Click on the images below for larger screens. The large files are not hyperlinked. To return to this file, please hit the "back" button to return to this page.
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. $750.
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. $800.
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. $800.
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.
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. $800.
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. $625.
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. $800.
Facade: 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. $600.
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. $700.
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. $675
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. $650.
Grand Central Station. 2013. 16 x 24. Edition: 100 on silver gelatin paper and 100 on a Chromaluxe metal panel. $625.
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. $8000.
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. $650.
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. $650.
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. $800.
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. $725.
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. $725.
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.
Morning Glow. (Brooklyn Bridge and the New York .) 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. $800.
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. $800.
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. $675.
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. $750.
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. $675.
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. $675.
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.
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. $750.
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. $750.
The fine art Chromaluxe metal panel prints use Chromaluxe panels and a UV coating that is bonded to substrates that include 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.
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.
From Knoedler's Window MCMXXV. 1935. Etching and Aquatint. Fletcher 293.iv/v. 5 1/16 x 4 15/16 (sheet 12/7/8 x 9 1/8). Edition 271 in this state (total edition 377 in five states. An extremely rich tonal impression printed on the full sheet cream laid paper countermarked 'ENGLAND' with full deckled edges on all siges. Signed, dated and annotated 'IV' and titled in pencil. The work was a commission for a Knoedler Christmas card. $750.
Out of My Window. (Vista; My Own; De Ma Fenêtre). 1916. Etching. Fletcher 4, Library of Congress 254. 7 x 5 9/16. 7 x 5 9/16 (sheet 9 3/8 x 9 1/2). Edition 75. Good condition apart from two remnants of glue stains in the right-hand margin, well outside the image. A rich impression printed on cream laid paper. Signed, dated, titled and numbered '4' pencil by artist. $950.
IMG SRC="../logos/Srule10.gif" WIDTH="270" HEIGHT="5" BORDER="0" ALT="Srule10.gif - 377 Bytes">
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.
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 deckled 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.
Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8. Provenance: A.Shepard, Mr.and Mrs. Archie Burack, The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. Price upon request.
Burns Brothers, Sutton Place. 1922. Etching. Giardina 90.iv. 12 1/4 x 8 3/4 (sheet 16 x 12). Edition 50. A rich, tonal impression printed on cream-colored laid paper. Signed and annotated 'imp' in pencil. $750.
No. 1 Wall Street. c. 1930. Preparatory drawing for the etching (Giardina 148). 16 1/8 x 10 1/4 (sheet 17 1/2 x 12 1/2). Outline sketch, verso; complete image, recto. Drawn on 3 assembled sheets of Bristol board with a blindstamp, upper right. Unsigned. Provenance: a private collector. $750.
No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.ii/iv. 16 x 10 3/8 (sheet 18 3/8 x 12 1/4). Trial proof No. 2, previous to the edition 90. Giardina describes it: 'Plate rebitten; large building at upper left better defined and windows indicated; some lines -- including cable from derrick at left -- removed from space between large building and church; scattered new work throughout, including vertical shading in lower left corner of space to right of church and extending to top of church door.' A rare working proof printed on cream Van Gelder Zonen laid paper. Signed and annotated "Trial No 2.' and 'imp' in pencil, indicating a proof printed by the artist. $750.
No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iii/iv. 16 x 10 3/8 (sheet 18 31/4 x 12 1/4). Trial proof No. 5, previous to the edition 90. Giardina describes it: 'Plate rebitten again; some lines added to large unshaded area at center of steeple to indicate diamond-shaped window and horizontal bands on right facade; vertical shading added earlier to lower left corner of space to right of church now reduced to extend only halfway up church door.' A rare working proof printed on cream Van Gelder Zonen laid paper. Signed and annotated "Trial No 5.' and 'imp' in pencil, indicating a proof printed by the artist. $750.
Statue of Liberty (Day). 1986. 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. $6,500 the pair.
Statue of Liberty (Night). 1986. Seriagraph with embossing and hand stamping. Image: 28 x 20. Series: Statue of Liberty Suite Edition 300, #249. A fine impression printed on the full sheet. Housed in a decorated black mat with a gold lip and a stunning 48 x 38-inch Art Deco-style gold wood framed with a silver lip. $6,500 the pair.
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. Provenance: acquired directly from the artist Housed in a 15 x 11 1/8-inch gold leaf frame. $1,750.
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.
East Side Interior. 1922. Etching and drypoint. Levin 85. 7 7/8 x 10 (sheet 11 x 13 1/4 inches. A rich impression in good condition 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 an elegant silk mat with a gold liner, and a 17 1/4 x 17-inch dramatic black wood frame. Price upon application.
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. Housed in a dramatic 17 3/4 x 16-inch stepped modernist black frame with subtle red highlights. $2,250.
Demolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance: estate of David Llewelyn Reese, New York. A rich impression with tonal wiping, printed on white wove paper with full margins. Signed, dated and annotated in pencil. Housed in a dramatic 14 1/2 x 17-inch stepped modernist black frame with subtle red highlights. $1,750.
Manhattan Nocturne. 1938. Etching and drypoint. Kraeft 70. 7 1/8 x 11 7/8 (sheet 10 1/2 x 15 1/4). Edition 100. Presentation Print of the Society of American Etchers, 1938. Provenance: estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. Housed in a stunning 15 5/8 x 20 3/8 modernist wood frame. $2,000.
Rooftop. 1941. Engraving. Kraeft 84. 4 7/8 x 8 7/8 (sheet 8 7/8 x 12 3/4). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression printed on white wove paper with full margins. Signed, dated and annotated in pencil. $1,500.
York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression with plate tone printed on white wove paper. Signed, dated and inscribed 'Ed 100' in pencil. Signed, dated and inscribed 'Ed 100' in pencil. $2,500.
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.
Etchings and drypoints
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 23 x 17-inch period gold leaf frame. $11,000.
Bay Windows. 1929. Drypoint and sandpaper ground. McCarron 80. 11 5/8 x 7 7/8 (29.7 by 19.4 cm.) (sheet 16 5/8 x 10 1/2 (42.4 by 26.9.). Edition 104. A fine impression printed on wove paper with wide margins. Good condition apart from a very faint mat line. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. $37,500.
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.
The Glow of the City. 1929. Drypoint. McCarron 77. 11 1/2 (29 by 36.4 cm.) x 14 3/8 (sheet 15 x 18 (38.1 by 45.9 cm.). Edition of 110 recorded impressions, including 4 trial proofs. Awarded the Charles M.Lea Prize, Philadelphia Print Club, 1930. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year, 1930; Reese, American Prize Prints of the 20th Century; Flint, Contemporary American Etching 1930. A rich impression printed on Kalmar Swedish handmade paper with wide margins. Good original condition apart from two hinges in the top margin. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. $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 are noted. Signed in pencil. Housed in an archival French mat and a, 18 1/2 x 20 x 1 1/4-inch modernist gold leaf frame. $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. $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: Cortissoz, Contemporary American Prints, 1931; 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 1/2). 18 recorded impressions, including 1 trial proof. Provenance: Henry Christensen, III. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. An extremely rare image. Signed in pencil. Housed in a dramatic 17 x 19 3/4-inch beaded gold leaf frame. $40,000.
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.
New York from Weehauwken. 1941. Etching. Hardie 277. 7 7/8 x 14 7/8. Edition 60, #2. With an unsigned proof from the canceled plate. $1,750.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition of 17 lifetime impressions printed by Marsh in 1939 as noted by Sasowsky (there were 110 posthumous impressions). A fine lifetime impression printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]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.
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 deckled 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.
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 deckled edge on one side. Signed in pencil. This scarce image has only been offered once at public auction (2014). $7,500.
Looking Down on Downtown. 1921. Etching and drypoint. G 29. 7 7/8 x 5 ¼ (sheet 10 1/2 x 9 1/2). American Set. A view looking down into Hanover Square in lower Manhattan. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146. Excellent condition apart from remnants of two paper hinges, verso and faint time toning. A very rich, atmospherically wiped impression on laid paper watermarked "England." This extremely scarce image has been offered at public auction (2005). Signed in pencil. $10,000.
Looking Through Brooklyn Bridge. 1921. Drypoint. Leicester Galleries 41; Guichard 27, Black 21. 9 1/4 x 6 7/8 (sheet 13 13/16 x 11 9/16). New York set. A Illustrated: Salaman, Modern Masters of Etching; Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 146; Ackley, Rhythms of Modern Life: British Prints 1914-1939, page 96. Another impression of this image was owned by Sinclair Lewis. A very rich, atmospherically wiped impression printed on laid paper. Signed in pencil. Price upon application.
On the Roof Garden. 1919. Mezzotint. Leicester Galleries 53, Guichard 32, Black 57. 8 1/4 x 4 5/8. Edition 50. New York set. A richly inked impression printed on laid paper,with full margins. Nevinson made only 6 mezzotints. A superb impression of this rare print. Nevinson captures the essential spirit of the flapper. Signed in pencil. $7,500.
Temples of New York. 1919. Drypoint. Leicester 44, Guichard 26, Black 55. 7 3/4 x 6. Edition 50. New York set. Trinity Church facade from the back, which faces Wall Street. Illustrated: Ingleby, Black, Cohen and Cooke, C.R.W. Nevinson: The Twentieth Century Imperial War Museum exhibition catalogue, 1999, page 138. Pristine condition. A very rich impression, with burr, printed with plate tone on cream wove paper with full margins. Signed in pencil. $7,500.
Two A.M. - A Corner by Madison Square at Night. also titled Three A.M. - Metropolis. 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: Inglby, 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 deckled edges. This extremely scarce image has been offered at public auction (2005). This striking image has been sold at public auction only twice (2002, 2014). $15,000.
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. $6,500.
The Bridges 1908. Etching and drypoint. Wuerth 492. 10 15/16 x 8 5/16 (sheet 13 3/4 x 9 1/2). Edition about 50. Illustrated: Keppel, The Golden Age of Engraving. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $1,750.
The City in 1915 (The Unbelievable City, No. 2). 1915. Etching. Wuerth 679. 8 1/4 x 10 3/4 (sheet 11 3/16 x 15). Edition probably 75. Illustrated: Keppel, The Golden Age of Engraving.; Bryant, Joseph Pennell's New York Etchings. A rich impression with selective plate tone printed on antique laid paper with a partial watermark. Signed and annotated 'imp' in pencil indicating a proof printed by the artist. $1,250.
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.
Nassau Street. 1904. Lithograph. Wuerth 158. 10 11/16 x 6 1/4 (sheet 12 x 8 1/2). Series: Lithographs of New York, #5. Commission for the Society of Iconophiles. A fine impression, on antique pale grey wove paper, with full margins. The Society of Iconophiles blindstamp in the lower left margin. $275.
An Orgy of Building: Shelton Hotel, 525 Lexington Avenue, New York, with the foundations of the Roosevelt Hotel in the Foreground. 1923. Etching. W 808. 12 1/4 x 9 1/4. Edition about 50. Illustrated: Bryant, Joseph Pennell's New York Etchings. $850.
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.
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.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 1/2 x 10 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on very fine antique cream laid paper. Pennell used light yellow-brown plate tone to suggest lingering sunlight. Signed and annotated 'imp' in pencil. $1,250.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 3/8 x 16 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on sturdy cream laid paper from an antique volume. Pennell used red-brown plate tone to suggest evening tinged with sunlight. Signed in pencil. $1,250.
The Telephone and Telegraph Foundation. 1924. Etching. Wuerth 827. 12 7/8 x 8 7/8 (sheet 15 3/16 x 9 7/8). Private plate, etched for McKenzie, Vorhees and Gmelin. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $950.
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.
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. $450.
Six American Etchings.
Click on the images for larger screens.
The complete portfolio comprising of six etchings, circa 1920-1921, each signed in pencil, from the edition of approximately 500, published by The New Republic, New York, 1924. Each sheet: 11 x 14 1/8 inches, printed in Van Gelder paper by Peter Platt. Each etching with full margins, together with the original portfolio case and handling instructions sheet. Price upon request.
Portfolio cover/case.
Peggy Bacon (1889-1987). The Promenade Deck. 1920. Etching. Flint 47. 6 x 8 3/8 inches (sheet 11 x 14 1/8). Signed in pencil, lower right.
Ernest Haskell (1876-1925). The Sentinels of North Creek. c. 1920. Etching. 5 x 7 7/8(sheet 11 x 14 1/8). Signed in pencil, lower center. With an enclosed sheet that describes framing the work at the Montrose Gallery in New York.
Edward Hopper (1882-1967), Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 11 1/8 x 14). Signed in pencil, lower right.
John Marin (1870-1953). Downtown, the El. 1913. Etching. Zigrosser 134. 8 3/4 x 10 3/4 (sheet 11 x 14 1/8). Signed in pencil, lower left.
Kenneth Hayes Miller (1876-1952). Play. 1919. Etching. 4 7/8 x 5 7/8 (sheet 10 x 13 7 1/16). Signed in pencil, lower left.
John Sloan (1871-1951), Bandit's Cave. 1920. Etching. (Morse 195), 7 x 5 (sheet 9 3/4 x 11 3/4). Signed in pencil, lower right.
Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/r8 (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.
Fifth Avenue Critics. 6 x 86 (sheet 9 3/4 x 12 1/4). Edition 100 in this state. Series: New York City Life, second plate. A rich impression printed on the full sheet of cream wove paper with deckled edges on four sides. Tack holes from drying along the outer sheet edges. Annotated '14' in pencil in the lower left-hand margin, probably by the printer, Peter Platt. Signed, dated, titled and annotated '100 proofs' in pencil by the artist. $3,000.
Fourteenth Street. The Wigwam. (Tammany Hall). 1928. Etching. Morse 235.vii.9 3/4 x 7 (sheet 17 1/4 x 11 3/8). From the first printing of 100 proofs by Peter Platt. There were an additional 10 printed by Ernest Roth. Illustrated: Reese, American Prize Prints of the 20th Century; Fifty Prints of the Year, 1929. 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.
The Lafayette. 1928. Etching. Morse 233/vi. 4 7/8 x 6 7/8 (sheet 8 1/8 x 9 3/8). Proof prior to the intended edition of 100, that was probably closer to 80. A rich impression on cream paper with a fleur-de-lys watermark. Signed and titled "John Sloan (by H[elen] F[arr]S[loan])" in pencil (presumably because it was part of the artist's personal collection). Annotated "First state 2-'24'28" in pencil by Sloan." Morse notes 'Proofs of 1st state dated March 24, 1928' p. 259. An extremely rare proof. Housed in a double grey and cream colored archival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $2,500.
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 deckled edges. Annotated 'Peter Platt imp.' by the printer. Signed, titled and annotated "100 proofs" by Sloan in pencil. $3,450.
Wake on the Ferry. 1949. Etching. Morse 313.iv. 5 x 7 (sheet 8 3/4 x 11 7/8). Edition of 350: 200 for the Art Students League and 150 for the artist. A fine impression printed by the etcher, Ernest David Roth, on cream-colored Rives paper with wide margins. Roth used selective plate tone in the sky to suggest a rainy day. Signed, titled and annotated 'Ernest Roth imp.' by the printer. Signed, titled and annotated '200 proofs' by Sloan in pencil. $1,250.
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.
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.
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.
Click on the images for larger screens.
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Final, previous to the edition 40. An atmospheric impression printed on buff-colored laid paper with sold leafi on the left0hand sheet edge, incicating that the artist had employed paper that had been in a book. Signed and dated in the plate. Signed, titled and annotated 'Final state' and 'Jones Proof'in pencil. $750.
Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 22 1/4 x 19). Edition 40. Fine condition apart from creasing in the lower left-hand sheet corner and a mark in the upper margin, both well outside the image. A dramatic richly-inked impression printed on the full sheet of Rives laid paper with deckled edges. Signed and dated in the plate. Signed, titled and annotated in pencil. $700.
Old Brownstones-- New York. 1983. Etching and drypoint. 8 7/ 8 x 12 1/3 (sheet 16 5/8 x 16 1/4). Third state. Printed on Rives cream wove paper with full margins. A rich impression in pristine condition, housed in an archival folder. This etching has never been matted. Provenance: the artist's estate. Signed, titled and annotated '3rd state -- 1983' and Steves'in pencil. A dramatic view of Manhattan. $350.
The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18 1/8). Trial proof of the second state, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckled edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Signed,titled and annotated 'second state - trial proof' in pencil. A dramatic view of the Chrysler Building. $400.
Under the Bridge -- New York. 1985. Etching and drypoint. 9 1/2 x 12 1/8 (sheet 13 7/8 x 18 7/8 x 22). Edition 27, #13.. Edition 27, #13. Printed on Rives cream wove paper, on the full sheet with deckled edges. Titled and numbered in pencil. by the artist; signed and initialed in pencil by the artist's estate. Provenance: the artist's estate A dramatic view of the lower East Side in New York. $350.
To order, to report broken links or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com), call (001) 860 429 2322 or fax (001) 860 429 2825. Business hours are 9:A.M. to 5 P.M. Eastern Standard Time.
Please click here to review the USE AND ACCEPTANCE AND PRIVACY POLICIES FOR THE ALLINSON GALLERY, INC. WEBSITE
Thank you for visiting this website.