Valentine's Day: Guys and Dolls.

"Love is the thing that has licked 'em?
And it looks like I am just another victim.
Yes, sir, when you see a guy reach for stars in the sky,
You can bet that he's doing it for some doll" - Frank Loesser

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Lovers: The Courtship.

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 13 1/2 x 10 3/8). Edition 100, #42. A very fine impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. $2,000.

Gerald Leslie Brockhurst, R.A., R.E. 1890-1978.

Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/4 x 13). Total edition 91. Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression 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 24 3/8 x 20 3/8 Italianate style wood frame. $28,000.

Dorette (Kathleen Nancy Woodward). Fletcher 72.iv/vii. 9 1/8 x 7 1/4 (sheet 14 1/2 x 10 1/4). Trial proof 4, prior to the published edition of 100 (111 proofs in all). Illustrated: Fine Prints of the Year, 1932; Royal Academy Illustrated, 1932; Print Collector's Quarterly 22 (1935): 74. Printed on cream-colored simili-japon paper with full margins. Signed and annotated '4^th state G.L.B.' and '(1 of 3 proofs thus)' and in pencil. Housed in a 19 1/4 x 15 x 1-inch wood frame with a gold lip. $6,000.

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.

Sir William Russell Flint, R.A. 1880-1909.

A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on antique blue/green laid paper. Signed and numbered in ink. $875.

Eric Gill, R.E. 1882-1940.

Skaters. 1926. Engraving on copper. Physick 368.ii. 4 3/8 x 4 1/4 (sheet 13 1/16 x 9 7/8). This is the second state of the engraving, as indicated by the ballet skirts worn by each skater. (In the first state, the skaters were completely nude.) Skaters was based upon a photograph in the 'Daily Mirror' of two men skating. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929 in an edition of 480. (There was also ad edition of 50, presumably signed and numbered, and a hand-colored edition.) Printed on the full sheet of cream wove paper. Unsigned. $275.

The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 314 x 9 5/8). The artist's drying tack holes in the margins as usual, indicating that the sheet is untrimmed. A fine impression printed on cream paper with full margins and deckle edges on 3 sides. Illustrated: Czestochowski, 94 Prints by Childe Hassam. Provenance: Mr. Abbot Milch, the Milch family, public auction. Signed with the cypher and annotated 'imp' in pencil signifying a proof printed by the artist. Housed in a silk mat with a gold liner, within an 22 1/2 x 18 1/2 x 1-inch 22 karat gold leaf frame. Price upon request.

David Jones. 1895-1974.

The Natural Law. 1924. Wood engraving. Cleverdon E8. 2 1/4 x 3 1/4 (sheet 3 1/2 x 4 7/8). A fine impression printed on cream japan paper. A proof aside from the published book edition of Libellus Lapidum by Hilary Pepler. Unsigned. Provenance: Collection Eric Gill. $600.

Dame Laura Knight, D.B.E., R.A., R.E. 1877-1970.

Gilding the Lily. 1926. Soft ground etching. Bolling/Withington 47. 11 1/2 x 7 1/2 (sheet 15 1/4 x 10). Edition 20 or 35 (both numbers are given on different proofs; this one annotated '35') plus trials. A rich impression with plate tone printed on cream wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. Housed in an archival mat and an elaborate carved antique gold 23 x 19 x 1 1/4-inch frame weighing 4 1/4 pounds. 1,750.

Louis Auguste Mathieu Legrand. 1863-1951.

Au Café -- La Négresse. Au Cafeé -- La Négresse. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 x 5 5/8 (sheet 17 3/8 x 11 1/8). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Light stain from a previous hinge in the top center margin, well outside the image; otherwise very good condition. A rich impression with drypoint burr printed on laid paper countermarked 'Pellet et Legrand', on the full sheet with deckle edges. Wth the embossed 'Pellet' stamp, lower right. Ex-collection: Vincent Price. Signed and numbered '26/30' in pencil under the image. Titled 'La negresse" in the lower right-hand margin, possibly in another hand. This is the most important image of the series. Housed in a 22 x 16-inch archival mat, suitable for framing. $1,900.

English Bar. 1908. Etching and drypoint. Exsteens 275.ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed and numbered in pencil. $1,500.

Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed in pencil. $1,500.

Martin Lewis, N.A. 1881-1962.

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

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

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. $15,000.

Two A.M. 1932. Drypoint. McCarron 101.ii. 8 3/4 x 14 3/4 (sheet 13 3/8 X 18 7 13/16). Edition 44 recorded impressions, including 3 trial proofs. Slight mat line, otherwise good original condition. A rich,atmospheric impression printed on cream laid paper with full margins. Annotated '$36' in the lower right-hand margin; signed in pencil. Housed in a 17 1/8 x 22 1/2-inch silver wood frame. Price upon request.

Norman Alfred W. Lindsay. Australian. 1879-1969.

Charles I. 1926. Drypoint. Bloomfield 283. 10 1/4 x 12 3/8 (sheet 17 1/4 x 18 3/8). Edition 38, #18. A rich, well-inked impression. Printed on simili-Japan with full margins. Signed, titled and numbered in pencil. $3,000.

Reginald Marsh. 1898-1954.

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.

James McBey. 1883-1959.

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.

Christopher Richard Wynne Nevinson. 1889-1948.

Geoffrey Badger Moody. 1922. Drypoint. Guichard 38, Black 98. 10 x 7 (sheet 12 5/8 x 9 1/8). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression with drypoint burr, printed on 'FJ Head & Co' cream wove paper. Published by Lefevere and Son and Mssrs. Ernest Brown and Phillips. Signed in pencil. $2,750.

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. $5,500.

Sir Frank Short, R.A., P.R.E. 1857-1945.

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. $1,750.

John Sloan, N.A. 1871-1951

Calf Love. 1916. Etching. Morse 182. 4 1/4 x 2 3/4 (sheet 5 1/2 x 4 7/8). Signed and titled in pencil. A rich impression printed in black/brown ink on cream wove paper. Signed in pencil. Housed in a gold leaf frame with a silk mat. $1,150.

The Little Bride. 1916. Etching. Morse 138. 4 7/8 x 6 3/4 (sheet 9 3/8 x 12). Series: New York City Life. tenth plate. Printed on cream wove paper with deckle edges on two sides. Series: New York City Life, tenth plate. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. Illustrated: Charles Wisner Barrell, 'The Real Drama of the Slums as told in John Sloan's Etchings' The Craftsman vol. 15, p. 560. Signed and annotated "Ernest Roth Imp' by the printer. Signed, titled and annotated '100 proofs' in pencil by Sloan. $3,000.

Jacques James Joseph Tissot. 1836-1902.

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.

Querelle 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. $4,500.

Pablo Picasso. 1881-1973.

Homme dévoilant une Femme. (Man uncovering a woman). 1933. Etching. Bloch 138; Baer 203 B.d. 14 1/2 x 11 3/4 (sheet 17 1/2 x 11 3/4). Series: Suite Vollard, plate 5. From the edition of 250 on petit papier vergé Montval paper (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Total edition 303. Printed by: Lacourière, Paris. A rich with drypoint burr, impression printed on laid paper countermarked 'Vollard' on the full sheet with deckle edges. The gentleman in the image is Picasso. Housed in a striking 28 1/2 x 23 1/2-inch modernist stepped gold leaf frame. Price upon request.

Jacques James Joseph Tissot. 1836-1902.

Le hamac (The Hammock). 1880. Etching and drypoint. Tissot 41, Béraldi 37, Wentworth 46. 10 5/16 x 7 1/4 (sheet 13 5/8 x 10). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 16 A rich impression printed on cream wove paper. Signed in the plate. Housed in an archival French mat and an 18 3/4 x 17 1/4-inch champagne gold frame. $2,750.

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. Illustrated: Keppel, The Golden Age of Engraving, p.77. 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 request.

Heinrich Vogeler. German. 1867-1945.

Dornrõschen (Sleeping Beauty.) 1897. Etching with drypoint and aquatint. Reif 20.IIc(of e). 10 5/8 x 9 3/4 (sheet 19 X 12 3/4). A rich, tonally mysterious impression printed on red-brown ink on chine applied to cream wove paper. Proof aside from the published edition issued in Aus Worpswede. Signed and titled in pencil. $1,250.

James Abbott McNeill Whistler. 1834-1903.

Fumette. 1858. Etching. Kennedy 13.iv; Glasgow 12.v. 6 3/8 x 4 1/4 (sheet 7 7/8 x 5 3/4). Glasgow records 74 known impressions. Series: Douze Eaux-Fortes d'après Nature(French set). A rich tonal impression in warm brown/black ink on 'Austin' off-white laid paper. Signed in the plate. Housed in an archival French mat and a dramatic 14 x 11 1/2 x 1-inch gold leaf frame. $3,500.

Nude Model Reclining. 1893. Transfer lithograph with stumping. Way 47, Levy 75, Tedeschi, Stratis and Spink 73. iii. 4 1/2 x 8 1/16 (sheet 7 7/8 x 12 3/16). Way listed 25 lifetime proofs, although the number was at least forty-four (Goulding printed 30 posthumous impressions on November 30, 1904). Printed on cream laid paper with a foolscap watermark. Signed with the butterfly in the stone and in pencil. Housed in a 17 1/4 x 21 1/4-inch Whistler style gold leaf frame. $8,000.

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. Price upon request.

Anders Zorn. 1860-1920.

Zorn and His Wife. 1890. Etching. Hjert and Hjert 31.ii. 12 1/2 x 8 3/8 (sheet 23 1/2 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. $9,500.

"After all these years, I see that I was mistaken about Eve in the beginning; it is better to live outside the Garden with her than inside it without her." - Mark Twain. Adam's Diary

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