Gargoyles and Devils.

All works are signed in pencil or ink or paint unless indicated otherwise.

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

A Devil of Notre Dame. 1929. Etching. Fletcher 222.ii. 8 x 5 1/2 (sheet 13 x 9). Gargoyle Series #13. Edition 255. Illustrated as a frontispiece for Churches of France by Dorothy Noyes Arms. 'Number 12 of the Gargoyle Series. Printed by Peter Platt at New York on cream-colored wove paper. A fine, well-inked impression. Signed in pencil. $1,950.

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

The Gothic Spirit (also called A Gargoyle, A Gothic Spirit). 1922. Etching and stipple. Fletcher 120. 11 3/4 x 7 (sheet 15 3/4 x 10 1/2). Gargoyle Series #8. Edition 130. A glowing impression printed on simili-Japan paper. Signed, dated and annotated 'I' in pencil. $2,750.

Guardians of the Spire (Amiens Cathedral Number 2). 1921. Etching. Fletcher 102. 6 3/4 x 9 7/8 (sheet 8 7/8 x 13 3/4). Gargoyle Series #4. Edition 75. Signed in pencil. Illustated in Churches of France by Dorothy Noyes Arms (Macmillan, NY, 1929), page 20. Signed in pencil. $2,500.

Le Penseur de Notre Dame (The Thinker of Notre Dame Cathedral). 1923. Etching. Fletcher 136.ii. 12 1/2 x 10 1/15 (sheet 17 x 12 3/8). 'Private collection b I' apart from the edition of 185. Gargoyle series #11.e collection b I' apart from the edition of 185. Gargoyle series #11. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $4,500.

Watching the People Below, Amiens Cathedral. 1921. Etching. Fletcher 101. 4 7/8 x 8 (sheet 7 11/16 x 9 1/2). Gargoyle series #3. Edition 75. A fine impression printed on cream laid paper. Signed in pencil. $2,500.

Charles Meryon. 1821-1868.

La Galerie Notre-Dame. 1853. Etching with engraving. Schneiderman 29.iv/vi. 11 1/8 x 6 15/16 (14 3/8 x 9 3/8). A rich impression printed in warm black/brown ink on cream laid paper. Illustrated: Lumsden, The Art of Etching. Signed in pencil. Collector's seal: Alfred Morrison (Lugt 151). Signed and dated in the plate. $5,500.

Nathaniel Sparks, R.E. 1880-1956.

The Broken Column. 1915. Etching and drypoint. Barclay 153. 10 7/16 x 8 (sheet 17 1/16 x 10 3/4). Exhibited at the Royal Academy and the Royal Society of Painter-Etchers. A rich impression with plate tone on cream laid paper with full margins. Signed in pencil. Housed in a 19 x 16-inch archival mat. $1,000.

The Impercipient. 1923. Etching and drypoint. Barclay 155. 9 1/2 x 9 1/2 (sheet 15 7/8 x 12 3/4). Exhibited at the Royal Academy and the Royal Society of Painter-Etchers. Illustrated: Guichard, British Etchers: 1850-1940. A rich impression with plate tone on cream laid paper with full margins. Signed in pencil. $1,250. Housed in a 12 1/2 x 16-inch archival mat. This is the artist's magnum opus.

Félicien Joseph Victor Rops. 1833-1898 (after)

Satan sement l'ivraie (premier planche). (Satan Sowing Tares). 1906. Heliogravure printed in colors by Albert-Emmanuel Bertrand (1864-1912) after Rops, Exsteens 864. Image: 10 1/8 x 7; Plate: 12 x 8 1/8; sheet: 17 x 12 3/4. Edition 100. Series: Les Sataniques. An atmospheric, tonal impression printed on simili-japon paper. Red seal of the publisher, Gustave Pellet, lower right; remarque, lower right; both are faded. Unsigned. $2,000.

Diana Thorne. 1895-1963.

The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39. Signed, titled and numbered in pencil. A rich impression printed on the full sheet of pale blue/green-toned wove paper. Signed in pencil. A tongue-in-cheek image of the devil in the opera box, lower right. $500.

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