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. $5,500.
Preliminaries (to the Big Bout). 1916. Lithograph. Mason 24. 15 3/4 by 19 1/2 (sheet 22 x 24). Edition 67, number 28. A richly-inked impression printed on thin Japan paper. Provenance: Susan Sheehan Gallery, Carey Ellis Company, property of an American Corporation. Inscribed in pencil with the artist's name and initialed by his daughter, Jean 'J.B.B.', and numbered '28'. Housed in a stunning modernist 30 x 33-inch modernist silver leaf frame. Price upon request.
Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Signed, dated and titled in pencil. Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Signed, dated and titled in pencil. A charming set of studies of a sleeping child, probably the artist's daughter. Housed in an archival French mat and a 14 1/4 x 16 1/4-inch black and gold leaf frame. 600.
Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 (framed 35 x 30). Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. Housed in a gold leaf frame. Signed and dated, lower right. $4,000.
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. Housed in a stunning 37 x 27-inch champagne gold modernist frame. Price upon request.
Click on the images for larger screens.
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.
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.
Statue of Liberty (Day). 1886. Seriagraph with embossing and hand stamping. Image: 28 x 20. Series: Statue of Liberty Suite Edition 300, #248. A fine impression printed on the full sheet. Housed in a decorated mat white with a gold lip and a stunning 48 x 38-inch Art Deco-style gold wood framed with a silver lip. $4,000.
The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on white laid 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. $3,500.
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. Good original condition. The artist's tack holes from drying in the margins as usual, indicating that the sheet is untrimmed. Illustrated: Czestochowski, 94 Prints by Childe Hassam. 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. Housed in an archival French mat within an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame. Price upon request.
Fly Fishing, Saranac Lake. 1889. Etching, aquatint and burnishing. Goodrich 104. 14 1/4 x 20 5/8; sheet 18 1/2 x 24 1/2. Edition unknown but quite possibly intended 100; highest numbered impression known is 62. A rich impression with subtle plate tone printed on simili-Japan paper. The image is toned; the sheet has been professionally cleaned, and a small tear in the upper left-hand quadrant has been repaired. Signed and dated in the plate, lower left 'Winslow Homer Sc 1889'. Signed in pencil, "Winslow Homer' lower left; numbered '2/100' in pencil, lower right. Housed in a 29 x 33 1/2 gold leaf frame. $50,000.
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.
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16). Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500 printed between 1924-25 by Peter Platt on Van Gelder paper. Illustrated: Beall, American Prints in the Library of Congress: 222. Signed in pencil, lower right. Housed in sn, elegant silk mat with a gold liner, and a 17 1/4 x 17-inch dramatic black wood frame. Price upon request.
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. Signed, dated and inscribed 'Ed 100' in pencil. 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 Housed in a 15 x 19 1/2-inch dramatic black modernist frame with subtle red highlights. $1,500.
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 cream laid 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. Housed in a 10 1/4 x 24 1/4-inch period gold leaf frame. $11,000.
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. $25,000.
Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margins. Signed in pencil. Housed in a 22 x 24-inch modernist gold leaf frame. $18,000.
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. Housed in a dramatic 18 3/4 x 18 5/8 x 1/4-inch modernist black wood frame. $65,000.
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. Housed in a 19 3/8 x 21 3/8 1-inch black stepped wood frame. $35,000.
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. $10,000.
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 arenoted. Housed in an archival French mat and a, 18 1/2 x 20 x 1 1/4-inch modernist gold leaf frame. $8,500.
Snow on the 'El'. 1931. Drypoint and sandpaper ground. McCarron 95. 14 x 8 7/8 (sheet 16 3/4 by 11 7/8). Edition 49 recorded impressions (including 5 trial proofs). A rich, tonal impression with wide margins in good condition. Signed in pencil. Housed in a dramatic 23 1/2 x 17 1/4 x 2-inch black wood modernist frame. $55,000.
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. Signed in pencil. $20,000.
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. A rich, tonal impression printed on white laid paper with full margins. Signed in pencil. Housed in a 20 x 24 3/4-inch modernist black wood frame. $35,000.
Yorkville Night. 1947. Drypoint. McCarron 140. 8 1/2 x 11 3/8 (sheet 10 7/8 x 14 11/2). 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.
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 Housed in an archival double mat and an 18 x 21-inch silver frame. $35,000.
The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression printed on cream laid paper with full margins. Signed in pencil. Housed in a stunning 17 1/2 x 21 1/2-inch silver and black frame. $27,500.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition of 17 lifetime impressions printed by Marsh in 1939 as noted by Sasowsky (there were 110 posthumous impressions). A fine lifetime impression printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]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.
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.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 9 1/2 x 12 5/8). Edition 100. An extremely rich, tonal impression printed on cream laid paper, mounted on backing board. Provenance: a Middle Tennessee estate, by descent from Thomas G.B. Wheelock. Note: Thomas G.B. Wheelock was known as an astute collector of African Art and co-author of the book "Land of the Flying Masks: Art & Culture in Burkina Faso". He also inherited a sizeable collection of Asian, British, and military related antiques from his grandparents, Gilded Age tycoon George Briggs Buchanan of New York, and William and Margaret Wheelock, who owned a Scottish manor home known as Bunker Hill. (Margaret Carmichael Wheelock was also a founding partner of the fashion firm Farquharson & Wheelock in New York). Signed and annotated 'imp' in pencil, indicating an impression printed by the artist. Housed in a 18 1/2 x 20 1/2-inch gold leaf Whistler style frame. $2,000.
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' 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.
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. A rare proof. Housed in a double grey and cream colored archival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $2,500.
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). Signed and annotated 'Ed/40' in pencil. $8,000. Housed in a 21 x 27-inch stepped gold leaf frame.
Family and Friends. 1857-1904.
Jo's Bent Head. 1861. Drypoint. Kennedy 78.ii; Glasgow 88.ii/iii. 9 x 5 7/8 (sheet 16 x 10). Glasgow records 25 known proofs. A rich impression with subtle tonal wiping, printed on cream laid paper. There was no published edition of this extremely rare etching. Unsigned. Housed in an archival French mat and a 17 1/2 x 14 1/2-inch gold frame. $12,500.
The Little Hat. 1887. Etching with touches of drypoint . Kennedy 335; Glasgow 366. 4 1/8 x 2 5/8. Printed in brownish ink on laid paper. Eight or nine impressions are known. This impression was unknown to Glasgow, and would be a 9th or 10th impression. Aside from this impression, only one might still be in private hands, as all other known impressions are in museum collections. Monogrammed in the plate, center right. Bearing a penciled circle in the margin at the bottom, indicating a selected proof. Housed in a Whistler-style champagne gold frame. Price upon request.
The Wine Glass. 1859. Etching. Kennedy 27.ii; Glasgow 38.ii. 3 1/4 x 2 1/4.There was no formal edition of the plate; Glasgow records only 39 known impressions. A well-inked, beautifully wiped impression printed on cream laid paper. Signed in the plate. Price upon request. Housed in an elegant 11 1/2 x 9 1/2 x 9 1/2 x 1 1/2-inch antique black and gold frame. Price upon request.
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. $17,500.
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. Housed in a 21 x 13 1/2-inch pale gold wood frame. $10,000.
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 gold leaf period carved Celtic design frame. $3,000.
Palaces, Brussels. 1887. Etching and drypoint. Kennedy 361.i/ii; Glasgow 338.i/ii. 8 7/8 x 5 7/8 (image and sheet). Brussels Set, #7. There was no published edition of this rare image. Glasgow lists 16 known impressions, 15 of which are in museums. An extremely rich impression with drypoint burr printed by Whistler on Pro Patria laid paper. Provenance: R.E. Lewis, Inc., Bonhams. Monogrammed with the butterfly in the plate, upper left; signed with the butterfly in pencil on the tab. Housed in an elaborate antique gold frame. Price upon application.
The Russian Schube. 1896. Lithograph. Way 112, Levy 160, Chicago 142.ii. 1896. Lithograph on laid paper. 7 x 5 1/2 (sheet 11 11/16) x 8). Way lists 15 impressions in 2 states. Provenance: the collector's seal of Otto Gerstenberg (Lugt 2785). Monogrammed in the stone, center right; signed in pencil with the butterfly in the lower margin. The stone was erased November 4, 1903. Housed in a spectacular 18 x 15 1/2 gold leaf frame. A fine impression of this extremely scarce image. $7,500.
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 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.
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 14 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.
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). 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. 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 19 3/4-inch silver and black frame with a silk mat. A fine impression of this scarce image. $3,500.
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. Housed in a 14 x 17 1/2-inch period gold leaf frame. $3,250.
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 posthumousimpressions on October 15, 1903. A good impression printed in black ink on white machine-made 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). 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. $3,750.
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.
Gathering Vraic on a Jersey Shore. c. 1937. Ink and watercolor on 'Castle Linen Tolli & Harvey LD London' countermarked paper. 7 1/8 x 13 1/2 (sheet 12 1/2 x 16 1/4). Good condition, apart from small professionally repaired paper losses at the corners, from previous hinges. Dedicated 'To my friend Harold James Bailey E.B.' and annotated 'To wish you a glad glow of happiness for Christmas and the New Year'. From the collection of the famous Blampied scholar and collector, Harold J. Bailey, who wrote an article, 'Edmund Blampied: Artist and Philosopher' in the Print Collector's Quarterly 24 (1937). Housed in a 15 1/2 x 21 1/2-inch Whistler style gold wood frame. $4,000.
Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Framed and glazed. Signed, dated and annotated 'Winchester', lower right. $1,750.
The Ballantrae Road. 1907 Drypoint. Dodgson 212. 4 7/8 x 7 7/8 (sheet 6 1/4 x 8 7/8). Edition 73 proofs in 15 states. Provenance: The Vincent Price Collection; Arthur H. Harlow & Co., New York. A rich impression printed on Japanese paper. Signed in pencil. Housed in a dramatic 13 x 15 3/4-inch burled wood frame with a gold lip. $2,000.
A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xxix. 12 1/2 x 8 1/8 (sheet 16 3/4 x 12). Edition 160 in 29 states. Illustrated: Zigrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper with full margins. Annotated by Bone 'XXIX A Spanish Good Friday (Ronda) (for Morris) in the lower margin. Signed in pencil by Bone. Housed in a 22 1/4 x 15 1/2-inch period gold leaf frame. $7,500.
Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etchers: 1850-1940. A rich, atmospheric impression with tonal wiping printed on simili-Japon paper. Signed in pencil. $1,500. Housed in a 20 x 15 1/2-inch silver leaf frame: $1,600.
Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/8 x 12 1/4. Total edition 91). Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression printed on simili-Japon paper. Signed in pencil. This is the artist's magnum opus. It was one of the most influential and familiar icons of erotica of the 1930s. Housed in a 28 1/2 x 23 1/4-inch modernist gold leaf frame. Price upon application.
L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cream laid paper with wide margins. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. Housed in a 19th-century gilt and gesso deep-cove frame; frame measurements are 19 1/2 x 17 3/8 x 3. The frame features an extremely deep cove and extremely high hollow, with three different running ornaments with leaf motifs. $1,750.
Jeunesse Dorée (Kathleen Nancy Woodward). (Gilded Youth.) 1942. Etching. Fletcher 80. 10 7/8 x 8 7/8 (sheet 13 7/8 x 10 1/2). Edition 75 in this state (there was also 1 trial and 4 proofs in state I; 2 trials and 2 proofs in state II; and 2 proofs of state 3, plus 4 proofs of the plate). Light toning, otherwise good codition. A very rich impression with subtle plate tone, printed on antique cream laid paper with full margins. Signed,dated and annotated 'Selected for E.A. Scattergood G.L.B.' in pencil. Housed in s 21 5/8 x 17 5/8-inch modernist gold leaf frame. $6,500
James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A rich impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931; Print Collector's Quarterly 22 (1944): 70. Signed in pencil. Housed in a 19 1/2 x16-inch Hogarth style frame. $1,750.
A Self Portrait. c. 1932. Ink drawing on wove paper. 3 1/2 x 2 1/4 (sheet 10 x 7). Provenance: the artist's daughter. Unsigned. A unique silhouette housed in anarchival French double mat and a 12 3/4 x 11 3/8 Whistler-style gold leaf frame. $1,750.
The Cornfield 1832/34. Mezzotint by David Lucas (1802 - 1881) after John Constable. Shirley 36.iv. Christopher Lennox-Boyd vi/vi. London: Republished Feb.y 15, 1853, by Thomas Boys (of the late Firm of Moon, Boyd & Greaves,) Printseller to the Royal Family, 467, Oxford Street - Paris. E.Gambart & C. 9 Rue d'Orleans au Marais,-Depose. Originally Published July 1,1834. Image 22 1/4 x 19 1/2, plate 26 3/4 x 20 3/8, sheet 30 3/4 x 24 3/8. A rich impression printed on sturdy wove paper with full margins, mounted on archival paper. A few unobtrusive scrapes and folds, one horizontally across the center of the image, and a faint waterstain in the top right-hand image and margin. Signed in the plate. Housed in a double archival mat and a 36 1/2 x 30 1/2 x 1 1/4-inch Hogarth frame with gilded corner ornaments. $1,600.
The Plumed Hat. c.1912. Drypoint. 10 7/8 x 7 7/8 . A rich impression printed with drypoint burr on cream paper with full margins. Extensive pencil additions. Unsigned. The brimmed hat is decorated with plumes at the back. The print is housed in a 19 x 16-inch black wood frame with a beaded silver beaded lip. $350.
Animals All: WHO WERE THE FIRST TO CRY NOWELL ANIMALS ALL AS IT BEFELL. 1916. Woodcut. Physick 50. 2 1/16 x 2 1/16 (5 x 3 7/16). As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on simili-Japan paper. Signed in pencil. Housed in a 13 1/4 x 11 1/2-inch gold wood frame. $950.
Animals All: WHO WERE THE FIRST TO CRY NOWELL ANIMALS ALL AS IT BEFELL. 1916. Woodcut. Physick 51. 14 7/8 x 16 3/8 (sheet 25 x 27 ). No published edition. Folds and repaired tears in the margins, outside the image. Unobtrusive printing folds in the image. Printed on simili-Japan paper. Unsigned. A strong, well-inked impression of this extremely rare image. Housed in a 26 1/4 x 28 1/2-inch dark brown wood frame. $2,500.
Mother and Child [With Arms Outstretched]. 1936. Wood engraving. Physick 917. 3 3/4 x 2 5/16 (sheet 7 3/8 x 5 1/2). A fine impression printed on Japanese mulberry paper. Signed and numbered '5' in pencil. Housed in an archival French mat and a 12 3/4 x 11-inch gold frame. $1,000.
Semicircular Device. 1916. Wood engraving. Physick 77. 1 1/8 x 3 5/8 (sheet 1 13/16 x 4 5/16). Mounted on a backing sheet. Printed on Japanese mulberry laid paper. Initialed in pencil. Housed in a 12 1/2 x 14 x 2-inch gold wood frame. $850.
Toilet.(After a drawing by Norval Gray.) 1923. Wood engraving on sycamore, end grain.Physick 256. 4 1/2 x 421/2 (sheet 5 5/8 x 4 1/8). Proof printed on sturdy Japanese mulberry laid paper. Fold in the lower left-hand margin, well outside the image. Unsigned. The initials 'N.G' are for the artist, Norval Gray, who made tbe drawing upon which the wood engraving is based). No edition is recorded by Physick. Housed in an 11 x 8 1/2 black wood frame. $400.
A Sunset in Ireland. 1863. Etching and drypoint. Schneiderman 47.xiii/xiv. 5 1/2 x 8 1/2 (sheet 9 x 13). An extremely rich impression with drypoint burr, printed on the full sheet of cream 'D &G Blauw' laid paper with a coat-of-arms watermark. Signed in pencil. Housed in a 12 3/8 x 15 1/4-inch period gold leaf frame. $1,750.
Netherton Chapel. 1935. Etching. Comstock 53.v. 5 11/16 x 4 3/8 (sheet 8 15/16 x 6 1/2). Edition 85 in this state (total 88-89 proofs). Illustrated Fine Prints of the Year, 1936. A fine impression on white laid paper with a partial crown watermark. Ex-collection the American wood engraver, Thomas Willoughby Nason, N.A. (1885-1971). Signed in pencil. Housed in a complimentary 11 1/2 x 10 7/8 wood and champagne gold frame. $1,500.
Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxv. Illustrated: Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 98. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Housed in an archival French mat and a 20 3/4 x 14 3/4-inch gold leaf frame. Price upon request.
A Canal. October 1925. Watercolor. 14 x 8 3/4. McBey did a stiking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. Housed in a French mat and a 21 1/2 x 16-inch gold leaf frame. $5,000.
Rio della Misericordia, Venice. October 1924. Watercolor. 14 x 8 3/4. McBey did a stiking nocturnal view of the bridge in his 1926 drypoint, The Bridge by Night Carter 232. Signed and dated, lower right; titled verso. Housed in a French mat and a 22 x 16 1/2-inch gold leaf frame. $5,000.
Gravesend. August 1928. Ink and watercolor on paper. 13 1/2 x 21. Signed and dated in ink, lower left; and titled in ink, verso. Housed in a 24 1/2 x 31-inch Whistler-style gold frame. $2,750.
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. $2,500.
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. $550.00
Bromborough. A Cornfield by the Mersea. 1890. Etching. Hardie 250. 3 3/8 x 7 7/8 (sheet 4 5/8 x 9). Edition 50. A rich impression with subtle wiping, printed on cream laid paper. Signed in pencil. $275. Housed in a reproduction Hogarth frame (14 3/4 x 9 1/2) $375.
Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1889. Mezzotint. Hardie 54.12 5/8 x 19 1/2 (sheet 17 1/8 x 23 3/ 8). Edition 300. A rich proof printed on Japon paper. Exhibited in 1889 at the Exposition Universelle, Paris, where it was awarded a gold medal. Signed in pencil by Watts, Short, and by the printer, Frederick Goulding. Housed in a 23 1/4 x 29-inch champagne gold leaf frame. $1,250.
A Roman Canal [Lincolnshire] (after the water-colour drawing by Peter De Wint, 1784--1849). 1904. Mezzotint. Hardie 82.ii. 6 3/4 x 15 (sheet 15 4/1 x 22). Published by Robert Dunthorne. A fine impression printed in black on chine-appliqué affixed to white wove paper. $350. Housed in a black and silver wood frame $450.
La Gaité Montparnasse. c. 1919. Etching. Bromberg 186.iii. 5 3/4 x 4 1/4 (sheet 9 3/16 x6 3/4). No stated lifetime edition. David Strang printed 19 posthumous impressions for the Sickert Trust (1945-47). This is proof #7. Illustrated: Calloway, English Prints for the Collector, p. 163. A rich impression printed on cream laid paper. An extremely scarce image. Signed in the plate. Housed in an elegant French mat and a stunning 14 1/2 x 11 1/2 x 2-inch silver wood frame. $2,000.
Jerusalem 1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a carved gold leaf frame $1,350.
The Gamekeeper's Cottage. 1928. Etching. Garton 8.iv. 6 7/8 x 8 3/4 (sheet 10 3/8 x 13). Final state published in an edition of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 50 in 1929). Signed in pencil. Housed in a 17 3/4 x 20 1/2-inch burled wood and gold frame. $2,750.
La petite marine -- Souvenir de Medway. (Little Seascape, a Remembrance of the Medway). 1879. Etching, drypoint, false biting, aquatint and stop-out. Bourcard-Goodfriend 153.vi. 6 1/2 x 8 9/16 (sheet 9 3/8 x 11 1/2). Left-hand platemark strengthened with Japanese mulberry paper. Very fine impression of the completed state on tan Van Gelder laid paper with full margins. Signed with the red owl stamp, signed and annotated 'épreuve d'artist' in pencil. Housed in a 13 x 14 1/2 gold and grey wood frame. $2,000.
La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed on white wove paper with full margins. Provenance: Richard Green, London; This portrait is the artist's masterwork. Signed in pencil, lower right. Housed in a silk mat with a gold liner, in a stunning 31 1/2 x 22 1/2-inch gold leaf frame. Price upon application.
Madame Helleu Looking at Watteau drawings at the Louvre. (En regardant les Watteau de Louvre). c. 1895. Drypoint printed in 2 colors - black and sepia. 11 3/4 x 15 7/8. Goncourt 3, de Montesquiou LXI, Bibliothèque National Inventaire 48. Printed with light plate tone on Van Gelder Zonen laid paper with large, full margins, signed in red chalk The plate is also known as Les Trois Crayons de Watteau. Helleu places his wife, Alice Guérin, before the elegantly-framed Watteau watercolors.
La Capeline de Paille d'Italy (The Italian Straw Hat). 1923. Lithograph. Duthuit 430. 17 3/4 x 15 3/4 (sheet 23 1/8 x 17 7/8). Trial proof, apart from the published edition of 50. A tonal impression printed on chine volant paper with full margins. Signed and inscribed 'Essai' (trial proof) in pencil by the artist. Housed in an archival French mat and an exquisite 30 1/2 x 26 1/8 x 1 1/2-inch gold leaf frame. Price upon request.
.JPG)
Homme dévoilantvoilant une Femme. (Man uncovering a woman). 1931. Drypoint. Bloch 138; Baer 203 B.d. Vollard Suite, plate 5. Printed by: Lacourier, Paris. Published by Vollard. From the edition of 250 on petit papier vergé Montval paper. Total Edition 310. Good condition apart from mat burn and 3 unobtrusive foxing spots in the lower left-hand margin. A rich impression with drypoint burr, printed on laid paper countermarked 'Vollard', on the full sheet with deckled edges on three sides. Annotated with the Baer number '203' in the lower left-hand margin. Signed 'Picasso' n pencil by the artist. Housed in a striking 28 1/2 x 23 1/2-inch modernist stepped gold leaf frame. Price upon request.
Automne (Autumn). c. 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 (sheet 22 5/8 x 30 3/4). Edition 175, #58. Published by Vollard. A rich impression with bright, fresh colors printed on watermarked Montval paper, on the full sheet with deckled edges. Signed in ink, numbered in pencil. Housed in a silk mat and stunning 32 x 37-inch gold leaf frame. Price upon application.
Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot 79, Béraldi 66, Wentworth 75.ii/iii. 16 1/2 x 22 1/8 (sheet 21 1/2 x 28 1/2). Edition about 500 in three states. Printed in brown / black ink on chine appliqué (China paper mounted on stiff wove paper). Signed and titled in the plate. Housed in a a silk mat and gold liner in a 31 1/2 x 36 1/2 x 2-inch burled burled wood frame. $3,750
La Galerie du 'Calcutta' (Souvenir d'en Bal à Bord). 1898. Drypoint.Tissot 18, Béraldi 18, Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon application.
Octobre.October). 1878. Etching and drypoint. Tissot 29; Béraldi 26 (as L'automne, ou, Octobre) ; Wentworth 33. 21 1/2 x 11. Edition of approximately 100. A brilliant, richly-inked impression with strong contrasts and deep black, velvety burr throughout, printed on cream laid paper, printed on cream laid paper with full margins. Signed in pencil, lower right. With the artist's red monogram ink stamp (Lugt 1545, lower right recto). Housed in an archival French mat and a stunning 31 1/4 x 21 1/4 x 1 1/2-inch gold leaf frame. Price upon application.
Querrelle d'amoureux. (Quarreling). 1870. Etching and drypoint. Tissot 11, Béraldi 11, Wentworth 18. 11 7/8 x 7 1/2 (sheet 13 1/2 x 8 7/16). Edition 50: 25 published in Ten Etchings and 25 separate. A rich tonal impression printed on cream laid paper. Signed, dated and with Tissot's red stamp (Lugt 1545) in the plate. Housed in a 21 x 17-inch gold frame. $2,750.
Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Framed and glazed. Signed, dated and annotated 'Winchester', lower right. Housed in an elegant 22 x 15 1/2-inch gold leaf frame with blue/grey highlights. $1,750.
The Archibald Russell. 1935. Pencil and watercolour on watercolour board. 20 7/8 x 28 5/8. Excellent color and condition. Signed and dated in ink, lower right; titled verso. Housed in a gold leaf frame 28 1/2 x 36-inch gold leaf frame. $3,500.
The Endeavour. c.1935. Pencil and watercolour on watercolour board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. $2,500.
Glen Orchy. c. 1925. Watercolor, pencil and conte crayon on paper. 9 1/4 x 13 (sheet 10 3/8 x 13 1/4). Ex-collection L.G. Duke,purchased at Sotheby's, London '10.12.70'. Mat line; otherwise good condition. Signed and titled in pencil, lower right. Housed in a French mat within subtle wood and gold leaf 18 5/8 x 22-inch frame. $2,250.
Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxv. Illustrated: Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 98. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Housed in an archival French mat and a 20 3/4 x 14 3/4-inch gold leaf frame. Price upon request
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.
Moses Breaking the Tablet of the Law. c. 1860. Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, (Lugt 1155b). Monogrammed 'DR' (Nagler 582), lower right. Housed in an archival French mat and a 20 X 11 1/2-inch carved wood frame. $1,750. The drawing is based upon the famous vault painting by Parmigianino in the church of Santa Maria della Steceta in Parma.
Viewing snow at Mount Matchi. (Matsuchiyama no yukimi.) Twentieth-century woodcut printed on silk after the c.1784 woodblock. 13 1/2 x 6 1/2 (image and sheet). Scattered foxing. Signed "Torii Kiyonaga" lower right. Housed in a delightfully-decorated 19 x 23-inch silver wood frame. $550.
February -- Orchid. (Nigatsu - Ranjo no saku). 1956. Woodcut with hand-applied color. 17 x 13 (sheet 18 1/4 x 21 1/2). Series: Calendar in the Mood of the Tea Ceremony. Signed in pencil "Munakata" and sealed in red Hogan Muna Siko -- sumizuri-e. On the full sheet with deckle edges. On the full sheet with deckle edges. Good original condition with bright, fresh colors. Housed in an elegant 20 x 26-inch gold leaf frame. $8,000
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. $1,250.
Family Downtime. 2008. Oil on canvas. 24 x 30. Provenance: the artist; Westport River Gallery, CT. Signed and dated, lower right Housed in a gold 29 7/8 x 35 7/8-inch frame. $2,500.
To order, to report broken links or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com), call +1 860 429 2322. Business hours are 9:A.M. to 5 P.M. Eastern Standard Time.
Please click here to review the
Thank you for visiting this website.
