Click on the titles for images.
Mefisto, New York. 1932. Wood engraving. 6 9/16 x 4 1/2 (sheet 8 1/4 x 6 1/2). $2,750.
Reaching Beyond. c. 1933. Wood engraving. 8 x 6 9/16 (sheet 9 1/4 x 8). Unsigned. $100.
Subway Work at Night. Moscow. 1935. Wood engraving. 10 1/4 x 11 3/4. (sheet 13 1/4 x 14 5/8. Wide margins with deckle edges on top and bottom. Printed on Japanese mulberry paper). Paper folds in the margins. $750.
Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126.v/vi Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with plate tone on 'Van Gelder Zonen Holland' watermarked wove paper. Signed, dated, titled and annotated 'A imp del' in pencil.
Bailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg 126.vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed cream wove paper with deckle edges. There is a horizontal tear well below the image. Unsigned. $750 the pair.
The Black Tower, Atlantic City, New Jersey. c. 1920. Etching and drypoint. Hausberg 135.ii. Edition 75, # 1 in this state. 4 7/8 x 6 7/8 (sheet 12 1/4 x 17 1/2). Printed on cream laid paper. Signed, titled and number in pencil. $500.
City Towers (City Hall, Philadelphia). c. 1912. Etching and drypoint with oil paint additions. Hausberg 142. iii. 14 x 14 (sheet 16 1/8 x 18 5/8). Touched proof with extensive oil paint additions to the sky, buildings and lower section of the image. Printed on cream wove paper. Unsigned, annotated 'City Hall Philadelphia' and '5/5/' in pencil. $2,500 for the pair.
City Towers (City Hall, Philadelphia). c. 1912. Etching and drypoint with oil paint additions. Hausberg 142. vi. 14 x 14 (sheet 20 x 16). Touched proof with extensive oil paint addition of hills in the background. There are two tears in the left hand margin. There is a professionally repaired 3-inch tear in the clouds on the left. Unsigned, annotated 'trial' and 'City Tower' in pencil. A magnificent, unique proof. $2,500 for the pair.
Creek Scene II. c. 1932. Etching and drypoint. Hausberg 146.ii. 8 7/8 x 12 (sheet 12 3/8 x 15 5/2). Printed on cream wove paper. Signed, titled, date and annotated 'A imp et 1932' in pencil. $375.
Fairmont Dam. (Philadelphia) c. 1912. Etching and drypoint. Hausberg 135. 5 5/16 x 8 7/8 (sheet 11 1/2 x 13). Printed on cream laid paper. Signed and titled in pencil. Annotated 'cat #124' and '3' in pencil in another hand. The Fairmont Dam is located on the Schuylkill River in Philadelphia. $275.
House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg 138.i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression printed by the artist on Japanese mulberry paper. Signed and annotated 'A imp' in pencil.
House on Cliff Walk, Newport, Rhode Island or Caprice, Newport, Rhode Island. 1931/33. Etching. Hausberg 138.ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression with plate tone, printed on cream wove paper. Unsigned. $750 the pair.
Man By a Radiator. 1912. Etching. Hausberg 247.ii/iv. 16 x 8 7/8 (sheet 8 x 10 3/8). Printed in Japanese mulberry paper. A fine impression of this rare image. Signed, annotated 'A imp 3rd st 2 only' in pencil in another hand. $400.
Old Colony Statehouse, Newport, Rhode Island. c. 1931-1933. Etching. Hausberg 187. iii. 7 7/8 x 6 (sheet 12 1/2 x 9 1/4). Printed on the full sheet of cream wove paper with deckle edges. Unsigned. $250.
Stables, Philadelphia. c. 1912. Etching and drypoint. Hausberg 211. iii. Illustrated in Hausberg. 8 7/8 x 13 3/4 (sheet 11 1/4 x 16 5/8). A rich impression with plate tone, printed on 'F.G. Head & Co' watermarked laid paper. Unsigned. $475.
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Coal Heavers. 1936. Etching. Ryan 65. 11 7/8 x 9 7/8 (sheet 15 3/16 x 12 9/16). Edition about 40. Printed on pale cream-colored paper watermarked "England." A brilliant impression of this dramatic image. Signed in pencil. $4,000.
Finis (The Hindenberg Disaster). 1940. Lithograph. Ryan 10. 11 7/8 x 13 7/8(sheet 15 7/8 x 17 3/4). Edition unknown. Printed on pale cream-colored wove paper on the full sheet with deckle edges. Signed in pencil. $1,150.
On the Reef. c. 1933. Etching. Ryan 79. 6 7 /8 x 14 7/8(sheet 8 1/2 x 16 1/2). Edition not known. Printed on pale cream-colored paper." A rich impression of this dramatic image. Signed in pencil. $2,750.
Sky Riders. 1935. Etching. Ryan 85. 11 7/8 x 8 7/8 (sheet 14 7/8 x 11 1/8). A rich impression printed on pale cream-colored 'hand made' laid paper. Downtown Gallery date stamp verso: 'Sept. 22 1936'. Signed in pencil. $5,750.
Up Above the World. 1936. Etching. Ryan 90. 12 3/8 x 8 7/8 (sheet 15 1/2 x 11 1/16). A rich impression printed on pale cream-colored 'hand made' laid paper. Illustrated: Fine Prints of the Year, 1936; Beall, American Prints in the Library of Congress, page 6. Signed in pencil. $5,750.
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New York
Evening. East River. New York. (East River, Night and Evening, East). 1919. Etching and aquatint printed in colors. Fletcher 41.vi. 3 7/16 x 5 1/4 (sheet 6 1/4 x 9 5/8). Edition of 50 in color in this state (there were 25 in black and white in this state. Total edition 28 known in black and white and 54 in color. Printed on cream laid paper with a partial Ar[ches] countermark. Printed by the artist himself. A rich, well-inked impression of this scarce image. Signed, titled and annotated 'sixth state' in pencil. $2,250.
New York from Staten Island Ferry (New York Skyline). 1917. Etching. Fletcher 14. 1 3/8 x 13 3/4 (sheet 6 3/8 x 10). Miniature series #1. Edition 5 printed in 1938 (total 26 proofs). A rich impression with plate tone, printed in black ink on the full sheet of 'hand made' bluisté laid paper made by the artist. Seal lower left 'Collectione E John Taylor Arms' indicating a proof reserved by Arms for his own collection. Signed, dated and annotated 'I' in pencil. Further annotated 'sp' in the lower right-hand margin indicating an impression printed by David Strang. A choice impression of this tour-de-force image. $750.
West Forty-Second Street. (Corner of Fifth Avenue toward Sixth). 1920. Etching. Fletcher 41. 13 x 10 1/2 (sheet 9 15/16 x 16 7/16). Edition 75. Printed in black ink on the full sheet of cream wove paper. Printed by Frederick Reynolds, New York. A rich, well-inked impression of this dramatic image. Signed in pencil. $9,750.
Gargoyles
Une Chimère. 1947. Etching. Fletcher 408.ii. 3 x 2 3/8. Edition 201 in this state (total edition 226). Miniature series #38. Gargoyle series #14. Awards: Miniature Print Purchase Prize, 5th Annual Exhibition, Boston Printmakers, Boston, MA. Signed, dated and annotated 'II' in pencil. $850.
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. $2,850.
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. A very rich impression printed in cream laid paper. Signed, titled, annotated and initialed 'SP' in pencil. $6,000.
Sentinnels (Sentinnels in the Night). 1922. Etching and aquatint. Fletcher 123.ii. 4 3/8 x 7 3/8 (sheet 7 7/8 x 9 7/8). Annotated 'Private collection cI' apart from the edition of 135. Gargoyle series #9. A fine impression printed on blue-green laid paper. Signed in pencil. $2,250.
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. $3,200.
The Dragon Ship. 1922. Etching and aquatint printed in colors. Fletcher 121.iii. 13 x 10(sheet 19 1/8 x 14 1/16). Edition 150 in color in this state (10 printed in black and white). Total edition 154. Printer: Frederick Reynolds. Based on a watercolor by Arms in the Library of Congress. A rich impression printed on Japanese vellum. Signed in pencil. $1,450.
Italy
Dawn, Lake Como. 1920. Etching and aquatint printed in colors. Fletcher 53.ii. 7 1/8 x 5 1/8(sheet 11 9/16 x 9 1/16). Edition of 150 in color in this state and 75 printed in black and white (total edition 179). Printer: Frederick Reynolds. Illustrated: Print Connoisseur vol. 1, #2 (December 1920): 110. Printed on cream laid on the full sheet with deckle edges. Signed in pencil. $2,250.
Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state. Italian Series #15. Illustrated: Cortissoz, Contemporary American Prints, 1931; Anderson, American Etchers Abroad 1880-1930. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $2,200.
Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.iii. 7 1/4 x 6 3/4 (sheet 13 3/8 x 8 3/4). Edition 137. Italian series #19. Illustrated: Anderson, American Etchers Abroad 1880-1930. Italian series. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed on cream laid paper from an antique volume. Signed, dated and annotated 'Ed. 100' in pencil. $2,750.
From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4(sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: American Etchers: Kerr Eby. A rich impression on cream laid paper. Signed in pencil. $2,250.
Venetian Filigree (Cà d'Oro Venetia). 1931. Etching. Fletcher 235.ii. 10 3/4 x 11 (sheet 16 1/4 x 13). Edition 150 in this state (total edition about 160). Italian Series #20. Illustrated: Fine Prints of the Year, 1932. A rich impression on subtle blue/green laid paper. Signed, dated, titled inscribed 'II' and annotated 'sp' and dedicated 'To Dicky from Johnny, 1957' in pencil. With the artist's stamp 'collection John Taylor Arms'. $7,500.
Venetian Mirror (The Grand Canal, Venice). 1933. Etching. Fletcher 289.ii. 6 1/4 x 14 1/4. Edition 169 in this state (total edition unknown). Italian Series #27. Printer: David Strang. A rich impression on cream laid paper with full margins. Signed, dated 1935 and annotated 'II' in pencil. $7,000.
Other European Images
Afterglow (Geddington, England, Sketch). 1938. Etching. Fletcher 315.ii. 3 1/4 x 5 3/8 (sheet 9 3/16 x 11 5/8). English Series #3. Edition 250 for The Print Collector's Quarterly volume 26 (April 1939). Awards: 1948 Purchase Prize, 5th Annual Cooperative Exhibition, Pennsylvania State Teachers' College. Printed on cream laid paper, on the full sheet with deckle edges. Signed, dated and annotated 'state II' in pencil. $275.
Cavendish Common. 1938. Etching. F 370.ii. 6 1/2 x 14 19/16. English series #16. Edition 50. A glowing impression on white wove paper with full margins. Printed signature. $750.
Church of Saint Jean l'Aigle, Orn. 1940. Etching. Fletcher 343.ii. 3 1/4 x 5 3/8 (sheet 7 1/2 x 5 1/4). Edition 551. French Church Series #43; Miniature series #26. Annotated 'sp' in pencil indicating a proof printed by David Strang. A fine impression on Japanese mulberry pencil. Signed,dated and annotated in pencil. $150.
Église Saint Gervais, Gisors. 1932. Etching. Fletcher 249.ii. 10 x 8 5/16 (sheet 16 3/8 x 11 7 11/16). Edition 129. French Church Series #35. A fine impression printed by David Strang on the full sheet of cream 'J Whatman' laid paper. Signed, dated and annotated 'Ed. 100 I' in pencil. $225.
In Memoriam. The North Portal of Chartres Cathedral. 1938. Etching. Fletcher 317. 14 5/8 x 12. Edition 312. French Church Series #40. Winner of the Artist Member Prize, Annual Exhibition, Baltimore Water Color Club, The Baltimore Museum of Art, 1939. Illustrated: Albert Reese, American Prize Prints of the Twentieth Century, 1949 Print Collector's Quarterly 26 (1939): 368. Printer: David Strang. It took Arms about a thousand hours to etch th extraordinary detail. Signed in pencil. $4,500.
Memento Vivere, Notre Dame, Evreux.(The North Transcept of Notre Dame Cathedral, Everux, France.) 1947. Etching. Fletcher 407.ii. 13 1/28 x 7 sheet 15 1/2 x 9 5/8). Edition 198. French Church Series #47. Printed by David Strang. A rich, tonal impression printed on fine laid paper Signed and annotated 'II' in pencil. $1,250.
Normandy Noon. 1936. Etching. Fletcher 304.iii. 2 1/2 x 7 3/16 (sheet 9 1/16 x 11 3/8). Edition 250 in this state (total edition 519). Printed by David Strang. An atmospheric proof printed on 'J. Whatman' cream wove paper, on the full sheet with deckle edges. Signed and annotated 'Ed. 250 III' in pencil. $375.
The Old Order (The Church of St. Mary) and Arlington Row and Bridge over Coln River at Bibury. 1948. Etching. Fletcher 412.ii. 5 1/4 x 7 7 /8 (sheet 7 7/8 x 10 3/4). English series #14. Edition 150 for the Albany Print Club (total edition 200). A glowing impression on cream laid paper on the full sheet with deckle edges. Signed, dated and annotated 'Private collection B' indicating an exceptionally fine proof reserved for Margery Arms Roberts. $375.
Puerta del Obispo, Zamora (The Bishop's Door, Zamora). 1933. Etching. F 266. 12 1/x x 7 1/8. Trial proof, apart from the edition 160. Spanish Church series, #9. Signed, and annotated "trial proof xxv.III." and "Bon à tirer. No. III. J.T.A." A beautifully printed trial proof. $750.
Stockholm. 1940. Etching and aquatint. Fletcher 95.III. 7 1/2 x 13 1/2 . Edition 395 in this state (total edition approximately 413). Scandinavian Series #1. A glowing impression on blue-green laid paper with full margins. Signed in pencil. $2,250.
Stony Stratford, Rocks (Sketch). 1939. Etching. Fletcher 318. 6 7/8 x 4 7/8 (sheet 11 3/8 x 8 5/16). Edition 25. Demonstration Series #76: The Lenox Gallery, The New York Public Library, New York, N.Y., January 27, 1939 - 2 hours. A fine impression printed on the full sheet of cream wove paper. Signed, dated and annotated 'Third State, Stony Stratford, Rocks - Proof from demonstration plate drawn, etched, and printed in two hours, the New York Public Library, January 27, 1929. To Charles E. Pont, with my best wished. John Taylor Arms - 1939'. $200.
This England (Fairford, Gloucestershire). St. Mary Church, Fairford on the Coln. 1952. Etching. Fletcher 426. ii. 6 3/8 x 11 5/16 (sheet 10 1/2 x 15 5/8). Edition 150 Planned; 82 pulled. Titled, dated, signed and annotated 'C485' in pencil. $250.
Wilby Church, Northamptonshire, England. 1940. Etching. Fletcher 335.iii. 4 1/4 x 2 3/8 (sheet 6 1/16 x 4 11/16). Edition 432.English Series #7; Miniature Series # 24. Printed by David Strang on cream laid paper. Signed, titled, numbered, dated, annotated 'iii' and dedicated 'To Charles E. Pont from John Taylor Arms' in pencil. $150.
Wadsworth Barn. 1949. Etching. 7 7/8 x 10 1/4 (sheet 9 1/4 x 11 5/8). Edition 112, #57. This was a presentation print for the Connecticut Academy of Fine Arts. A rich impression printed on 'England' laid paper. Signed, dated, numbered and annoatated in pencil. $125.
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Artists Judging Works of Art. 1916. Lithograph. Mason 18. 14 1/2 x 19 (sheet 18 3/4 x 26 7/8). Edition aproximately 52. A rich impression printed on Japanese mulberry paper, on the full sheet with deckle edges. This is a fine lifetime impression. Provenance: H.V. Allison &Co. Inc., New York; Chapellier Galleries, Inc, New York; Galleries Marcus Stenberg, Chicago. Gift of Marcus to a Texas collector. Signed and annotated 'No. 25' in pencil by the artist. Price upon request.
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Duck Blind 1925. Etching. Paff 245. 7 3/4 x 10 3/4(sheet 11 1/2 x 15). Edition 150. A rich impression in excellent condition, printed on cream 'J Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. $6,000.
On the Kedgwick 1923. Etching. Paff 222. 7 3/4 x 11 3/4 (sheet 11 1/2 x 15 9/16). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression in excellent condition, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $5,000.
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Instruction. 1940. Lithograph. Fath 41. 10 7/16 x 12 5/16. Edition of 250 for Associated American Artists. Printed on white wove paper. Signed in pencil. $4,000.
The Minstrel Show. 1931. Lithograph. Fath 7. 8 15/16 x 11 5/8 (sheet 11 1/2 x 14). Edition of 100 for the Ferargil Galleries, New York City. Printed on white wove paper watermarked "BFK"with wide margins and deckle edges on two sides. Signed in pencil and dedicated "To Carson Robinson in appreciation." Robinson was a country/bluegrass singer and player in the 1920's and '20's. One of his songs was "Way Out West in Kansas". An excellent impression of this scarce image. $7,500.
The Bi-Centennial Pageant of George Washington.
For images, click on Bicentennial.
1932. Suite of 20 etchings illustrating events in Washington's life by: Arthur Heintzelman, Robert Nisbet, Sears Gallagher, Earl Horter, William Auerbach-Levy, Ernest Roth, Eugene Higgins, Ralph Boyer, Allen Lewis, Levon West, George Hand Wright, Kerr Eby, F. Luis Mora,Albert Sterner, Samuel Chamberlain, Louis Conrad Rosenberg, John Winkler, Ernest Lawson, Walter Tittle, Childe Hassam. Edited by John Taylor Arms and Harry A. Ogden, New York. Published by the George Washington Memorial Association, Inc. Sheet size: 14 3/4 x 19 3/4. Printed on 'G.W.' countermarked paper, on the full sheets with deckle edges. Sheet size: 19 1/2 x 14 3/4. Each image is signed in pencil. Lacking the original portfolio box; each image and sheet in pristine condition. The complete set of 20: $950.
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Edge of the Woods. 1916. Drypoint. 7 7/8 x 9 3/4 (sheet 10 7/16 x 13 1/8). A rich impression in printed on Japanese paper with an oak leaf watermark. Signed and annotated '3rd state' in pencil. $500.
Trees Along the River. c. 1916. Etching and drypoint. 5 1/4 x 6 1/4 (sheet 8 x 9 5/8). A rich impression with tonal wiping. Printed in cream laid paper with a partial countermark. $400.
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Leaning on the Wall. 1927. Etching. Teller 4. 4 x 3 (sheet 11 x 8 7/8). Edition 100, #18 from the lifetime edition printed in 1967; there were only proofs earlier. A rich impression with plate tone printed on cream wove paper. Signed and dated in ink verso, possibly in another hand. Signed and numbered in pencil by the artist. $550.
Three Men on Fourteenth Street. 1927 - 31. Etching. Teller 4A. 4 1/2 x 3 (sheet 9 5/16 x 6 3/8). Edition 30, #4 from the lifetime edition printed by th artist (there was an edition of 25 in 1985). A rich impression with plate tone printed on cream wove paper. Signed and numbered in pencil. $1,250.
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Reps. Etching and drypoint. Galvin 52.ii. 5 3/4 x 8 5/8 (sheet 10 x 12 7/8). A fine impression printed in sepia ink. Printed in cream wove paper, on the full sheet with deckle edges on two sides. Excellent condition apart from glue staining in the upper margin, well away from the image. Signed in the plate in letter text; signed in pencil, lower right; cowboy on horseback pencil remarque, lower left. $3,500.
[The Gardener]. c. 1917. Etching. 7 7/8 x 9 5/8 (sheet 10 x 13 1/2). Printed on the full sheet of cream wove paper. Signed 'Carmen' in pencil. $125.
Desert Twilight, Arizona. Etching and drypoint. Seeber 318. 4 3/4 x 6 3/4 (sheet 8 3/4 x 11 1/8) A beautiful impression printed in greenish dark-blue ink. Signed and titled in pencil. A beautiful impression on pale cream colored wove paper. $1,650.
Longs Peak, Estes Park, Colorado (no. 2). c. 1916. Etching and aquatint printed in colors. Seeber 43. 6 1/8 x 8 3/8 (sheet 9 x 12 1/4). Series: Estes Park. A beautiful impression printed on white wove paper. Signed and annotated 'del et imp' in pencil, indicating a proof etching and printed by Burr himself. $3,250.
A Sandstorm on the Little Colorado River, Arizona. 1920. Soft-ground etching. Seeber 189. 6 7/8 x 9 3/4 (sheet 9 5/8 x 13). Edition 40, #6. Series: Desert Set. Illustrated: American Etchers: George Elbert Burr; McCauley, "George Elbert Burr's Etchings of the Desert; " International Studio 83 (March, 1922). Printed in grey-brown ink on cream wove paper. Mat line, toning in the margins; otherwise good condition. Signed, titled, numbered and annotated in pencil. A fine impression printed by the artist. $1,000.
A Sandstorm on the Little Colorado River, Arizona. 1920. Watercolor on watercolor board. Study for Seeber 189. 10 3/8 x 14 1/4. Signed lower left; titled verso. $6,500.
For small images, click on John Carroll. For large images, click on the titles.
[Head of a Woman]. c. 1929. Lithograph. 9 1/2 x 7 5/8. Illustrated: Clinton Adams, American Lithographers, 1900-1960, page 61. $750.
Head of Inez [the artist's wife]. c. 1929. Lithograph. 6 3/4 x 5 11/16. Edition 30, #7. $450.
Ione --Dark. c. 1929. Lithograph. 9 7/8 x 7. Edition 29, #7. $350.
Self Portrait. c. 1929. Lithograph. 8 7/8 x7 1/4. Edition 32, #8. $750.
Six Girls. c. 1929. Lithograph. 11 1/4 x 10 3/8. Edition 44, #5. $750.
Two on a Raft. c. 1929. Lithograph. 10 1/4 x 13 3/4. Edition 52, #5. $450.
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Hélène of Septeuil (enfant au perroquet). c. 1889-1890. Drypoint. Breeskin, 134. 9 3/8 x 6 1/4 (sheet 15 3/4 x 9 7/8). A rich impression with burr and plate tone. Printed on blue-green laid paper with a F Andbia AGL countermark, from an antique volume. Signed “Mary Cassatt” in pencil. Price upon request.
Looking into the Hand Mirror, No.2. c. 1905. Drypoint. B 202. 7 5/16 x 5 (sheet 11 1/7 x 7 3/16). Unsigned. Posthumous impression. Printed on old laid paper probably taken from an antique book. $1,750
Looking into the Hand Mirror, No.3. c. 1905. Drypoint. Breeskin 202+. 7 7/8 x 5 1/2 (sheet 11 x 7 1/4). Unsigned. Posthumous impression. Printed on old laid paper probably taken from an antique book. $2,000.
Margot Wearing a Bonnet, No. 1. c. 1902. Drypoint printed in colors. B 179. 9 3/16 x 6 1/2. Unsigned. Posthumous printing with good color on wove paper with full margins. $2,750.
Sara Smiling. c. 1904. Drypoint printed in colors. B 195. 7 3/4 x 5 5/15. Unsigned. Posthumous printing with good color on wove paper with full margins. $2,750.
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The Hospital, Santa Cruz, Toledo. 1938. Etching. Kingslund/ Chamberlain 271. 9 3/16 x 7 5/8 (sheet 13 1/8 x 10 1/8). Edition 100 for The Print Club of Albany. A rich impression with plate tone, printed on wove paper watermarked "BFK". Signed in and numbered 22/100 in pencil. $350.
The Merry Clown. 1947. Lithograph. 11 1/2 x 9 5/8. Edition 250. Printed on white wove paper with full margins. Signed in pencil. $150.
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Woman Standing, Child on Back. 1933. Color lithograph. M 209. 9 x 7. Edition 500. Printed by Kistler. Signed in pencil. $750.
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Silhouette. 1982. Aquatint. 7 7/8 x 10. Edition 250, #60. Signed in pencil. $750.
Wood engravings from the collection of Dr. Eugene Allen Noble.
A Study. 1910. 6 5/8 x 5 3/16. Proof on tissue paper. Signed and annotated 1Aman Jean (his wife) A Study. Luxemburg Paris. $125.
Miss Ella Carmichaël. 1910. 6 51/2 x 5 1/8. Proof on tissue paper. Signed and annotated “Aman Jean Portrait. Petit Palais. Paris.” $125.
Aux XXe Siecle la France declarer la Paix au Monde (Michelet--). 1903. 2 13/16 x 2 7/16. Proof on cream wove paper. Signed in pencil by Cole. $75.
Intimité. 1910. 2 7 3/8 x 5 1/4. Proof on cream wove paper. Signed and titled 'Intimité Mus. Arts Decoratif Paris' in pencil. $125.
Lady Mildmay & Daughter Lady Mildmay & Daughter by Hoppner. Private collection NY. 7 3/16 x 5 1/16. Proof on tissue paper. Signed, titled and annotated, ' This Proof’s a little richer than the other T.C.' in pencil. $150.
Woman Sewing. 1911. 6 ¾ x 5 3/16. Proof on tissue paper. Signed and titled 'Millet (J.F.) Frick Collection N.Y.' in pencil. $125.
Portrait of Mrs. Phipps N.Y. 1912. 7 3/4 x 4 3/16. Proof on tissue paper. Signed, titled and dedicated 'To E.A. Noble' in pencil. $150.
Guitar Player 1918. 5 ¾ x 6 1/16. Proof on tissue paper. Signed, titled, annotated 'Vermeer J.G. Johnson col. Phila.' and dedicated “'for Dr. Noble' in pencil. $150.
Young Woman with a Water Pitcher. 5 ¾ x 5 1/16. Proof on tissue paper. Signed, titled, annotated 'Vermeer Metropolitan N.Y.” and dedicated 'Compliments to Dr. W.A. Noble' in pencil. $150.
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Book Stalls. c. 1931. Wood engraving. Duffy 100. 3 11/16 x 5 3/16 (sheet 5 3/4 x 6). Proof apart from the signed edition of 100. Published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number. Unsigned. $175.
Chimneys. c. 1930. Wood engraving. Duffy 123. 4 15/16 x 3 1/16 (sheet 7 1/4 x 5). Proof apart from the signed edition of 50. As published in 1931 in the Weyhe Gallery in The Checkerboard Cook Number. Unsigned. $175.
Greetings from the House of Weyhe, 1929. 1929. Woodcut. 8 x 4 1/2 (sheet 9 x 5 1/2). Proof aside from the edition of 100. Printed on heavy wove paper. Signed in the block. $850.
Houses in Snow. 1931. Wood engraving. Duffy 150. 27/8 x 3 3/16 (sheet 7 1/8 x 5 9/16). Proof apart from the signed edition. As published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number.Unsigned. Backside of double sided checkerboard tail piece. c. 1931. Wood engraving. Duffy H.H. 5 1/16 x 3 3/8 (sheet 7 1/8 x 9/16). Unsigned. $175.
Self Portrait. c. 1931. Wood engraving. Duffy 163. 3 7/8 x 2 14/16 (sheet 4 1/2 x 5 5/16). Proof apart from the signed edition. Published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number. Unsigned. $250.
Skyscraper #2. c. 1930. Wood engraving. Duffy 141. 4 1/8 x 3 1/16 (sheet 8 x 4 5/8). Proof apart from the signed edition. Published in 1931 by the Weyhe Gallery in The Checkerboard: Cook Number. Unsigned. $250.
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Wheat Shocks. 1951. Lithograph. 8 3/4 x 11 3/4 (sheet 12 x 16). Edition 250 for Associated American Artists. A rich impression printed on the full sheet of cream wove paper. Signed in pencil. $1,500.
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John Brown. 1939. Lithograph. Cole 34. 14 3/4 x 10 3/4 (18 1/4 x 13 1/4). Edition 250 for Associated American Artists. Illustrated in Clinton Adams, American Lithographers, 1900-1960, plate 90; Hults The Print in the Western World, p.474. A fine impression on the full sheet of white wove paper with deckle edges. Signed in pencil. Price upon request.
Darling studied for several years in France at the Academie Libre in Nice, at the Grande Chimere in Paris, and at the Academie Colorasie. His works have been exhibited at the Galerie Nice and the Salon de Beaux Arts in Paris. Then he spent time in the Austrian Tyrol.Upon his return to Rochester, New York, he was invited to contribute to a joint exhibition of eminent watercolorists in company with John Marin and George Ennis at the Memorial Art Gallery. So favorably were his watercolors received tht he was asked to submit his pictures for an exhibition at the Art Center of New York, where he had the distinction of winning the praise of metropolitan critics.
Subsequently he moved to 46 Washington Square in Manhattan. He held a one-man show at the Art Center in New York City of a new type of decorative water color which he called "Water-Graph," which he made by a secret stencil process of his own invention. He used seven, eight or more stencils to obtain the well-defined outlines and transparent watercolor applied with a dry brush to produce the subtle gradations of tone. The general effect is of a beautifully handled color woodblick print, but with richer tonal effects and more shading. The process gives the appearance of something which is between a transparent, brushed watercolor and a pastel.
He gained a reputation as a painter and as a book illustrator.He painted murals that are in the Pennsylvania state building in Harrisburg. After 1930, he was Assistant Professor of Art at Marshal College, Huntington, West Virginis, where he taught and worked in oils and etching. In 1932 he exhibited the watergraphs at the Corcoran Gallery in Washington, D.C.
For small flower images, click on Darling; for large images, click on the titles.
Flowers
Lily. c. 1930. Watergraph in green, grey, gold and white. 11 7/8 x 10 1/16. $300.
Red Waterlily. c. 1930. Watergraph in red, green, brown, black, grey and white. 11 7/8 x 10. $350.
White Waterlily. c. 1930. Watergraph in aqua, green, brown, black, grey, red and white. 11 7/8 x 10. $350.
Landscapes
Landscape. c. 1930. Watergraph black and grey. 9 7/8 x 14 (sheet 13 1/8 x 161/8). Unsigned. $175.
Pine Tree. c. 1930. Watergraph in aqua, brown, black, blue and mauve. 10 x 8 (sheet 11 1/4 x 1/8). Signed in pencil. $350.
The Pool. c. 1930. Watergraph ingreen, brown, black, grey and mauve. 10 x 8 (sheet 16 x 13 1/4). Signed in pencil. $350.
Portraits
[Mollie.] c. 1930. Watergraph in russet, black, red and burnt umber 11 7/8 x 9 7/8. $275.
[Mollie -- Brown.] c. 1930. Watergraph in russet, bown, red and burnt umber. 11 7/8 x 9 7/8. $275.
[Roberta.] c. 1930. Watergraph in russet. 11 7/8 x 9 7/8. #74. $250.
[Roberta -- Blue.] c. 1930. Watergraph in blue, aqua, black, red, brown, white. 11 7/8 x 9 7/8. Signed in pencil. $275.
[Tallulah.] c. 1930. Watergraph in russet. 11 7/8 x 9 7/8. #32. $200.
[Vilma.] c. 1930. Watergraph in russet. 11 7/8 x 9 7/8. #58. $200.
For small images, click on: Davey; for large images, click on the titles.
At the Barrier. c. 1940. Etching and drypoint. 6 x 4. Edition 50. Signed, titled and annotated in pencil. $350.
Exercise - Lexington Track. c. 1940. Etching and aquatint. 6 7/8 x 8 5/8. Signed and titled in pencil. $750 in black and white; $900 printed in colors.
Girl Arranging Her Hair. c. 1940. Lithograph. 15 9/16 x 11 3/4. Edition 35. Signed, titled and annotated in pencil. $900.
Girl Undressing. c. 1940. Etching. 4 15/16 x 2 15/16. Signed, titled and annotated in pencil. $300.
Hurdle - Race. c. 1940. Etching. 6 15/16 x 8 7/16. Edition c. 50. $6s50.
In the Stretch. c. 1940. Etching. 4 7/16 x 5 7/8. Edition 50. Signed, titled and annotated in pencil. $500.
Leaving the Paddock. c. 1940. Lithograph. 7 7/8 x 11 7/8. Edition 30. Signed, titled and annotated in pencil. $900.
Leaving the Paddock - Hialeah. c. 1940. Lithograph. 12 x 11 5/8. Edition 20. Signed, titled and annotated in pencil. $1,000.
Muddy Track. c. 1940. Etching. 3 x 4 15/16. Edition c. 50.Signed and titled in pencil. $350.
Nude. Back. c. 1940. Etching. 4 15/16 x 3 15/16. Edition 50. Edition 30. Signed, titled and annotated in pencil. $300.
On the Track. c. 1940. Lithograph and lithotint. 10 x 14 1/8. Edition 20. $ Edition 30. Illustrated: Beall, American Prints in the Library of Congress. Signed, titled and annotated in pencil. $900.
Paddock. c. 1940. Etching. 6 1/4 x 9 1/8. Signed and titled in pencil. $650.
Race Stables - Kentucky. c. 1940. Color aquatint. 4 3/8 x 5 7/8. Edition 30. Signed, titled and annotated in pencil. $900.
A Start. c. 1940. Etching. 4 7/16 x 7 1/4. Edition 30. Signed and titled in pencil. $400.
Study [of Horses]. c. 1940. Etching. 3 x 4 7/8. Light struck. Edition 30. Signed, titled and annotated in pencil. $300.
Sugar Papa. c. 1940. Lithotint. 9 7/8 x 7 1/2. Edition 35. Signed, titled and numbered in pencil. $750.
Trouble at the Post. c. 1940. Etching and drypoint. 5 5/16 x 4 3/8. Signed, titled and annotated in pencil. $450.
Two Year Olds at the Gate. c. 1940. Lithotint. 10 x 13 15/16. Signed, titled and numbered in pencil. $900.
Unsaddling Paddock - Hialeah. c. 1940. Lithograph. 13 7/8 x 9 15/16. Edition 30. Signed, titled and annotated in pencil. $900.
Shipping on the Guidecca (The Docks). 1883. Etching. Poole 25. 10 x 19 (sheet 13 x 22). Illustrated: Print Collector's Quarterly 25 (1938): 459. Unsigned. This is Duveneck's last recorded etching. A rich, early impression printed on 'Arches (France) cream laid paper, before the printings by L.H.Meakin and H.H.Wessel for the Cincinnati Art Museum.
For small images, click on Eby; for large images, click on the titles in red.
Connecticut
The Cow Shed. 1946. Etching, aquatint and sandpaper ground. Giardina 211. 9 5/8 x 15 1/8. Edition 100. $825.
Driftway (Day's End). 1928. Etching. Giardina 132. 8 3/8x 14 (sheet 13 x 18 3/16). Edition 90. A fine impression with atmospheric tonal wiping, printed on cream laid paper with a crown and shield countermark. Signed and annotated in pencil. A proof printed by Eby. $950.
The Fish Weir. 1921. Etching. G 46. 4 5/16 x 7 5/8. Edition 50. $250.
A Summer Day. c. 1922. Etching. Giardina 88.ii. 5 5/8 x 9 5/8. Unpublished; a small number of proofs printed. Very rare. The scene is probably in Connecticut. Signed in pencil. $450.
Turkey Hill. 1932. Etching. Giardina 74.ii. 9 3/4 x 16 3/8. Edition 100. Illustrated: Print Collector's Quarterly 26 (1939): 94. Signed in pencil. A tonal impression printed on laid paper with a crown and shield watermark and wide margins. Printed by the artist. $1,150.
White Tails in the Morning. 1935. Etching. Giardina 183.ii. 8 1/4 x 12 1/2 (sheet 10 5/8 x 14 7/8). Edition approximately 100. A rich impression with subtle plate tone, printed by the artist on cream wove paper. Signed and annotated 'imp' in pencil. The scene is probably Connecticut. $325.
Winter Wheat. 1933. Etching. Giardina176. 6 3/8 x 11 5/8. Edition 100. The scene is probably Connecticut. $400.
Maine
Devil's Back or The Breakers. 1938. Charcoal drawing. A study for the aquatint (Giardina 197). 14 1/2 x 21 1/2 (sheet 15 1/4 x 22 3/4). The aquatint is illustrated in the Print Collector's Quarterly 26 (1939): 502. Signed and dated, lower right. The scene is on the Maine coast. $2,500.
Digging Clams.1931. Etching. Giardina 163. 8 3/8 x 12 5/8 (sheet 11 3/4 x 15 7/8). Edition 350 for the Chicago Society of Etchers. A rich impression printed on 'France' cream wove paper with full margins. Brown paper tape along three edges. Signed in pencil. The scene is Maine. $400.
Hatchet Cove. 1937. Etching, aquatint and sandpaper ground. G194. 9 x 13 7/8 (sheet 11 3/4 x 16 5/8). Trial proof, apart from the edition of about 100. A very rich impression with atmospheric tonal wiping, printed by Eby. Signed and annotated "trial proof" in pencil. $1,250.
Little Franklin. 1937. Etching and sandpaper ground. Giardina 192.vi. 8 1/2 x 14 5/8. Edition 100. Little Franklin is a ledge located off the coast of Friendship, Maine. $550.
Little Hall's Island. 1940. Etching and sandpaper ground. Giardina 199. 10 x 15. Edition 100. Little Hall's Island is located off the coast of Friendship. Maine. Signed in pencil. $450.
Lobster Fleet. 1937. Etching and sandpaper ground. Giardina 193. 9 5/16 x 11 5/8. Edition 100. The scene is the on the Maine coast. Ilustrated: Beall, American Prints in the Library of Congress, p. 142. $950.
Mist on the Agawa. 1928. Etching. P134. 10 x 11 7/8. Edition 90. Illustrated: Flint, Contemporary American Etching, 1930. $650.
Shadows on the Agawa, No. 2. 1929. Etching. Giardina 139.iii. 11 1/16 x 10 3/4 (sheet 16 5/8 x 13 7/8). Edition 90. A rich impression, printed by the artist himself on hand-made laid paper. Signed in pencil. $750.
White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. $450.
Massachusetts
High Land, Cape Cod. 1921. Etching. Giardina 54. 6 x 10 1/16. Edition of 90. A fine impression with plate tone, on cream-colored laid paper. $175.
Surf Fishing. 1929. Etching. Giardina 137.iii. 7 7/16 x 15 1/8 (sheet 11 x 7 1/4). Edition 90. Illustrated: Fine Prints of the Year, 1929. Signed and annotated in pencil. A rich impression printed on cream laid paper with full margins. Ex-collection Dr. Eugene A Noble. $750.
Dead Pine Tree. 1910. Etching. Giardina 10. 9 7/8 x 7 7/16. Edition 25. Signed in pencil. A fine impression of this scarce image. $125.
No. 1 Wall Street. 1930. Etching and sandpaper ground. Giardina 148.iv. 16 x 10 3/8. Edition 90. No 1 Wall Street, the former Irving Trust Company headquarters, is located at the intersection of Wall Street and Broadway in Manhattan's financial discrict. Trinity Church is in the background. Signed in pencil. $1,500.
The Fleischmann Estate: The Polo Field. c. 1920-25. Pencil study for the etching, Giardina 114. 8 x 13 (sheet 9 1/2 x 14 1/2). Signed in pencil. $450.
Edge of the Sahara. 1922. Etching. Giardina 78. 4 9/16 x 12 3/8 (sheet 6 11/16 x 14 1/16). Edition 75. A rich impression with subtle plate tone printed on cream Van Gelder paper by the artist himself. Signed and annotated in pencil. $200.
Goatherd, Algeria. 1922. Etching. Giardina 80.ii. 5 1/2 x 6 2/3. Edition about 50. $225.
Nomads 1922. Etching and drypoint. Giardina 79.ii. 9 7/16 x 13 3/8. Edition 30. $250. The scene depicts a Bedouin tent in the Algerian desert. $250.
Steps and Doorways. 1922. Etching. G75. 9 7/8 x 4 11/16. Edition 50-90. The print was based on Eby's visit to Algeria during 1920-21. Signed in pencil. $275.
Street Cafes 1922. Drypoint. Giardina 82. 11 x 6. Edition 25. The print was based on Eby's visit to Algeria during 1920-21. $275.
Street of the Red Sea. 1922. Etching. Giardina 76. 10 7/8 x 4 11/16. Edition 50. The print was based on Eby's visit to Algeria during 1920-21. $275.
Pauldavid. 1927. Etching. Giardina 119.iii. 7 7/8 x 12 7/8 (sheet 11 1/8 x 16 5/8). Edition 90.A rich impression with atmospheric tonal wiping. Printed on cream laid by the artist. The scene is Pouldavid, a small town in Brittany, France. $275.
Porthleven. 1925. Etching and drypoint. Giardina 104. 9 x 14 1/8. Trial proof, apart from the edition of 90. Porthleven is a port in Cornwall, England. $250.
Spring in Cornwall. (Surrey). 1925. Etching. Giardina 106.ii/iii. 11 3/8 x 8 1/4 (sheet 16 1/4 x 10 1/8). Edition 90. A fine impression printed by Eby on cream watermarked 'Van Gelder Zonen' laid paper. Signed 'Kerr Eby imp' in pencil. $175.
Top of the World. 1928. Etching. Giardina 126. 7 7/8 x 5 3/16 (sheet 11 5/8 x 9). Edition 90. A fine impression printed by Eby on cream 'FJ Head & Co' laid paper. Signed and annotated 'imp' in pencil. $150.
"The Caissons Go Rolling Along". 1929. Etching and sandpaper ground. Giardina 145. 17 3/8 x 9 1/2 (sheet 15 7/8 x 10 1/2). Edition 90. Illustrated: Flint, Contemporary American Etching, 1930. A rich impression with plate tone, printed on cream laid paper. Printed by the artist. Signed and annotated 'imp' (imprimit) in pencil. $1,100.
Machine Guns. 1921-22. Etching. Giardina 64.ii. 7 x 11 1/2 (sheet 11 7/16 x 18). Edition 75. A fine impression printed with plate tone. Printed on cream wove paper with full margins. $850.
No Man's Land. St. Mihiel Drive. 1919. Mezzotint and drypoint. Giardian 32.ii. 8 3/8 x 12 7/8 (sheet 11 3/16 x 15 13/16). Edition 25. A rich impression on laid paper countermarked 'Ingres d'Arches'. A very rich impression printed by the artist. Signed in pencil. This is Eby's only mezzotint. Another version of the subject is Eby's 1934 etching, September 13, 1918, St. Mihiel. $4,500.
Open Action. 1928. Etching. Giardina 124. 7 x 15 1/8. Edition 90. A very rich impression with tonal wiping that suggest gunfire. Printed on cream laid paper by the artist himself. Signed in pencil. $850.
Rough Going. 1919. Drypoint. Giardina 29.ii. 8 7/16 x 11 7/8 (sheet 10 1/8 x 15 7/16). Edition 60. A rich impression with plate tone, printed on cream laid 'Vidalon' paper. Printed by the artist. Signed and annotated 'imp' (imprimit) in pencil. $1,250.
Rough Going. c. 1919. Oil on canvas. 25 x 36. Related to the drypoint of the same title. Giardina. 29. Signed, verso. Eby paintings are extremely rare. $20,000.
Scout Planes at Dawn. 1928. Etching. G125. 12 7 /8 x 8 7/8. Trial proof, apart from the edition of 90. Illustrated: Fine Prints of the Year, 1928; Kerr Eby, War; Print Collector's Quarterly 26 (1939): 82; American Etchers: Kerr Eby. $1,250.
September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina 182.iv. 10 3/8 x 16. Edition 100. Illustrated: Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. This is Eby's most famous etching.It is based upon his World War I experiences in France. Saint-Mihiel is a town in northeastern France. The Saint-Mihiel drive of September, 1918 was an American counteroffensive against the Germans. It was noted that during the drive, "the great cloud hung for days over the advancing troops, the Germans $9,500.
A Southern Unit. 1919. Etching. G 33. 4 7/16 x 6 7/16. Edition 50. $350.
Stuck. 1919-20. Lithograph. G 38. 12 11/16 x 19 (17 7/8 x 22 7/8). Edition 75-100. A fine impression on cream-colored wove paper, on the full sheet with deckle edges. Signed and titled in pencil. $850.
Click on the titles for images.
The Artist and the Seven Deadly Sins. 1975. Wood engraving. 19 5/8 x 7. Edition 100. This is a self-portrait. The seven deadly sins are: pride, avarice (greed) , envy, gluttony, lust, sloth (idleness), slander. $975.
Elenora. 1981. Wood engraving. 6 7/8 x 3 3/4 (sheet 11 1/8 x 8 1/2). Proof apart from the edition for the Print Club of Cleveland. Printed on white wove paper. Signed and dedicated "To Jane" in pencil. $175.
Nightwatch. 1952. Wood engraving. 13 x 13 (sheet 16 3/4 x 14 1/16). Edition 100, #77. A well-inked impression printed on light tan laid paper. Signed, titled and numbered in pencil. Framed. $1,250.
Born in Brooklyn, Evans was a pupil of P.R.B. Pierson. He exhibited at the Chicago Exposition in 1893, the Paris Exposition in 1900, as well as in London, Berlin, Vienna, Munich and New York. He was awarded bronze medals at the Buffalo Exposition in 1901 and at the St. Louis Exposition in 1904. He received a silver medal at the Panam Pacific International Exposition in 1915. He lived and worked in Brooklyn, New York. His work is in the New York Public Library, the Carnegie Institute, and in the Brooklyn Institute of Art and Science.
Evans was a disginguished wood engraver, who did both reproductive and original work. In the late nineteenth and early twentieth centuries, wood engraving was the primary medium of reproduction in books and magazines. Wood engraving is a highly technical and demanding medium. Evans was one of the masters of the medium.
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Albrecht Dürer, Painter-Engraver. 1877. Wood engraving after the mural by Edwin Austin Abbey (1852-1911), done in 1877. This was Abbey's first mural, and was painted for the President's Room of Harper Brothers, Franklin Square, New York. 4 1/8 x 7 31/16. Signed in pencil. A proof on tissue paper, affixed to a backing sheet at the four corners. $350.
Abraham Lincoln. 1933. Wood engraving after a photograph by Bradley. 11 x 7 1/2 (sheet 18 x 13 7/8). A fine impression printed on cream wove paper. Signed and dated in the block; signed in pencil. A fine example of Evans' technical expertise. $250.
Napoleon. 1933. Wood engraving after a photograph by Bradley. 5 1/16 x 5 1/2 (sheet 11 1/4 x 8 7/8). A fine impression printed on white tissue tipped onto bristol board at the corners. Signed in pencil. A fine example of Evans' technical expertise. $250.
Little Dutch Girl. 1895. Wood engraving after Marcia Oakes Woodbury (1865-1913). 7 3/4 x 4 5/8 (sheet 11 1/8 x 9 7/8). Signed and dated in pencil by Evans. $75.
Chinese Tree Peony. 1951. Color serigraph. 7 3/4 x 10 7/8. Edition 150. Second presentation print for the Garden Club, which ended before the print was released. Signed in pencil. $150.
Group: The Elders. c. 1970. Etching and aquatint. 11 3/4 x 15 13/16 (sheet 14 7/8 x 22). Edition 225, #5. Signed, numebred and titled in pencil. A rich impression printed on cream wove paper, on the full sheet with deckle edges. $450.
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End of the El. (End of the Bowery) 1933. Lithograph. 9 3/8 x 13 1/8. Edition 50, #25. Signed and numbered in pencil. A fine impression of this scarce lithograph. $1,750.
Evening, Fifth Avenue. 1965. Lithograph printed in colors. 22 5/8 x 18 (sheet 25 1/2 x 19 3/4). Edition 50. A fine impression printed on "BFK Rives" watermarked paper, on the full sheet with deckle edges. Signed in pencil. A pristine impression of this imposing image. $950
St. Michael's Church in Brooklyn. 1947. Lithograph. 9 1/2 x 12 1/3 (12 x 16). Edition 250 for Associated American Artists. Winner of the Library of Congress Prize, National Print Competition. St,. Michael's Church is located at 352 42nd Street in Brooklyn. A fine impression on wove paper with full margins. Fiene has captured a charming winter scene. $225.
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Plaza Group -- Towers of Manhattan. c.1930. Etching. 10 x 5 5/16 (sheet 11 7/8 x 7 3/16). A rich impression on pale cream-colored wove. Pristine condition. Signed in pencil. A stunning view of the Plaza, the Sherry Netherland Hotel and the surrounding buildings. $500.
For images, click on the titles.
Eddyville or Morning Stroll. 1922. Wash and scratch lithograph on chine collé mounted on white wove paper. Smith L30B. 11 3/8 x 15 1/2 (sheet 13 X 17 7/8). Edition 35, #7. Exhibited at the Whitney Museum of American Art, April 4-16, 1933, as Ganso was a Guggenheim Foundation Artist. Signed and numbered in pencil. A fine impression. $750.
Lingerie. 1932. Lithograph printed in colors. Moser 42, Smith L-42. 12 1/2 x 18 1/2 (sheet 15 3/8 x 20 1/4). Edition 5. Signed and annotated "Ed. 5" in pencil. Good condition apart from a registration hole on each center side margin. Printed on cream-colored laid paper. A bright, fresh impression of this very rare image. $1,500.
Metropolis, Union Square. 1938. Etching and aquatint. Smith I-83. 11 7/8 x 15 (sheet 13 7/8 x 18). Edition 35. Illustrated: Print Collector's Quarterly 24 (December, 1937): 338; Salpater, Handy Artist, page 58. Signed in pencil. A very rich impression printed on cream wove paper. $1,750.
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Christmas from the Gorslines. 1942. Etching. 4 7/8 x 2 7/8 (sheet 8 3/4 x 5 7/8). A fine impression on off-white laid paper with deckle edges on 2 sides. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.
Christmas Pudding. 1942. Etching. 4 7/8 x 2 7/8 (sheet 9 3/16 x 5). A fine impression with plate tone printed on watermarked laid paper. Excellent condition apart from two stains from old hinges in the top corners. Signed and dated in pencil. $175.
Click on the images for larger screens.
New York Set
Siren on the Sea - Dusk. c. 1980. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $250.
Siren on the Sea - Retreating Storm. c. 1980. Lithograph with pastel coloring. Czestochowski 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in chalk. $225.
Siren on the Sea - Sunrise.
Siren on the Sea - Windy Afternoon. c. 1980. Lithograph with pastel coloring. Cg 43. 10 1/16 x 14 1/16 (sheet 12 x 18). Edition 40. Signed and dated in ink. $250.
Paris Set
Paris - From the Jardin des Tuileries Looking Toward Rue de Rivoli and West End of the Louvre. c. 1986. Lithograph with pastel coloring. 9 7/16 x 11 1/16 (sheet 14 x 18). Edition 40. Signed in pencil. $150.
Paris - Pont Neuf Since Completion in 1604, a Mute Witness to the Worst of Times and the Best of Times. c. 1986. Lithograph printed in colors. 11 x 16 1/8 (sheet 16 x 20). Printed on the full sheet of white wove paper. Signed in pencil. $150.
Paris - The Seine at Notre Dame. (Sunset with red sky). c. 1987. Lithograph with pastel coloring. 9 5/8 x 12 5/16 (sheet 14 x 18). Edition 40. Signed in pencil. $150.
Paris - The Seine at Notre Dame. (Sunset with yellow sky). c. 1987. Lithograph with pastel coloring. 9 5/8 x 12 5/16 (sheet 14 x 18). Edition 40. Signed in pencil. $200.
Paris - Toward the Louvre from Pont St. Michel. c. 1986. Lithograph with pastel coloring. 8 x 10 9/16 (sheet 13 7/8 x 18). Edition 40. Signed in pencil. $150.
Paris - Toward Notre Dame from Pont St. Michel. (Sunset and blue sky). c. 1987. Lithograph with pastel coloring. 7 1/2 x 12 (sheet 13 3/4 x 8). Edition 40. Signed in pencil. $150.
Paris - Toward Notre Dame from Pont St. Michel. (Sunset and yellow sky). c. 1987. Lithograph with pastel coloring. 7 1/2 x 12 (sheet 13 3/4 x 8). Edition 40. Signed in pencil. $150.
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Conflict. 1946. Lithograph. 9 x 12 (sheet 10 7/8 x 13 3/4). Edition 250 for Associated American Artists. A fine impression printed on white wove paper with full margins. Signed in pencil. $175.
Fishermen's Haven. 1945. Lithograph. 9 x 11 5/8 (sheet 10 1/2 x 13 1/4). Edition 250 for Associated American Artists. A fine impression printed on white wove paper with full margins. Signed in pencil. $275.
Lining Up. c. 1945. Lithograph. 9 x 11 5/8 (sheet 10 1/2 x 13 1/4). Edition 250 for Associated American Artists. A fine impression printed on white wove paper with full margins. Signed in pencil. $300.
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Toby's, Cos Cob. October 31, 1915. Etching and drypoint. Clayton 55. 6 7/8 x 8 7/8 (sheet 9 1/4 x 10 1/8). A unique proof printed on cream wove paper from a Bible. Signed with the cypher in pencil. $5,500.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 3/4 x 10). Printed on cream laid paper with full margins. Unobtrusive printing fold . Signed with the cypher in pencil. Price upon request.
Washington Enjoys His Beloved Estate. 1930. Etching. 8 1/4 x 13 1/4 (sheet 14 3/4 x 19 1/2.) Series: The Bi-Centennial Pageant of George Washington, #20. Published by the George Washington Memorial Association, Inc. Printed on laid G.W. countermarked paper with a countermark of a crowned eagle flying atop a shield with three stars, on the full sheet with deckle edges. Initialed in pencil. $500.
Camouflage. 1918. Lithograph. Kleeman 6; Griffith 8. 6 1/2 x 11 (sheet 11 1/4 x 17 3/4). Edition 54. Signed and annotated in the stone "arrested for this Childe Hassam April 18th, 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. $3,500.
Inner Harbor. (Gloucester) 1918. Lithograph. Kleeman 17; Griffith 16. 8 x 11 3/4 (sheet 10 3/8 x 17 7/8). Edition 104. Signed and annotated in the stone "Childe Hassam Gloucester 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. $3,500.
The Land of Nod. 1918. Lithograph. Griffith 20. 8 1/4 x 11 (sheet 11 1/2 x 17 7/8). Edition 52. Signed "Childe Hassam June 10th 1918" in the stone and signed with the cypher in pencil. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. $3,000.
The Little Schoolhouse, Land of Nod. 1918. Lithograph. Griffith 19. 8 1/2 x 11 1/2 (sheet 11 7/16 x 17 7/8). Griffith 19. Edition 55. Printed on the full sheet of Japan paper, with deckle edges on three sides. Gift of Mrs. Hassam to the Museum of Fine Arts, Springfield, and deaccessioned by them. Signed "Childe Hassam June 1918" in the stone, and signed with the cypher in pencil. $3,000.
Red Cross Nurse (Portrait of Cecilia Beaux). 1918. Lithograph. Kleeman 33; Griffith 39. 11 1/2 x 9 1/4 (sheet 17 3/4 x 11 5/8). Edition 50. Signed and annotated in the stone "Childe Hassam Aug 29th 1918 East Gloucester"; signed with the cypher in pencil. A fine impression printed on Japanese mulberry paper with an oak leaf watermark. Full sheet with deckle edges. $5,250.
The Thunderstorm, Gloucester. 1918. Lithograph. Kleeman 42; Griffith 26. 11 x 13 3/4 (sheet 11 3/8 x 17 13/16). Edition 6. Signed and annotated in the stone "Childe Hassam, Gloucester July 30, 1918"; signed with the cypher in pencil. An excellent impression printed on fine white wove paper. Full margins with deckle edges on three sides. $7,500.
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Clay Banks. c. 1950. Lithograph printed in colors. 13 3/4 x 19 13/16 (19 x 23 5/8). Edition 15. Signed, titled and annotated in pencil. Printed on the full sheet of white wove paper, with deckle edges. A glowing impression of this scarce print. $950.
Click on the titlez for images.
Enfant de la Montagne (A Mountain Child). 1927. Drypoint. 9 1/2 x 7 3/4 (sheet 16 1/4 x 13 9/16). Edition 100. A glowing impression printed cream laid paper. Printed on the full sheet with deckle edges. Signed in pencil. $275.
The Pilgrim. 1919. Drypoint. 7 7/8 x 5 7/8 (sheet 11 x 9 15/16). Printed on cream wove paper. Illustrated: Arms. 'Arthur William Heintzelman, Etcher', Prints vol. 3, #4 (May, 1933): page 5. Signed and dedicated in pencil to 'Eugene A. Noble'. $175.
Roger Williams. 1636-1936. 1936. Drypoint. 9 1/2 x 7 3/4 (sheet 13 13/16 x 11).A rich impression with plate tone printed cream'Rives' paper. Printed on the full sheet with deckle edges. Signed in pencil. $175.
The Four Evangelists. 1951. Woodcut. x 6 1/2. Matthew, Mark, Luke and John are presented in medieval iconography. $125.
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Gypsy Dancers. 1949. Soft-ground etching. 3 5/8 x 2 7/8. Presentation plate for the Miniature Print Society. $125.
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Saved. 1889. Etching. Goodrich 102. 16 3/4 x 27 3/4 (sheet 21 5/8 x 32 5/8). Printed by G.W.H. Ritchie, New York. Published by C. Klackner, New York. Signed in the plate, lower left. impression Printed on simili-Japan paper. Carefully wiped with plate tone in the rocks and figures; but clean-wiped in the waves to emphasize the figures being suspended in air. An ethereal, atmospheric impression of this very rare etching. The etching is housed in a reproduction period Stamford White frame (32 x 43 inches). Price upon request.
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Brandon on the James River. c. 1930. Etching. 8 1/8 x 10 3/4. Signed in pencil. $175.
Chatham on Rappahannoch. c. 1930. Etching. 8 1/8 x 10 3/4. Signed in pencil. $175.
Drybregor Manor. c. 1930. Etching. 8 1/8 x 10 /8. Signed in pencil. $175.
Mount Vernon - Rear.
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Greetings from the House of Weyhe, 1931. 1931. Lithograph. 4 3/4 x 8 1/8 (sheet 5 7/8 x 8 13/16). Printed on heavy wove paper. Signed and dated in the stone. $100.
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Beverly Beeches. 1926. Etching and drypoint. American Etchers 31. 7 3/4 x 8 7/8 (sheet 10 5 /8 x 11 1/8). Edition 75. Illustrated: Fine Prints of the Year, 1927; American Etchers: Alfred Hutty. Winner: Samuel T. Shaw Prize, Salmagundi Club, New York. A rich impression with plate tone, printed on cream laid paper with deckle edges on three sides. Signed and monogrammed in pencil. $750.
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Her Bit. 1918. Color etching. Mason and Mason 140. 6 7/8 x 4 7/8 (sheet 10 3/4 x 7 13/16). Signed numbered '34.' in pencil. A rich impression with glowing colors, printed on Japanese mulberry paper with full margins. Housed in a frame with patriotic motifs of an eagle with shield and American flags. A unique presentation of a child doing 'her bit' by knitting for the soldiers. $1,750.
The Return. 1907. Woodcut printed in colors. Mason 75. 15 3/8 x 8 1/4 (sheet 19 1/8 x 10 1/2). Signed numbered '21.' in pencil in the image. A rich impression with glowing colors, printed on tissue-thin paper with full margins. $1,500.
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Floral Drypoints.
Bayonet rush. (jointed bog rush. Juncus militaris). 1932. Drypoint. Jaques 410. 13 3/4 x 4 (sheet 16 3/4 x 8 3/4). A rich impression printed with plate tone on Japanese mulberry paper. Signed in pencil. $300.
Chinese Lanterns. (Physalis alkekengi). 1923. Drypoint. Jaques 337. 9 1/2 x 5 7/8 (sheet 13 x 10 1/4). Printed on the full sheet of Japanese mulberry paper. A fine impression with plate tone. Printed on Japanese mulberry paper, on the full sheet with deckle edges. Provenance: the artist's estate. Unsigned. Annotated "1st". $150.
Clematis. (Clematis integrifolia). 1933. Drypoint with hand coloring. Jaques 407. 10 x 5 3/4 (sheet 13 3/8 x 7 7/8). Printed on Japanese mulberry paper. Unsigned. Provenance: the artist's estate. $400.
Columbine. 1931. Drypoint. Jaques 392. 9 3/8 x 4 11/16 (sheet 12 1/2x 8 1/2). A rich impression with plate tone, printed on Japanese mulberry paper. Annotated "1st proof" in pencil. $200.
Dandelions in the Grass. (Taraxacum officinale). 1919. Drypoint. Jaques 278. 13 1/4 x 5 1/4 (sheet 15 7/8 x 5 1/4). A rich impression printed with plate tone in grey-green ink on Japanese mulberry paper. Provenance: the artist's estate. Unsigned. $225.
Darlingtonia. (Darlingtonia Californica) 1934. Jaques 415. 14 x 9 1/4 (sheet 15 3/4 x 10 1/2). A rich impression printed on Japanese mulberry paper. Signed, titled and annotated "Phantom print." $325.
Dogwood Blossoms. (Cornus florida). 1924. Drypoint. Jaques 343. 12 3/4 x 8 (sheet 16 1/8 x 10 7/8).Printed on the full sheet of Japanese mulberrypaper. This is probably a ghost or phantom print, a second pulling from the plate before it was reinked. Provenance: the artist's estate. Unsigned. $250.
Eucalyptus Balls (Seeds). February, 1933. Drypoint with hand coloring. Jaques 405. 7 1/2 x 5 5/8 (sheet 10 x 7 1/2). A rich impression printed on Japanese mulberry paper. Signed and titled in pencil. $450.
Fulcassiara (Night Shade #2. Solanum Dulcamara.) 1932. Drypoint with hand coloring. Jaques 432. 10 7/8 x 7 7/8 (sheet 15 1/8 x 10 1/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Signed and title in pencil. $750.
Grapes. 1937. Jaques 429. Drypoint. 7 13/16 x 4 7/8 (sheet 10 3/8 x 8 1/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. $275.
Love Apples. 1939. Drypoint. Jaques 454. 12 3/8 x 7. Two rich impresions on Japanese mulberry paper. Provenance: the artist's estate. Signed and titled in pencil $450; unsigned $250.
Lychee Nuts (Litchi chinensis). 1938. Drypoint. Jaques 444. 11 7/8 x 8 3/8 (sheet 16 x 10 1/8). A very rich impression printed with plate tone on Japanese mulberry paper. Signed and titled in pencil. $350.
Pearbuds. 1924. Drypoint with hand coloring. Jaques 343. 10 7/8 x 5 7/8 (sheet 15 1/8 x 9 1/2) . Excellent color and condition, printed with plate tone on Japanese mulberry paper. Signed in pencil. $750.
Philodendron (heartleaf). (Philodendron scandens oxycardium). 1935. Drypoint with hand coloring, and a proof without hand coloring. Jaques 416. 9 7/8 x 5 7/8. Both are beautiful impressions printed on Japanese mulberry paper. Unsigned. Provenance: the artist's estate. The frog, lower right, adds a charming touch. $500 the pair.
Plum Blossoms. (Prunus cerasifera). 1937. Drypoint Jaques 423. 12 5/8 x 7 1/4. An extremely rich impression printed in sepia ink on Japanese mulberry paper. Signed and titled "plum" in pencil. $350. Provenance: the artist's estate. $350.
Spiderwort. (Tradescantia bracteata. Bracted Spiderwort). 1926. Drypoint. Jaques 353. 13 7/8 x 7 7/8 (sheet 13 7/8 x 10 1/2). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Unsigned. $250.
Sweetbriar (little). 1922. Etching and drypoint. Jaques 324. 5 7/8 x 2 7/8 (sheet 8 3/16 x 5 3/16). A rich impression with plate tone, printed on Japanese mulberry paper. Provenance: the artist's estate. Monogrammed in the plate; annotated "1st proof" in the artist's hand. The artist also made a larger plate of the same subject. $125.
Sycamore Balls 1932. Drypoint. Jaques 398. 11 13/16 x 5 7/8 (sheet 15 1/2 x 10).A rich impression with plate tone on Japanese mulberry paper. $400.
Teazel. 1938. Jaques 447. 14 3/8 x 7 3/8 (sheet 16 x 9 3/4). A very righ impression printed on Japanese mulberry paper. $350.
Walnuts (Junglans). 1937. Drypoint. Jaques 437. 8 7/8 x 6 3/4 (sheet 14 1/2 x 9 5/8). A very rich impression printed on Japanese mulberry paper. The small dark area, lower left, is a fragment of mulberry paper on the verso. Provenance: the artist's estate. Signed, titled and annotated "1st proof - and a good one too" in pencil. $350.
Wisteria. 1923. Drypoint with hand coloring. Jaques 336. 5 x 3 (sheet 8 1/2 x 6 5/16). A rich impression with plate tone, printed on fine laid paper. Provenance: the artist's estate. Unsigned. $150.
Woodbine (Parthenocissus quinquefolia). 1937. Drypoint with hand coloring. Jaques 425. 11 x 7 1/4 (sheet 14 1/2 x 10 1/2). Printed on tissue paper. Provenance: the artist's estate. Signed and titled in pencil. This is what Bertha Jaques termed a "ghost" or "phantom" print. It is a second pull from the plate without reinking it. The result is a delicate, ethereal image. $550.
Woodsfolk -- Mushrooms. 1938. Drypoint. Jaques 448. 6 x 8 (sheet 7 5/8 x 9 7/8). A very rich impression with plate tone on cream Rives watermarked paper. Signed and titled in pencil. $325.
Wool Grass. October, 1932. Drypoint. Jaques 399. 13 1/4 x 5 1/2 (sheet 17 3/4 x 12). A rich impression printed with plate tone on white wove paper. Signed and titled in pencil. $300.
Landscape and Architectural Etchings and Drypoints. Signed in pencil.
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Dumb Bell Inn -- Near London. 1913. Etching. Jaques 220. 9 13/16 x 5 15/16 (sheet 11 x 8). A rich impression with plate tone, printed on cream wove paper. A rich impression with plate tone. $175.
Promenade (World's Fair, Chicago). 1897. Not in the Jaques checklist. 5 7/8 x 9 7/8 (sheet 10 11/16 x 17). A fine impression printed in sepia ink with plate tone. Printed on off-white laid paper with full margins. $300.
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The Mail Boat, Venezuela. 1931. Drypoint. 7 3/4 x 9 7/8 (sheet 12 x 14 1/4). Edition 100. A rich impression, with plate tone, printed on off-white paper with a partial 'tweed' watermark. Signed in pencil. $275.
Off Hatteras. 1932. Drypoint. 7 3/4 x 9 3/4 (sheet 10 x 12). Edition 100. A very rich impression, with plate tone, printed on off-white wove paper. Signed in pencil. $375.
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Gifts of the Magi. c. 1936. Linocut. 4 1/2 x 4 1/2 (sheet 9 3/16 x 6 3/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
Gloria. c. 1936. Linocut. 4 1/2 x 4 1/2 (sheet 9 3/16 x 6 3/8). A strong impression printed on hand-made paper. Engraved by the artist on the block. Signed in pencil. $125.
Virgin and Child. 1936. Linocut. 5 1/2 x 2(sheet 8 7/16 x 3 3/4). A strong impression printed on hand-made paper. Monogrammed and dated in pencil. $125.
Virgin and Child with Sheep. c. 1936. Linocut. 5 3/4 x 4 5/16 (sheet 9 x 6). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
A Bend in the Road. c. 1934. Linocut. 4 1/2 x 4 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed and dedicated "my grateful appreciation of Carl Fro Kallog and all his family" in pencil. $125.
[Winter Storm]. c. 1934. Linocut. 3 13/16 x 3 1/8 (sheet 7 x 4 7/8). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed in pencil. $125.
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Dirty Deborah. 1933. Lithograph. Burne-Jones 96. 8 7/8 x 6 5/8. Edition 150. Signed in pencil. $1,250.
Sea and Sky. 1931. Wood engraving. Burne-Jones 85. 10 x 6 7/16 (sheet 13 5/8 x 10 1/4). Edition 150. A fine impression on white wove paper with wide margins. One of 12 for the American Car and Foundry Company advertising campaign. Illustrated: Fifty Prints, 1932 by the American Institute of Graphic Arts. Signed in pencil by Kent; title in another hand. $2,750.
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Mighty Metropolis (as seen from the Staten Island Ferry). 1930. Etching. 9 3/8 x 13. Edition 30. A fine impression printed with plate tone and atmospheric wiping to suggest clouds. Signed in pencil. Elegantly framed. $1,950.
Spires of Manhattan. c. 1930. Etching. 9 3/8 x 12 3/4. A fine impression printed with plate tone and atmospheric wiping to suggest clouds. Signed in pencil. Elegantly framed. $1,950.
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Cologne Street. c. 1927. Woodcut. 5 1/4 x 3 1/16 (sheet 8 3/16 x 5 1/2). Printed on tan wove paper. Signed and titled in pencil. $175.
Elm Tree in Aurora. 1934. Wood engraving. 8 1/4 x 5 7/8 (sheet 11 7/8 x 8 1/2). Edition 80. First presentation print for The Print Club of Rochester. Printed on Japanese vellum with full margins. Signed and titled in pencil. $175.
Vermont Cottage. c. 1927. Woodcut. 2 9/16 x 4 1/2 (sheet 5 1/4 x 8 7/8). Printed on sturdy laid paper. Signed and titled in pencil. $175.
Whitaker's Road. c. 1934. Woodcut. 3 3/16 x 4 1/2 (sheet 6 x 7 7/8). Printed on cream laid paper with full margins. Signed and titled in pencil. $125.
Composition. 1958. Lithograph printed in colors. 11 3/4 x 8 5/8 (sheet 12 15/16 x 9 7/8). Edition 300, #147. Published by the Galerie de France, 3, Faubourg Saint Honore, Paris, January 1958. Signed and numbered in ink. $175.
Design with Trees and Horse. 1947. Line engraving on copper. 4 15/16 x 7 (sheet 6 7/16 x 8 5/8). Presentation plate for The Print Club of Rochester. A rich impression printed by the artist, on light tan wove paper on the full sheet. Original folder and prospectus. Signed in pencil. $100.
Arch, Midnight. 1930. Drypoint. McCarron 84. 8 1/8 x 11 5/8 (sheet 10 1/4 x 15 1/2). Lifetime edition 100. This is a posthumous impression printed on 'DE 1977' countermarked laid paper, on the full sheet with deckle edges. Signed 'Martin Lewis P.L.' [Patricia Lewis] in pencil. $3,500.
Bay Windows. 1929. Drypoint and sandpaper ground. McCarron 80. 11 3/4 x 7 7/8 (sheet 15 7/8 x 10 3/8). Edition 104. A fine impression printed on white laid paper with a cross watermark, on the full sheet with deckle edges. Signed and annotated "imp" in pencil, indicating a proof printed by the artist himself. $32,500. lewis/
Corner Shadows. 1930. Drypoint and sand ground. McCarron 83. 8 1/4 x 8 3/4 (sheet 11 x 12 3/8). Edition 242 for The Print Club of Cleveland. Printed on 'J.Whatman' cream laid paper. Signed in pencil. $14,500.
Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 7/8 x 12 7/8 (sheet 12 1/2 x 14 1/2). Edition 107. A fine impression printed on cream laid paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. $27,500.
Wet Saturday. 1929. Drypoint. McCarron 81. 10 x 10 3/8 (sheet 13 X 13 7/8). Edition 72 recorded impressions, including 1 trial proof. A fine impression printed on oatmeal-flecked fine paid paper. Signed and annotated "imp" in pencil, indicating a proof printed by the artist himself. Accompanied by a proof from the cancelled plate. $17,500 the pair.
Yorkville Night. 1947. Drypoint. McCarron 140. 8 1/2 x 11 1/2 (sheet 10 15/16 x 14 11/16). 18 recorded impressions, including 1 trial proof. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. An extremely rare image. Signed and annotated "imp" in pencil, indicating a proof printed by the artist himself. $32,500.
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Gaspé Fisherman. 1948. Wood engraving. Boston Public Library 600. 3 x 2 7/16 (sheet 4 15/16 x 3 7/8). Unsigned proof, apart from the edition of 125 for The Miniature Print Society. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. $125.
Lambing: January. 1933. Wood engraving. Boston Public Library 216.ii. 8 x 10 3/8 (sheet 11 1/2 x 12 5/16). Series: The Farmer's Year: A Calendar of English Husbandry (London, Collins. 1933; New York: Longmans Green and Co, 1933.) Edition 100, #20 (from the second lifetime printing c. 1978). Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored wove paper with full margins. Signed, titled and numbered in pencil. $2,000.
The Malt House. 1923. Woodcut. Boston Public Library 1. 7 x 5 (sheet 8 1/2 x 6 ). Edition 50, #2. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. This is the artist's first woodcut. Signed, numbered and titled in pencil. $975.
To the Milking: July. 1933. Wood engraving. Boston Public Library 218.ii. 7 7/8 x 9 13/16 (sheet 11 1/2 14 3/4). Series: The Farmer's Year: A Calendar of English Husbandry (London, Collins. 1933; New York: Longmans Green and Co, 1933.) Edition 100, #42 (from the second lifetime printing c. 1978). Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored wove paper with full margins. Signed, titled and numbered in pencil. $2,000.
Winnowers, Majorca. 1939. Wood engraving. Boston Public Library 424. 6 x 7 5/8 (sheet 7 1/2 x 11). Edition 200, #111. Presentation print for The Woodcut Society. Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. $950.
Composition. 1958. Lithograph printed in colors. 11 3/4 x 8 5/8 (sheet 12 15/16 x 9 7/8). Edition 300, #147. Published by the Galerie de France, 3, Faubourg Saint Honore, Paris, January 1958. Signed and numbered in ink. $125.
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The Empire State Building. 1930. Etching. 19 x 8 (sheet 21 5/8 x 11 9/16). A rich, well-inked impression printed on cream wove paper with full margins. Signed and dated in pencil. $2,500.
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Italy
Italian Staircase. 1971. Etching. Embury 151. 5 1/2 x 4 (sheet 7 1/16 x 5 1/4). No published edition; created as a Christmas card. A fine impression in pristine condition printed on white wove paper. Signed and dedicated 'To the Allens Merry Christmas' in pencil. $175.
Lombard Street. 1942. Etching. Embury 78. 7 15/16 x 5 7/8 (sheet 16 13/16 x 12 9/16). Edition 75 for the Associated American Artists. A rich impression with plate tone in pristine condition, printed on cream wove paper. Illustrated: Print Collector's Quarterly 25 (1938) 494. Provenance: the artist. Signed in pencil. $225.
Shadows in Lombardy. 1978. Etching. Embury 163. 8 1/2 x 6 3/8 (sheet 13 x 9 15/16). Edition 100 for the Associated American Artists. A rich impression in pristine condition printed on the full sheet of cream wove paper. Provenance: the artist. Signed and numbered '57/100' in pencil. $200.
Stones and Shadows. 1956. Etching. Embury 127. 10 7/8 x 7 1/4 (sheet 15 15/16 x 12). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on cream wove paper. Provenance: the artist. Signed, dated, titled and annotated 'rare' in pencil. $225.
Vermont
Beyond the Elm. 1943. Etching. Embury 84. 7 1/2 x 12 3/4 (sheet 13 1/8 x 12 3/4). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of cream wove paper. Provenance: the artist. Awarded a prize by the Brooklyn Society of Etchers in 1944. Signed, dated, titled and annotated 'Awarded Prized - 1944' in pencil. $300.
The Big Willow. 1946. Etching. Embury 96. 10 1/8 x 13 5/8 (sheet 16 7/8 x 13 1/4). Edition 250 for Associated American Artists. A rich impression in sepia ink on cream wove paper. Provenance: the artist. Signed in pencil. $325.
Birches Over Pine. 1967. Etching. Embury 149. 10 5/8 x 8 1/16 (sheet 17 9/16 x 12 11/16). Edition 250 for Associated American Artists. A rich impression in pristine condition on cream wove paper. Provenance: the artist. Signed in pencil. $275.
The Edge of the Birches. 1951. Etching. Embury 117. 9 1/4 x 12 1/4 (sheet 13 1/8 x 15 3/4). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of cream wove paper. Provenance: the artist. Signed and dated in pencil. $300.
Elms By the Lake. 1937. Etching. Embury 58. 7 3/4 x 10 7/8 (sheet 12 7/8 x 15 14/16). Edition 152 for Associated American Artists. A fine impression in pristine condition, printed with plate tone on cream wove paper. Provenance: the artist. Signed, dated and titled in pencil. $300.
Enveloping Shadows. 1965. Etching. Embury 145. 11 1/8 x 8 1/8 (sheet ). Edition 250 for Associated American Artists. A rich impression in pristine condition printed on the full sheet of cream wove paper. Provenance: the artist. Signed and dated in pencil. $250.
Hovering Trees. 1947. Etching. Embury 152. 7 3/4 x 10 1/2 (sheeet 12 x 15 9/16). Edition 250 for Associated American Artists. A fine impression in pristine condition printed on cream-colored wove paper. Signed and numbered 22/250 in pencil. $275.
Late Shadows. 1944. Etching. Embury 91. 8 3/4 x 13 1/4 (sheet 13 3/16 x 16 7/8). Edition 250 for Associated American Artists. Printed on the full sheet of cream wove paper. Provenance: the artist. Signed, titled, dated and annotated 'rare' in pencil. $325.
The Mill. 1932. Etching. Embury 46. 6 5/8 x 8 7/8 (sheet 9 1/2 x 12 7/16). Edition 163 for Associated American Artists. Printed in black ink on cream wove paper. Mat line; otherwise in fine condition . Signed in pencil. $250.
On the Road. 1952. Etching. Embury 119. 9 1/4 x 11 3/8 (sheet 12 1/2 x 16 3/8). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of cream wove paper. Provenance: the artist. Signed, dated, titled and annotated 'rare' in pencil. $225.
Rhythm in White. 1962. Etching. Embury 139. 8 1/2 x 12 (sheet 16 15/16 x 12 15/16). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of cream wove paper. Provenance: the artist. Signed, dated, titled and annotated '$45.00 Very Rare Original Etching by Luigi Lucioni' in pencil. $275.
Route 7. 1946. Etching. Embury 96. 8 3/4 x 11 3/4 (sheet 12 x 15 7/8). Edition 250 for Associated American Artists. A rich impression printed on white wove paper with full margins. Signed in pencil. $325.
Shadow and Substance. 1943. Etching. Embury 85. 7 3/4 x 9/8 (sheeet 12 x 16). Edition 250 for Associated American Artists. A fine impression in pristine condition printed on cream-colored wove paper. Signed and dated in pencil. $275.
Shadows Slanting. 1972. Etching (Christmas card). Embury 153. 5 1/8 x 3 3/4 (sheet 6 7/8 x 5 1/8). Edition 50 for Associated American Artists. A fine impression of this very rare etching, created as a Christmas card. Signed, dated and annotated 'Merry Christmas' in pencil. $175.
Through the Birches. 1971-72. Etching. Embury 154. 8 1/2 x 9 7/8 (sheet 13 1/4 x 16 3/4). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of cream wove paper. Provenance: the artist. Signed, dated, titled and annotated 'Limited edition' in pencil. $275.
Tree Portraits. 1969. Etching. Embury 150. 10 1/2 x 7 3/4 (sheet 16 3/4 x 13). Edition 250 for Associated American Artists. A rich impression in pristine condition, printed on the full sheet of white wove paper. Provenance: the artist. Signed, dated and titled in pencil. $275.
Tree Rhythm. 1953. Etching. Embury 99. 11 5/8 x 9 3/4 (sheet size 15 7/8 x 13 inches). Edition 250 for Associated American Artists. A fine impression in pristine condition printed on cream-colored wove paper. Provenance: the artist. Signed and dated in pencil. $275.
White Arabesque. 1952. Etching. Embury 120. 11 5/8 x 10 1/4 (sheet 15 1/4 x 13). Edition 250 for Associated American Artists. A fine impression in pristine condition printed on the full sheet of cream wove paper. Provenance: the artist. Signed and dated in pencil. $275.
White Sentinels. 1976. Etching. Embury 161. 9 1/4 x 8 1/2 (sheet 14 7/8 x 12 1/8). Edition 250 for Associated American Artists in 1977. A rich impression in pristine condition printed on the full sheet of cream wove paper. Provenance: the artist. Signed, dated and annotated in pencil. $275.
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Treviso Waters. 1922. Etching printed in black and grey-green. Bruette 203. 10 3/16 x 1 2 9/16 (sheet 11 1/8 x 13 9/16). Illustrated: Print Collector's Quarterly 6 (1916): 123. A rich impression with tonal wiping, printed on cream laid paper. Signed in pencil. $975.
Venetian Noontide. 1912. Etching. Bruette 187. 9 11/16 x 11 5/8 (sheet 10 x 12 1/4). A rich impression with tonal wiping, printed on cream laid paper. Signed in pencil. Illustrated: Print Collector's Quarterly 6 (1916): 115. $975.
Silent Night. 1945. Etching with drypoint and aquatint. 8 5/8 x 11 13/16 (sheet 12 x 15). A rich impression with plate tone, printed on cream wove paper with full margins. Commissioned by W.C. Hamilton and Sons, paper manufacturers in Miquon, PA, as a Christmas Greeting. Signed and titled in pencil. $550.
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Incalculable Forces. c.1936. Etching and aquatint. 14 x 8 1/4 (sheet 16 3/8 x 10 3/8). Edition 100, #18. A richly-inked impression on pale cream-colored paper watermarked. Pristine condition. Signed,annotated "S.A.E." [Society of American Etchers], titled and numbered in pencil. A dramatic view of the Manhattan Skyline with the Empire State building seen from the Brooklyn Bridge. $9,000.
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Beach Picnic. July 11, 1939. Engraving. Sasowsky 182.iii. 5 x 7 (sheet 7 1/2 x 10). Edition 20. Printed on china paper affixed to a sturdy white wove support sheet. A rich impression of this very rare image. Signed in pencil. $3,500.
The Bowery. 1928. Lithograph. Sasowsky 16. 8 1/4 x 11 3/4 (sheet 11 13/16 x 14 3/8 at the top and 15 5/8 at the bottom of the sheet. Irregularly trimmed). Edition 31 according to Marsh's notebook; however, the lithograph is annotated "30 proofs" in Marsh's hand. An excellent impression on china paper affixed to a sturdy white wove support sheet. Signed and annotated in pencil. $7,500.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.
Gaiety Burlesk. April 20, 1930. Etching. Sasowsky 102.vii. 11 3/4 x 9 3/4 (sheet 15 9/16 x 13 1/8). Proof before the posthumous edition of 100 for the Whitney Museum (there were about 39 lifetime impressions). Printed on white wove paper with full margins. With the 'WM' (Whitney Museum) blindstamp, lower right. This is one of Marsh's most important images. $1,000.
In the Space. 1944. Wood engraving. 6 7/8 x 7 13/16 (sheet 9 1/4 x 12 1/8). Edition 200. Presentation print #26 for The Woodcut Society, Alexandria, Virginia. Signed and numbered in pencil. A fine, well-inked proof with full margins, printed on pale cream-colored Japanese mulberry paper. Pristine condition in its original presentation portfolio. $375.
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Bather (Nude Bather, Seated, Facing Window). 1925. Lithograph. Flint 7. 14 1/8 x 10 3/4 (sheet 18 9/16 x 12 3/8). Very few impressions; no published edition. Fine impression apart from vertical uneven printing line. Printed on cream wove paper,with wide margins and a deckle edge on one side. Unsigned. Exhibited: Whitney Museum of American Art, December 18, 1979 - February 24, 1980, and at the National Museum of American Art, November 21, 1980 - December 12, 1980. This is a rare image, probably a proof impression. $1,500.
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Santa Maria della Salute, Venice. 1886. Etching. 11 3/4 x 17 3/4 (sheet 18 3/4 x 25). A rich impression printed ikn warm brown ink on chine laid onto white wove paper. Etched remarque, lower right. Signed in pencil, lower left. $2,750.
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Ericsson's Day, No. 1. 1914. Etching. 6 x 9 (sheet 7 3/8 x 11). Printed on cream wove paper on the full sheet with deckle edges. Proof with subtle plate tone in sepia ink, printed by the artist. 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. $1,750 the pair.
[Eastern Scene]. 1926. Woodcut. 12 1/2 x 8 1/2(sheet 17 x 10 1/2). Edition 50, #5. A well-inked impression printed on Japanese mulberry paper. Miller's address stamp 'B. Miller 131 E. Third Street Cincinnati, O', verso. Signed, dated and numbered in pencil. $125.
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An Apple Orchard, Easthampton, L.I. (Mulford's Orchard, East Hampton, Sept. 21st, 1883). 1883. Etching. Klackner 36, Gilcrease 45. 11 5/8 x 17 1/2 (sheet 14 3/8 x 21 15/16). A rich impression printed on chine mounted on simili-Japon. Signed, titled (written in reverse) and dated in the plate; also signed in pencil. Klackner quotes Moran, "Etched directly from nature. A close study of the peculiarly distorted and picturesque forms of fruit trees warped by the sea winds." Original carved wood frame. $4,000.
Click on the titles for images.
Barns and Wooded Hillside. 1939. Chiauroscuro wood engraving (two blocks, black and grey). Comstock-Fletcher 288. 3 13/4 x 4 5/8. Published in the The Colophon, 1939. Unsigned. A fine impression on Japanese mulberry paper. Deaccession of the Haverhill Public Library, with their blindstamp in the margin $45.
Bucks County Farmhouse [Pennsylvania]. 1937. Wood engraving. Boston Public Library 220. 3 5/8 x 6 1/2(sheet 8 x 9). 3 13/4 x 4 5/8. Edition 10 by the artist and 400 by the Pynson Printers for Elmer Adler. A Fine impression printed on cream wove paper. Signed in the block. $200.
Connecticut Pastoral. Wood engraving. Comstock-Fletcher 198. 3 1/4 x 4 1/4. Published in the Colophon, 1936. Signed in the block. $45.
The First House, Plimouth Plantation. 1955. Wood engraving. Boston Public Library 528. 5 3/4 X 7 7/8 (sheet 9 1/16 x 13 1/4). First edition of 50; second edition of 50. Commission for Plimoth Plantation. A fine impression printed on fine cream wove paper with full margins. Signed in pencil. $250.
Haddam Farm. 1936. Line engraving on copper. Boston Public Library 199. 3 7/8 x 4 7/8 (sheet 7 3/4 x 10 5/16). Edition of 90 for The Print Club of Rochester. A fine impression printed on cream laid paper, on the full sheet with
Spring Trees. 1938. Wood engraving. Boston Public Library 265. 5 1/2 x 3 3/8 (sheet 5 13/16 x 5). Illustration for Henry David Thoreau, Walden issued by the The Heritage Club. No edition; a few proofs only. A fine impression on tissue paper. Signed in pencil. $200.
Upland Pastures. 1933. Wood engraving. Boston Public Library 151. 3 1/2 x 7 1/2 (sheet 6 5/8 x 10). Edition of 200, #111 for the Woodcut Society. Signed and numbered in pencil. A fine impression printed on off-white wove paper. Full margins. Original presentation folder from The Woodcut Society. $375.
The Yellow Violet. 1947. Wood engraving. Boston Public Library 398. 2 7/8 x 4 (sheet 5 7/8 x 8 7/8). Illustration for Poems of WIlliam Cullen Bryant issued by the Limited Editions Club and The Heritage Press, 1947. A fine impression on tan wove paper. Unsigned. $150.
Boston
Louisberg Square. 1930. Wood engraving. Boston Public Library 119 6 7/8 x 7 7/8(sheet 11 1/8 x 10 3/8). Edition 70, #24. A fine impression, printed on Japanese mulberry paper. Excellent condition. Signed, titled and numbered in pencil. $850.
Cambridge and England: Harvard University
Fogg Museum Courtyard[Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 452. 1 1/4 X 2 1/2 (sheet 4 3/4 x 6 1/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Printed on cream wove paper. Unsigned. $200.
John Harvard's Chapel, Southwark Cathedral [Borough of Southwark, London, England] 1948. Wood engravng. Boston Public Library 434. 3 1/8 X 2 3/8 (sheet 7 11/16 x 4 7/8). No edition; few proofs only. Printed on fine wove paper. Unsigned. $150. John Harvard's Chapel, Southwark Cathedral [Borough of Southwark, London, England]
Harvard Hall [Harvard University, Cambridge, Massachusetts]. 1944. Wood engraving. Boston Public Library 369 3 1/4 X 2 5/8 (sheet 6 1/16 x 5). Edition 20. A fine impression, printed on cream wove paper. Excellent condition. Unsigned. $200.
Hollis Hall [Harvard University, Cambridge, Massachusetts]. 1944. Wood engravng. Boston Public Library 439. 3 1/8 X 4 3/4 (sheet 5 3/8 x 7 11/16). No edition; few proofs only A fine impression, printed on fine wove paper on the full sheet with deckle edges. Excellent condition. Unsigned. $200.
Laboratory Interior [Harvard University, Cambridge, Massachusetts]. 1949. Wood engraving. Boston Public Library 457. 2 7/16 X 2 3/8 (sheet 6 1/8 x 4 5/8. No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. A fine impression, printed on 'bourne deckle edge ' countermarked paper. Unsigned. $100.
Littauer Center Staircase[Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 450. 1 1/8 X 2 1/4 (sheet 5 x 6 1/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Printed on cream wove paper. Unsigned. $150.
Lowell House Tower [Harvard University, Cambridge, Massachusetts]. 1949. Wood engravng. Boston Public Library 449. 4 3/4 X 2 13/16 (sheet 6 1/4 x 4 3/4). No edition; few proofs only. Commissioned to illustrate the book Education, Bricks, Mortar published by Harvard in 1949. Unsigned. $200.
Stoughton Hall [Harvard University, Cambridge, Massachusetts]. 1948. Wood engravng. Boston Public Library 426. 3 3/4 X 4 7/8 (sheet 5 5/8 x 8 1/2. No edition; few proofs only. A fine impression, printed on cream wove paper. Slight residual inking, lower right; otherwise excellent condition. Unsigned. $225.
Click on the titles for images.
Landscapes
Florida Pines. c. 1932. Etching. 4 x 4 3/4 (sheet 8 x 8 7/8). A rich impression with plate tone, printed on cream wove paper. Signed and titled in pencil. $175.
Idylle. c. 1935. Drypoint. 7 15/16 x 8 7/8 (sheet 12 x 14 1/4). Edition 12. A rich impression with plate tone printed on Japanese vellum. Signed, titled and annotated 'Ed. 12' in pencil. $150.
[Kent Hills, CT]. c. 1930. Soft ground etching. 4 x 4 3/4 (sheet 9 1/4 x 11 3/8). Printed on cream laid paper. Signed in pencil. $75.
Sky and Lake, St. Cloud. 1940. Etching. 4 x 5 (sheet 7 1/4 x 8 1/4). Printed on cream wove paper. Signed, titled and annotated '$12' in pencil. $75.
[Sunrise]. c. 1930. Etching and drypoint. 7 7/8 x 10 (sheet 11 1/2 x 12 5/8). A rich impression with drypoint burr, printed on antique laid paper with deckle edges. There are three separate sets of pencil squiggles and lines in the left margin, outside of the image. Signed in pencil. $175.
Under the Apple Tree. Etching. 7 7/8 x 9 15/16 (sheet 10 3/16 x 13). A rich impression printed on simili-Japan paper with one side deckle edge. Signed in pencil. $125.
Waugh's House. c. 1937. Drypoint. 7 15/16 x 9 7/8 (sheet 11 1/2 x 13 3/4). Edition 100, #1. A rich impression printed on cream wove 'France' watermarked paper. Signed, titled and numbered in pencil. $175.
Wood Interior. [Small plate]. Soft ground etching. 5 x 6 7/8 (sheet 8 x 11 1/2). Printed on cream laid paper. Signed, titled, and annoated 'No. 45' and '120' in pencil. $75.
Wood Interior. [Large plate]. 1923. Etching and drypoint. Edition 80, #24. 11 x 14 (sheet 14 x 17 1/4). Printed on simili-Japan paper. Signed, titled, numbered and annotated '$30' in pencil. $200.
[Woodland Interior # 4]. 1930. Etching. Miniature print. 2 1/2 x 3 1/2 (sheet 4 5/8 x 5 1/2). Printed in sepia ink on cream wove paper. Signed in pencil. $75.
Riverscapes
[Along the Riverbank]. 1930. Etching and drypoint. 8 x 10 (sheet 10 3/4 x 14 5/8). A rich impression with plate tone, printed on cream wove paper. Signed, numbered and annotated '$18' and '1st imp N' in pencil, indicating the first impression printed by the artist. $150.
[Bather]. 1940. Etching and drypoint. Printed on cream wove paper. Signed in pencil. $75.
The Hurrying River. 1925. Drypoint. 6 7/8 x 9 (sheet 11 x 14 7/16). Awarded the Bryan Prize for the Best American Print, 6th International Print Makers Exhibition, Los Angeles, 1926. Printed on cream wove paper. Signed, titled and annotated 'drypoint', '$25', 'plate #1' and 'So KENT CONN' in pencil. $175.
Lane's Falls. 1930. Etching. Nisbet 39. 6 7/8 x 5 (sheet 12 1/2 x 9 3/4). Printed with plate tone on white wove paper with deckle edges. Signed, titled, numbered and annotated '$15' in pencil. $75.
Rushing Waters. 1940. Etching. 4 x 5 (sheet 5 13/16 x 6 1/2). Printed with plate tone on cream wove paper. Signed, titled and annotated '$10' and '98' in pencil. $75.
Rushing Waters No. 2. 1940. Etching and drypoint. Miniature print. 2 1/2 x 3 7/16 (sheet 4 1/2 x 6 5/8). Printed with plate tone on cream wove paper. Initialed and annotated 'null' in pencil. $95.
The South Wind. 1935. Drypoint. 8 x 10 (sheet 10 1/2 14 3/4). Illustrated: Fine Prints of the Year, 1935. A rich imprssion with drypoint burr. Printed with plate tone on simili Japan paper. There is light foxing in the margins, outside the image. Signed and titled in pencil. $175.
[Summer Day]. 1930. Etching. Nisbet 60. 7 7/8 x 9 3/4 (sheet 11 1/8 x 13). A rich impression with plate tone printed on cream wove paper with two sides deckle edges. Signed and numbered in pencil. $175.
Surprised. c. 1934. Drypoint. 7 7/8 x 9 3/4. A rich impression with drypoint burr, printed on cream wove paper with deckle edges. Shows a fly fisherman and a nude bather in a stream. There is some foxing in both lower corners, outside the image. Signed, titled, and annotated '$200' and 5A' in pencil. $175.
Seascapes
Bowe's Rocks No. 1, South Portland, ME. 1935. Etching and drypoint. 4 x 5 (sheet 7 1/16 x 8 9/16). Printed on cream wove paper. Signed, titled and annotated '1st imp' in pencil. $75.
[Bowe's Rocks No. 2]. 1930. Etching. 4 x 5 (sheet 7 1/16 x 8 9/16). Printed on cream wove paper. Signed and annotated '1st proof' and '1' in pencil. $75.
Cliffs. c. 1935. Etching. 6 7/8 x 9 (sheet 10 1/2 x 13 1/4). Printed with plate tone on cream wove paper. Signed, titled, numbered and annotated '$15' in pencil. $100.
Ledge at Harrings. Etching. 4 x 5 (sheet 9 1/2 x 12 5/8). Printed on cream wove 'Van Gelder Zonen Holland' watermarked paper with deckle edges. There are tack holes along the margins from drying. Signed, titled, numbered and annotated '$12' in pencil. $75.
Maine Coast No. 1. c. 1940. Etching. 4 x 4 3/4 (sheet 9 1/4 x 11 3/8). Printed on cream wove paper. Signed, titled and annotated'$12' and '13' in pencil. $75.
Maine Coast No. 2. c. 1940. Drypoint. 4 x 4 15/16 (sheet 6 1/16 x 8 1/2). Printed with plate tone on cream wove paper. Signed in pencil. $75.
[Maine Coast No. 3]. c. 1940. Etching. 1 5/8 x 3 1/8 (sheet 6 3/8 x 8 1/8). Printed on cream wove paper. Signed and annotated '1st try' in pencil. $95.
[Maine Coast No. 4]. c. 1940. Drypoint. Miniature print. 2 7/16 x 3 3/8 (sheet 4 7/8 x 5 15/16). Printed on cream wove paper. Signed in pencil. $95.
Provincetown. c. 1933. Etching-early state. 7 7/8 x 9 3/4. Printed on antique laid paper. Tack holes in the margins from drying. Signed, titles and annotated '33' in pencil. $175.
South Portland [Maine]. 1940. Etching and drypoint. Miniature print. 1 11/16 x 3 1/8 (sheet 7 1/2 x 9 1/8). Printed on cream wove paper. Signed, titled and annotated '$12' and 'No. 972' in pencil. $95.
Click on the title for an image.
London Bridge. 1884-5. Etching. Parrish 109. 12 x 18 3/4 (sheet 21 5/8 x 15 7/8).h A rich impression with plate tone printed on Japanese vellum. Signed, titled and, dated in the plate; signed in pencil. Parrish records that he sold 44 proofs between 1886-88. The listed price ws $15 each. $2,750.
Click on the title for an image.
Three Pines. 1927. Etching. White 125. 6 7/8 x 9 3/4. Edition 96 (20 destroyed). A fine impression in excellent condition printed on cream wove paper with full margins. Signed in pencil. $375.
New York
The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 3/4 x 17 1/4). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed and annotated 'imp' in pencil. $850.
The East River from the Brooklyn Waterfront. Watercolor on grey paper. 10 x 12. Signed, upper right. $3,500.
The Elevated. 1921. Etching. Wuerth 789. 9 7/8 x 6 7/8 (sheet 13 3/8 x 9 3/8). Edition probably 50. A richly inked inpression printed by the artist on the full sheet of laid paper from an antique volume. Signed and annotated 'imp' in pencil. $775.
Madison Avenue. 1923. Etching. Wuerth 11. 12 x 9 1/8. Edition probably 50. Illustrated: Bryant, Joseph Pennell's New York Etchings. Signed in pencil. $850.
Montague Terrace, Children Skating. 1924. Etching. Wuerth 832. 8 x 9 7/8 (sheet 8 1/2 x 13). Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. Printed on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $500.
Mystery of the Mist. 1910. Lithograph. W 178. 17 3/8 x 11 1/4 (sheet 20 3/4 x 14). Edition 25. Niagara Falls series. A fine impression on the full sheet of watermarked laid paper, printed by the artist. Signed in pencil. $750.
Nassau Street. 1904. Lithograph. W 158.10 11/16 x 6 1/4. New York series. Commission for the Society of Iconophiles. Signed in pencil. $350.
New York, from Brooklyn. 1915. Etching. Wuerth 671. 7 3/8 x 11 3/4 (sheet 9 3/8 x 14). Edition probably 80. A rich impression with plate tone, printed by the artist on simili-Japan paper. Signed and annotated 'imp' in pencil. $1,750.
An Orgy of Building. 1923. Etching. Wuerth 808. 12 1/4 x 9 1/4 (sheet 16 1/2 x 10 3/8). Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $750.
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. $775.
The Stock Exchange. 1904. Etching. Wuerth 331. 12 x 7 (sheet 14 7/16 x 10 5/16). Edition 90. A dark,rich, tonal impression printed on tissue paper mounted on Japan paper. Signed in pencil. $750.
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.
Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 10 x 12 1/16). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on simili-Japan paper. Pennell used black-brown ink to suggest the tones of evening. Signed and annotated 'imp' in pencil. $2,000.
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. $850.
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.
The Woolworth Building. 1915. Etching. Wuerth 675. 11 7/8 x 7 3/8 (sheet 15 x 9 1/4). Edition about 100. A rich, tonal impression printed on antique laid paper from an old volume. The inking and wiping suggest a misty morning. Signed in pencil. $975.
Pennsylvania
The Alleyway, Philadelphia. 1884. Etching. Wuerth 91. 5 1/4 x 5 1/2 (sheet 7 1/4 x 7 3/4). No edition. Printed on fine laid paper. An rare early Pennell etching that shows the influence of Whistler's Venice series. Signed and annotated 'imp' in pencil. $350.
Pennsylvania Railroad Station, Philadelphia. 1919. Etching. Wuerth 713. 11 3/4 x 8 (sheet 13 1/2 x 9 1/4). Railroad series. Edition probably 50. Railroad series. A carefully-wiped impression printed on fine pale blue-grey wove paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $1,250.
Sogno Mio, No. II. 1920. Etching. Wuerth 761. 10 x 11 7/8 (sheet 12 1/4 x 15 7/8). No published edition. Private plate, etched for John F. Braun, Esq., Merion, Pennsylvania. A very rich impression, printed in sepia ink on heavy cream wove paper with wide margins. Signed in pencil. A rare proof of this elegant Italianate home. Signed in pencil. $550.
Steam and Power, Pennsylvania Station, Philadelphia. 1919. Etching. Wuerth 705. 10 x 11 3/4 (sheet 10 5/8 x 13 1/8). Edition probably 75. Railroad series. A carefully-wiped impression printed on fine off-white laid paper from an antique volume. Printed by the artist. Signed in pencil. $5,000.
The Trains that Come, and the Trains that Go, Pennsylvania Railroad, Philadelphia. 1919. Etching. Wuerth 712. 10 x 11 1/6 (sheet 10 5/8 x 13 3/4). Railroad series. Edition probably 75. A carefully-wiped impression printed on fine off-white laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $5,500.
Missouri
St. Louis by the Mississippi. 1919. Lithograph. 19 3/4 x 17 1/4 (sheet 24 1/2 x 18 1/2). Edition c. 25. Printed on the full sheet of 'Ingres' laid paper,A fine impression pulled by the artist. Signed in pencil. $550.
South America: The Panama Canal
This is Pennell's most famous lithographic series. In January of 1912, Pennell went to the Isthmus of Panama to draw the work on the canal for Century Magazine and London Illustrated News. There were 28 large lithographs in the series (issued in an edition of 50. (There were also etchings). Pennell published the series in his book Joseph Pennell's Pictures of the Panama Canal (Philadelphia: Lippincott, 1912). Four of the most famous and striking works are those below:
At the Bottom of Gatun Lock. 1912. Lithograph. Wuerth 228. 17 x 22 1/4 (sheet 18 5/16 x 25). Panama Canal series #4. Edition 50. A rich, well-inked printing on 'Fabriano (Italy)' countermarked laid paper, on the full sheet with deckle edges. Signed and titled in pencil. $1,500
The Cut from Culebra. 1912. Lithograph. Wuerth 228. 22 1/4 x 16 7/8 (sheet 25 7/8 x 20 7/8). Panama Canal series #13. Edition 50. A rich, well-inked printing on 'Fabriano (Italy)' countermarked laid paper, on the full sheet with deckle edges. $1,000.
Pennell wrote, 'At this point the cut is far the deepest at the continental divide, and here the French did their greatest work, and here this is recorded by the United States on a placque high up on the left-hand bare mountain face of Gold Hill. The drawing was made looking towards Pedro Miguel.
Dinner Time, Gatun Lock. 1912. Lithograph. Wuerth 227. 22 x 16 7/8 (sheet 25 7/8 x 20 7/8). Panama Canal series #3. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Unobtrusive repaired small puncture. Illustrated: Beall, American Prints in the Library of Congress, page 349. Signed in pencil. $3,500
Pennell wrote of the work, "Between Mount Hope and Gatun is much more of the swamp and much more abandoned machinery, but the Canal is not to be seen from the railroad, or any evidence of it, till the train stops at the station of Old Gatun, with its workmen's dwellings crowning the hillside. I regret I made no drawing of these, so picturesquely perched. At the statio of Gatun -- the first time I stopped -- I saw the workmen -- indecorative fashion -- coming to the surface for dinner. The lithograph was made from a temporary bridge spanning the locks and looking toward Colon. The great machines on each side of the locks are for mixing and carrying to their place, in huge buckets, the cement and concrete, of which the locks are built. The French Canal is in the extreme distance, now used by our engineers."
End of the Day - Gatun Lock. 1912. Lithograph. Wuerth 234. 16 15/15 x 22 1/4 (sheet 18 15/16 x 25). Panama Canal series #7. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Unobtrusive repaired small puncture that Brigitte repaired and neither of us could find because she did such a good job. Illustrated: Beall, American Prints in the Library of Congress, page 352. Signed in pencil. $3,000
Pennell describes the image, "This was another subject I saw as the men stopped work in the evening. On the left is the stairway which most of them use, and on both sides are iron ladders which a few climb. The semicircular openings are for mooring the ships."
United Kingdom: London
The Admiralry. 1903. Etching. Wuerth 266. 11 x 8 (sheet 14 1/2 x 9 5/8). Edition probably 50. Pennell printed this rich impression with dramatic tonal wiping, printed on antique cream laid paper. Signed and annotated 'imp' in pencil. $350.
Albert Hall. 1903. Etching. Wuerth 267.ii. 3 3/8 x 5 1/2 (sheet 6 3/8 x 9 3/8). A rare working proof with the figures added in pencil. Four printing folds, the artist's fingerprints in the margins. Printed on off-white laid paper by the artist. Signed, titled and annotated 'imp' in pencil. $375.
The Barber Shop. 1905. Etching. W 392. 10 7/8 x 8 9/16 (sheet 14 3/8 x 10 3/4). Edition probably 25. Printed on cream wove paper. Signed in pencil. Annotation on verso, in Pennell's hand, "Cote (report of imp. lithos)." Doodles on the front in the same crayon, probably by Pennell. A charming, Whistleresque image. Printed by Pennell. Signed in pencil. $450.
Cab Stand, Street in Bloomsbury. 1893. Etching. Wuerth 158. 6 5/8 x 9 5/8 (sheet 8 x 10 1/8). A rich, tonal impression printed on Japanese mulberry paper. A charming, and exceptionally rare image. Signed, titled and annotated 'cab/stand 3 printed (destroyed)' in pencil. $1,250.
Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably from an old volume. Annotated 'Rome' and 'Charing Cross Bridge from my Window' by the artist. A rich dark proof, printed by the artist himself. Signed and annotated 'imp' in pencil. $4,500.
Church of St. Mary-le-Strand [London]. 1906. Etching. Wuerth 421. 6 x 3 5/8 (sheet 8 1/2 x 5 3/4). The plate has been reduced from 10 x 8. THe original etching includes both the Church of St. Mary-Le-Strand and St. Clement Danes. The plate was cut into sections. The image above actually shows the Church of St. Clement Dane's. Pennell had previously etched that Church in the same year (Wuerth 411). Extremely rare proof and example of Pennell's working technique. Printed on simili-Japan paper. Signed and titled in pencil. $175.
The City, Evening. 1909. Mezzotint. Wuerth 506. 10 x 14 7/8 (sheet 10 3/4 x 17 5/16). Printed on cream laid paper from an antique volume, numbered '12' in ink, upper left. Irregular bottom margin. Edition about 50. Magnificent, glowing proof with watercolor additions. Signed, titled 'London out of my window' and 'imp' in pencil, indicating a proof printed by the artist. $4,500.
Dark Day on the Embankment. 1909. Etching and aquatint. Wuerth 507. 9 7/8 x 12 3/4 (sheet 11 1/2 x 17 1/4). Edition probably 40. A rich, tonal impression printed by Pennell on cream laid paper from an antique volume. Signed and annotated 'imp' and 'Shot Tower Misty Morning' in pencil by the artist. $2,500.
Leadenhall Market II. 1903. Etching. Wuerth 254.10 7/8 x 8 3/8 (sheet 12 1/8 x 9 3/4). Faint mat line, otherwise excellent condition. A rich, tonal impression printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $450.
Lion Brewery, from the Embankment. 1903. Etching. Wuerth 237.i/ii before the plate was reduced. 10 1/2 x 8 (sheet 11 3/8 x 8 1/4). Trial proof, apart from the edition of 20 in this state (total edition about 40). An extremely rich tonal impression printed on laid paper from an antique volume. Signed and annotated 'tr proof' in pencil. $1,950.
Park Lane.1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2 (sheet 7 3/4 x 6 1/4).Printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $175.
Primitives: Copying Botticelli. National Gallery (The Two Madonnas).> 1891. Etching. Wuerth 155. 6 7/8 x 4 15/16 (sheet 10 x 6 13/16). Edition probably 35. Sun toning, otherwise fine condition. Signed, titled and dedicated by Pennell in ink, 'To the Mr & Mrs. Blum "The Day before Xmas" in the National Gallery London drawn, etched and printed by Joseph Pennell."' A unique presentation proof for E.C. Blum, the curator of The Brooklyn Museum. $1,250.
Song of the Search Lights (London in War Time). 1920. Resin aquatint. Wuerth 687. 4 x 6 7/8. Printed by the artist on cream wove paper. Signedand annotated 'imp' in pencil. Illustrated: Pennell, Etchers and Etching, 1920. $2,000.
St. Bartholomew's Gate. 1907. Etching. Wuerth 448. 9 3/8 x 8 1/2 (sheet 12 1/2 x 10 7/16). Edition probably 75. A subtle impression with plate tone, printed on cream laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $325.
St. Paul's from Bankside. 1905. Etching. Wuerth 393. 9 3/8 x 12 1/2 (sheet 10 x 14 3/4). Edition c. 50. A rich impression printed on laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $750.
Under Canon St. Station. 1904. Etching. Wuerth 309. 8 1/2 x 11 (sheet 9 7/8 x 14 1/2). Trial proof before the edition of approximately 25. Printed on cream laid paper from an antique volume with the page number '450' in ink in the right-hand margin. Excellent condition apart from a rust spot from iron in the paper, top center, outside the image. Signed and annotated 'imp' and 'trial proof' and titled 'Under Charing Cross' in Pennell's hand. A rich impression of this very rare image, printed by the artist, and especially interesting for the difference in Pennell's and Wuerth's titles. $650.
The Underground Station. 1893. Etching. Wuerth 167. 10 1/8 x 4 1/2 (sheet 12 1/8 x 14 3/4). Series: Easter Set, #17. Trial proof before the edition of 15. Printed on cream laid paper. Signed, dated and annotated 'trial proof' in Pennell's hand. A rich impression of this extremely rare image. $975.
West Door, St.Paul's. 1903. Etching and aquatint. Wuerth 272. 11 x 8 3/4 (sheet 13 3/16 x 10). Edition probably 50. A dark tonal impression with detailed wiping by the artist. Signed and annotated 'imp' in pencil. $750.
Whitehall Court. 1903. Etching. Wuerth 275. 10 1/2 x 8(sheet 12 5/8 x 8 7/8). Edition 12. A rich impression printed on antique blue/green laid paper, probably from France. Printed by the artist. Signed, titled 'Whitehall Court -- with the lights of Charing Cross Bridge' , '12 printed' and annotated 'imp' in pencil. A unique proof with white watercolor highlights in the lights on the bridge and the reflections in the water. $3,500.
Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8. Printed on cream wove paper. A rich impression printed by the artist,with his inky thumbprints along the sheet edges. Signed annotated 'imp' and dedicated 'To Charles Locke' in pencil. $4,500.
Belgium, France and Spain
The Bridge of Alcantara, Toledo. 1904. Etching. Wuerth 322. 10 x 7 7/8 (sheet 12 1/4 x 9 1/8). Edition probably 25 pencil-signed proofs, and an unsigned edition published in 1909 by Gesellschaft fur Vervielfaltigunde Kunst. Plate destroyed.A rich subtle proof on fine laid paper. Signed in pencil. $375.
Rouen from Bon Secours. 1907. Etching. Wuerth 464. 7 7/8 x 12 1/2 (sheet x 15 5/8). Edition probably 90. Printed on aid paper from an antique French journal. A glowing impression, printed by the artist. Signed and annotated 'imp' in pencil. $350.
St. Jacques, Cathedral in the City. 1919. Lithograph. 19 3/4 x 17 1/4 (sheet 24 1/2 x 18 1/2). Edition c. 25. Printed on the full sheet of 'Ingres' laid paper,A fine impression pulled by the artist. Signed in pencil. $550.
The Travellers, Charleroi. 1911. Lithograph. W 202. 22 1/4 x 17 7/8. Edition 24. Belgium series. Signed in pencil. $550.
Italy
The New Bay of Baiae. 1913. Lithograph. W 372. 16 1/2 x 21 5/8. Series: Carrara, the Marble City. Edition 25. First plate issued by the Senefelder Club, London. Collector' seal: Heinrich Stinnes. Signed in pencil. $650.
Rebuilding the Campanile. No II. 1911. Etching. Wuerth 621. 9 5/8 x 12 1/2 (sheet 11 x 15 1/16). Edition probably 50. A fine impression, on cream paper from an antique volume. Printed by the artist. Signed, titled 'Rebuilding the Campanile, Venice' and annotated 'imp' in pencil in pencil. $750.
Siena. 1883. Etching. Wuerth 80. 13 3/4 x 9 1/4 (sheet 16 7/8 x 12 1/2). No published edition. Slight mat line and glue stains in the margins, well outside the image. A unique proof printed on white wove paper with pencil additions in the towers on the right, and etched lines in the sky. Signed in pencil. $450.
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Maine Fisherman. 1937. Lithograph. 9 1/8 x 10 3/4. Edition 150 for The Print Club of Rochester.Printed on hand-made wove paper on the full sheet with deckle edges. Two hinge stains and minor scattered foxing. Original presentation portfolio. Signed in pencil. $175.
Dam at Lyons Plain - Conn. c. 1923. Watercolor. 19 1/2 x 24 3/4. Blindstamp: 'Veritable papier d'Arches Torchon' paper. Signed; lower left, titled verso. $300.
Plain Road is in Weston, CT.
The Docks, Providence. c. 1935. Watercolor. 19 1/2 x 24 3/4. Signed, lower left; annotated 'NFS [not for sale]' verso. $250.
Greenpoint (Greenport), New York. May 30, 1939. Watercolor. 191/2 x 15 3/4. Blindstamp: 'Veritable papier d'Arches Torchon' paper. Dated, titled and numbered 88 in pencil, verso; signed in ink, lower right. $275.
July Day, Providence on Sunday. c. 1935. Watercolor. 19 1/2 x 25 3/4. Blindstamp: 'Veritable papier d'Arches Torchon' paper. Signed, lower left; dated, titled and numbered '2/6' in pencil, verso. $250.
Loading Coal - Scranton. October 7, 1937. Watercolor. 19 1/2 x 24 3/4. Blindstamp: 'Veritable papier d'Arches Torchon' paper. Signed, dated and annotated, lower right; numbered '78' verso. $275.
Mill Interior. c. 1939. Pencil and watercolor. 19 1/2 x 27. Signed in pencil, lower right' monogram stamp, lower left; numbered '86' verso. $275.
Muscatine, Iowa. February 8, 1947. 3:15 to 5:05 PM. Watercolor. 19 5/8 x 25 3/4. Blindstamp: 'Veritable Papier d'Arches Torchon' paper. Monogram stamp, lower left; signed, lower right; dated and titles verso. $275.
Smoke and Steam, New York. c. 1923. Watercolor. 19 1/2 x 25 3/4. Blindstamp: 'Veritable papier d'Arches Torchon' paper. Signed, lower left; numbered '85' verso. $300.
Wood, Iron and Brick, N.Y.. June, 1939. Watercolor. 19 5/8 x 25 7/8. Signed, lower left; dated, titled and numbered '89' verso. $275.
Harvard Hall N.Y.C. 1931. Etching and drypoint. 8 7/8 x 6 1/2 (sheet 13 x 9 7/8). Trial proof of the final state. Edition 100. A rich impression on simili-Japan paper, printed by Charles White, ther master printer. Pristine condition. Light mat toning, otherwise excellent condition. Signed, dated, annotated and titled in pencil. $225.
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Pony Cart. c. 1930. Color woodcut. 10 3/4 x 14 5/8. New York Public Library 29. Edition 20-30. Stamped "New York City W.P.A. Art Project." Signed and titled in pencil. A fine impression of this scarce image. $575.
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Alley Cats. 1933. Etching and drypoint. 8 x 10 3/8. Edition 50. Signed and titled in pencil. Sold with the pencil drawing. Back of the Billiard Hall. Orange, Virginia. November 7, 1931. Ink study for the etching. 7 1/2 x 10 3/4 (sheet 9 7/8 x 14 1/16). Signed, dated and titled in pencil. Drawn on fine off-white laid paper with a sketch of a cat in the right-hand margin. $1,750 the pair.
Fisk Boyd and William Ivins in the Print Room of the Metropolitan Museum of Art. c. 1940. Etching and drypoint. 7 x 10 1/2 (sheet 8 x 12 5/8). A rich impression with drypoint burr, printed on cream wove paper. Signed in pencil. $350.
Burgos, Spain. 1921. Etching. 11 x 9 7/8 (sheet 14 5/16 x 12 5/16). A rich impression with carefully-wiped plate tone printed on cream wove paper with full margins. Signed and annotated '$74. Burgos. Spain. 1921' in pencil. $500.
Grim Florence. 1907. Etching. 9 x 11 1/2 (sheet 11 x 12 3/4). A fine impression with rich tonal wiping, printed on cream laid paper. Signed, titled and annotated 'Firenze 07' in pencil. $675.
The Iron Grill, Venice.> 1913. Etching. 10 3/8 x 7 3/4 (sheet 14 2/4 x 11 13/16). Edition 100. A very rich impression with plate tone, printed on cream laid paper with wide margins. Collector's seal verso: Viola and Remig Papp (not in Lugt). Signed, dated and titled in pencil $750.
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Foundry. 1938. Lithograph printed in colors. 16 x 10 1/4 (sheet 20 3/16 x 14 1/2). Edition 40. Signed and annotated in pencil. A rich impression on white wove paper with full margins. Signed in pencil. $1,950.
The Ginza. c. 1950. Color serigraph. 15 x 21. Edition 30, #26. Affixed to a backing board. "The Ginza" referrs to the Japanese shopping district, much like Manhattan's Fifth Avenue. Signed and numbered in pencil. $175.
Margery Austen Ryerson. American. 1886-1989
Big Sister. c. 1931. Etching and drypoint. 10 x 6 7/8 (sheet 13 9/16 x 10). Edition 35. Illustrated: Fine Prints of the Year, 1931 ; Beall, American Prints in the Library of Congress, p.432. A rich impression with drypoint burr. Printed on the full sheet of cream wove paper. Signed in pencil. $350.
Arch Conspirators. 1917. Etching. Morse 183.ii. 4 1/2 x 6. A rich impression printed on cream laid paper. Signed, titled and annotated '100 proofs' in pencil by Sloan. Accompanied by a hand-written letter from the artist's wife, Helen Farr Sloan, dated May 3, 1965, in which she thanks the recipient, Bob Norris, and writes of the etching, "It shows Sloan at night, Marcel Duchamp standing at left. A Tea Party held on top of Washington Arch -- to promote the Independence of Greenwich Village-- inspired by Wilson's 14 points." $3,500.
Girls Sliding. 1915. Etching. Morse 171.iv. 4 1/4 x 5 7/8 (sheet 8 3/4 x 11 7/8). Signed, titled and annotated "100 proofs" in pencil. Annotated "Peter Platt" in pencil (Platt printed 30 of the total edition of 100). A fine impression on cream wove paper. In 1945, Sloan wrote of the image, "Happy healthy girls putting on a floor show for appreciative bums in Washington Square. There are some battles in these things, but they are pretty well eliminated." $2,250.
Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 7 3/8 x 9 3/8 (sheet 11 5/8 x 13 3/4).Printed on cream wove paper countermarked 'USA', on the full sheet with deckle edges. Signed, title and annotated '100 proofs' in pencil by Sloan. $5,500.
The Show Case. 1905. Etching. Morse 129.iii. 5 x 6 15/16 (sheet 9 3/4 x 12 1/2). Annotated "Peter Platt" in pencil (Platt printed part of the total edition of 100). Series: New York City Life. A fine impression on cream wove paper, printed on the full sheet with deckle edges. Tack holes from drying in the outer margin edges, as usual. Signed, titled and annotated "100 proofs" in pencil. $3,250.
Sun Bathers on the Roof. 1941. Etching. Morse 307. 6 x 7 (sheet 8 3/8" x 10-5/8). Edition 175 for The American College Society of Print Collectors. A rich impression, printed on the full sheet of white laid paper with deckle edges. Signed and titled in pencil. $3,750.
Swinging in the Square (In the Park). 1912. Etching. Morse 156.iii. 4 x 5 1/8 (sheet 8 7/8 x 12 1/4). Edition 100. A rich impression, printed on 'Van Gelder Zonen Holland' laid paper, on the full sheet with deckle edges. Signed, titled and annotated "100 proofs" by Sloan in pencil. Sloan wrote "Walked down to the East Side this safternoon, enjoyed watching the girls swinging in the Square, Avenue A and 8th Street East. " Morse page 181. The scene is Stuyvesant Square in Manhattan. $2,250.
Washington Arch. 1923. Etching. Morse 212.v. 8 x 5 (sheet 10 7/8 x 7 5/8). Signed, titled and annotated "100 proofs" by Sloan in pencil. Annotated "Ernest Roth imp" by Roth. One of 20 proofs printed by him, from the total edition of 100 in this state. There were no editions of previous states, as the etchings were used as Christmas cards. A fine impression on cream laid paper with wide margins. Roth used selective plate tone in the sky to suggest a grey day, and cleanly wiped the snow, leaving plate tone to suggest the shadows of the children playing, lower right. Sloan wrote "A simple and telling design which would have been weakened by a more delicate technical approach" Morse p.237. $3,250.
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Old French Market, Louisiana. c. 1928. Etching. 8 7/8 x 11 3/4 (sheet 11 x 14 1/2). A very rich impression printed on "Fabiano Italy" countermarked paper. Signed in pencil. Annotated in pencil by the artist, "To, Eugene A. Noble. I agree with you that an artist should follow his work to the bitter end and so I hope to do. Have patience." Annotated by a different hand, probably Eugene A. Noble, "E.A. N." "Old French Market LA" "This is the first print from the first plate by E.H. Suydam. $1,750.
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Spring Plowing. c. 1930. Etching. 10 3/4 x 14 7/8 (sheet 13 x 17). Edition 250 for the Associated American Artists. Printed on cream wove paper. c. 1930. Etching. 10 3/4 x 14 7/8 (sheet 13 x 17). Edition 250 for the Associated American Artists. Printed on cream wove paper. Faint mat line and remnants of two hinges and tape on the corners.; otherwise fine condition. A striking impression. Signed in pencil. $175.
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The Box at 'Faustus'. Drypoint. 11 x 8 7/8. Edition 100, #39.A rich impression on pale blue-green paper. Signed in pencil. $450.
Rouen. 1902. Etching. 8 1/2 x 5 1/2 (sheet 8 7/8 x 5 3/4). A rich impression with plate tone printed on cream-colored laid paper.The figures in the archway on the right are reminiscent of Whistler's Venice etchings. Signed in pencil. $375.
The Four Netmenders. 1950. Woodcut. 11 x 8 1/4. Edition 200 for the Woodcut Society. Illustrated: Beall, American Prints in the Library of Congress. Signed and titled in pencil. $450.
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Undercliff. 1948. Wood engraving. 8 x 6 (sheet 12 1/2 x 9 1/4).Edition 200 for The Woodcut Society. A very good impression printed on fine white wove paper. Wrinkling in the margins; otherwise excellent condition. Signed and dated in pencil. Original presentation portfolio. The view of a New York town along the Palisades. $275.
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Sea Neighbors, Eastport, Maine. September, 1931. Lithograph. Stuckey 11. 9 3/4 x 12 5/8. Edition 54. A fine impression printed on the full sheet of white wove paper. $1,250.
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). 4 Signed and annotated 'Ed/40' in pencil. $9,750.
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Canadian Riders. 1930. Drypoint. 10 7/8 x 14 3/8. Trial proof, apart from the edition of 100. A very right impression. $650.
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Etchings and Drypoints.
The 'Adam and Eve', Old Chelsea. 1879. Etching. Kennedy 175.ii. 6 15/16 x 11 7/8 (sheet 7 7/8 x 13). Illustrated: Illustrated: Beall, American Prints in the Library of Congress; Salaman, The Great Painter-Etchers from Rembrandt to Whistler. A rich impression with plate tone, printed on laid paper, probably from an antique volume. Signed with the butterfly in the plate. $3,500.
Annie. 1857. Etching. Kennedy 10. 4 5/8 x 3 1/8 (sheet 6 7/8 x 5 1/4). Series: Twelve Etchings from Nature. Illustrated: Guichard, British Etchers, 1850-1940. A rich impression with tonal wiping, printed on cream laid paper with full margins. Signed "Whistler" in the plate, lower left, and "Imp. Delâtre Rue St. Jacques. 171" lower right. $2,750.
Annie Seated. 1858. Etching and drypoint. Kennedy 30.ii. 5 3/4 x 3 3/4. Illustrated: Beall, American Prints in the Library of Congress; Lumsden, The Art of Etching; Keppel, The Golden Age of Engraving. Signed in the plate. Signed in the plate. $1,750.
Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii. 9 x 6 (sheet 10 1/2 x 7 5/16). fine impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy’s hair. In the first state, there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, one head remains visible in this strong early impression of the final state. Printed on fine cream laid paper. Signed and dated in the plate. $6,500.
Drouet, Sculpteur. 1859. Drypoint. Kennedy 55.ii. With the cancellation lines in the nose erased. Two of the cancellation lines are just visible on the bridge of Drouet's nose. 8 7/8 x 6 (sheet 11 x 8 7/8). Illustrated: Salaman, Modern Masters of Etching: Whistler. A good impression on cream colored laid paper with full margins and deckle edges. Signed in the plate.$1,750.
Eagle Wharf (Tyzac, Whiteley & Co). 1859. Etching. Kennedy 41. 5 7/16 x 8 7/16 (sheet 6 3/8 x 8 7/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Probably a proof from the 1871 edition of the Thames Set published by Ellis and Green. A rich impression printed in black ink on 'Van Gelder' cream laid paper on the full sheet with deckle edges. Illustrated: Tyler, American Etchings of the Nineteenth Century. Signed and dated in the plate. $5,500.
Early Morning Battersea (Cadogan Pier). 1859. Drypoint. Kennedy 75 only state. 4 1/2 x 6 (sheet 5 1/2 x 6 7/8). Issued as plate 15 in "Sixteen Drypoints or Scenes on the Thames and Other Subjects" (Thames Set #15). Printed in black ink on fine cream laid paper countermarked Blauw. Unsigned. $1,750.
Fulham. 1879. Etching. Kennedy 182.ii. 5 1/4 x 8 (sheet 8 3/4 x 10 1/4). Printed on the full sheet of antique cream paid paper countermarked '1804'. Signed with the butterfly in the plate and in pencil. $7,500.
Hurlingham. 1879. Etching and drypoint. Kennedy 181.ii/iii. 5 5/16 x 7 13/16 (sheet 6 3/4 x 10 1/16). A a rich impression printed on cream laid paper with a partial Strasbourg Lily countermark. Printed on the full sheet with deckle edges. Monogrammed with the butterfly in the plate. Hurlingham is in Fulham, London. $3,500.
The Lime-Burner. 1859. Etching. Kennedy 46.ii. 9 3/4x6 7/8 (sheet 10 13/16 x 7 7/80. Issued as plate 9 in "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Probably from the 1871 edition of the Thames Set published by Ellis and Green.Two unobtrusive foxing spots in the image; otherwise excellent condition. A rich impression printed in dark brownish black on antique cream laid paper with a lifetime coat of arms countermark. $12,500.
The Little Wheelwright's. 1884. Etching. Kennedy 245. Only state. 2 5/8 x 3 7/8 (sheet 5 x 6 7/16). Printed with plate tone on white laid paper. Imperceptible center horizontal crease. There was no published edition; consequently the image is extremely rare. Unsigned. $3,000.
Longshoremen. 1859. Drypoint. Kennedy 45. 5 7/8 x 8 3/4 (sheet 7 1/4 x 10 9/16). A rich impression with plate tone, printed on cream colored laid paper. Signed in the plate. $4,750.
The La Marchande de Moutarde. 1858. Etching. Kennedy 22.v. 6 1/4 x 3 1/2 (sheet 7 5/8 x 4 7/8). Series: (Douze Eaux-Fortes d'après Nature) (French set). As published in English Etchings, 1888 in an edition of 200. A very rich impression in warm brown/black ink on cream laid paper with a partial watermark. Signed in the plate. $1,750.
Nursemaid and Child. 1859. Etching. Kennedy 37.ii. 3 7/8 x 5 1/4 (sheet 7 3/4 x 8 7/8). A rich impression printed on cream laid paper with full margins. Signed 'Whistler' in the plate, lower left. $3,500.
The Rag Gatherers'. 1857. Etching. K 23.v. 6 x 3 1/2. Signed in the plate. A fine impression on cream laid paper with wide margins. $1,000.
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii. 10 5/8 x 7 5/8 (sheet 14 1/4 x 8 5/16). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Salaman, The Great Painter-Etchers from Rembrandt to Whistler and Modern Masters of Etching: Whistler. A rich impression printed on cream laid paper with a rampant winged horse countermark with the letters 'P F'. The scens is the balcony of the Angel Inn at Rotherhithe, looking northwest toward the City; the dome of St. Paul's is visible on the horizon at the far left. Signed in the plate. $13,500.
Another Proof:
Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii. 10 5/8 x 7 5/8 (sheet 13 1/2 x 9 5/8). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set). A rich impression printed on very fine cream laid paper. Signed in the plate. $13,500.
Seymour Standing Under a Tree. 1856-57. Etching. Kennedy 31.ii/iii. 5 3/16 x 3 3/4 (sheet 11 3/4 x 8). A fine impression printed on fine cream laid paper, with wide margins and deckle edges on 3 sides. Signed in the plate. $3,500.
Thames Police (Wapping Wharf). 1859. Etching. Kennedy 44.iii. 8 7/8 x 5 7/8 (sheet 6 13/16 x 9 13/16). Issued as plate 2 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set) in 1871 printed by Ellis and Green. Printed on Strasbourg watermarked laid paper. Signed and dated in the plate. $5,500.
The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191, between iv and v. 9 1/4 x 12. Series: Twelve Etchings: First Venice Set. Edition 100. A fine, atmospheric impression printed with rich plate tone, presumably an unrecorded intermediate state between iv and v, before the drypoint on the hats of the men seated at the table, and the drypoint under the table, and before the baby's eyes are clearer. A proof printed in brown in on toned laid paper with a partial Strasbourg lily 1814 laid paper. Signed in pencil by Whistler with the butterfly and 'imp' on the tab. Price upon request.
Vauxhall Bridge. 1861. Etching. Kennedy 70.ii. 2 5/8 x 4 1/2 (sheet3 5/8 x 7 3/4). A rich impression printed on pale cream laid paper with a partial watermark. Signed and dated in the plate. $1,750.
The La Vieille aux Loques. 1858. Etching. Kennedy 21.ii/iii. 8 1/8 x 5 3/4 (sheet 13 1/8 x 10 3/8). Series: (Douze Eaux-Fortes d'après Nature) (French set). A very rich impression in warm brown/black ink on white wove paper with full margins. Signed in the plate. $2,250.
Windows, Bourges. Etching. Kennedy 400.ii. 5 7/8 x 3 1/8. A well-inked, beautifully wiped impression printed by Whistler on cream laid paper. Collector's seals verso: Howard Mansfield, Lugt 1342; Harris Whittemore, Lugt 1382a Signed with the butterfly in the plate and with the butterfly and 'imp' in pencil on the tab. There was no formal edition of the plate, which is quite rare. $20,000.
The Wine Glass. 1857-58. Etching. Kennedy 27.ii. 3 1/4 x 2 1/4 (sheet 5/8 7 x 4 3/8) A well-inked, beautifully wiped impression printed on cream laid paper. Signed in the plate. $17,500.
Lithotints.
Early Morning. 1878. Lithotint. Way 7, Levy 16, Tedeschi, Stratis and Spink 9.iii/iv. 6 1/2 x 10 3/16 (sheet 7 3/8 x 10 11/16). Edition 15 instates i and ii; 'several hundred' in iii and iv, according to Way. A fine impression on cream wove paper, with the legend outside the image trimmed. Printed by Way for inclusion in the July 18, 1878 issue of Picadilly but never issued. Signed with the butterfly in the stone. $5,500.
The Tall Bridge. 1878. Lithotint. Way 9; Levy 19; Spink, Stratis, Tedeschi 12.ii. 10 7/8 x 7 1/4 (sheet 11 3/8 x 7 5/8). Proof without the legend below, the letter text having been trimmed, as is commonly the case. Printed by Way for Piccadilly but never issued. The magazine failed and most of the proofs were destroyed. A beautiful, delicate printing with the layered applications of the lithotint washes clearly discernible. Signed with the butterfly in the stone.
Ando Hiroshige. 1797-1868. Kyobashi and the Bamboo Bank ofthe Sumida River. 1956-58. Japanese woodblock print. 13 1/4 x 5 5/8 (vertical oban. Series: 100 Views of Edo. This is plate 76 in the series of 120. Publisher: Uo-Ei. Later printing. Trimmed margins. Excellent color and condition. $22,500 the pair.
The Thames. 1896. Lithotint. Way 125; Levy 178; Spink, Stratis, Tedeschi 161.iii. 10 3/8 x 7 5/8 inches (sheet 15 1/4 x 11). Printed in black ink on heavy white wove paper. Goulding impression in an edition of 121, printed in 1903 and 1904, commissioned by Rosalind Birnie Philip, with her seal verso [Lugt 2456]. There are 29 lifetime impressions listed and printed by Way. A subtle tonal impression. Monogrammed with the butterfly in the stone. $9,750.
Lithographs.
Afternoon Tea. 1897. Lithograph. Way 147; Levy 224; Tedeschi, Stratis and Spink 173. 7 1/2 x 6 (sheet 14 13/16 x 9 9/16). Edition 100 printed by Clot, issued by Ambroise Vollard in L'Album d'estampes originales de la Galerie Vollard (second album, Paris 1897). A rich impression printed onthe full sheet. Monogrammed in the stone. $5,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 11 1/2 x 8 7/16). Printed on cream laid paper. One of 13 impressions listed by Way, before the images was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. The machine-printed images are on smooth ivory paper. Way's seal (Lugt 2456). Signed with the butterfly in the stone. $5,500.
Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 9 3/16 x 7). Printed on smooth ivory paper. One of the impressions ltransferred 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. $1,250.
The Doctor. 1895. Lithograph. Way 78; Levy 117; Tedeschi, Stratis and Spink 110. 18 1/2 x 6 (sheet 10 x 7 3/8). Edition of about 3,000 published in The Pageant, November, 1896. A fine impression printed on off-white glossy wove paper.Unsigned. $850.
Gaiety Stage Door. 1879 and 1887. Lithograph. Way 10, Levy 21, Tedeschi, Stratis and Spink 14.ii. 4 7/8 x 7 5/8 (12 1/8 x 13 7/8). An excellent impression on greyish ivory proofing paper (small set), mounted onto white plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., in the portfolio as published in Notes 1887-88. Deaccession stamp verso: The William Hayes Fogg Museum of Harvard University 13.210. Fogg Art Museum Harvard University Duplicate. Ex-collection E.C. Blum, the curator of The Brooklyn Museum. Signed with the butterfly in the stone. $3,500.
Gants de Suede. (Suede Gloves.) 1890. Lithograph. Way 26, Levy 40, Tedeschi, Stratis and Spink 35. 8 1/2 x 4 (sheet 11 1/4 x 7 5/8). As printed by Way and published in The Studio, London April 16, 1894 with their blindstamp. Printed on the full sheet of cream wove paper. Monogrammed with the butterfly in the stone. The subject is the artist's sister-in-law, Ethel Birnie Phillips.$750.
The Garden Porch. 1894. Lithograph. Way 140, Levy 104, Tedeschi, Stratis and Spink 88. 8 1/2 x 6 7/16 (sheet 11 7/16 x 8 7/8). Way lists only 8 impressions; however 12 have been identified to date. The stone was cancelled. Collector's seal verso, W.S. Brough (Lugt 2653). The scene is in the Rue du Bac, Paris. Beatrix, Whistler's wife, and her sister, Ethel, are the two figures facing the viewer. Printed on cream laid Japanese vellum. Signed with the butterfly in the stone. A fine impression of this extremely rare image. $15,000.
La Jolie New Yorkaise. 1894. Lithograph. Way 61, Levy 92, Tedeschi, Stratis and Spink 99. 8 3/4 x 6 ( sheet 13 3/16 x 8 3/4). Proof from the edition of 25 lifetime impressions recorded by Way (there were 30 posthumous impressions printed by Goulding in 1903). The stone was cancelled. Printed on thin, transparent laid paper. Signed with the butterfly in the stone and in pencil.
Little Doorway, Lyme Regis. 1895. Lithograph. Way 83, Levy 122, Tedeschi, Stratis and Spink 119. 9 x 6 (13 1/2 x 9 3/4). Edition of 15 lifetime impressions listed by Way and 30 posthumous impressions printed by Goulding in 1904. The stone was cancelled. Printed on cream laid paper with a Strasbourg Lily/LVG with a IV countermark (Chicago 289), indicating a posthumous impression. Collector's seal, verso: Rosalind Birnie Philip, Whistler's sister-in-law, Lugt 405. Signed with the butterfly in the stone. $6,500.
The Little Steps, Lyme Regis. 1895/96. Lithograph. Way 94, Levy 146, Tedeschi, Stratis and Spink 131.i/ii. 8 3/4 x 5 3/4 ( sheet 12 3/4 x 8 1/8). Proof from the edition of 15 lifetime impressions recorded by Way (there were 30 posthumous impressions printed by Goulding in 1903). The stone was cancelled. Printed on cream laid paper Basle-Crozier surrounded by shields of the 12 cantons of the Helvetian Confederation with 'HN' countermark (Chicago 41). Signed with the butterfly in the stone and in pencil. A rare lifetime impression of the first state. $12,500.
In the late summer of 1895, Whistler and his wife visited the seaside resort of Lyme Regis in Dorset. During their stay, Whistler drew 7 images on lithographic transfer paper, and sent them to his printer, Thomas Way, in London. Whistler wrote to Way that the image 'ought to be a beauty' (letter 148) and he considered the drawing 'the best of the lot' (letter 150). Unfortunately the professing didnt go well; however Whistler reworked the stone after he returned to London.
Little Evelyn. 1896. Lithograph. Way 110; Levy 159; Tedeschi, Stratis and Spink 146. 7 x 4 1/2 (sheet 12 5/8 x 9 1/2). Printed by Thomas Way for The Art Journal, 1896. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone, to the left of Evelyn's shoulder. $850.
The Long Gallery, Louvre. 1894. Lithograph. Way 52; Levy 83; Tedeschi, Stratis and Spink 146. 8 3/8 x 5 3/4 (sheet 11 1/4 x 7 3/4). As published in The Studio, 1894, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $825.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 12 x 8). Printed on laid paper with a foolscap 7-pointed collar watermark. One of the impressions pulled by Way from the original stone before the printed text was added, and before the image was transferred to supplementary stones and printed for inclusion in the December 27, 1890 edition of The Whirlwind. $5,500.
The Master Smith. 1895. Lithograph. Way 84, Levy 123, Stratis, Spink, Tedeschi 120.ii. 4 x 2 3/4 (sheet 11 1/8 x 8 3/4)/ Way lists 15 impressions without distinguising between states i and ii. There were 36 postumous impressions by Goulding. This is a lifetime impression printed on Japanese velluem. Signed with the butterfly in pencil, lower left. Provenance: Charles Sessler Gallery, Philadelphia. A fine impression of this very scarce image. $15,000.
Savoy Pigeons. 1896. Lithograph. Way 118; Levy 164; Tedeschi, Stratis and Spink 154. 8 x 5 3/4 (sheet 11 1/16 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896, with their blindstamp. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $650.
The Smith's Yard. 1895. Lithograph. Way 88; Levy 126; Tedeschi, Stratis and Spink 124. 7 3/4 x 6 1/2 (sheet 11 1/16 x 7 3/4). Edition about 3,000. As published in The Studio, June, 1896. Printed on the full sheet of cream laid paper. Monogrammed with the butterfly in the stone. $450.
The Tyresmith. 1890. Lithograph. Way 27, Levy 41, Tedeschi, Stratis and Spink 36. 6 3/4 x 6 7/8 (sheet 1- 5/8 x 7 7/8). Printed in cream laid paper with a 'Harris & McMurd[o]/1814' watermark. An impression before the text and before the image was transferred to supplementary stones for publication in the November 15, 1890 issue of The Whirlwind. According to the Tedeschi, Stratis and Spink catalogue, page 152, "The published editon was machine printed from supplementary stones on smooth ivory wove paper, which has often discolored to cream. Periodical impressions tend to be slightly coarser, glossier and higher in contrast than those printed by hand." Signed with the butterfly in the stone. $5,500.
Wiggins was commissioned by the Weyerhaeuser Lumber Company to make a series of landscapes on the Cascade Mountain Range. The images were to be used in a calendar, published by the Weyerhaeuser Lumber Company. The commission was not completed.
Click on the titles for images.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Cascade Mountain Landscape. c. 1935. Lithograph. 12 x 17. Edition 25. Signed in the stone. $275.
Night in Chinatown - with cat - B. 1933-36. Etching with drypoint. 8 1/8 x 11 15/16 (sheet 13 x 18 3/4). Edition c. 54. A very rich impression printed on white wove paper, on the full sheet with deckle edges. Signed in pencil. $450.
Pickled Herring Wharf. 1925. Etching with drypoint. 6 7/8 x 10 1/8 (sheet 10 1/8 x 12 15/16). Edition 30. The etching was awarded a silver medal from the Printmakers Society of California in 1930. A very rich impression printed on cream wove paper with deckle edges on three sides.. Signed and annotated in pencil. A Whistlerian image, reminiscent of the Lime-Burner in the Thames set. $650.
Brookside. c.1935. Etching, drypoint and aquatint. 11 7/8 x 10 (sheet 15 x 13). Edition 75. A rich atmospheric impression printed on 'France' countermarked cream wove paper with full margins. Signed, titled and annotated in pencil. $950.
Reflections. c.1935. Etching, drypoint and aquatint. 12 3/4 x 7 1/4 (sheet 15 3/4x 10 7/8). Edition 60. A rich atmospheric impression printed cream wove paper with full margins. Signed, titled and annotated in pencil. $950.
Refuge. c.1935. Etching, drypoint and aquatint. 9 1/4 x 14 1/8 (sheet 13 x 17 1/2). Edition 50. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $875.
Silent Night. c.1935. Etching, drypoint and aquatint. 10 x 14 3/4 (sheet 13 1/8 x 17 7/8). Edition 60. A rich atmospheric impression printed on wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $1,250.
Snowstorm. c.1935. Etching, drypoint and aquatint. 10 1/4 x 12 1/8 (sheet 13 3/8 x 15 7/8). 2nd state, trial proof. A rich atmospheric impression printed on 'France' wove paper on the full sheet with deckle edges. Signed, titled and annotated '2/1' in pencil. $975.
Symphony in White. c.1935. Etching, drypoint and aquatint. 11 1/2 x 9 3/8 (sheet 15 3/4 x 12 5/8). Edition 50. A rich atmospheric impression printed on 'Arches' wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $1,100.
Two Trees. c.1935. Etching, drypoint and aquatint. 11 3/4 x 9 7 /8 (sheet 14 3/4 x 12 1/2). Edition 50. A rich atmospheric impression printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $$950. Another impression on cream wove paper, with a faint mat line. $750.
The Veteran. c.1935. Etching, drypoint and aquatint. 9 7/8 x 11 1/4 (sheet 13 1/8 x 16 7/8). Edition 56. A rich impression printed on 'Rives' wove paper. Signed, titled and annotated in pencil. $1,150.
Winter Moon. c.1935. Etching, drypoint and aquatint. 9 x 11 3/4 (sheet 12 1/2 x 15). A proof from the cancelled printed on cream wove paper with full margins. Signed, titled and annotated in pencil. $275.
Winter Woodland. c.1935. Etching, drypoint and aquatint. 11 3/8 x 9 3/4 (sheet 16 x 13). Printed on 'France' cream wove paper with full margins. Signed, dated and titled in pencil. $950.
Click on the title for an image
Burlesque Girl. 1938. Lithograph. 10 1/4 x 11 3/8 (sheet 12 1/2 x 15 1/8). Edition 28, #16. Federal Arts Project blindstamp. Signed, numbered and titled in pencil. Printed on the full sheet of white wove paper with deckle edges. Excellent condition. A striking image of a showgirl. An extremely rare WPA image. $750.
Click on the title for an image
Mother and Child (Artist and Child). 1921. Linoleum cut. 9 1/2 x 6 (sheet 12 1/4 x 11). First state, before the lettering 'MERRY XMAS' above the oval, and 'FROM THE ZORACHS' below the oval. A rich proof printed on Japanese mulberry paper. Pencil sketch of a foot, verso. A charming and unusual self-portrait. Signed and dated in pencil. $2,500.
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