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I've Been Framed!: Framed fine prints, drawings and watercolors.

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American

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John Taylor Arms, N.A., R.E. 1887-1953.

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American Cathedral (The Woolworth Building). 1921. Etching. Fletcher 107. 17 x 6 5/8 (sheet 21 1/2 x 9 1/8). Edition 75. Provenance: estate of David Llewellyn Reese, New York. An extremely rich tonal impression printed in dark brown ink, 1921, on cream laid paper with full margins. Signed and titled in pencil. Housed in a 26 1/2 x 15 3/4-inch gold and silver modernist frame. $6,500.

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The Balcony (Venetian Gateway). 1931. Etching. Fletcher 237.iii. 8 1/16 x 5 1/16 (sheet 12 5/8 x 10 1/16). Edition 110 (plus 34 trial proofs). Italian series #21. Published as the frontispiece for the book by Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy; Print Collector's Quarterly 21 (1934):138. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,250.

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La Bella Venezia, or The Grand Canal, Venice. 1930. Etching. Fletcher 232. 7 1/8 x 16 1/2 (8 3/8 x 17 1/2. Italian Series, #18. Trial proof, apart from the edition of 81 (+ 5 trial proofs). Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 192; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, A rich impression with subtle tonal wiping printed on cream wove paper. Signed, dated, titled and annotated and 'trial proof II', 'collection j' (Hugh Fisher, England), and 'ct' (Carling trial) in pencil. Housed in a 15 1/4 x 24 1/8-inch gold leaf frame. $3,500.

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Rio del Santi Apostoli, Venice. 1930. Etching. Fletcher 226.ii. 8 x 6 (sheet 9 3/4 x 14 1/4). Edition 100 (+ 10 trial proofs). Italian series #4. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 206. Commission as the frontispiece for the limited edition of American Etchers: John Taylor Arms. A rich impression, one of 18 printed by Henry E. Carling on antique cream laid paper with a shield watermark. Signed, dated, and annotated ' Plate etched as frontispiece for Limited Edition of Volume V of American Etchers Series' and 'cp' (Carling printed) in pencil. Housed in a 16 1/4 x 13 3/4-inch Italianate gold leaf frame. $2,250.

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Venetian Filigree ( Cà D'Oro Venezia). 1931. Etching. Fletcher 235.ii. 10 3/4 x 11 (sheet 13 7/8 x 18 5/8). Edition 150 (+ 4 trial proofs). Italian Series #20. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p.188; Fine Prints of hte Year, 1932;Prints vol. III, no. 2, 1933, page 3; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 117. Printer: Henry E Carlingg. A rich impression on pale blue/green laid paper on the full sheet with deckle edges. Housed in an elegant 21 1/2 x 22-inch gold leaf frame. Signed, titled and annotated 'cp' (Carling printed) in pencil. $6,500.

Venetian Mirror (The Grand Canal, Venice). 1933. Etching. Fletcher 289.ii. 6 1/4 x 14 1/4 (sheet 10 3/16 x 18 1/8). Edition 169 (+ 27 trial proofs). Italian Series #27. Illustrated:Prints vol. VI, no. 2, 1935, p. 79;. Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 119. Printer: David Strang. A rich impression on 'David Strang' cream laid paper with full margins. Signed, dated 1935, titled and annotated 'II' in pencil. Housed in a stunning antique 20 1/8 x 28-inch gold leaf frame. $6,500.

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

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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 and Co. Inc., New York; Chapellier Galleries, Inc, New York; Galleries Marcus Steinberg, Chicago. Gift to a Texas collector. Signed, titled and annotated 'No. 25' in pencil by the artist. Housed in a 29 x 33 1/2-inch reproduction gold leaf period frame. $10,000.

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In the Park, Dark. 1916. Lithograph. Mason 30.i/ii. 16 7/8 x x 16 1/4 (sheet 24 1/8 x 28 3/4). Edition 81, #34. A rich impression printed on sturdy wove paper, with full margins. This is a fine lifetime impression. Provenance: estate of Anita Jaffe, wife of Leo Jaffe who ran Columbia Pictures, the motion picture, studio, in the 1960s and 1970s, until his retirement in 1981. Signed in and numbered pencil by the artist. Housed in an elegant 29 x 32 1/2-inch black and gold wood frame. $4,500.

Tennis (Tennis Tournament). c. 1921. Lithograph. Mason 71. 18 3/8 x 20 (sheet 20 x 21 3/8 ). Edition probably 63. A rich impression printed on chine appliqué mounted on plate paper, as issued. This is a fine lifetime impression. Signed, annotated 'imp' and numbered '6' in pencil by the printer, Bolton Brown; signed and titled in pencil by the artist. Housed in an elegant 33 x 34 1/2-inch reproduction period gold leaf frame. $15,000.

The Tournament (Tennis at Newport). c. 1921. Lithograph. Mason 72. 14 3/4 x 18 7/8 (sheet 20 1/2 x 24). Edition probably 63. A rich impression printed on chine appliqué; mounted on plate paper. Signed, annotated 'imp' and numbered '42' in pencil in pencil by the printer, Bolton Brown; signed in the stone and in pencil by the artist. Housed in an elegant reproduction period 29 1/2 x 32 1/4-inch gold leaf frame. $15,000.

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Isabel Bishop. American. 1902-1988

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The Fountain or Drink of Water. c. 1946-47. Ink on paper. 2 7/8 x 2 3/8 (sheet 4 1/4 x 5). Provenance: James Fosburgh; Raydon Gallery, New York. Initialed in pencil lower right. Housed in a 13 1/4 x 11 5/8-inch modern gold leaf frame. $1,750.

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Letterio Calapai. 1902-1993.

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Underground 1946. Etching and aquatint.17 3/4 x 11 7/8(sheet 20 5/8 x 16). Artist's proof; edition not known. A rich impression printed on cream-colored wove paper. Signed and annotated 'artist's proof' in pencil. Housed in a black and silver leaf 26 3/4 x 20 3/4-inch modernist wood frame. $7,500.

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Mary Cassatt. 1845-1926.

Hélène of Septeuil (enfant au perroquet) (child with a parrakeet). c. 1889-1890. Drypoint. Breeskin, 134.v. 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 antique blue-green laid paper with a F and AGL countermark. Signed 'Mary Cassatt' in pencil. Housed in a silk mat with a gold liner and a 20 x 16-inch gold leaf frame. $13,500.

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Looking into the Hand Mirror, No.2. c. 1905. Drypoint. Breeskin 202. 7 5/16 x 5 (sheet 11 1/7 x 7 3/16). Posthumous impression. Printed on antique laid paper. Housed in an archival French mat and a 19 x 15-inch gold leaf frame. $2,250.

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Looking into the Hand Mirror, No.3. c. 1905. Drypoint. Breeskin 202+. 8 1/4 x 6 (sheet 10 1/2 x 7 1/8). Posthumous impression. Printed on antique laid paper. Housed in an elegant archival French mat and a 17 1/4 x 15-inch style gold leaf frame. $2,250.

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Grattan Condon. American. 1887-1966.

Illustrations for Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945.

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[Futuristic Helicopters.] c. 1944. Conte crayon drawing. 9 1/2 x 7 (framed 15 7/8 x 13 3/8). Illustration for the text: Illustration for the text: 'The world was at peace and prosperous' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 13. Initialed, lower right. Housed in a 17 5/8 x 13 3/8-inch mondern black metal frame. $850.

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[Futuristic Aircraft.] Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 13 1/8). Illustration for the text: 'They put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Housed in a 17 5/8 x 13 3/8-inch mondern black metal frame. $850.

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Howard Cook. American. 1901-1980

Lower Manhattan. 1930. Lithograph. Duffy 132. 13 7/8 x 10 1/8 (sheet 15 3/4 x 11 1/2). Edition 75 (only 35 proofs were printed). Signed, dated and annotated '75' in pencil. A rich, carefully inked impression printed on cream wove paper. Available housed in a gold and silver modernist style frame. $12,500.

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Skyscrapers. c. 1950. Pastel. 29 3/4 x 19 7/8 (framed 37 x 27). Provenance: Lewis A.Shepard, Mr.and Mrs. Archie Burack, The New Britain Museum of American Art, New Britain, Connecticut. Signed, lower right. $30,000.

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Harold Kerr Eby, N.A. 1890-1946.

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September 13, 1918. St. Mihiel [The Great Black Cloud]. 1934. Etching, aquatint and sandpaper ground. Giardina 182.iv. 10 3/8 x 16 (sheet 13 1/8 x 18 1/4). Edition 100. Illustrated: Prints vol. VI, no. 2, 1935, page 85; Print Collector's Quarterly 26 (1939): 82; Fine Prints of the Year, 1935; Eby. War. Provenance: Frederick Keppel & Co. A rich, beautifully wiped impression on cream-colored wove paper. Signed and annotated 'imp' and 'Edition 100' in pencil, indicating a proof printed by the artist. This is Eby's most famous etching. Housed in a an archival French mat and a 21 x 25-inch black and gold classical wood frame. Price upon request.

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Gerald K. Geerlings. 1897-1998.

Cityscape Reflections - Study No. 1. 1980. Pastel and pencil drawing. 8 x 4 15/16. Signed and dated in ink, lower right. Annotated 'Nov. 1980' on the mat. Housed in a 15 x 11 1/8-inch gold leaf frame. $1,250.

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Childe Frederick Hassam, N.A. 1859-1935.

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The Bill Boards, New York. c. 1919. Etching. Cortissoz, Clayton 87. 4 5/8 x 6 (sheet 6 3/8 x 9 5/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Provenance: William Macbeth Gallery, New York. Signed and dated 1896 in the plate; signed with the cypher in pencil. Housed in an elegant beaded gold leaf frame. $6,000.

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The Church Across the Way. 1916. Etching. Cortissoz, Clayton 66. 8 1/4 x 4 3/8 (sheet 10 1/16 x 6 1/8). A fine impression with carefully-wiped plate tone printed on whitelaid paper with a '6' partial countermark. With the usual drying tack holes in the margins. Annotated 'New York C.H. 1916'in the plate; signed with the cypher in pencil. The etching is extremely scarce. $3,750.

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The Little Church Around the Corner. 1923. Etching. Cortissoz, Clayton 220.ii. 8 x 11 1/2 (sheet 10 5/8 x 11 3/8). A fine impression with carefully-wiped plate tone printed on white wove paper with deckle edges. Drying tack holes in the margins. Signed and dated 'Jany.31, CH 1923 in the plate; signed with the cypher in pencil. The etching is extremely scarce. $4,500.

The White Kimono. 1915. Etching. Clayton 47. 7 1/2 x 10 7/8 (sheet 10 1/4 x 13 11/16). Edition c. 61. Printed on off-white hand made paper with full margins. APristine condition. Provenance: Gift of Maud Doane Hassam (850 Park Ave NYC) Thence, by descent to a direct descendant of Mr. Maud Doane Hassam. Signed with the cypher in pencil. Housed in a silk mat with a gold liner, within an 18 1/2 x 22 1/2-inch 22 karat gold leaf frame.Price upon request.

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Helen Hyde. 1868-1919.

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Her Bit. 1918. Color etching. Mason and Mason 140. 6 7/8 x 4 7/8 (sheet 10 3/4 x 7 13/16). Signed numbered '34.' in pencil. A rich impression with glowing colors, printed on Japanese mulberry paper with full margins. Housed in a frame with patriotic motifs of an eagle with shield and American flags. A unique presentation of a child doing 'her bit' by knitting for the soldiers. $1,750.

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Otto Kuhler. 1894-1977.

Mighty Metropolis (lower Manhattan as seen from the Staten Island Ferry). 1930. Etching. Kennedy 26. 9 3/8 x 13. Edition 30. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. Housed in an 18 5/8 x 22 1/4-inch silver wood frame. Signed in pencil. $1,100.

Spires of Manhattan. c. 1930. Etching. 9 3/8 x 12 3/4. A fine impression printed with plate tone and atmospheric wiping to suggest clouds on cream laid paper with full margins. Signed in pencil. Housed in an 18 5/8 x 22 1/4-inch silver wood frame. Signed in pencil. $1,100.

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Armin Landeck. 1905-1984.

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Approaching Storm, Manhattan. 1937. Drypoint. Kraeft 65. 9 1/8 x 8 3/8 (sheet 15 3/4 x 14 7/8). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression printed with tonal wiping on antique white wove paper. Anthony Kirk's embossed printer's chop in the lower left corner of the paper. Signed, dated and inscribed 'Ed 100' in pencil. Housed in a dramatic 17 3/4 x 16-inch stepped modernist black frame with subtle red highlights. $2,750.

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Demolition No. 1. 1940. Drypoint. Kraeft 80. 4 7/8 x 8 7/8(sheet 12 x 13 7/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich impression with tonal wiping, printed on white wove paper with full margins. Signed, dated and annotated in pencil. Housed in a dramatic 14 1/2 x 17-inch stepped modernist black frame with subtle red highlights. $2,250.

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Manhattan Vista. 1938. Drypoint. Kraeft 70. 7 15/16 x 10 5/8 (sheet 10 11/16 x 14 1/8). Edition 100. Provenance: estate of David Llewellyn Reese, New York. A rich early impression, on cream laid paper with full margins. Exhibited and Reproduced: The American Scene: Prints from Hopper to Pollock, Stephen Coppel: The British Museum, 2008. Signed and dated in the plate, lower left. Signed in pencil. Housed in a dramatic 18 3/4 x 17-inch stepped modernist black frame with subtle red highlights. $3,250.

York Avenue, Sunday Morning. 1939. Drypoint. Kraeft 78. 7 3/4 x 12 7/8 (sheet 8 x 12). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. A rich impression with plate tone printed on white wove paper. Signed, dated and inscribed 'Ed 100' in pencil. Signed, dated and inscribed 'Ed 100' in pencil. Housed in a 15 x 19 1/2-inch dramatic black modernist frame with subtle red highlights. $3,500.

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York Avenue Tenements. 1938. Drypoint. Kraeft 74. 10 3/8 x 9 (sheet 14 1/8 x 12 3/8 ). Edition 100. Provenance: Estate of David Llewellyn Reese, New York. Signed, dated and inscribed 'Ed 100' in pencil. Housed in a 19 1/2 x 15-inch dramatic black modernist frame with subtle red highlights. $3,500.

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Martin Lewis, N.A. 1881-1962.

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Arch, Midnight. 1930. Drypoint. McCarron 84. 8 1/8 x 11 5/8 (sheet 11 1/16 x 14 3/4). Edition of 99 recorded impressions. Illustrated American Etchers: Martin Lewis. A rich, well-inked impression printed on Whatman antique paper. Signed and dedicated 'To Charles S. White with best regards - April 4th - '30' in pencil. Housed in a striking 17 1/2 x 21 1/2-inch black wood frame. $19,000.

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Building a Babylon, Tudor City, NY. 1929. Drypoint. McCarron 76. 12 7/8 x 7 7/8 (sheet 16 5/8 x 12 1/4). 6th trial proof (McCarron records 84 impressions including 4 trial proofs). Illustrated: L'Amérique de la Dépression: Artistes Engagés des Années 30, Musée-Gallerie de la Seita, Paris, 1996. A rich impression printed on FJ Head creamlaid paper with a partial initial countermark and a hand watermark. A rare proof, unknown to McCarron. Annotated '6th trial proof' and signed 'Martin Lewis imp' in pencil, indicating an impression printed by the artist. Housed in a 23 x 17-inchHoused in a 10 1/4 x 24 1/4-inch period gold leaf frame. Housed in a 10 1/4 x 24 1/4-inch period gold leaf frame. $15,000.

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Fifth Avenue Bridge. 1928. Drypoint. McCarron 72. 9 7/8 x 12 (sheet 12 3/4 x 15). Edition of 108 recorded impressions. A rich impression printed on cream laid paper, with full margins. Signed in pencil. Housed in a 22 x 24-inch gold modernist frame. $22,500.

The Great Shadow. 1925. Drypoint. McCarron 44. 9 7/8 x 7 inches (sheet 13 3/4 x 10 1/4). Edition of 86 recorded impressions (intended edition 100). A superb impression with carefully wiped plate tone printed on cream wove paper, with full margins. Signed and annotated 'Great Shadow' in the lower left-hand margin and '14'in the lower centermargin in pencil. Housed in a striking 18 3/4 x 14 3/4 x 3/4-inch black wood frame with gold decorations. $7,500.

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Quarter of Nine, Saturday's Children. 1929. Drypoint. McCarron 78. 9 3/4 x 12 3/4 (sheet 12 7/8 x 17 7/8). Illustrated: American Etchers: Martin Lewis. Edition 107. A fine impression printed on Swedish cream wove paper with full margins. Signed and annotated "imp" in pencil, indicating a proof printed by the artist. Housed in a 19 3/8 x 21 3/8 1-inch black stepped wod frame. $35,000.

Relics (Speakeasy Corner). 1928. Drypoint. McCarron 74. 11 7/8 x 9 7/8 (sheet 17 1/8 x 13 3/4). Edition of 111. Illustrated: American Etchers: Martin Lewis. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. Signed in pencil. Housed in an archival mat and a 25 x 21-inch black wood frame. $70,000.

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Shadow Dance. 1930. Drypoint and sandpaper ground. McCarron 88. 9 3/8 x 10 7/8 (sheet 13 x 14 7/8). ). Edition 109 recorded impressions. Illustrated: American Etchers: Martin Lewis; Fine Prints of the Year 1931; Prints vol. II, no. 2, 1932, p. 18. 1/8-inch professionally repaired paper loss, over the left shoulder of the gentleman to the far right. A fine impression printed on cream colored Whatman antique paper with full margins. Signed in pencil. Housed in a double black and white archival mat and a 22 x 23 1/4 x 1-inch modernist gold leaf frame. $37,500.

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Shadows on the Ramp. 1927. Drypoint and sand ground. McCarron 64. 9 x 10 1/2 (sheet 12 3/8 x 14). Edition 75 recorded impressions. A rich, tonal impression with drypoint burr, printed on cream wove paper. Signed in pencil. Housed in a striking French mat and a 19 1/8 x 21 3/8-inch black wood modernist frame. $15,000.

Skyline, New York. 1919. Etching and drypoint. McCarron 36. 8 7/8 x 10 3/8 (sheet 12 1/4 x 14 . 11 recorded impressions (intended edition 50. Lewis states that he destroyed 6 of the 11 proofs returned to him by Kennedy). A luminous impression printed on beige wove paper. An extremely rare image as apparently only 5 proofs arenoted. Housed in an archival French mat and a, 18 1/2 x 20 x 1 1/4-inch modernist gold leaf frame with brown wood sides. $9,750.

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Snow on the 'El'. 1931. Drypoint and sandpaper ground. McCarron 95. 14 x 9 (sheet 17 1/2 x 12 5/8). Edition 49 recorded impressions (including 5 trial proofs). A rich, tonal impression printed on Whatman antique laid paper with full margins. Signed and dedicated 'To Beatrice Bruehl with all good wishes- from M.L. Dec. 25/43' in pencil. Housed in a 25 3/4 x 19 5/8 x 1-inch modernist gold leaf frame. $60,000.

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Spring Night, Greenwich Village. 1930. Drypoint and sand ground. McCarron 85. 10 x 12 3/8 (sheet 13 1/4 x 15 5/8). Edition 92. A rich, tonal impression printed on laid paper. Signed in pencil. Housed in a 21 x 22 1/2-inch gold and silver Art Deco style frame. Signed in pencil. $30,000.

Stoops in Snow. 1930. Drypoint and sandpaper ground. McCarron 89.ii. 9 3/4 x 14 3/4 (sheet 13 7/16 x 18 7/16 ). Edition 115 recorded impressions. Illustrated: American Etchers: Martin Lewis. A rich, tonal impression printed on white laid paper with full margins. Signed in pencil. Housed in a stunning archival black mat and a 20 x 24 3/4-inch modernist black wood frame. $42,500.

Yorkville Night. 1947. Drypoint. McCarron 140. 8 1/2 x 11 3/8 (sheet 10 7/8 x 14 11/2). 18 recorded impressions, including 1 trial proof. Provenance: Henry Christensen, III. A brilliant, luminous impression with rich, velvety burr, printed on cream laid paper. An extremely rare image. Signed in pencil. Housed in a dramatic 18 1/4 x 21-inch burled wood frame. $42,500.

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Louis Lozowick. 1892-1973.

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57th Street (Rubber Center). 1930. Lithograph. Flint 26. 14 3/4 x 7 1/2 (sheet 15 7/8 x 11 3/8). Edition 40, #12 . A rich tonal impression printed by George C.Miller on the full sheet of 'BFK' (Rives) wove paper. Provenance: Graphics International, Washington, D.C. Signed, dated and numbered in pencil. Price upon request. Housed in a dramatic silver and gold modernist style frame.

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Samuel Margolies. 1897-1974.

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Storm Over City Hall. 1936. Etching and aquatint. 11 3/4 x 8 7/8 (sheet 16 x 11 1/2). Edition about 25. An extremely rich impression printed on Rives wove paper, on the full sheet with deckle edges. Provenance: gift of the artist to Baldwin-Wallace College, Berea, Ohio. Published by the New York City WPA. Another proof is in the collection of the Metropolitan Museum of Art. Signed and titled in pencil. Housed in an archival mat with a gold liner and a dramatic 19 x 16 1/4-inch gold leaf frame. $5,750.

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John Marin. 1870-1953.

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Downtown, the El. 1921. Etching. Zigrosser 134. Edition of approximately 275. 6 3/4 x 8 3/4 (sheet 11 1/4 x 13 3/4). Published by the New Republic, New York, and printed by Peter Platt. A rich, tonal impression with plate tone printed on the full sheet of cream wove paper. Signed in pencil. $4,250. Housed in an archival French mat and a 15 3/4 x 19 1/2-inch period gold leaf frame.

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Reginald Marsh. 1898-1954.

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Battery (Belles). 1938. Engraving. Sasowsky 177.vi. 9 x 12 (sheet 10 5/16 x 13 1/2). Edition 3 proofs and also 20 lifetime impressions in this state printed by the artist, plus an additional 111 posthumous impressions. Provenance: ACA Galleries, New York; a private collection. A rich impression printed by Marsh on cream wove paper. Signed and annotated 'forty proofs' in pencil. Housed in a striking 16 1/8 x 19-inch black and silver modernist wood frame. $6,750.

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Joseph Pennell, N.A. 1857-1926.

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Coronation of King George V and Queen Mary in Westminster Abbey. June 22, 1911. 1911. Lithograph. Wuerth 197. 21 x 16 (sheet 25 1/8 x 20). Edition about 30. A fine impression printed on cream wove paper. An extremely scarce and important historical image. Signed in pencil. Housed in an elegant 20 x 24-inch Hogarth-style black wood and gilded frame with gilded corner ornaments. $2,250.

September Morning: The First Ferry. 1929. Watercolor. 10 1/8 x 13 (image and sheet). Provenance: The Fine Art Society, London. A misty, impressionist watercolor on French papier vedâtre. Titled and dated '29' verso. Signed in pencil, recto, lower right. Housed in the original 19 1/8 x 232 5/8 gold leaf frame. $6,500.

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Anton Friedrich Josef Schutz. 1894-1977.

Plaza Lights. c. 1929. Aquatint. 9 7/8 x 13 7/8 (sheet 13 1/8 x 17 1/8). A hand-tinted impression printed on yellow toned Japanese paper with full margins. Signed in pencil. One of only a few impressions printed by the artist on his own hand-tinted yellow Japan paper. Housed in a double mat and a black 18 1/2 x 22 1/2-inch black wood frame. $4,000.

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John Sloan, N.A. 1871-1951

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Kraushaar's. 1926. Etching. Morse 29.viii. 3 7/8 x 5 15/16 (sheet 7 x 11 1/16). A rich impression printed on Japanese bulberry paper with wide margins. 3 7/8 x 5 15/16). Annotated 'Erndst Roth imp' in pencil, lower left. Signed, title and annotated '100 proofs' in pencil by Sloan. Signed, titled and annotated '100 proofs' in pencil by the artist. Housed in a 14 1/2 x 1`5 1/2-inch modernist silver and gold frame. $2,500.

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The Lafayette. 1928. Etching. Morse 233/vi. 4 7/8 x 6 7/8 (sheet 8 1/8 x 9 3/8). Proof prior to the intended edition of 100, that was probably closer to 80. A rich impression on cream paper with a fleur-de-lys watermark. Signed and titled "John Sloan (by H[elen] F[arr]S[loan])" in pencil (presumably because it was part of the artist's personal collection). Annotated "First state 2-'24'28" in pencil by Sloan." Morse notes 'Proofs of 1st state dated March 24, 1928.' p.259. An extremely rare proof. Housed in a double grey and cream colored atchival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $4,000.

The Little Bride. 1916. Etching. Morse 138. 4 7/8 x 6 3/4 (sheet 7 7/8 x 10 1/2). Series: New York City Life, tenth plate.Printed on cream wove paper with full margins. Exhibited: Panama-Pacific International Exposition, San Francisco, 1915. Illustrated: Charles Wisner Barrell, 'The Real Drama of the Slums as told in John Sloan's Etchings' The Craftsman vol. 15, p. 560. Signed and annotated "Ernest Roth Imp' by the printer. Signed, titled and annotated '100 proofs' in pencil by Sloan. Housed in a gold beaded and carved 14 x 14 1/2-inch frame. $2,200.

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Charles Vezin. 1858-1942.

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City Lights Across the East River. c. 1933. Oil on board. 8 x 10. An atmospheric image in subtle grey tones. Housed in an 11 5/8 x 13 5/8 inch gold frame. Signed 'Vezin' lower left. $9,750.

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Stow Wengenroth, N.A. American. 1906-1978.

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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). Excellent condition. Signed and annotated 'Ed/40' in pencil. $8,000. Available housed in a gold leaf frame.

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James Abbott McNeill Whistler. 1834-1903.

Etchings: Family and Friends. 1857-1904.

Jo's Bent Head. 1861. Drypoint. Kennedy 78.ii; Glasgow 88.ii/iii. 9 x 5 7/8 (sheet 12 7/8 x 9 1/4). Glasgow records 25 known proofs. A rich impression with subtle tonal wiping, printed on fine cream laid paper with a 'No>1' countermark. There was no published edition of this extremely rare etching. Unsigned. Housed in an archival French mat and a 19 x 15 1/2-inch period beaded gold frame. $9,750.

Liverpool London and the Thames. 1859-1879.

Dipping the Flag. 1877. Etching and drypoint. Kennedy 325; Glasgow 308.iii(?)/iv. 3 1/8 x 6 5/8 (sheet 8 1/2 x 13 1/4). Dipping the Flag formed part of the 'Jubilee ' alternatively 'Naval Review' set. Unique proof printed in red brown ink with tonal wiping on sturdy ivory paper. Signed with the butterfly in pencil. Price upon request. Housed in an archival French mat and a 13 x 17-inch reproduction gold leaf Whistler style frame. $13,500.

Longshore men. 1859. Drypoint. Kennedy 45; Glasgow 52.iv. 5 7/8 x 8 3/4 (sheet 9 1/16 x 13 1/8). Glasgow records 37 known impressions. Two unobtrusive printing folds; otherwise good condition. A rich impression printed with plate tone on sturdy Japanese mulberry paper. Signed 'Whistler' and dated '1859' in the plate. A rich impression printed with plate tone on sturdy Japanese mulberry paper. Signed 'Whistler' and dated '1859' in the plate. Housed in a 17 x 21 1/2-inch black wood frame with a Whistler nameplate. $3,500.

Rotherhithe (Originally published as Wapping). 1860. Etching. Kennedy 66.iii; Glasgow 70.vi. 10 3/4 x 7 3/4 (sheet 12 7/8 x 9 1/2). Series: "Sixteen Etchings or Scenes on the Thames and Other Subjects." (Thames Set) plate 5. 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; Guichard, British Etchers, 1850-1940. One 2-mm missed inking spot between the two ship masts on the right; otherwise an excellent proof. A rich impression printed on antique cream laid paper. Signed in the plate. Housed in an archival silk-covered mat with a gold lip in an elegant 19 5/8 x 16 5/8-inch Whistler style gold leaf frame. $10,000.

The French Set and Paris. 1857-1891.

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Bibi Lalouette. 1859. Etching and drypoint. Kennedy 51.ii; Glasgow 33.ii. 9 x 6. Glasgow records 67 known impressions. A fine impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy’s hair and coat. In the first state there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, one head remains visible in this impression. Printed on fine cream laid paper. Signed and dated in the plate. Housed in a silk mat and gold leaf frame. $4,250. 1859. Etching and drypoint. Kennedy 51.ii; Glasgow 33.ii. 9 x 6. Glasgow records 67 known impressions. A fine impression, printed with tone and showing velvety burr from the drypoint work, especially in the boy’s hair and coat. In the first state there were two heads in the lower part of the plate. They were removed and Whistler turned the plate upside down; however, one head remains visible in this impression. Printed on fine cream laid paper. Signed and dated in the plate. Housed in a silk mat and 19 x 16-inch gold leaf frame. . $4,250.

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

Venus. 1859. Etching and drypoint. Kennedy 59.ii; Glasgow 60.ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. There was no published edition. A very rich impression printed in black ink on fine Japanese mulberry paper. Provenance: estate of Alvin B. Glaser Signed and dated in the plate. Housed in an archival French mat and a 14 x 11-inch gold leaf frame. $45,000.

Italy: 1879-1880.

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The Venetian Mast. 1879-80. Etching and drypoint. Kennedy 195.vi; Glasgow 219.x/xii. 13 3/8 x 6 3/8. Series: First Venice Set 1880. Glasgow records 53 impressions. A fine, atmospheric proof of this rare image, printed in black ink on fine laid paper. Signed with the butterfly in the image and annotated 'imp' on the tab in pencil by Whistler. Housed in a 21 x 13 1/2-inch pale gold wood frame. $12,500.

The Netherlands. 1886-89.

The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in an archival French mat and a gold leaf period carved Celtic design frame. $3,000.

Paris. 1893.

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Newspaper Stall, Rue de Seine. 1893. Etching and drypoint. Kennedy 432.ii; Glasgow 474.ii. 3 3/16 x 7 13/16 (sheet 7 7/8 x 12). Glasgow records 13 known impressions. A very rich impression in warm brown/black ink printed on cream antique paper with a coat of arms with a tower watermark. Signed with the butterfly in the plate, upper right. Housed in an elegant carved gold frame. $3,750.

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Lithographs

Family and Friends

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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. Housed in an archival mat with a silver liner, and an elegant 18 1/4 x 16 3/4-inch silver leaf frame. $2,750.

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La Jolie Newyorkaise. (The Lovely Lady from New York). 1894. Lithograph. Way 61; Levy 92; Tedeschi, Stratis and Spink 99. 9 x 6 1/4 (sheet 15 x 10 1/8). Edition 30 printed by Way, and 30 printed posthumously by Goulding November 2, 1903. A fine impression printed from the later edition on the full sheet of 'O.W.P. & A.O.L.' laid paper. Collector's seal verso: Rosalind Birnie Philip (Lugt 405). Monogrammed with the butterfly in the stone. Housed in an archival French mat and a delicate 22 x 18-inch gold leaf frame. $3,500.

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La Robe Rouge. (The Red Dress.) 1894. Lithograph. Way 68, Levy 96, Tedeschi, Stratis and Spink 107.ii. 7 1/2 x 6 (sheet 11 1/2 x 8 1/8). As published in The Studio, London, with their blindstamp, lower left. A well-inked impression printed on cream wove paper. Monogrammed with the butterfly in the stone. Housed in a silk mat with a gold lip in a 19 1/8 x 15 1/2-inch gold leaf frame. $1,750.

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Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25 lifetime impressions plus a few proofs recorded by Way (Goulding printed 30 posthumous impressions in 1904, after which the stone was erased). A foxing spot, otherwise excellent condition.Printed on ivory laid paper from an antique volume, numbered 178 recto and 177 verso, lower right. A well-inked lifetime impression of this extremely scarce print. Signed with the butterfly in the stone. Signed with the butterfly in the stone. Housed in an archival French mat and a dramatic 18 1/2 x 16 1/4-inch gold and black frame with a subtle gray lip. $6,500.

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Unfinished Sketch of Lady Haden. 1895. Lithograph with scraping. Way 143; Levy 139; Tedeschi, Stratis and Spink 116.ii/iii. 11 13/16 x 7 7/8 (sheet 13 5/16 x 9 3/8). No published edition; Way listed 8 impressions. The stone was erased by 1905. An impression with strong contrasts printed on fine laid paper. Monogrammed with the butterfly in the stone. Housed in an elegant French mat and 20 3/8 x 16-inch gold leaf frame.$7,500.

England

Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 14 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. $6,500.

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The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135.ii. 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream laid paper. Way lists 15 lifetime impressions (Goulding printed 30 proofs on April 11, 1904). Collector' seal verso: LDB (not in Lugt). Presumably one of the 15 lifetime impression. Monogrammed with the butterfly above the awning in the stone. Housed in a silver and black frame with a silk mat. A fine impression of this scarce image. $3,500.

Lindsey Row, Chelsea. 1888. Lithograph. Way 20; Levy 33; Tedeschi, Stratis and Spink 23. 5 x 8. Edition of 56 posthumous impressions printed by Goulding, in addition to the 14 lifetime impressions printed by Way. A fine impression printed on countermarked 'A.W.P.& A.O.L.' cream laid paper with full margins. Housed in a 14 x 17 1/2-inch period gold leaf frame. $3,250.

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Victoria Club. 1879 and 1887. Lithograph. Way 11.ii; Levy 22; Tedeschi, Stratis and Spink 15.ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A rich impression printed on greyish ivory proofing paper mounted on ivory plate paper. Edition of 100 printed by Way and issued by Boussod, Valadon & Co., as published in the portfolio, Notes 1887-88. Monogrammed with the butterfly in the stone. Housed in an elegant 20 x 17-inch beaded silver frame. $2,750.

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Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine impression printed on cream laid paper with a 'D&C Blauw' watermark of a hunting horn in shield. From the posthumous edition of 37 printed by Goulding in 1903 (Way lists 26 lifetime impressions). Monogrammed with the butterfly in the stone. Housed in a double blue/gray archival French mat and an elegant 20 x 15 1/4-inch gold leaf frame. $3,750.

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The Smith, Passage du Dragon. 1894. Lithograph. Way 73; Levy 110; Tedeschi, Stratis and Spink 103.i/iii. 11 7/8 x 7 1/2 (sheet 13 x 8 3/8). Edition 34 in three states (additionally, Goulding printed 45 posthumous impressions in 1904). A fine impression of the very rare first state, printed on Japanese mulberry paper. Collector's seal verso, lower left, brown ink, stamped: initial BP in sketchy square: Lugt 406, Rosalind Birnie Philip (lifetime stamp- design by Whistler. Monogrammed with the butterfly in the stone and in pencil. Housed in an archival French mat and an 18 3/4 x 14-inch gold leaf frame. $6,500.

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British

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Robert Anning Bell, R.A. 1863-1933.

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Battledore (Girls Playing Tennis). 1896. Lithograph. 10 1/2 x 6 5/8 (sheet 10 3/4 x 7 1/2). Printed in sanguine ink on cream wove paper, as published in The Studio volume 10, 1896, with their blindstamp. Signed and titled in the stone. Housed in a handsome gold leaf frame. A charming tennis image. $325.

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Sir Muirhead Bone. 1876-1953.

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Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Framed and glazed. Signed, dated and annotated 'Winchester', lower right. $1,750.

Joseph Conrad Listening to Music. 1923. Drypoint. Dodgson 385.vii. 6 7/8 x 9 7/8 . Edition of 89 in this state (total edition 109). Two printing folds in the image; otherwise fine condition. A rich, tonal impression printed on simili-Japon paper with full margins. Signed in pencil, titled and annotated 'VII' in pencil. Housed in an archival French mat and 19 1/8 x 14 1/2 x 1/2-inch black and gold wood frame. $1,950.

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Canal and Bridge of SS Apostoli, Venice. 1916. Drypoint. Dodgson 351.xx/xxvi. 12 7/8 x 8 7/8 (sheet 15 5/8 x 10 7/8). Edition of 129 proofs in 26 states. A rich impression with drypoint burr, printed on simili-Japan laid paper. Signed, lower right and annotated 'MB' with two circles, upper right, indicating a superior impression. This and Rainy Night in Rome are Bone's two greatest Italian prints. Housed in a 21 1/2 x 17 1/2-inch Whistler style gold wood frame. $1,750.

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Piccadilly Circus -- 1915. 1915. Drypoint. Dodgson 332.vi. 11 13/16 x 14 7/8 (sheet 16 x 22). Edition of 125 in this state. Illustrated: Furst, Original Engraving and Etching: An Appreciation. A rich impression printed on the full sheet of simili-Japan paper. Signed in pencil. Housed in a black stepped 19 x 20 2/3-inch modernist frame with a subtle red line. $3,750.

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A Spanish Good Friday (Ronda). 1925. Drypoint. Dodgson 412.xxix. 12 1/2 x 8 1/8 (sheet 16 3/4 x 12). Edition 160 in 29 states. Illustrated: Zigrosser: Six Centuries of Fine Prints. A rich impression with velvety drypoint burr. Printed on smooth simili-Japan paper with full margins. Annotated by Bone 'XXIX A Spanish Good Friday (Ronda) (for Morris) in the lower margin. Signed in pencil by Bone. $7,500.

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Windy Night, Stockholm. 1935. Drypoint. Dodgson 457.x. 11 7/8 x 7 5/8 (sheet 15 1/2 x 10 7/8). Edition of 80 in this state (total 93 in 10 states). Illustrated: Guichard, British Etchers: 1850-1940. A rich, atmospheric impression with tonal wiping printed on simili-Japon paper. Signed in pencil. Housed in a silver leaf frame: $1,850

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

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Adolescence. (Kathleen Nancy Woodward). 1932. Etching. Fletcher 75.vi. 14 3/8 x 10 7/16 (sheet 16 3/4 x 13). Total edition 91. Illustrated: Guichard, British Etchers 1850-1940; Fine Prints of the Year, 1933 and and Zigrosser, Six Centuries of Fine Prints. A luminous, richly-inked impression on simili-japon paper. Signed in pencil. This is the artist's magnum opus. It was one of the most influential and familiar icons of erotica of the 1930s. Housed in a 24 3/8 x 20 3/8 Italianate style wood frame. $28,000.

Dorette (Kathleen Nancy Woodward). Fletcher 72.iv/vii. 9 1/8 x 7 1/4 (sheet 14 1/2 x 10 1/4). Trial prrof 4, prior to the published edition of 100 (111 proofs in all). Illustrated: Fine Prints of the Year, 1932; Royal Academy Illustrated, 1932; Print Collector's Quarterly 22 (1935): 74. Printed on cream-colored simili-japon paper with full margins.. Signed and annotated '4th state G.L.B.' and '(1 of 3 proofs thus)' and in pencil. Housed in a 22 3/8 x 20 3/8 Italianate style black and gold wood frame. $6,000.

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L'Eventail (Anaïs) also called The Fan. 1921. Etching. Fletcher 22. Final state. 6 3/8 x 4 7/16 (sheet 11 1/2 x 9 1/4). Edition 76. An extremely rich, tonal impression printed on cream laid paper with wide margins. Signed in pencil. This is a portrait of the artist's first wife. Anaïs Folin. Signed in pencil. Housed in a 19th-century gilt and gesso deep-cove frame; frame measurements are 19 1/2 x 17 3/8 x 3. The frame features an extremely deep cove and extremely high hollow, with three different running ornaments with leaf motifs. $1,750.

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Jeunesse Dorée (Kathleen Nancy Woodward). (Gilded Youth.) 1942. Etching. Fletcher 80. 10 7/8 x 8 7/8 (sheet 14 1/4 x 11).Edition 75 in this state (there was also 1 trial and 4 proofs in state I; 2 trials and 2 proofs in state II; and 2 proofs of state 3, plus 4 proofs of the canceled plate) . A very rich impression with subtle plate tone, printed on antique cream laid paper with full margins. Signed and dated in pencil. Housed in a 22 3/8 x 20 3/8 Italianate style black and gold wood frame. $9,500.

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. Housed in a 19 1/2 x16-inch Hogarth style frame. $2,000.

Henry Rushbury, A.R.A., R.E., R.W.S., No. 2. 1930. Etching. Fletcher 66. Published state. 10 x 7 3/8 (sheet 14 1/2 x 10 3/4). Edition 111. Illustrated in 'Royal Academy Illustrated' 1930; 'Fine Prints of the Year' 1930; Print Collector's Quarterly 21 (1943): 331. An exceptionally rich impression with printed on cream wove paper. Signed in pencil. Housed in a 19 1/2 x 16-inch Hogarth style frame. $2,000.

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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 housed in anarchival French double mat and a 12 3/4 x 11 3/8 Whistler-style gold leaf frame. $1,750.

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Arthur Paine Garratt. Born 1875.

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The Plumed Hat. c. 19p0. Drypoint. 10 7/8 x 7 7/8. A rich impression printed with drypoint burr on cream paper with full margins. Extensive pencil additions. Unsigned. The brimmed hat is decorated with plumes at the back. The print is housed in a black wood frame with a silver beaded lip. $275.

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Frederick Landseer Griggs, R.A., R.E. 1876-1938.

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St. Botolph's Bridge (No. 1). 1917. Etching. Comstock 19.iv. 5 3/4 x 4 1/2 (sheet 9 3/8 x 8 5/8). Edition 50 in this state (total 70 proofs in 4 states.) A rich impression with plate tone printed on 'KF' laid paper. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. Housed in a elegant 18 1/4 x 12 1/8-inch gold leaf frame. $1,850.

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James McBey. 1883-1959

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Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxv. Illustrated: Print Collector's Quarterly 24 (1938): 428; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 98. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Housed in an archival French mat and a 20 3/4 x 14 3/4-inch gold leaf frame. Price upon request

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Trenches at Gaza 1917. 1921. Watercolour. 14 x 22. Provenance: The Fine Art Society. Annotated 'Gaza 1917' lower left. Signed and dated 1921, lower left. Housed in a dramatic 22 x 29 3/4-inch gold and blue/grey frame.

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Mejdel Yaba. 20 September , 1918 Pencil, ink and watercolour on paper. 8 1/8 x 22. Annotated, upper left, "due N at ???' Dated on the ink drawing on the verso. Signed and dedicated on the front "To Paul from James McBey." Housed in an elegant French mat and an elegant 14 x 27 1/2-inch gold leaf frame with blue/grey highlights. $4,000.

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The Somme. 1917. Watercolor. 9 1/2 in x 18 3/4. Signed and dated, lower left. Annotated verso, 'Bapaume Road'. Housed in an archival mat and a 15 1/2 x 26-inch black wood frame. $5,500.

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Christopher Richard Wynne Nevinson, A.R.A. 1889-1948.

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Now Back the Bayonets. 1918. Lithographic poster, printed in red, black and yellow. 29 1/2 x 18 7/8 (image and sheet). Unobtrusive Vertical and horizontal fold marks; otherwise fine condition. An excellent impression with bright, fresh colors, printed on thin wove paper by Dangerfield Printing Co. Ltd, London. Signed in the stone.Housed in a 34 1/4 x 24 1/2-inch two-tone gold modernist frame. Price upon request.

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Theodore Casimir Roussel. 1847-1926.

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The Steam Launch, Chelsea Embankment. 1888-89. Etching. Hausberg 18. 3 1/4 x 4 3/4 (image and sheet). Edition about 30. Agnew's label verso. A rich impression with plate tone, printed by Roussel himself on off-white paper. Signed on tab "Theodore Roussel imp" in pencil. Housed in a reproduction frame that adapts part of Roussel's Stag and Flower Pattern Frame, Hausberg 164. Total frame size: 9 x 11 3/16. $1,250.

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

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Sir Sidney Smith, K.C.B. (1764-1840) 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. Housed in a stunning 34 x 25 1/2-inch carved, patinated and gilded frame with ormolu corner mounts. $750.00

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

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Bromborough. A Cornfield by the Mersea. 1890. Etching. Hardie 250. 3 3/8 x 7 7/8 (sheet 4 5/8 x 9). Edition 50. A rich impression with subtle wiping, printed on cream laid paper. Signed in pencil. $275. Housed in a reproduction Hogarth frame (14 3/4 x 9 1/2) $375.

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Diana and Endymion (after the painting by George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1891. Mezzotint. Hardie 60. 17 3/4 x 22 (sheet 21 3/4 x 25). Edition 300. A rich, tonal proof printed on Japan paper. Exhibited in 1900 at the Exposition Universelle, Paris, where it was awarded a gold medal.Signed in pencil by Watts and by Short. Signed in pencil by Watts and by Short. Housed in its original 28 1/2 x 32 1/2 x 1-inch period brown wood frame with a gold lip. $3,000.

Orpheus and Eurydice (after George Frederic Watts, R.A., H.R.C.A. 1817 - 1904). 1889. Mezzotint. Hardie 54.12 5/8 x 19 1/2 (sheet 17 1/8 x 23 3/ 8). Edition 300. A rich proof printed on Japon paper. Exhibited in 1889 at the Exposition Universelle, Paris, where it was awarded a gold medal. Signed in pencil by Watts, Short, and by the printer, Frederick Goulding. Housed in a 23 1/4 x 29-inch champagne gold leaf frame. $1,750.

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A Roman Canal [Lincolnshire] (after the water-colour drawing by Peter De Wint, 1784--1849). 1904. Mezzotint. Hardie 82.ii. 6 3/4 x 15 (sheet 15 4/1 x 22). Published by Robert Dunthorne. A fine impression printed in black on chine-appliqué affixed to white wove paper. $350. Housed in a black and silver wood frame $450.

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

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Portrait of Dr. Thomas Graham Balfour. c. 1883. Etching. 8 3/4 x 6 1/4. One unobtrusive foxing spot; otherwise fine condition. Printed with plate tone printed on cream wove paper. Signed in the plate. Housed in a handsome black frame with gold. $175

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Continental

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Paul Cézanne 1839-1906 .

Les Baigneurs (grande planche) ( The Bathers, large plate). 1896-c.1898. Druick I; Venturi 1157. Lithograph printed in colors. 16 3/4 x 20 1/4" (42.6 x 51.5 cm); sheet: 19 x 24 13/16" (48.3 x 63 cm). A iich impression with strong colors printed on the full sheet of 'MBM' countermarked laid paper. Publisher: Ambroise Vollard, Paris. Printer: Atelier Clot, Paris. Housed in a 27 x 31-inch elaborate wood carved gold leaf fame. $40,000.

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Paul César Helleu. 1859-1927.

Click on the images for larger screens.

Alexandra of Denmark, Queen of England. c. 1912. Drypoint printed in colors. 21 3/8 x 13 3/4 (sheet 27 3/8 x 15 1/2). An excellent impression with subtle plate tone, printed on white wove paper. Signed in pencil. Housed in an elegant 28 1/2 x 21-inch gold leaf frame with a silk mat and a gold lip. $4,500.

La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 3/8 x 12 3/4). Housed in a silk mat with a gold liner, in a gold leaf frame that measures 31 1/2 x 22 1/2. A rich impression printed on white wove paper with full margins. This portrait is the artist's master work. Signed in pencil in the image. Housed in 33 1/2 x 24 1/4-inch antique black lacquer and gilt picture frame with applied gilt decorations. $19,000.

Le Noeud Bleu (The Hat with the Blue Bow). c. 1905. Drypoint printed in four colors (black, brown, blue, red). Montesquieu 40. 21 x 13 (sheet 21/1/4x 13 1/4). Edition 80, # 6. A fine impression with subtle colors. Signed in pencil. Housed in a classic 28 1/2 x 21 1/2 -inch gold leaf frame with an archival French mat. This portrait of Miss Madeleine Dolley, a famous beauty, comedienne, and dancer from the Folies-Bergėre, is one of Helleu's most delightful images. $4,000.

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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 impression with drypoint burr, printed on laid paper countermarked 'Vollard' on the full sheet with deckle edges.Signed in pencil. Housed in a striking 32 1/2 x 28 1/2-inch modernist stepped gold leaf frame. Price upon request.

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Georges Rouault. 1871-1958.

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Automne (Autumn). c. 1938. Aquatint print in colors. Chapon/Rouault 288C. 19 1/2 x 25 1/2 (sheet 22 5/8 x 30 3/4). Edition 175, #58. Published by Vollard. A rich impression with bright, fresh colors printed on watermarked Montval paper, on the full sheet with deckle edges. Signed in ink, numbered in pencil. Housed in a silk mat and gold leaf frame (32 x 37). Price upon request.

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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. Series: Miserere, plate 8. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Intended for issue by Vollard c.1930 but not in fact issued until 1948. 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 watermark Ambroise Vollard, 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. $5,750.

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"Obéissant jusqu'&à la morte et à la morte de la croix." (Phillippians 2.8). ("Obedient unto death, and to death on the cross.") 1923. Original etching with aquatint and mixed techniques over heliogravure in black ink. Chapon/Rouault 110b. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Series: Miserere, plate 57. Intended for issue by Vollard c.1930 but not in fact issued until 1948. Printed by Jacquemin, published by Édition de L'Étoile Filante, Paris. Paris. in an edition of 425 (there were also 25 hors commerce copies). Printed on Arches laid paper, with the watermark Ambroise Vollard, with full margins and deckle edges. Signed and dated in the plate lower left. (No impressions in the published edition were pencil signed). $4,000.

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Jacques James Joseph Tissot. 1836-1902.

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Le banc de jardin (The Garden Bench). 1883. Mezzotint. Tissot 79, Béraldi 66, Wentworth 75.ii/iii. 16 1/2 x 22 1/8 (sheet 21 1/2 x 28 1/2). Edition about 500 in three states. Printed in brown / black ink on chine appliqué (China paper mounted on stiff wove paper). Signed and titled in the plate. Housed in a burled wood frame with a silk mat and gold liner. $4,500

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La Galerie du 'Calcutta' (Souvenir d'en Bal à Bord). 1898.Drypoint. Wentworth 25. 10 3/8 x 14 1/4 (sheet 14 5/8 x 19). Edition of 25 in Ten Etchings and 25 separate plates; total edition 50. A rich impression with drypoint burr printed on cream laid paper. Signed in pencil, lower left, and with the artist's red stamp (Lugt 1545) in the image lower right. Price upon request.

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Le hamac (The Hammock). 1880. Etching and drypoint. Wentworth 46. 10 5/16 x 7 1/4 (sheet 14 1/2 x 9 7/16). Edition of about 100. Illustrated: Calloway, English Prints for the Collector, p. 160. A rich impression with drypoint burr printed on cream laid paper with a partial Strasbourg Lily watermark. Signed in the plate and in pencil and and with the artist's red stamp (Lugt 1545) in the image lower right. Housed in an 21 x 17 x 2-inch carved classic colonial style gold leaf frame, $4,750.

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Printemps (Spring). 1878. Etching and drypoint. Tissot 30, Béraldi 27, Wentworth 34. 15 5/8 x 6 (sheet 24 x 10 1/8). Edition about 100. Slight mat stain; otherwise fine condition. A rich impression printed on cream 'Van Gelder Zonen' laid paper, onthe full sheet with deckle edges.
Kathleen Newton, the artist's muse, wearing a ruffled muslin dress, is framed by flowering apple blossoms and rhodedendrons. Housed in a gold-leaf Whistler-style frame with a silk mat (Frame size 31 1/2 x 18). Signed in the plate, upper right. $7,500.

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Henri de Toulouse-Lautrec. 1864-1901.

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Jane Avril. 1899. Brush lithograph printed in four colours from three stones. Delteil 367, Adhémar 323, Adriani 354.iii, Wittrock P29 B. 22 x 14 7/8 (image and sheet). Provenance: Far Gallery, New York; estate of Anna Eleanor Roosevelt (née Braman) Grasso, Essex, Connecticut. Mounted on Green's Lens Tissue Japanese paper. The red is attenuated; the other colors are bright. A three-inch profrssionally-repaired diagonal tear just to the left of the skirt; the lower right-hand corner repaired. With name of the printer, 'H. Stern, Paris'. Titled, dated and monogrammed in the stone. Price upon request.

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Georges Rouault. 1871-1958.

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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. Series: Miserere, plate 8. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Intended for issue by Vollard c.1930 but not in fact issued until 1948. 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 watermark Ambroise Vollard, 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. $5,750.

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"Obéissant jusqu'&à la morte et à la morte de la croix." (Phillippians 2.8). ("Obedient unto death, and to death on the cross.") 1923. Original etching with aquatint and mixed techniques over heliogravure in black ink. Chapon/Rouault 110b. 22 3/16 x 17 (sheet 25 5/8 x 19 3/4). Series: Miserere, plate 57. Intended for issue by Vollard c.1930 but not in fact issued until 1948. Printed by Jacquemin, published by Édition de L'Étoile Filante, Paris. Paris. in an edition of 425 (there were also 25 hors commerce copies). Printed on Arches laid paper, with the watermark Ambroise Vollard, with full margins and deckle edges. Signed and dated in the plate lower left. (No impressions in the published edition were pencil signed). $4,000.

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Japanese.

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Sadao Watanabe. 1913-1998.

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The Flight Into Egypt. 1969. Color dye stencil (Kappazuri). 27 x 24. Edition 50, #35. Printed on crumpled, hand-made paper on the full sheet with deckle edges. Signed and numbered in ink. Housed in a 35 1/2 x 30 3/4

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Hope. 1961. Color dye stencil. 20 1/2 x 17 5/7 (sheet 25 x 23). Edition 50, #16. . Printed on (momogami) crumpled, hand-made paper on the full sheet with deckle edges. Signed, dated and numbered in white ink. $1,250 framed.

Nativity. (A similar image with color variant from 1960 in an edition of 50 is entitled The Three Wise Men Visit Mary. 1961. Hand-colored dye stencil (Kappazuri). 21 1/2 x 24 1/8 (sheet 23 1/8 x 30 1/4). Edition 200, #27. Printed on (momogami) crumpled, hand-made paper on the full sheet with deckle edges. Signed, dated and numbered in white ink. Housed in a 29 x 32-inch wood frame with a gold metal front. $2,000.

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Drawings and Watercolors

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Sir Muirhead Bone. 1876-1953.

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Amey's Eating House, Winchester. 1916. Pencil drawing.13 x 7 1/2 (sight size). One pinhole on the right-hand edge of the drawing, 3 inches from the top; otherwise fine condition. Provenance: Fine Art Society, with their label, verso. Framed and glazed. Signed, dated and annotated 'Winchester', lower right. Housed in an elegant 22 x 15 1/2-inch gold leaf frame with blue/grey highlights. $1,750.

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Arthur John Trevor Briscoe, R.E. 1873-1943.

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The Archibald Russell. 1935. Pencil and watercolour on watercolour board. 20 7/8 x 28 5/8. Excellent color and condition. Signed and dated in ink, lower right; titled verso. Housed in a gold leaf frame 28 1/2 x 36-inch gold leaf frame. $3,500.

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The Endeavour. c.1935. Pencil and watercolour on watercolour board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. $2,500.

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The Main Tack. 1928. Etching. Hurst 211. 13 7/8 x 7 15/16 (sheet 15 3/8 x 10). Edition 75, #58. Signed and numbered in pencil. A rich impression with plate tone printed on cream laid 'H O Dickinson & Co' countermarked laid paper with deckle edges on three sides. Housed in a 20 7/8 x 17 7/8-inch brown wood frame with incised black decorative lines. $1,950.

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Jean Calogero. Italian-American. 1922-2001.

Studî della piccola Simonella (Sketches of little Simonella). August 28, 1942. Pencil drawing. 5 1/8 x 7 13/16. Rubbing to the corner, otherwise good condition. Signed, dated and titled in pencil. Housed in an archival French mat and a 14 1/4 x 16 1/4-inch black and gold leaf frame. A charming set of studies of a sleeping child, probably the artist's daughter. $650.

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Sir David Young Cameron, R.E. 1865-1945.

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Glen Orchy. c. 1925. Watercolor, pencil and conte crayon on paper. 9 1/4 x 13 (sheet 10 3/8 x 13 1/4). Ex-collection L.G. Duke,purchased at Sotheby's, London '10.12.70'. Mat line; otherwise good condition. Signed and titled in pencil, lower right. Housed in a French mat within subtle wood and gold leaf 18 5/8 x 22-inch frame. $2,250.

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Souvenir d'Amsterdam. 1915-30. Etching and drypoint. Rinder 460.iv/vi. 14 5/8 x 10 1/4 (sheet 17 3/4 x 11 1/4). Edition 60. Illustrated: Print Collector's Quarterly 11 (1924): 53. A rich, tonal impression with atmospheric plate tone, printed on Japanese mulberry paper. Signed in pencil. Housed in a 21 1/2 x 16 1/2-inch gold leaf and wood frame. $1,250.

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The Wingless Chimera. 1911. Drypoint. Rinder 416.viii. 7 19/32 x 9 13/32. A rich impression with drypoint burr and plate tone printed on Japanese mulberry paper. Exhibited at the Royal Academy in 1911. Signed in pencil. The chimera sits on the neighboring buttress on Amiens Cathedral in Cameron's drypoint, The Chimera of Amiens Rinder 415. $750.

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Grattan Condon. American. 1887-1966.

Illustrations for Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945.

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[Futuristic Helicopters.] c. 1944. Conte crayon drawing. 9 1/2 x 7 (framed 15 7/8 x 13 3/8). Illustration for the text: Illustration for the text: 'The world was at peace and prosperous' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 13. Initialed, lower right. Housed in a 17 5/8 x 13 3/8-inch mondern black metal frame. $850.

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[Futuristic Aircraft.] Conte crayon drawing. 11 1/4 x 7 (framed 17 3/8 x 13 1/8). Illustration for the text: 'They put behind them Russia and Italy, the Mediterranean and Africa, South America and the Caribbean' in the article by Philip Wylie, "The Paradise Crater," Blue Book Magazine, volume 81, #6, October 1945, page 19. Initialed, lower center. Housed in a 17 5/8 x 13 3/8-inch mondern black metal frame. $850.

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Wilson Irvine, N.A. American. 1869-1936.

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Summer Landscape. c. 1920. Aqua-print (monotype). 14 1/2 x 17 1/2 (framed 24 x 27). Signed, lower left. Housed in a gold-lipped silk mat and gold leaf frame. $1,950.

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William Lee-Hankey, R.E., R.W.S., R.O.I. 1869-1952.

Sorrow. c. 1920. Conte crayon and watercolor on watercolor board. 13 x 17. Signed lower right; titled verso. The subtle watercolor tones intensify the man's emotion; but the sunlight coming through the window suggests hope. Housed in a dramatic 23 3/4 x 28-inch modern silver leaf frame. $2,750.

Three Generations. c.1919. Conte crayon and watercolor on watercolor board. 14 x 15 7/8. Signed in pencil lower right; titled verso. Housed in a complimentary green and beige mat and a 24 1/4 x 27 1/2-inch period gold leaf frame. $2,750.

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James McBey. 1883-1959.

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Greetings from 1. Holland Park Avenue, London. 1931. Ink and wash on tan wove paper. 3 1/2 x 3 1/4 (sheet 6 1/8 x 4 7/8 - visible in mat area). Signed, dated, titled and annotated 'XMas 1931' in ink. $1,500.

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Study for Ovation to the Matador (Hardie 110). Watercolor on paper. c. 1911. 19 1/2 x 12 1/2 ( image and sheet). A few unobtrusive foxing spots; otherwise excellent condition. A bright, fresh impression on watercolor paper. Signed in ink, lower right. Housed in an elegant gold leaf 27 1/2 - 22 1/2-inch frame, with French mat. $5,500.

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Mejdel Yaba. 20 September , 1918 Pencil, ink and watercolour on paper. 8 1/8 x 22. Annotated, upper left, "due N at ???' Dated on the ink drawing on the verso. Signed and dedicated on the front "To Paul from James McBey." Housed in an elegant French mat and an elegant 14 x 27 1/2-inch gold leaf frame with blue/grey highlights. $4,000.

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Trenches at Gaza 1917. 1921. Watercolour. 14 x 22. Provenance: The Fine Art Society. Annotated 'Gaza 1917' lower left. Signed and dated 1921, lower left. Housed in a dramatic 22 x 29 3/4-inch gold and blue/grey frame.

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Daniel Ramée 1806-1887

(after Parmigianino. 1503-1540).

Moses Breaking the Tablet of the Law. c. 1860. Pencil drawing mounted onto paper. 12 1/4 x 3 3/4 inches. Collector's seal verso: Gustav Grunwald, (Lugt 1155b). Monogrammed 'DR' (Nagler 582), lower right. Housed in an archival French mat and a 20 X 11 1/2-inch carved wood frame. $1,750.

The drawing is based upon the famous vault painting by Parmigianino in the church of Santa Maria della Steceta in Parma.

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Ernest David Roth, N.A. American. 1879-1964.

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The Plaza View from Central Park South. Oil drawing on panel. 9 x 10 (framed 11 3/4 x 17 1/2). Original frame, with remnants of a Salmagundi Club exhibition label. Provenance: Roth's studio. Unsigned. $950.

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Percy John Delf Smith, R.D.I. 1882-1948.

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Jerusalem 1931. Pencil, ink and watercolor. 9 1/4 x 15 (framed 18 1/2 x 24 1/2). Signed and dated in pencil. Housed in a carved gold leaf frame $1,750.

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Oriental Watercolors

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Eika Kato. 1869-1942.

Yuki no yougure. (Snow at Dusk). c. 1920. Watercolor on Japanese paper with a chrysanthemum watermark. 37 1/2 x 25 1/4. Original frame: 45 x 32. The shop on the right sells cigarettes. An extremely large and dramatic image in fine condition. Works by this short-lived artist are rare. Signed "E. Kato" lower right. $2,500.

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Torii Kiyonaga. 1752-1815. (after)

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Viewing snow at Mount Matchi. (Matsuchiyama no yukimi.) Twentierh-century watercolor on silk after the c.1784 woodblock. 13 1/2 x 6 1/2 (image and sheet). Signed "H[iroshi]. Torii Kiyonaga" lower right. A man and two women stand in the snow outside a shrine; one woman carries an offering. Housed in a delightfully-decorated 19 x 23-inch silver wood frame. $650.

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Allinson Gallery Index.

To order, to report broken links or to be placed on the email list, please contact Jane Allinson (jane@allinsongallery.com) or fax (860) 429 2825.