Artists and Writers.

Robert Sargent Austin, A.R.A., R.E. 1895-1973.

Self Portrait. 1916. Pencil drawing. 8 x 5 1/2 (12 3/4 x 9 7/16). Drawn on cream wove paper. Unsigned. $650.

Francesco Bartolozzi, R.A. 1727-1815.

William Cowper Esqr. (After Thomas Lawrence 1769-1830). 1806. Stipple engraving. 11 x 8 (sheet 12 1/8 x 9 5/8). Published by J. Johnson, St. Paul's Church Yard, January 1, 1806. Printed on cream wove paper. Signed, dated and titled in the plate. $125.

George Wesley Bellows, N.A. 1882-1925.

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 and 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. $12,500.

Edmund Blampied, R.E. 1886-1966.

Les Deux Petite Verres. 1928-29. Drypoint. Appleby 135. 10 1/2 x 10 3/16 (sheet 18 1/4 x 12 3/8). Edition 100, #65. Illustrated: Fine Prints of the Year, 1920; Print Collector's Quarterly (1937): 374. A horizontal fold in the upper and lower margins, well away from the image; otherwise excellent condition, apart from. A rich impression, with burr, printed on the full sheet of laid paper. Signed and numbered in pencil. This is a most charming study of Blampied and his wife sitting in a cafe, about to imbibe. $2,500.

Sir Muirhead Bone. 1876-1953.

Muirhead Bone, a master of drypoint portraiture, and his brother, Captain David W. Bone, sailed from NY to England on the 'Tuscania' in April of 1923. Joseph Conrad was on the voyage. They became friends, as Conrad, like Captain Bone, had served as Merchantmen in the UK armed services. Bone made 3 portraits of Conrad, one reading, one listening to music, and the one below.

Joseph Conrad. 1923. Drypoint. Dodgson 386.vi. 10 15/16 x 6 1/4 (sheet 15 3/4 x 10 15/16). Edition of 71 in this state (total edition 89). An rich, tonal impression printed on simili-Japon paper. Annotated 'vi' in pencil in the lower left margin; signed in pencil. $2,750.

Rabindranath Tagore. 1920. Drypoint. Dodgson 371.ii. 9 5/8 x 5 7/8 (sheet 15 1/8 x 11 15/16). Edition of 101 in this state (total edition 103). An exceptionally rich proof with plate tone, printed on simili-Japan paper. Monogrammed 'MB' in the upper and lower center margins and inscribed 'B' in the upper right-hand corner denoting a proof reserved for the artist. Monogrammed 'S.B.' indicating a proof owned by the artist's son, Stephen Bone. Annotated 'II' in the lower left corner indicating the state and '1' in the lower right sheet corner indicating the first proof in this state. Signed in pencil. $850.

Levon West. 1900-1968.

Sir Rabindranath Tagore. c. 1939. Drypoint. 13 3/4 x 7 1/8 (sheet 17 3/16 x 11 3/4). An extremely rich impression with plate tone printed on simili-Japan paper by the artist himself. Signed, titled and annotated 'imp' in pencil. $450.

Félix Bracquemond. 1833-1914.

Portrait of Corot. 1861. Etching. Béraldi 24. 3 1/2 x 3 1/4. A proof on chine collé, as published in the Gazette des Beaux Arts, 1861. Monogrammed in the plate. $175.

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

Marquett. 1925. Etching. Fletcher 51. 8 7/16 x 6 7/8 (sheet 12 13/16 x 8 7/8). Trial proof, apart from the edition of 106 (total 113 impressions). A rich impression, printed on cream laid paper. Signed and annotated "Trial" and "to light" by the artist in pencil. $375.

James McBey. 1931. Etching. Fletcher 69.ix. 10 1/2 x 7 1/2 (sheet 14 7/8 x 11 3/8). Edition 111. A rich impression printed on cream wove paper with full margins. Illustrated: Fine Prints of the Year, 1931; Print Collector's Quarterly 22 (1944): 70. Signed in pencil. $3,000.

An Old Corsican. 1921. Etching. F 27. 6 5/16 x 4 9/16 (11 1/2 x 9 3/8). Edition 76. A beautiful, rich impression with plate tone, printed on 'J. Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. The model for this portrait was the wood engraver,Marquett, whose portrait Brockhurst had etched in 1925 (Fletcher 51). $550.

A Self Portrait. c. 1932. Ink drawing on wove paper. 3 1/2 x 2 1/4 (sheet 10 x 7). Provenance: the artist's daughter. Unsigned. A unique silhouette. $975.

John Carroll. 1892-1959.

Self Portrait. Lithograph. 8 7/8 x7 1/4. Edition 32, #8. $750.

Alphaeus Philemon Cole, N.A. American. 1874-1956.

Portrait of Eugene Higgins, Age 80. 1954. Oil on canvas. 30 x 25 . Signed and dated, lower right. Higgins and Cole, both artists, lived in Lyme, Connecticut. Born in the same year, they were both 80 when the painting was executed. $10,000.

Edgar Hilaire Germain Degas. 1834-1917.

Autportrait (Self Portrait). Winter, 1857. Etching. Adhémar-Cachin 13.vi. Proof from the cancelled plate printed by Ambroise Vollard in 1918. 9 x 5 3/8 (sheet 11 15/16 x 8 7/16). Printed on BFK Rives wove paper. Unsigned. $2,750.

Francis Dodd, R.A. 1874-1949.

Charles Cundall, R.A. 1926. Drypoint. Schwabe 171.v. 18 x 11 3/4 (sheet 20 1/2 x 14 5/8). Illustrated: Guichard, British Etchers, 1850-1940. A rich impression printed on the full sheet of cream wove paper. A painter and lithographer, Cundall (1890-1971) had his first one-man show at Colnaghi the year after this impressive portrait was made. Signed in pencil. $1,500.

William Doughty(1757-1792) after Sir Joshua Reynolds, P.R.A. (1723-1792).

D^r Samuel Johnson. Mezzotint. Chaloner Smith 2. Undescribed state between I and II. 18 x 13 (sheet 18 3/8 x 13 3/8). Early proof before 'Dr' was erased and 'LLD'added. Inscription: Painted by Sir Joshua Reynolds. Engraved by Willi^m Doughty. / D^r Samuel Johnson/ London Publish'd s the Act directs June 24 1779 by William Doughty No 4 Little Titchfield St Cavendish Square. Two small punctures, one near the left-hand plate mark and one just above the lower plate mark. Slight scattered foxing. An extremely rich, tonal impression printed on cream laid paper. Provenance: E.L. Knoedler, New York. Signed and titled in the plate. An undescribed, probably unique proof. $3,750.

Fritz Eichenberg. 1901-1990.

The Artist and the Seven Deadly Sins. 1975. Wood engraving. 9 5/8 x 7. Edition 100. This is a self-portrait of the artist working on a wood block, with the seven deadly sins personified, looking over his shoulders. The seven deadly sins are: pride, avarice (greed) , envy, gluttony, lust, sloth (idleness), slander. $975.

John William Evans. American. Born 1855.

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. $250.

Portrait of Thomas of Johnson. 1935. Wood engraving after a sculpture by James E. Kelly. 7 1/2 x 6 1/2. Printed on tissue paper. Thomas Johnson (1844 - 1904) was a wood engraver and illustrator. Signed in pencil by Evans and in ink by Johnson. $175.

Léopold Flameng. 1863-1911.

Self-Portrait. (after Rembrandt van Rijn, 1606-1669). 1872. Etching. 10 1/16 x 7 3/4 (sheet 3 11/16 x 9 3/4). Printed on cream laid paper. As published in the The Portfolio, volume 3. Signed in the plate. $75.

Gavarni (Guillaume Sulpice Chevalier). 1804-1886.

L'amant et le dictionnaire des rimes. (The Lover and the Rhyming Dictionary) July 7, 1839. Lithograph. 7 7/8 x 6 1/4 (image), 10 1/3 x 9 (border), 14 5/8 x 10 (sheet). A find impression printed on newsprint as published in Le Charivari. Good condition apart from a center fold. Signed in reverse in the stone. $175. A charming parody on amateur poets: (L'amant): Nymphes des Bois, connaissez vous Adèle? (Le Dictionnaire des Rimes): Adèle! Pastourelle, charnelle, onzelle, matétielle, récelle, sempiternelle, femelle....Qu'elle demoiselle!

The comparisons become increasingly less flattering.

Eric Gill, R.E. 1882-1940.

Self Portrait (Final State). 1927. Wood engraving. Physick 497. 7 1/4 x 5 (sheet 11 x 8 1/2). Proof apart from the frontispiece to Engravings by Eric Gill. Signed in pencil. $1,500.

[Self-Portrait - Nude]. Pencil drawing. 4 3/16 x 2 1/2 (sheet 7 5/8 x 3 1/2). Drawn on cream wove paper. Size annotations. Unsigned. $10,000.

Herbert Johnson Harvey. 1884-1928.

Self-Portrait in Seventeenth-Century Dutch Costume. [Hommage to Rembrandt]. Oil on canvas. 20 x 16. Signed, lower right, just above the table. $5,000.

Paul César Helleu. 1859-1927.

Portrait of Whistler with the Monacle. 1897. Drypoint. 13 3/4 x 10 1/4 (sheet 16 3/4 x 11 5/8). A carefully wiped impression with plate tone, from the cancelled plate (there were only 28 impressions before the plate was cancelled), printed on cream laid paper. A delightful portrait of Helleu's colleague and friend, Whistler. $2,500.

Augustus Edwin John, R.A. 1878-1961.

Portrait of the Artist (Tête Farouche). 1906. Etching. Dodgson 10.ii. 8 1/2 x 6 11/16 (sheet 10 3/4 x 8 9/16). Edition 25, #25. A brilliant, rich impression with plate tone, printed on cream laid paper with a partial Fortune figure watermark. Illustrated: Lumsden, The Art of Etching. Ex-collection Daniel and Rosalyn Jacobs, with their blinsdtamp, lower right margin corner. Titled, numbered and annotated 'plate No 87' in ink; signed in pencil. $13,500.

James McBey. 1883-1959.

Artist and Model. 1925. Etching. Hardie 223. 8 3/4 x 5 3/4. Edition 500. A fine impression on the full sheet of wove paper. Signed in ink. This is a delightful self-portrait. It is the frontispiece to the catalogue raisonne of the artist's early work by Martin Hardie. Etchings and Dry-Points by James McBey. 1902-1924. London, 1925. $500.

The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $750.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $850.

A Studio (Earl's Court). 1914. Etching. Hardie 147. 6 3/4 x 10 15/16 (sheet 8 1/2 x 12 5/8). Edition 40, #30. A very rich impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $2,000.

Christopher Richard Wynne Nevinson. 1889-1948.

Badger Moody. 1922. Drypoint. Guichard 38. 10 x 7 (sheet 12 5/8 x 9 1/8). Illustrated: Fine Prints of the Year, 1923. A rich impression with drypoint burr, printed on cream wove paper. Published by Lefevere and Son and Mssrs. Ernest Brown and Phillips. Signed in pencil. $7,500.

Thom O'Connor. Born 1837.

The Artist. 1959. Lithograph. 8 5/8 x 12 (sheet 13 x 16 3/4). Edition 250, #111. A richly-inked impression prints on white wove paper, on the full sheet with deckle edges. Signed, titled and numbered in pencil. Although this is not a self-portrait, it is dramatic rendering based upon the artist's image. $150.

Pablo Picasso. 1881-1973.

Homme dévoilant une Femme. (Man uncovering a woman). 1933. Etching. Bloch 138; Baer 203 B.d. 14 1/2 x 11 3/4 (sheet 17 1/2 x 11 3/4). Series: Suite Vollard, plate 5. From the edition of 250 on petit papier vergé Montval paper (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Total edition 303. Printed by: Lacourière, Paris. A rich with drypoint burr, impression printed on laid paper countermarked 'Vollard' on the full sheet with deckle edges. This is a self-portrait of the artist with his lover. Price upon request.

Sculpteur, Modèlele, et Sculpture Assise. (Sculptor, Model and Sculpture of a Seated Figure). 1933. Etching. Bloch 146, Geiser/Baer 297 VI B. 12 7/16 by 7 1/4 (sheet 17 1/2 x 13 1/2). Series: Suite Vollard, plate 40. Edition of 250 on petit papier vergé Montval (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Total edition 303. Printed by: Lacourière, Paris. A rich with drypoint burr, impression printed on laid paper countermarked 'Picasso', on the full sheet with deckle edges. This is a self-portrait of the artist. Price upon request.

Sculpteur, Modèlele, et Sculpture Assise. (Sculptor and model viewing statue of a seated woman). 1933. Etching. Bloch 146, Geiser/Baer 297 VI B. 12 7/16 by 7 1/4 (sheet 17 1/2 x 13 1/2). Series: Suite Vollard, plate 40. Edition of 250 on petit papier vergé Montval (there was also an edition of 50 on grand papier vergé Montval that same year, and 3 on parchment). Printed by: Lacourière, Paris. A rich with drypoint burr, impression printed on laid paper countermarked 'Picasso', on the full sheet with deckle edges. Price upon request.

Francesco Piranesi. 1720-c.1810.

Tom. Piroli after Francesco Piraneso. Statua cepolcrale del Cav. Giambatista Piranesi scalpita d'all'Angelini e collocata da figli nel cenotafio del padre in Santa Mariam Aventino di rimpetto al gran candelabro che si era destinato egli stesso per decorazione del suo movements. (Memorial Statue of Giambattista Piranesi sculpted by Angelini and placed by his son in their father's cenotaph in santa Maria in Aventino). 1790. Etching. 20 x 12 3/4 (sheet 22 1/8 x 14 1/2). A fine impression on heavy laid paper. $750.

John Sloan. 1871-1951.

Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 7 3/8 x 9 3/8 (sheet 12 1/2 x 13 3/4). Printed on cream wove paper on the full sheet with deckle edges. Exhibited: National Gallery, 1971; Pennsylvania Academy of Fine Arts, 1972; Krushaar Galleries. Annotated 'Peter Platt imp' in pencil by the printer. Signed, titled and annotated '100 proofs' and 'Proof included in John Sloan 1971 National Gallery Extn'in pencil by Sloan. $5,500.

The location is the back room of Wallace's at Sixth Avenue and West Fourth Street. The bar was called "The Golden Swan" but was nickm-named "Hell Hole." and was a gathering place for artists, writers, and Bohemians of Greenwich Village. The figure in the upper right is Eugene O'Neill. Sloan's painting, The City from Greenwich Village, includes a view of this corner, looking downtown toward the financial district, with the Sixth Avenue elevated train crossing the scene.

Pierre-Auguste Renoir. 1841-1919.

Louis Valtat. c. 1904. Lithograph. Delteil, Stella 38. 11 5/8 x 9 1/4 (sheet 13 x 9 3/4). Edition of 950 published by Vollard. From L:'Album des Douze Lithographies Originales de Pierre-Auguste Renoir. A fine impression printed on cream laid paper with deckle edges on three sides. Signed in the stone. $4,750.

Georges Rouault. 1871-1958.

Baudelaire. 1926. Wash and lithographic crayon.. Chapon/Rouault 316.ii/iii. 8 1/4 x 6 3/4 (sheet 17 1/2x 13). With the remarque, Fleurs du mal and the artist's monogram in red, but before the letterpress 'Baudelaire' in the stone, lower left. Edition 35 in state ii, 70 in state iii. There was a second unsigned edition of 1,000 proofs. Series: Souvernirs Intimes. Printed on the full sheet of white wove paper. Signed and numbered '30/35' in pencil. $1,450.

Qui ne se Grime Pas? (Who Does Not Wear a Mask?) A Self Portrait. 1923. Original etching with aquatint and mixed techniques over heliogravure in black ink. Chapon/Rouault 61c. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Series: Miserere, plate 8. Printed by Jacquemin, published by Édition de L'Étoile Filante, Paris. in an edition of 425 (there were also 25 hors commerce copies). Printed on Arches laid paper, with the Vollard countermark, with full margins and deckle edges. Signed and dated in the plate lower left. (No impressions in the published edition were pencil signed). Illustrated: Passeron, French Prints of the Twentieth Century; Hults The Print in the Western World. This is the artist's most famous self portrait. $9,750.

Joseph Simpson. 1879-1939.

Self Portrait. c.1933. Drypoint. 11 7/8 x 8 1/2 (sheet 18 3/8 x 11 1/4). Edition75, #39. Signed and numbered in pencil. Tack holes in the outer margins from drying, as usual. A rich impression on cream-colored laid paper with full margins. $600.

William Strang, R.A., R.E. 1859-1921.

After Work. 1888. Etching and mezzotint. Binyon 114, David Strang 8, William Strang 551. 2 7/8 x 4 (sheet 4 1/4 x 5 7/16). A rich impression printed on cream laid paper. Printed by David Strang. Annotated in pencil, 'David Strang imp' and 'Wm Strang fec. DS'. The artist is the right-hand figure in the image. $175.

Potrait of Alfred, Lord Tennyson. 1897. Etching. Binyon 310. 11 13/16 x 9 3/4 (sheet 17 7/8 x 13 1/4). Printed on 'J.Whatman' laid paper, on the full sheet with deckle edges. Signed in pencil. $1,250.

Self Portrait, No. 4. Etching. David Strang 55, William Strang 724. 5 1/8 x 3 7/8 (7 1/2 x 5 1/16). A rich impression with plate tone, printed on cream laid paper by David Strang. Annotated in pencil 'David Strang imp' and 'Wm Strang fec. DS.' $200.

Self Portrait, aetatis 36 (age 36). 1895. Etching. David Strang 373, William Strang 282. 8 x 5 7/8 (sheet 14 1/2 x 14 1/2). A fine impression with plate tone, printed on cream wove paper, as published in Pan II 1895. Signed and dated in the plate. $250.

Thomas Robert Way. 1861-1913.

J.A.M. Whistler with the White Lock. c. 1895. Lithograph. Gallatin 131. 8 1/8 x 5 1/2 (sheet 10 X 6 3/4). A tonal impression printed on fine wove paper. Signed in pencil. $3,500

James Abbott McNeill Whistler. 1834-1903.

Drouet, Sculpteur. 1859. Drypoint. K 55.ii. With the cancellation lines in the nose erased. 8 7/8 x 6. Signed in the plate. Charles Drouet (1836-1908); a sculptor who lived and worked in Paris, was a friend of Whistler's. $1,750.

Anders Zorn. 1860-1920.

Prince Paul Troubetzkoy II. 1909. Original etching. Hjert and Hjert 95.iv. 8 3/4 x 6 3/4 (sheet 14 3/7/8 x 10 3/4). A fine impression on cream-colored laid paper. Signed in pencil. $3,500.

Selfportrait (wearing a fur hat). 1916. Etching. Hjert and Hjert 164. 6 7/8 x 4 1/2 (sheet 12 3/4 x 9 7/8). A fine impression on the full sheet of cream-colored Van Gelder watermarked laid paper. Signed in pencil. $1,750

Zorn and His Wife. 1890. Etching. Hjert and Hjert 31.ii. 12 1/2 x 8 3/8 (sheet 23 x 18). Edition 40-50. A fine impression on simili-Japan paper. Signed in pencil. $9,750.

Print Collectors

James McBey, LLD. 1883-1959.

Portrait of George W. Davison. 1930. Drypoint. Hardie/Carter 261. 10 x 6 3/16 (sheet 13 5/8 x 9 1/4). Edition 47, #13 . An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and numbered in ink. $325.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 15 1/2 x 7 1/2). Trial I, on a plate that had been used for a first study of Mr. J. Seaman, whose head has been partly scraped out. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial I' in ink; titled and annotated 'trial I' in pencil. A unique proof. $375.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 13 1/8 x 9 1/4). Trial III, on a plate that ha been used for a first study of Mr. J. Seaman, whose head appears upside down in the lower right. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial III' in pencil; annotated 'Trial III', 'old' and 'head scraped' in pencil. A unique proof. $375.

Portrait of Dudley Olcott. 1930. Drypoint. Hardie/Carter 263. 9 3/8 x 6 (sheet 12 5/8 x 8 5/8). Trial IV. The sitter's right ear shortened; added work all over thye face and in the background. Mr. Seaman's head removed from the plate. Edition 41 plus 5 trials. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and annotated 'Trial IV' in pencil; annotated 'Trial IV', 'ear shortened' and 'White head reinforceded' and 'hair brought down' in pencil. A unique proof. $375.

Joseph Seaman. 1930. Drypoint. Hardie/Carter 262. 9 7/16 x 5 7/8 (sheet 14 1/4 x 10 1/8). Edition 41, #12. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Signed and numbered in ink. $325.

Portrait of Albert H. Wiggin (No. 3). 1930. Drypoint. Hardie/Carter 259. 8 x 7 (sheet 14 x 9). Edition 85, #33. An extremely rich impression with drypoint burr, printed on antique cream laid paper. Dedicated in ink, 'From collector to collector. A.H.W. to Dudley Olcott.' Signed and numbered in ink. $325.

Political Leaders

John William Evans. Born 1855.

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.

Helene Formstecher. 1838-1874.

Napoleon. Etching after Leon Cogniet (1791-1880). 6 3/4 x 5 1/4 (sheet 12 1/8 x 8 13/16). A fine impression with plate tone printed on cream laid paper with deckle edges on three sides. Signed in the plate and in pencil. $175.

Francisco José de Goya y Lucientes. 1746-1828.

Felipe III, Rey de España (after Velasquez). 1778. Etching. Delteil 6, Harris 5. Early printing in black ink, before the bevel. 14 7/8 x 12 1/8 (sheet 16 1/8 x 13 3/8). Early printing in black ink, before the bevel. 14 7/8 x 12 1/8 (sheet 16 1/8 x 13 3/8). Printed on thick cream laid paper. Collector’s seals verso: 1. Kupferstick Sammlung der Könige museen Staatliche Graphische Sammlung in Munich ; in 1905 it was renamed the Royal Print Room; in 1949 it becamethe State Graphic Collection. 2. Kupfersticht der Staatlichen Museen, Berlin (Lugt 2482 – without date) -- mark for duplicates; 3. K.F. von Nagler (Lugt 2529). A fine impression with important provenance. $2,750.

William Say (1768-1832) after Robert Ker Porter (1777-1842).

Sir Sidney Smith. 1802. Mezzotint. 25 1/4 x 17 (plate). Text: 'Robert Ker Porter pinx.t. W.Say sculp.t. London Published as the Act directs, June 19 1802, by John P. Thompson, Printseller to his Majesty and their Royal Highness's the Duke and Duchess of York; Great Newport Street, and No 51, Dean Street, Soho.' Signed, dated and titled in the plate. Vertical stain under the 'S' in Smith; otherwise apparently fine condition. $550.00

President William H. Taft II. 1911. Original etching. Hjert and Hjert 165.iv. 9 7/8 x 8 (sheet 14 3/8 x 11 7/8). A fine impression with plate tone, printed on cream laid 'Van Gelder Zonen' paper with full margins. Signed in pencil by Zorn; dedicated in ink 'For Laurence Bradman with best wishes of Wm H Taft Jany 20, 1922.' $4,000.

Religious Figures

François de Herain. 1877-1962.

Le Pope Niemetsky. Prisonnier de guerre au camp de Halle (Prusse), 1915. (Pope Niemetsky, Prisoner of war in the Halle Camp, Prussia). 1915. Drypont. Printed by Vernant and Dollé, and published in Revue de l'Art ancien et moderne. Unsigned. $65.

Georges Rouault. 1871-1958.

Notre Dame de la Fin des Terres. (Our Lady of the End of the World). Woodblock cut by Georges Aubert after a drawing by Rouault for the book Cirque de l'Étoile Filante (Circus of the Shining Star). (Paris, 1938), page 155. 6 x 7 3/4. Signed and dated in the block. $7,000.

Arthur William Heintzelman. 1891-1965.

Portrait of Albert Schweitzer. Etching. 11 3/6 x 9 3/4 (sheet 16 1/4 x 14). Illustrated: Beall, American Prints in the Library of Congress, page 205. A rich impression with plate tone printed on cream laid paper. Signed and annotated 'Printed from Copper' in pencil; titled on the mat in the artist's hand. $1,250.

Diana Thorne. 1895-.

The Box at 'Faustus'. Drypoint. 11 x 8 7/8. Edition 100, #39. Signed, titled and numbered in pencil. A rich impression printed on pale greenish-toned wove paper. Signed in pencil. A tongue-in-cheek image of the devil in the opera box, lower right. $350.

Allinson Gallery Index.