. 9 x 15 3/8 (sheet 11 x 17). Edition 76 + 8 trial proofs. Series: Second Palestine Set. A rich impression printed on antique laid paper. Signed and numbered in ink. $1,100.
The other etchings in the Second Palestine Set are: The Sniper (No. 1), The First Sight of Jerusalem, Nebi Samwil (No. 1), The Surrender of Jerusalem, Gaza: Prisoners of War, Zero. The Sniper (No. 1) and Gaza: Prisoners of War were issued in trial proofs only.
Third Palestine Set - 1921.
Gun Fire, Mount of Olives. 1921. Drypoint. Hardie 204. 8 x 5 3/4 (sheet 10 x 7 1/4). Edition 54, #33. Series: Third Palestine Set. A rich impression with plate tone printed on antique wove paper. Signed and numbered in ink. $750.
Jerusalem from Olivet. 1917. Drypoint. Hardie 205. 6 5/8 x 14 3/8 (sheet 10 7/8 x 17 1/4). Edition 76, #22. Printed with plate tone on antique ledger paper. Signed and numbered in ink and annotated 'Jerusalem' in pencil. $850.
The Dead Sea. 1921. Drypoint. Hardie 206. 7 13/16 x 11 3/4 (sheet 10 5/8 x 16). Edition 76, #23.A very rich impression with drypoint burr, printed on blue-toned paper from an old volume.Signed and numbered in ink. $700.
Hermon: Cavalry Moving on Damascus. 1918-21. Etching. Hardie 207. 8 7/8 x 15. (sheet 11 x 17 1/4). Edition 76, number 9. A rich impression with plate tone printed on antique laid paper with a Strasbourg Lily watermark. Signed and numbered in ink. $1,250.
The other etching in the Third Palestine Set is: Bombs! issued in trial proofs only.
Watercolors
Trenches at Gaza 1917. 1921. Watercolour. 14 x 22. Provenance: The Fine Art Society. Annotated 'Gaza 1917' lower left. Signed and dated 1921, lower left. Housed in a dramatic 22 x 29 3/4-inch gold and blue/grey frame.
Mejdel Yaba. 20 September , 1918 Pencil, ink and watercolour on paper. 8 1/8 x 22. Annotated, upper left, "due N at ???' Dated on the ink drawing on the verso. Signed and dedicated on the front "To Paul from James McBey." Housed in an elegant French mat and an elegant 14 x 27 1/2-inch gold leaf frame with blue/grey highlights. $4,000.
Hail America. 1908. Mezzotint. Wuerth 502. 8 1/2 x 14 7/8 (sheet 11 1/2 x 17). Trial working proof before the edition of c. 70. An extremely rich 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.
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.
President William H. Taft II. 1911. Original etching. Hjert and Hjert 165.iv. 9 7/8 x 8 (sheet 14 3/8 x 11 7/8). A fine impression with plate tone, printed on cream laid 'Van Gelder Zonen' paper with full margins. Signed in pencil by Zorn; dedicated in ink 'For Laurence Bradman with best wishes of Wm H Taft Jany 20, 1922.' $4,000.
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