Art for All: The Perfect Print.
“My advice to you is not to inquire why or whither; but just enjoy your ice cream while it is on your plate.” Thornton Wilder, Our Town.
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Art for Her
The Art of Adornment
Ann Chernow, N.A. Born 1936.
Fifth Avenue. 2011. Lithograph. 6 x 5 1/2 (sheet 15 x 10 1/2). Edition 7. Series: Broadway Babes. A pristine impression chine colle mounted on Canson Edition paper. Another impression printed on Canson Edition paper. Printed by James Reed, Milestone, Graphics. Signed, titled and numbered in pencil. $400 each; $500 framed.
Dame Laura Knight, R.A., R.E. 1877-1970.
Gilding the Lily. 1926. Soft ground etching. Bolling/Withington 47. 11 1/2 x 7 1/2 (sheet 15 1/4 x 10). Edition 20 or 35 (both numbers are given on different proofs; this one annotated '35') plus trials. A rich impression with plate tone printed on cream wove paper on the full sheet with deckle edges. Signed, titled and annotated in pencil. $1,750.
Eric Gill, R.E. 1882-1940.
Dress: 1860. 1921. Wood engraving. Physick 187. 2 3/4 x 2 1/4 (sheet 13 1/16 x 9 7/8). Originally published in 'Dress' (S. Dominic's Press, 1921). The image was based upon an old photograph. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.
Dress: 1920. 1921. Wood engraving. Physick 186. 3 3/4 x 3 (sheet 13 1/16 x 9 7/8). Originally published in 'Dress' (S. Dominic's Press, 1921). Made after a drawing by Edward Sullivan for 'The New Utopia,' by H.G Wells. As published in Engravings by Eric Gill Douglas Cleverdon, Birmingham, England, 1929. Printed on the full sheet of cream wove paper. Unsigned. $225.
Paul César Helleu. 1859-1927.
Alexandra of Denmark, Queen of England. c. 1902. Drypoint printed in colors. 21 3/8 x 13 3/4 (sheet 27 1/4 x 18 5/8). An excellent impression with subtle plate tone, printed on white wove paper. Housed in an elegant silk mat and gold leaf frame. Signed in pencil.$4,500.
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. Slight paper rub below the bottom plate mark, outside the image; otherwise excellent condition. A fine impression with subtle colors. Signed in pencil. This portrait of Miss Madelaine Dolley, a dancer from the Folies-Bergere, is one of Helleu's most delightful images. $4,000.
William Lee-Hankey, R.E., R.W.S., R.O.I. 1869-1952.
A Cottage Toilette. 1913. Drypoint. Hardie 112. 7 13/16 x 6 1/2(sheet 11 5/16 x 9 1/16). A very rich impression on cream wove paper with the artist's embossed initial monogram. Printed by the artist. Signed in pencil. $675.
John Sloan. 1871-1951.
The Show Case. 1905. Etching. Morse 129.iii. 5 x 6 15/16 (sheet 9 3/4 x 12 1/2). Annotated "Peter Platt imp" in pencil (Platt printed part of the total edition of 100). Series: New York City Life. A fine impression on cream wove paper, printed on the full sheet with deckle edges. Tack holes from drying in the outer margin edges, as usual. Signed, titled and annotated "100 proofs" in pencil. $2,750.
James Abbott McNeill Whistler. 1834-1903.
Gants de Suede. (Suede Gloves.) 1890. Lithograph. Way 26, Levy 40, Tedeschi, Stratis and Spink 35. 8 1/2 x 4 (sheet 11 1/8 x 7 3/4). As printed by Way and published in The Studio, London April 16, 1894 with their blindstamp.Slightly toned; otherwise fine condition. Printed on the full sheet of cream wove paper. Monogrammed with the butterfly in the stone. $875.
Women in the Arts.
Edwin Austin Abbey. 1852-1911.
'Ha! Ha! Ha! Was there ever such a sober sentimental interview?' 1887. Etching after the drawing by Abbey. 9 7/8 x 8 5/8. As published in SHE STOOPS TO CONQUER: A Comedy by Dr. Goldsmith with drawings by Edwin A. Abbey Harper & Brothers, New York, New York, 1887, deluxe edition, folio. Unsigned proof on tissue. Housed in an elegant gold leaf and black frame.$175.
Gerald Leslie Brockhurst, R.A. 1890-1978.
The Dancer (Anaïs). 1925. Etching. Fletcher 52.i/viii. 9 3/4 x 6 1/16 (Sheet 16 5/16 x 9). Edition 107. Early proof before the published state, before the plate was reduced, with the signature in reverse, upper right, before the signature and date were added in the lower left. An extremely rich proof printed on cream 'J. Whatman' paper. Illustrated: Salaman, Modern Masters of Etching: Brockhurst, Print Collector's Quarterly 21 (1943): 319; and Fine Prints of the Year, 1926. Signed in pencil and annotated "1st state G.L.B." in pencil. $1,500.
Henri Émile Benoît Matisse. 1869-1954.
Danseuse Allongée, tête Accoudée. (Dancer Reclining, Leaning on her Elbow). 1927. Lithograph. Duthuit 486. 11 x 16 (sheet 16 3/16 x 15 5/16). Series: Dix Danseuses (10 Dancers). Published by La Galérie d'Art Contemporaine de Paris. Trial proof before the initials in the stone; apart from the edition of 150. Duthuit does not indicate the number of trial proofs. A fine impression in excellent condition, printed on the full sheet of Japon paper. Signed and annotated"essai" (trial) in pencil. $14,500 housed in a silk mat and a 25 x 30-inch gold leaf frame.
Doris Rosenthal. 1889-1971.
Summer Studio. c.1931. Lithograph. 9 7/8 x 11 1/2 (sheet 11 3/8 x 11 1/2). Edition 12, # 9. Exhibited at The Print Club of Philadelphia, January 26 - February 14, 1931 with the title 'Sleeper'. Exhibited at the Newport Art Museum and Art Association, June 11, 2011 to October 16, 2011. 'Remembering the Ladies: Women and the Art Association of Newport.' Printed on cream wove paper with a Midtown Galleries label. A charming and unusual self portait. Signed, numbered and titled in pencil. $750.
Doel Reed. 1895-1985.
Evening Music. 1946. Etching and aquatint. 10 x 7 (sheet 15 5/8 x 11). Edition 250 for Associated American Artists. A rich, glowing impression printed on cream wove paper with full margins. Signed in pencil. $2,000.
Sir Walter Westley Russell, C.V.O., R.A. 1867-1949.
The Cello Player. Conte crayon and charcoal drawing on toned paper. 9 x 6 1/4. Provenance: The Drawing Room Gallery; William E.Fischelis Collection. Unsigned. Housed in a gold leaf frame with a toned blue-green French mat. $375.
Hobbies
Helen Hyde. 1868-1919.
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.
Robert Anning Bell, R.A. 1863-1933.
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.
Reading
Douglas Gorsline. 1894-1964.
Express Stop. 1948. Etching. 6 1/2 x 5 7/8 (sheet 9 3/4 x 8 3/4). Edition 125 for the New York Society of Etchers, Graveurs, Lithographers and Woodcuters. LC 2, Illustrated: Beall, American Prints in the Library of Congress, p.177; Whistler to Weidenaar: American Prints 1870-1950, Museum of Art, Rhode Island School of Design, 1987. A fine impression with plate tone printed on cream laid paper. Signed in pencil. $750.
Childe Frederick Hassam, N.A. 1859-1935.
The Writing Desk. 1915. Etching. Clayton 54. 10 x 7 (sheet 12 3/4 x 10). Printed on cream laid paper with full margins. Signed with the cypher in pencil. Price upon request.
Reginald Marsh. 1898-1954.
Girl in Fur Jacket Reading Tabloid. 1940. Etching. Sasowsky 205.vi. 12 x 6 (sheet 15 9/16 x 13 1/8). Proof #81 from the 1969 posthumous edition of 100 for the Whitney Museum (there were about 16 lifetime impressions and 16 posthumous impressions in 1956.). Printed on white wove paper with full margins. With the 'WM' (Whitney Museum) blindstamp, lower right. $1,250.
Jacques James Joseph Tissot. 1836-1902.
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. A rich impression with drypoint burr printed on cream laid paper with a partial Strasbourg Lily watermark. Signed and dated in the image, lower left; signed in pencil and and with the artist's red stamp (Lugt 1545) in the image lower right. $9,000. Another signed in the plate and with the artist's red stamp, $5,000.
James Abbott McNeill Whistler. 1834-1903.
The Music Room. 1859. Etching and drypoint. Kennedy 33 ii. 5 11/16 x 8 1/2 (sheet 8 1/2 x 11 1/4). An exceptionally rich impression printed on antique laid paper. Unsigned. Sir Francis Seymour Haden, the noted surgeon and etcher, and Whistler's brother-in-law, is reading a newspaper on the left. On the right, Dasha, Haden's wife and Whistler's half-sister, is reading by lamplight. $9,750.
Art for Him
Men in the Arts
Peggy Bacon. American. 1895-1987
Conductor I: Rehearsal. c. 1933. Pencil study for the drypoint, Morning Exercises. Flint 117. 12 1/2 x 9. Signed, lower right. $1,750.
George Wesley Bellows, N.A. 1882-1925.
Artists Judging Works of Art. 1916. Lithograph. Mason 18. 14 1/2 x 19 (sheet 16 1/4 x 20 7/8). Edition aproximately 52. A rich impression printed on the full sheet of Japanese mulberry paper. Inscribed 'No. 6' lower left, and signed Geo Bellows/J.B.B.' (Jean Bellows Booth, the artist's daughter) in pencil, lower right. $9,500.
Paul Cadmus, N.A. 1904-1999.
Study for David and Goliath. c. 1960's. Colored pastels on black paper. 11 7/8 x 10 5/8 (sheet 13 x 11 3/8). Signed 'Cadmus' top center. The pastel is a for Cadmus' painting, David and Goliath. It is a self-portrait of the artist and also his model and companion, Jon Andersson. The powerful composition and the cross-hatching reflect the influence of Old Master prints and drawings. Price upon request.
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.
Joseph Pennell, N.A. 1857-1926.
Primitives: Copying Botticelli. National Gallery (The Two Madonnas). 1891. Etching. Wuerth 155. 6 7/8 x 4 15/16 (sheet 10 x 6 13/16). Edition probably 35. Sun toning, otherwise fine condition. Signed, titled and dedicated by Pennell in ink, 'To the Mr & Mrs. Blum "The Day before Xmas" in the National Gallery London drawn, etched and printed by Joseph Pennell."' A unique presentation proof for E.C. Blum, the curator of The Brooklyn Museum. $1,750.
Charles Ernest Pont. 1898-1971.
The Block Printer. c. 1932. Etching. 9 3/4 x 6 7/8 (sheet 12 5/8 x 9 1/4). A rich impression printed on the full sheet of Japanese vellum with deckle edges. An extremely dramatic image. Signed and titled in pencil. $950.
John Sloan. 1871-1951.
Hell Hole. 1917. Etching and aquatint. Morse 186.ii. 7 3/8 x 9 3/8 (sheet 11 5/8 x 13 3/4). Printed on cream wove paper countermarked 'USA', on the full sheet with deckle edges. Signed, titled and annotated '100 proofs' in pencil by Sloan. $4,500.
Connoisseurs of Prints. 1905. Etching. Morse 127. 5 x 6 7/8 (sheet 9 3/4 x 11 3/4). Series: New York City Life, first plate. Edition 100. A fine impression on cream wove paper with full margins. Signed, titled,annotated '100 proofs' and '21' in pencil. $4,500.
Hobbies
Baseball
Helen West Heller. American. 1872-1955
Baseball. 1928. Woodcut 6 3/4 x 8 5/8 (sheet 10 5/8 x 14 1/2). Printed on sturdy mulberry paper. Signed, dated and titled in pencil. $950.
Ballooning
Honoré Victorin Daumier. 1808-1879.
EN BALLON CAPTIF.
"LE Mr QUI REGARDE AU SUD. - Diantre!
LE Mr QUI REGARDE A L'EST. - Sapristi."
(THE CAPTIVE BALLOON.
The man who looks to the South: The Deuce.
The man who looks to the East: The Devil.)
1867. Lithograph. Delteil 3605.ii/ii (with letters). 9 5/16 x 8 1/4 (sheet 12 7/16 x 11 1/8). Series: Actualités, (News of the Day), plate 240. Published in Le Charivari November 11, 1867. Text: lower left: A.de Vresse,r.de Rivoli,55.; lower right: Lith.Destouches,r.Paradis.Pre.28 Four paper folds, slight foxing; osheet trimmed. A rare hot air ballon image with literary associations. Initialed in the stone, in the basket. $1,750.
Charles Meryon. 1821-1868.
Le Pont au Change, Paris. 1854. Etching. Delteil-Wright 34.v; Schneiderman 40.v/xii. 6 1/8 x 13 13/16 (sheet 12 7/16 x 19). Series: Eaux-Fortes sur Paris. An extremely rich impression with plate tone, printed on the full sheet of 'J Whatman Turkey Mill' wove paper. Signed in the plate. 9,500.
Canoeing, Hunting and Fishing
Frank Weston Benson, N.A. 1862-1951.
Duck Blind 1925. Etching. Paff 245. 7 3/4 x 10 3/4(sheet 11 1/2 x 15). Edition 150. A rich impression in excellent condition, printed on cream 'J Whatman' laid paper on the full sheet with deckle edges. Signed in pencil. $4,000.
On the Kedgwick 1923. Etching. Paff 222. 7 3/4 x 11 3/4 (sheet 11 1/2 x 15 9/16). Edition 150. Illustrated: Fine Prints of the Year, 1923. A rich impression in excellent condition, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $4,000.
Arderne Clarence. Exhibited 1908-32.
Duck Hunter. 1933. Etching. 12 x 7 7/8 (sheet 16 5/8 x 11). Dated in the plate, lower left; signed in pencil, lower right. A rich impression on cream wove paper. A highly dramatic image. $175.
Harold Kerr Eby, N.A. 1890-1946.
Mist on the Agawa. 1928. Etching. P134. 10 x 11 7/8. Edition 90. Illustrated: Flint, Contemporary American Etching, 1930. $650.
White Water. 1929. Etching and sandpaper ground. Giardina 135.vi. 8 13/16 x 14 1/4. Edition 90. Illustrated: American Etchers: Kerr Eby. $450.
Sir Francis Seymour Haden, R.A., P.R.E. 1818-1910.
Grayling Fishing. 1897. Mezzotint with drypoint. Schneiderman 227.ii/v. 7 1/2 x 11 5/8 (10 x 14 1/8). Excellent condition and impression. A rich impression printed in dark brown ink on white wove paper. Gold Medal winner at the Paris Exposition. Signed in pencil. $1,200.
A Likely Place for a Salmon. Etching and drypoint with extensive additions in pencil and conte crayon. 1869 and later.Schneiderman 129, a proof impression between the third and fourth states (of eight). 4 3/16 x 10 (sheet 5 5/16 x 11). Unidentified collector's mark verso (Lugt 2368b). Signed in pencil. $1,750.00
Oliver Hall, R.A., R.E., R.S.W. 1869-1957.
[Fishing, Sinah Warren]. c. 1895. Etching. 4 5/8 x 6 1/2 (sheet 6 15/16 x 9 1/4).A rich impression with plate tone, printed on cream laid paper. Horizontal fold; otherwise in fine condition. Signed in pencil. $150.
William Lionel Wyllie, R.A., R.I., R.E. 1851-1931.
Fishing Boats off Ryde. 1927. Etching and drypoint. 6 3/4 x 14 7/8 ( 11 3/8 x 17 7/8). A rich impression with drypoint burr printed on cream laid paper with full margins. Signed and titled in pencil. $975.
Herring Fishers, Fisherrow. c. 1928. Etching and drypoint. 8 x 16 ( 14 1/8 x 19 3/4). A rich impression with plate tone printed on 'JWhatman 1928' cream paper. Signed and titled in pencil. $975.
Golf
John Rankine Barclay, 1884-1962.
Sand. 1922. Etching. 7 7/8 x 9 7/8 (10 1/16 x 11 1/2). Printed on 'Van Gelder' laid paper. A rare touched proof with pencil in the sky. Signed, titled and dated '9/19/22' in pencil. $850.
The Tee. 1922. Etching. 7 7/8 x 9 7/8 (10 1/2 x 11 1/2). Printed on 'Van Gelder' laid paper. Signed, titled and dated '9/19/22' in pencil. $750.
Public Speaking
Edmund Blampied, R.E. 1886-1966.
Speech of the Evening. 1930-31. Drypoint. Appleby 150. 11 x 10 7/8 (sheet 17 1/16 x 13 1/8). Edition 100, #97. Illustrated: Print Collector's Quarterly24 (1937): 368. A rich impression with drypoint burr, printed on the full sheet of cream wove paper. Signed and numbered in ink. $1,750.
Arthur John Trevor Briscoe, R.E. 1873-1943.
The Orator. 1925. Etching. Hurst 158. 6 5/8 x 10 7/8 (sheet 9 3/16 x 11 3/4). Edition 75, #51. Signed and numbered in ink. A dramatic impression with plate tone. Printed on cream laid paper with an '1838' countermark from an antique volume. Signed and numbered in ink. $750.
Riding
Edmund Blampied, R.E. 1886-1966.
Misty Morning. 1928-29. Drypoint. Appleby 137. 8 5/8 x 12 (sheet 11 9/16 x 17). Edition 100, #86.Printed with subtle plate tone on the full sheet of cream laid paper with deckle edges. Signed and titled in pencil. $975.
Edward Borein. 1873-1945.
Reps. Etching and drypoint. Galvin 52.ii. 5 3/4 x 8 5/8 (sheet 10 x 12 7/8). A fine impression printed in sepia ink. Printed in cream wove paper, on the full sheet with deckle edges on two sides. Excellent condition apart from glue staining in the upper margin, well away from the image. Signed in the plate in letter text; signed in pencil, lower right; cowboy on horseback pencil remarque, lower left. $3,500.
Randall Davey. 1887-1964.
In the Stretch. c. 1940. Etching. 4 7/16 x 5 7/8 (sheet 7 3/8 x 8 1/2). Edition 50. A fine impression printed on 'J.Kool and Comp' laid paper with full margins. Signed, titled and annotated in pencil. $250.
Harold Kerr Eby, N.A. 1890-1946.
The Fleischmann Estate: The Polo Field. c. 1920-25. Pencil study for the etching, Giardina 114. 8 x 13 (sheet 9 1/2 x 14 1/2). Signed in pencil. $450.
Levon West. 1900-1968.
Canadian Riders. 1939. Drypoint.10 1/8 x 14 3/8. Trial proof, apart from the edition 100. An extremely rich impression on light greenish-toned paper with full margins. Signed in pencil. $650.
Sailing
Arthur John Trevor Briscoe, R.E. 1873-1943.
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. $6,750.
James McBey. 1883-1959.
The Thames Barge Race: the Start. 1936. Etching. Hardie 272. 7 1/8 x 14 3/8 (sheet 11 5/16 x 18 3/18). Edition 80, #14. Illustrated: Fine Prints of the Year, 1935. A very rich, atmospherically wiped impression printed on cream laid paper with a Strasbourg lily watermark. Signed and numbered in ink. $750.
The Thames Barge Race: the Sarah Winning. 1936. Etching. Hardie 273. 6 3/8 x 17 1/2 (sheet 11 3/16 x 17 1/2). Edition 80, #33. Illustrated: Fine Prints of the Year, 1937; Print Collector's Quarterly 25 (1938): 444. A very rich, atmospherically wiped impression printed on cream laid paper from an antique volume. Signed and numbered in ink. $750.
Charles Meryon. 1821-1868.
Bateaux de Haarlem à Amsterdam. (Haarlem Boats in Amsterdam) (after Zeeman). 1850. Etching. Burty 13, Delteil-Wright 14; Schneiderman 17.ii. 2 1/2 x 4 13/16 (sheet 2 11/16 x 5 3/16). Printed on tan chine affixed to white wove paper. Narrow margins. Meryon etched this copy of an etching by Reiner Zooma, called Zeeman. Initialed in the plate. A fine impression of a rare early print. $975.
Theodore Casimir Roussel. 1847-1926.
Railway Bridge, Chelsea. 1888-89. Etching. Hausberg 17. 2 11/16 x 4 1/4. A rich impression with tonal wiping, printed by the artist on cream wove paper. Trimmed to the platemark and tab. Signed and annotated 'imp' in pencil, indicating a proof printed by the artist. $1,350.
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.
William Walcot, R.E. 1874-1943.
Giudecca No. 2, Venice. 1913. Etching. Dickins 14. 4 3/16 x 7 9/16 (sheet 7 5/8 x 10 5/8). Editon 115. A fine impression with plate tone printed on white wove paper. Signed in pencil. $850.
James Abbott McNeill Whistler. 1834-1903.
Limehouse. 1859. Etching. Kennedy 40.iii. 5 x 7 7/8 (sheet 7 7/8 x 10 1/16). Issued as plate 12 in "A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects" (Thames Set). A rich impression printed on cream laid paper. Signed and dated in the plate. $5,500.
Vauxhall Bridge. 1861. Etching. Kennedy 70.ii. 2 5/8 x 4 1/2 (sheet3 5/8 x 7 3/4). A rich impression printed on pale cream laid paper with a partial watermark. Signed and dated in the plate. $1,750.
Trains
Hubert Davis. Born 1902.
Five-forty-nine. c. 1939. Lithograph. 12 5/8 x 19 (sheet 15 1/4 x 20 5/8). Illustrated: Beall, American Prints in the Library of Congress, p. 125. A rich impression printed on cream wove paper. Signed and titled in pencil. $750.
James Hollins Patrick. 1911-1944.
Santa Fe Goat. 1939. Lithograph. 12 5/8 x 19. Illustrated: Beall, American Print in the Library of Congress, p. 125. A rich, well-inked impression printed on cream wove paper by Paul Roeher. The Atchison, Topeka and Santa Fe Railway,often abbreviated as Santa Fe, was one of the larger railroads in the United States. 'Goat' refers to train, known as a steam goat. Signed and titled in pencil. $750.
Martin Lewis, N.A. 1881-1962.
The Passing Freight, Danbury. 1934. Drypoint and sand ground. McCarron 108. 8 7/8 x 14 7/8 (sheet 12 1/7 x 17 5/8). Edition 46 (including 6 trial proofs). A rich, tonal impression printed on cream laid paper with full margins. Signed in pencil. $35,000.
Joseph Pennell, N.A. 1857-1926.
Steam and Power, Pennsylvania Station, Philadelphia. 1919. Etching. Wuerth 705. 10 x 11 3/4 (sheet 10 5/8 x 13 1/8). Edition probably 75. Railroad series. A carefully-wiped impression printed on fine off-white laid paper from an antique volume. Printed by the artist. Signed in pencil. $5,000.
Charles Ernest Pont. 1898-1971.
New York World's Fair. 1939-40. Watercolor. 19 1/8 x 24. Signed, lower left; dated, titled and annotated 'No 215 N.F.S. title -- option only --' verso. $800.
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