For small images, click on Abramovitz; for large images, click on the titles.
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.
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. $5,000.
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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.
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.
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. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $2,200.
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. A rich impression on cream laid paper. Signed in pencil. $2,250.
Awards: 1925. The Mr. and Mrs. William Alanson Bryan Prize, Seventh Annual Exhibition, Print Maker Society of California at Los Angeles Museum of History, Science and Art.
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. Printer: David Strang. It took the artist about 1,000 hours to etch the extraordinary detail. This is one of Arms' most coveted images. $4,500.
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.
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. Annotated "trial proof xxv.III." and "Bon à tirer. No. III. J.T.A." $750.
Shadows of Venice. (also called Il Ponte de Rialto, Venezia.) 1930. Etching. Fletcher 229. 10 1/8 x 12 (sheet 3 1/4 x 15 5/8). Italian Series, plate #16. Illustrated: Fine Prints of the Year, 1931. A fine impression on cream laid paper.
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.
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Melech. c. 1927. Drypoint. 9 7/8 x 7 (11 1/2 x 8 1/2). Signed in pencil. A fine impression printed by the artist. Signed in pencil. $325.
Talmud. c. 1927. Drypoint. 11 7/8 x 9 7/8 (15 x 11 1/4). Signed in pencil. An extremely rich impression on cream wove paper with full margins. Glue staining on margin edges, well outside the image. printed by the artist. Signed in pencil. An extrmely arresting portrait o a Jewish Biblical Scholar. $750.
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Castello Quarter Riva. c. 1889. Etching and drypoint. 8 1/2 x 13 1/2. Venetian series #12. A rich impression with plate tone printed on crem laid paper. Signed in pencil. $2,000.
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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. $4,250.
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 lithograph was included in the "Fifty Modern Prints Exhibition" of outstanding prints held at the Weyhe Gallery in February, 1935. The drawing for the lithograph was made in 1934 in the West Virginia Mountains. A painting, Minstrel Show, was completed after the lithograph in 1934.
The Bi-Centennial Pageant of George Washington.
1932. Suite of 20 etchings illustrating events in Washington's life, 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. watermarked paper. 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. $1,500 for the complete set of 20.
For images, click on Bicentennial.
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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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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. $4,500.
For small images, click on John Carroll. For large images, click on the titles.
Citadel (Corsica). c. 1929. Lithograph. 9 1/4 x 11 1/4. Edition 40, #11.$350.
[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. $600.
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Silhouette. 1982. Aquatint. 7 7/8 x 10. Edition 250, #60. Signed in pencil. $750.
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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.
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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.
For small images, click on Eby; for large images, click on the titles in red.
Christmas Trees. 1940. Etching. G 220. 9 1/4 x 12 3/4 (sheet 12 x 15 3/4. Edition 100. Signed in pencil. A rich impression with plate tone, printed on white wove paper on the full sheet with deckle edges. The scene is probably the artist's house in Westport, CT.
The Cow Shed. 1946. Etching, aquatint and sandpaper ground. G 211. 9 5/8 x 15 1/8. Edition 100. $825.
Dead Pine Tree. 1910. Etching. G10. 9 7/8 x 7 7/16. Ed. 25. $225.
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.
The Fish Weir. 1921. Etching. G 46. 4 5/16 x 7 5/8. Edition 50. $250.
Goatherd, Algeria. 1922. Etching. G 80.ii. 5 1/2 x 6 2/3. Edition about 50. $225.
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.
High Land, Cape Cod. 1921. Etching. G 54. 6 x 10 1/16. A rich impression with plate tone on cream-colored laid paper. $175.
Little Franklin. 1937. Etching and sandpaper ground. G192.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. G199. 10 x15. 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.G193. 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.
The Medway. 1929. Etching. G143.iv. 9 7/16 x 14 3/16. Edition 90. Rochester, a cathedral city near the mouth of the River Medway in southeast England, is visible in the background. $250.
Megavissey. 1925. Etching. G100.iv. 10 x 14 1/8. Edition 90. Signed in pencil. Megavissey is a fishing village on the coast of Cornwall. Signed in pencil. $275.
Mist on the Agawa. 1928. Etching. P134. 10 x 11 7/8. Edition 90. Illustrated: Flint, Contemporary American Etching, 1930. $650.
Mullion Cove. 1927. Etching. G121.iv. 8 1/2 x 13 1/4. Edition 90. Mullion Cove in Cornwall, England, was a center for smuggling in the 18th and 19th centuries. $350.
The Old Orchard. 1922. Etching. G 84.ii. 7 x 9 1/8. Edition. The scene is probably in Connecticut. $225.
Pauldavid. 1927. Etching. G119.iii. 7 7/8 x 12 7/8. Edition 90. The scene is Pouldavid, a small town in Brittany, France. $ 250.
The Fleischmann Estate: The Polo Field. c. 1920-25. Pencil study for G114. 8 x 13 (sheet 9 1/2 x 14 1/2). Signed in pencil. $650.
The Fleischmann Estate, also known as the Lindens, was built in 1910 in Sands Point, Long Island, New York, by Julius Fleischmann, Sr., son and nephew of the founders of the well-known yeast and margerine company. He died playing polo in Miami in 1925. Eby made a series of five etchings depicting the estate. This drawing is the study for the etching of the polo field on the estate.
Porthleven. 1925. Etching and drypoint. G104. 9 x 14 1/8. Trial proof, apart from the edition of 90. Porthleven is a port in Cornwall, England. $350.
Salt Marshes. 1930. Etching. G156.iii. 9 5/8 x 13 3/8. Edition 90. The scene is probably in Connecticut. $250.
Sand and Sea, Cape Cod. 1921. Et. G52. 7 x 13 1/2. Edition 90. $225.
Spring in Cornwall. 1925. Etching. G 106.ii/iii. Trial proof, before the edition of 90. This Cornwall is in England, not Connecticut. $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. G82. 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. G76. 10 7/8 x 4 11/16. Edition 50. The print was based on Eby's visit to Algeria during 1920-21. $275.
A Summer Day. c. 1922. Etching. G88.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. G74.ii. 9 3/4 x 16 3/8. Edition 100. Illustrated: Print Collector's Quarterly 26 (1939): 94. $1,250.
White Tails in the Morning. 1935. Etching. G183.ii. 8 1/4 x 12 1/2. Edition approximately 100. The scene is probably Connecticut. $375.
White Water. 1929. Etching and sandpaper ground. G135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. $450.
Winter Wheat. 1933. Etching. G 176. 6 3/8 x 11 5/8. $400.
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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.
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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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.
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. A fine impression of this scarce image. $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 "BLK 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.
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The Holy Family. Etching. 5 x (sheet 10 x 11). A fine impresssion printed on cream wove paper. Signed in pencil. $150.
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 professionally-repaired pin 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. $2,750.
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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.
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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. $275.
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. $375.
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. $400.
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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. $750.
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. $4,500.
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.
The Four Evangelists. 1951. Woodcut. x 6 1/2. Matthew, Mark, Luke and John are presented in medieval iconography. $125.
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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. $350.
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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. 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.
Greetings from the House of Weyhe, 1931. 1931. Lithograph. 4 3/4 x 8 1/8 (sheet 5 7/8 c 8 13/16). Printed on heavy wove paper. Signed and dated in the stone. $100.
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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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Albergo, Alberoni, Italy. 1913. Etching. Jaques 220. 9 1/4 x 5 7/8 (sheet 11 x 7 3/8). A fine impression with plate tone. Printed on cream laid paper, on the full sheet with deckle edges. $175.
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. $200.
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. $450.
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Chatham Bar (Cape Cod). 1926. Aquatint. 7 3/4 x 9 3/4(sheet 11 1/4 x 15 7/8). Edition 20. A rich impression, with plate tone, printed on off-white paper w watermarked 'hand made'. Signed in pencil. $450.
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.
Rooftops in Snow. c. 1934. Linocut. 4 1/2 x 3 5/8 (sheet 6 1/4 x 4 11/16). A strong impression printed on hand-made paper. Engraved on the block by the artist himself. Signed 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. $1,250.
Sea and Sky. 1931. Wood engraving. BJ 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 adcertising campaign. Illustrated: Fifty Prints, 1932 by the American Institute of Graphic Arts. Signed in pencil by Kent; title in another hand. $2,750.
And Women Must Weep. 1937. Lithograph. Burne-Jones 113. 10 3/8 x 7 3/4 (sheet 17 x 12 1/4). Large edition published by the American Artists Group of New York. Unsigned. A fine impression in excellent condition, printed on the full sheet of white wove Rives paper with wide margins. $550.
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Mighty Metropolis (as seen from the Staten Island Ferry). c. 1927. Etching and aquatint. 9 3/8 x 13. A fine impression printed with plate tone and atmospheric wiping to suggest clouds. Signed in pencil. Elegantly framed. $1,950.
Spires of Manhattan. c. 1927. Etching and aquatint. 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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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. $125.
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. $275.
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.
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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.
Day's End. 1937. Drypoint. McCarron 120.iii. 9 5/8 x 13 3/8 (sheet 12 3/4 x 16 3/4). Lifetime edition 34. This is a posthumous impression printed on star countermarked laid paper, on the full sheet with deckle edges. Signed 'Martin Lewis P.L.' [Patricia Lewis] in pencil. THe sign reads 'Danbury and Bethel Fur Co. Inc.' The print was awarded an honorable mention by the Philadelphia Print Cub in 1938. It was included in the 1932 travelling exhibition, 'Artists for Victory'. $3,000.
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Clam Diggers, Cape Cod. 1946. Wood engraving. Boston Public Library 599. 6 7/8 x 7 13/16 (sheet 10 1/16 x 11 3/4). Edition 250, #22. Commission plate 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. $950.
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. $2,500.
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. $2,500.
The Malt House. 1923. Woodcut. Boston Public Library 1. 7 x 5 (sheet 8 1/2 x 6 ). Edition 50, #2. Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. $975.
Threshing. 1926. Woodcut. Boston Public Library 25. 6 1/2 x 4 5/8 (sheet 8 1/2 x 6 7/8). Edition 50, #33. Signed, numbered and titled in pencil. A fine, well-inked proof printed on pale cream-colored Japanese mulberry paper. $975.
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.
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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 on cream-colored pebbled wove paper. Signed and numbered 22/250 in pencil. $350.
Shadow and Substance. 1926. Etching. Embury 127. 10 7/8 x 7 1/4 (sheeet 15 7/8 x 11 7/8). Edition 250 for Associated American Artists. A fine impression on cream-colored pebbled wove paper. Signed and dated in pencil. $350.
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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The Canonica. 1922. Etching. Webster 13. 10 1/8 x 16 1/16 (sheet 13 1/4 x 17 3/4). A rich impression with tonal wiping, printed on cream laid paper with a crown watermark. Signed in pencil. $975.
The Ponte della Canonica crosses the Rio della Canonica in Venice. It is near the Bridge of Sighs.
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.
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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 Empire State building seen from the Brooklyn Bridge. P.O.R.
Man's Canyons. 1936. Etching and aquatint. 11 3/4 x 8 7/8 (sheet 17 1/4 x 12 7/8). Edition 100.Executed for the Treasury Relief Art Project. A rich impression in pristine condition on the full sheet with deckle edges. Signed, titled and annotated )etching & aquatint) in pencil. A glowing impression on pale cream-colored paper watermarked "Rives." Pristine condition on the full sheet with deckle edges. This is an exciting Modernist view of the Chrysler and Empire State Buildings. The top of the Empire State Building is decapitated visually, to create a startling effect. P.O.R.
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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. $3,500.
Coney Island Beach #1. 1939. Engraving. Sasowsky 191.ii. 9 3/4 x 12 (sheet 11 1/2 x 13 7/8). Edition 17 printed by Marsh in 1939 as noted by Sasowsky; there were 110 posthumous impressions. Printed on toned J Whatman laid paper with irregular margins. Signed, dated, titled and annotated '[$]25.00 Ed. 40' in pencil. Signed in pencil. $5,500.
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.
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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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The Cliff Dwellers of New York. Alternately titled, A Renaissance of Shanty Town. 1881. Etching. Klackner 14. 8 1/8 x 11 7/8. Illustrated: Prints of Nature. Poetic Etchings of Mary Nimmo Moran; Bruhn, American Etching: the 1880's. One of the artist's two urban scenes. Thomas Moran wrote to the publisher, Koehler, regarding the print: "Mrs. Moran has lately made a pretty large plate of 'The Cliff Dwellers of New York.' Shanties on the rocks in our street which were removed a few days after she had finished her etching. As you can see, it is a good field, and would have an historic value in time to come. " $2,500.
Gardiner's Bay, Long Island, Seen From Fresh Pond. 1884. Etching. Klackner 34. 7 3/4 x 11 1/2 (sheet 12 13/16 x 17 13/16). A rich impression in brown ink, prionted on Japanese mulbery paper with wide margins. Signed in pencil. $1,250.
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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.
Connecticut Pastoral. Wood engraving. Comstock-Fletcher 198. 3 1/4 x 4 1/4. Published in the Colophon, 1936. Signed in the block. $45.
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 deckle edges. Signed and dated in pencil. $275.
Morning. 1937. Chiaroscuro wood engraving in three blocks: black, grey and olive. Boston Public Library 217. 5 x 8 (sheet 9 1/4 x 11 1/4), Edition of 200 for the Woodcut Society. Signed in pencil: TW Nason. A fine impression printed on fine wove pape with full margins. Excellent condition. Original presentation folder from The Woodcut Society. $325.
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.
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The Cliff. c. 1930. Etching. 6 3/4 x 9. $200.
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.
The Hurrying River. 1925. Drypoint. 6 7/8 x 8 7/8. Awarded the Bryan Prize for the Best American Print, 6th International Print Makers Exhibition, Los Angeles, 1926. $200.
Idylle. c. 1931.c. 1935. Drypoint. 7 3/4 x 8 3/4. Edition 12. $200.
Provincetown. c. 1930. Etching and drypoint. 7 7/8 x 9 3/4. $175.
The South Wind. 1951. Drypoint. 8 x 10. Illustrated: Fine Prints of the Year, 1935. $200.
[Sunrise]. c. 1930. Etching and drypoint. 7 7/8 x 10. $250.
Surprised. c. 1934. Drypoint. 7 7/8 x 9 3/4. Shows a fly fisherman and a nude bather in a stream. $250.
Waugh's House. c. 1937. Drypoint. 8 x 9 7/8. Edition 100, #1. $250.
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The Harbor of Cannes. 1886. Etching. Parrish 116. 11 1/2 x 18 1/4 (sheet 13 x 19 1/2). A rich impression with plate tone printed on Japanese vellum. Signed, titled, dated, and numbered in the plate; signed in pencil. Parrish records that he sold 13 proofs in 1887. The listed price is $15 each. The image was exhibited in 1893 at the Colombian Exposition. $2,250.
A Winter Evening -- Windsor, Nova Scotia. 1883. Etching, sandpaper, drypoint. Parrish 83.ii. 7 x 11 3/4. Klackner purchased the plate from Parrish for $200 on November 25, 1887, and added his name, address and copyright. This was one of Parrish's most popular etchings during his lifetime. Illustrated: Bruhn, American Etching: the 1880's. $500.
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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. $750.
Etchings
For small images, click on Pennell; for large images, click on the titles. Large image files are interlinked.
The Admiralty, Seen through the Archway of Old Scotland Yard. 1903. Etching. Wuerth 266. 11 x 8. Edition probably 50. $350.
Albert Hall. 1903. Etching. Wuerth 267.ii. 3 3/8 x 5 1/2. The image has been cut down from the plate and pasted onto a larger sheet. For a similar impression, see Beall, American Prints in the Library of Congress, page 335. Two tears in the right-hand margin, one to outside the image. $175.
The Barber Shop. 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, esque image. Printed by Pennell. $450.
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 in pencil. $850.
Church of St. Mary-le-Strand. 1906. Etching. Wuerth 421. 6 x 3 5/8. 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. Extremely rare proof and example of Pennell's working technique. $175.
Dark Day on the Embankment. 1909. Etching and aquatint. W 507. 9 7/8 x 12 3/4. Edition probably 40. $2,500.
The Elevated. 1921. Etching. W 789. 9 7/8 x 6 7/8. Edition probably 50. $950.
Foundations at the Saks Building, The. 1923. Etching. W 820. 12 1/4 x 9 1/4. Printed on laid paper from an old tome. Pennell, the master printer, used a sheet that was barely larger than the plate. Illustrated: Bryant, Joseph Pennell's New York Etchings, plate 70. Edition c. 60. Small margins. One of Pennell's most dramatic night scenes. St. Patrick's Cathedral is in the background. Signed in pencil. $850.
Lion Brewery, from the Embankment. 1903. Etching. W 237.i/ii before the plate was reduced. Trial proof, apart from the edition of 20 in this state (total edition about 40). $1,950.
Madison Avenue. 1923. Etching. Wuerth 11. 12 x 9 1/8. Edition probably 50. Illustrated: Bryant, Joseph Pennell's New York Etchings. $850.
Montague Terrace, Children Skating. 1924. Etching. W 832. 8 x 9 7/8. Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. $500.
Orgy of Building, An. 1923. Etching. W 808. 12 1/4 x 9 1/4. Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. $850.
Park Lane. 1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2. $175.
Pittsburgh, No. III. 1909. Etching. Wuerth 385. 81/2 x 11 1/2 (sheet 10 1/8 x 14 7/8). Edition probably 60. A very rich impression printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $2,250.
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, Esp., 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. $550.
St. Paul's over Temple Stairs. 1905. Etching. W 380.ii. 5 1/2 x 3 5/16. After the plate was reduced, but before publication in the Gazette des Beaux Arts. $175.
Standard Oil: Staten Island. 1909. Etching and aquatint. W 536. 5 1/2 x 12. Edition probably 50. $1,500.
Sunlight Soap. 1905. Etching. Wuerth 385. 8 3/8 x 10 7/8 (sheet 10 1/4 x 15 1/2). Edition probably 50. A carefully-wiped impression printed on fine cream-colored paper from an old book. Printed by the artist. Signed in pencil. $750.
Sunset from Williamsburg Bridge. 1915. Etching. W 674. 8 1/2 x 11. Edition 100. $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. $950.
West Door, St.Paul's. 1903. Etching and aquatint. W 272. 11 x 8 3/4. Edition probably 50. $1,250.
Lithographs
The Garden of the Generalife. 1896. Lithograph. W 37.6 3/4 x 5. Spanish series. As published in Washington Irving, The Alhambra, 1895. Edition 500. Unsigned. $75.
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. $350.
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. $500.
The Travellers, Charleroi. 1911. Lithograph. W 202. 22 1/4 x 17 7/8. Edition 24. Belgium series. $400.
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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.
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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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At Anchor, Venice. 1907. Etching. 5 3/4 x 9 7/8. Signed, dated and titled in pencil. A very rich impression on cream wove paper. Framed. $550.
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.
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Rhythms of Men in the Wilderness. 1948. Wood engraving. 6 7/8 x 8 1/8 (sheet 8 x 10 1/2). Edition 200. Commission for The Woodcut Society. Printed by James Havens. Original presentation folder.A fine impression printed on cream wove paper. Signed in pencil. $250.
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." $2,750.
Hell Hole.
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.
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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Reflection. Reflection. 1929. Lithograph. 14 7/8 x 10 5/8 (sheet 17 3/8 x 13). Printed on cream wove paper. Signed in pencil. A charming image of the artist's daughter. $600.
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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 hte 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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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.
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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). Two repaired tears at right sheet edge (one 1/4, one 1 1/8 inch); otherwise fine condition. 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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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 on the full sheet. Monogrammed in the stone. $7,500.
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. A rich impression with tonal wiping, printed on cream laid paper with full margins. Signed "Whistler" in the plate, lower left, and "Imp. Delatre Rue St. Jacques. 171" lower right. $3,500.
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. A rich impression printed on laid paper with full margins. Signed in the plate. $3,000.
The Beggars. 1879-81. Etching. K 194.ix. 12 x 8 1/4. A superb impression printed in dark brown ink -- one of only 12 or 14 impressions printed by the master printer, Frederick Goulding for the Fine Arts Society, to complete the edition due to them from Whistler. Inscribed verso in ink, "F. Goulding. Printer. Nov. 27, 1903." Printed on cream laid paper with full margins. $10,000.
The Dog on the Kennel. 1858. Etching and drypoint. Kennedy 18. 2 7/8 x 3 1/2(sheet 6 x 8 9/16). Signed in the plate. Printed in brown ink on antique cream laid ledger paper,with ink page annotations. A rich impression with plate tone. The dog and the kennel are incorporated separately in Whistler's etching, The Unsafe Tenement, which is part of the Thames set. The Dog in the Kennel, however, is extremely scarce. $3,750.
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. Signed in the plate. A good impression on cream colored laid paper with full margins and deckle edges. Pristine condition. $2,250.
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. $2,750.
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 and 30 posthumous impressions printed by Goulding in 1904. 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. $7,500.
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.
Old Hungerford Bridge. 1861. Etching. Kennedy 76. A rare undescribed impression, before the small figures at the lower right-hand corner were burnished out. Before publication in The Thames Set. Later issued as plate 6 of "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set).Printed on off-white wove paper with full margins. A rich impression with burr on the left-hand tower and on the sail of the large boat on the right. Signed in the plate, as usual. $10,000.
Old Hungerford Bridge is one of two footbridges on either side of the Charing Cross railway bridge across the river Thames.
The Rag Gatherers'. 1857. Etching. K 23.v. 6 x 3 1/2. Signed in the plate. $1,750.
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'. Paper loss in the top right and lower left corners, well away from the image; otherwise excellent condition. Signed in the plate. Price upon request.
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. A particularly fine example of this suberb portrait etching, Arthur would have been around six years old at the time this portrait was made. $4,000.
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. $7,500.
Thames Warehouses. 1879. Etching. Kennedy 38.ii. 3 x 8 (sheet 4 3/8 x 9 3/4). "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). A very rich impression printed on tissue laid paper with full margins. Signed and dated in the plate. $5,500.
The La Vieille aux Loques. 1858. Etching. K 21.iii. 8 1/8 x 5 3/4 (sheet 11 x 8 1/8). From the French Set (Douze Eaux-Fortes d'après Nature.) A very rich impression on pale blue laid paper with full margins. Signed in the plate. $3,500.
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. Price upon request.
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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.
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