Italy: An Artful Journey.

All works are signed in pencil or ink or paint unless indicated otherwise.

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

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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 fo the books by John and Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy. A rich impression printed on handmade cream wove paper. Signed and dated in pencil. $2,750.

La Bella Venezia, or The Grand Canal, Venice. 1930. Etching. Fletcher 232. 7 1/8 x 161/2.Italian Series, #18. Illustrated:Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 192. A rich impression with subtle tonal wiping printed on laid paper from an antique volume. Signed, dated and annotated and 'Ed. 70' in pencil. $5,500.

Dawn, Lake Como. 1920. Etching and aquatint printed in colors. Fletcher 53.ii. 7 1/8 x 5 1/8(sheet 11 9/16 x 9 1/16). Edition of 150 in color in this state and 75 printed in black and white (total edition 179). Printer: Frederick Reynolds. Printed on cream laid on the full sheet with deckle edges. Signed in pencil. $2,250.

Enchanted Doorway,Venezia (La Porta della Carta, Venezia '29). 1930. Etching. Fletcher 227.ii. 12 3/8 x 6 9/16 (sheet 15 13/16 x 10 1/16). Edition 148 in this state. Italian Series #15. A rich impression on white laid paper from an antique volume. Signed, dated and annotated 'Edition 100' in pencil. $2,250.

From the Ponte Vecchio, Florence. 1925. Etching and aquatint. Fletcher 159.ii. 11 1/8 x 15 1/4(sheet 13 3/8 x 18 1/4). Edition 160 in this state (total edition about 165). Italian series #1. Illustrated: American Etchers: Kerr Eby. A rich impression on cream laid paper. Signed in pencil. $2,250.

Palazzo Dell'Angelo, Venice. 1931. Etching. Fletcher 233.iii. 7 1/4 x 6 3/4 (sheet 13 3/8 x 8 3/4). Edition 137. Italian series #19. Illustrated: Anderson, American Etchers Abroad 1880-1930. Italian series. Award: Member's Prize, 22nd Annual Exhibition, Chicago Society of Etchers, Art Institute of Chicago, 1932 A rich impression printed on cream laid paper from an antique volume. Signed, dated and annotated 'Ed. 100' in pencil. $2,750.

Robert Sargent Austin, R.A., P.R.E., P.R.W.S. 1895-1973.

The Mother. 1932. Line engraving. Subsequent to Dodgson. 11 1/2 x 8 5/8 (sheet 14 7/8 x 10 7/8). Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: FPY, 1933. A rich impression with plate tone printed on cream laid paper. A large, impressive plate. Signed and dated in pencil. $650.

Siena, Evening. 1923. Line engraving. Dodgson 38. 4 3/8 x 4 3/16 (sheet 8 x 7 1/4). A fine impression with plate tone, printed on cream laid paper. Signed, dated and titled in pencil. $750.

The Stonebreaker. 1925. Etching. Dodgson 57.iii. 4 1/8 x 5 5/16 (sheet 8 3/16 x 10 9/16). Illustrated: Salaman, Modern Masters of Etching; Print Collector's Quarterly 16 (1929): 336. A rich impression printed on 'Charles I' tan/cream laid paper. Signed and dated in pencil. $750.

A Woman of Scanno. 1926. Line engraving. 7 7/8 x 6 1/8 (sheet 12 3/4 x 10 3/8). Edition 50. Published by the Twenty One Gallery. A very rich impression printed on 'Charles I' laid paper. Illustrated: Salaman, Modern Masters of Etching; Fine Prints of the Year, 1927; Print Collector's Quarterly 16 (1929): 342. Signed and dated in pencil. $450.

Women at Prayer. 1936. Line engraving. 10 15/16 x 8 7/16 (sheet 13 13/16 x 10 13/16). Subsequent to Dodgson. Edition 40 published by the Twenty-One Gallery for 7 guineas. Illustrated: Fine Prints of the Year, 1936. A rich impression with plate tone printed on white wove paper. Signed and dated in pencil. A large, impressive plate. $850.

Otto Henry Bacher. 1856-1909.

Laguna Veneta. 1880. Etching. 5 x 7 1/4 (sheet 8 3/4 x 11 1/4). Venetian series, #22. A rich impression printed on chine collé mounted on white wove paper. Signed 'Otto' and dated 'August 23 80' in the plate; in pencil. $1,750.

Wilfred Williams Ball. 1853-1917.

San Giorgio, Venice. c. 1889. Etching. 8 x 17 5/8 (sheet 13 3/4 x 21 5/8). Published by Robert Dunthorne. A rich, glowing impression with careful tonal wiping. Printed on Japanese vellum with full margins. Signed and titled in pencil. $450.

Sir Muirhead Bone, R.A. 1876-1953.

Archway, Chioggia. 1915. Drypoint. Dodgson 338.iii/iii. 6 1/8 x 6 7/8 (sheet 7 5/8 x 9 7/8). Edition of 59 in this state (total edition 78. Illustrated: Print Collector's Quarterly 9 (1922): 193. Signed in pencil. A rich impression, with burr and plate tone, printed on cream laid paper from an antique volume. $400.

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 aa superior impression. This and Rainy Night in Rome are Bone's two great Italian prints. $2,750.

Evening, Port of Genoa. 1915. Drypoint. Dodgson 337.i/v. 7 5/8 x 9 15/16 (sheet 9 1/8 x 14). Edition of 45 in five states. An exceptionally rich impression with drypoint burr, printed on antique cream laid paper. A rare proof of the first state. Signed and annotated 'I' in pencil. $650.

Orvieto. 1912. Drypoint.Dodgson 283 9 3/4 x 11 11/16 (sheet 13 7/16 x 15 1/2). Edition 27 (plus 2 trial proofs). Illustrated: Print Collector's Quarterly 9 (1922): 187. Printed on simili-Japan paper. Signed in pencil, numbered '17' and annotated 'M' verso. $775.

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Rainy Night in Rome. 1913. Drypoint. Dodgson 299.vi/x. 12 x 8 7/8 (sheet 15 7/8 x 11 1/4). Edition 16 in this state (total 125 proofs in 10 states). A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, and titled annotated '6th' in pencil. $3,250.

Rainy Night in Rome. 1913. Drypoint. Dodgson 299.x. 12 x 8 7/8 (sheet 16 x 11 3/4). Edition 125 in 10 states. A rich impression with burr and tonal wiping. Printed on simili-Japan paper with wide margins. Signed, dated, titled and annotated '13' in pencil. $3,000.

The Trevi Fountain, Rome. 1913-28. Drypoint. Dodgson 304.xix. 16 x 10 1/4 (sheet 21 7/16 x 14 1/2).One of thirty-four impressions in this state; total edition 87 proofs. Printed on the full sheet of simili-Japan paper with deckle edges. An extremely rich impression, with burr and plate tone. Signed in pencil. $1,50o.

Tuscan Hill Farm. 1912. Drypoint. Dodgson 284. 5 1/2 x 4 (sheet 11 x 8). Edition 279 (plus 4 trial proofs). Illustrated: Print Collector's Quarterly 9 (1922): 189. Printed on simili-Japan paper. Signed in pencil. $375.

Edward Bouverie-Hoyton. 1900-1988.

Thermae of Caracalla. 1928. Etching. 10 x 13 3/8 (sheet 14 5/16 x 18 7/8). Edition 75. A rich impression printed on light tan laid. Published by the Fine Art Society. Signed in pencil. $550.

Frederick Vango Burridge, R.E. 1869-1945.

Calle di Mezzo. (Italy). c. 1894. Etching. 6 7/8 x 4 3/16 (sheet 10 15/16 x 8 7/8). A rich impression with plate tone printed on 'Wrigley' laid paper. As published in 'The Quarto', 1896. Signed and dated in the plate. $75.

Edgar Chahine. 1874-1947.

Campo Santa Margherita, Venise. 1922. Etching and drypoint. Tabanelli 346. 7 7/8 x 13 3/4 (sheet 10 1/2 x 15 3/8. Edition 100. A tonal, atmospheric impression printed on cream laid paper from an antique volume. The wiping helps to create the dreamlike quality of the marketplace with its groups of people and palazzi. Signed in pencil. $650.

Sir David Young Cameron, R.A., R.S.A.,R.W.S, R.E. 1865-1945.

Venetian Palace. 1878. Etching. Rinder 282. 14 7/16 x 8 1/8 (sheet 16 1/2 x 10 3/4). A rich impression with plate tone printed on antique laid paper, on the full sheet with deckle edges. There was no published edition; thus the image is quite rare. According to Rinder, the image show the facade of 'Desdemona's' house on the Grand Canal. Signed in pencil. $2,000.

Venice from the Lido. 1900. Etching and drypoint. Rinder 220. 6 7/8 x 13 7/8 (sheet 7 1/4 x 714). Series: North Italian Set, plate 17. Edition about 25 sets, plus a few separate impressions. A rich impression printed on simili-Japan paper. Trimmed to the plate on top, closely on the other three sides in the Whistlerian manner. An extremely scarce image. Signed in pencil.

With the pencil study.

San Giorgio Maggiore. Santa Maria Della Salute & Entrance to Grand Canal, Venice. c. 1900. Pencil study for the etching, Venice from the Lido. 6 1/2 x 11 (sheet 8 11/16 x 13 1/4). Drawn on white wove paper on the full sheet with deckle edges. Signed and titled in pencil. $4,000 for the unique pair.

Frank Duveneck. 1848-1919.

Bridge of Sighs (2nd plate). 1885. Etching. Poole 29.i/ii. 12 x 9 3/4 (sheet 14 x 11 3/4). Rare impression of the first state before the edition 100 signed proofs of the second state published by Robert Dunthorne, London. Illustrated: Print Collector's Quarterly 25 (1938): 318. A rich impression with plate tone printed on sturdy wove paper with full margins. . Monogrammed, dated and annotated 'Venice'. Provenance: Cincinnati Museum (duplicate); Dr. Sam L. Greenwood; Baldwin-Wallace College, Berea, Ohio. Signed in pencil.$5,000.

View of the Grand Canal (Riva del Carbone, Venice) 1883. Etching. Poole 24. 10 7/8 x 15 3/4 (sheet 12 3/16 x 17 1/8). Illustrated: Print Collector's Quarterly 25 (1938): 453. Weak areas at some of the plate edges professionally repaired; otherwise excellent condition. A rich impression with plate tone printed on Van Gelder paper. An early proof, before the later printing by the Cincinnati Museum Association. Unsigned. $4,500.

Sir William Russell Flint, R.A. 1880-1909.

Bagno della Marchesa. 1930.Drypoint. 10 1/2 x 7 5/8 (sheet 13 3/16 x 8 1/2). Trial proof, apart from the edition of 75. A, extremely rich impression printed on French 1798 countermarked laid paper. Illustrated: Fine Prints of the Year, 1930; Guichard, British Etchers. Extensively annotated in ink by Flint: 'Trial: entire background was later reworked. Paper: French 1798.' Signed and dedicated 'To Eve H.Sanders with salutations'. An exceptionally rare proof. $1,850.

A Rendez-Vous, Vincenzia. 1929. Drypoint. Wright 19.v.9 1/2 x 6 5/8 (sheet 12 1/8 x 9 3/8). Edition 75, #I. An extremely rich impression printed on blue/green laid paper. Signed and numbered in ink. $875.

Percival Gaskell, R.E. 1868-1934.

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The Lonely Tower, Roman Campagna. 1924. Aquatint. 10 x 14 1/4 (sheet 13 1/2 x 20). Edition 150. A fine impression with tone printed in dark brown ink on white wove paper. Signed in pencil. $550.

San Giovanni di Bellagio. 1924. Aquatint. 10 x 14 1/2 (sheet 13 13/16 x 19). Edition 150. llustrated: Fine Prints of the Year, 1924. Signed in pencil. A rich impression on cream wove paper. $450.

Eilas Mandel Grossman. 1898-1947.

Old Palaces on the Lagoon, Venice. 1927. Etching and drypoint. 8 1/2 x 13 1/2 (sheet 11 1/2 x 16 1/2). A rich impression with drypoint burr printed on simili-Japan by the artist. Signed, dated, titled and annotated in pencil. $350.

Kenneth Holmes, A.R.C.A. Born 1902.

Ponte San Angelo, Rome. 1932. Etching with drypoint. 7 1/2 x 8 3/4. Published by James Connell in an edition of four proofs (with twenty further proofs printed later). Illustrated: Fine Prints of the Year, 1932. Signed in pencil. $500.

San Giorgio, Maggiore, Venice. 1930. Drypoint. 8 3/16 x 12 1/8. Signed in pencil. Published by James Connell, in an edition of forty proofs. A rich impression printed on cream wove paper with full margins. Signed in pencil. $600.

Sidney Mackensie Litten. 1887-1949.

Chiesa dei Frari, Venice. (Church of the Friars, Venice). c. 1928. Etching. 9 7/8 x 11 1/2. Edition 80, #45. A rich impression with plate tone printed on blue-green 'F J Head & Co' laid paper. Signed and numbered in pencil. $650.

Grand Canal, Venice.. c. 1923. Etching and drypoint. 10 7/8 x 13 5/8 (sheet 15 x 1/8). A rich impression with carefully-wiped plate tone printed on pale blue-green wove paper. Signed in pencil. $750.

Palazzo Cà d'Oro, Venice. 1923. Etching. 8 7/8 x 12 (sheet 22 3/4 x 16 7/8). Edition 75, #18. A rich impression with plate tone printed on blue-green wove paper. Signed and numbered in pencil. $650.

Donald Shaw MacLaughlan. 1876-1938.

Venetian Noontide. 1912. Etching. Bruette 187. 9 11/16 x 11 5/8 (sheet 10 x 12 1/4). A rich impression with tonal wiping, printed on cream laid paper. Signed in pencil. Illustrated: Print Collector's Quarterly 6 (1916): 115. $675.

James McBey. 1883-1959

Barcarolle. 1926. Etching. Carter 233. 14 7/8 x 8 3/8. Edition 80, #xxx. Print Collector's Quarterly 24 (1938): 428. An extremely rich impression with subtle tonal wiping, printed on pale blue-toned laid paper from an antique volume. Signed and numbered in ink. Price upon request.

The Deserted Palace. 1928. Etching. Hardie/Carter 236. 8 1/2 x 10 (sheet 11 7/8 x 13 9/16). Edition 80, #78. A rich impression printed in bistre ink with plate tone on antique paper with a fleur-de-lys watermark. Signed and numbered in ink. $2,000.

Distant Salute. 1925. Etching. Hardie/Carter 250. 7 3/16 x 15 15/16 (sheet 10 7/8 x 17 1/8).Edition 80, #30. Signed and numbered in ink. A fine impression with plate tone, printed on antique cream-colored wove paper with full margins. $1,650.

The Doorway. 1925. Etching. Carter 244. 8 1/16 x 6 3/8 (sheet 10 1/4 x 8 1/4). Edition 80, #26. A rich impression with plate tone. Printed on laid paper from an old book, on the full sheet. Signed and numbered in ink. $1,750.

La Guidecca 1926. Etching. Carter 229. 6 x 12 3/8 (sheet 8 3/16 x 17 7/8). Edition 80, #28. A fine impression on cream-colored paper countermarked 1818. Signed and numbered in ink. $1,850.

Laguna Veneta. 1926. Etching. Hardie/Carter 227. 6 3/4 x 14 3/4 (sheet 11 1/4 x 18 3/8). Edition 80, #42. A rich impression with plate tone printed on antique laid paper with wide margins. Signed and numbered in ink. $1,650.

A Mirage. 1928. Etching. Etching. Hardie 238. 11 13/16 x 14 3/8 (sheet 12 3/16 x 18 3/4). Edition 76, #46. Illustrated: Fine Prints of the Year, 1928 and 1938; Holmes, Etchings of Today. A rich impression with subtle tonal wiping. Printed on antique paper with full margins. Signed in ink. This is one of McBey's largest and most dramatic Venetian images. $2,750.

Molo. 1925. Etching. Hardie/Carter 239. 12 5/16 x 9 5/16 (sheet 15 1/4 x 11 1/2). Edition 76, #21. Illustrated: Fine Prints of hte Year 24 (1938): 434. A rich impression with plate tone, printed on 'LOTTERY'laid paper with full margins. Signed and numbered in ink. $1,500.

The Passing Gondola. c. 1926. Etching. Edition 80, #18. Hardie/Carter, page 230. 8 1/2 x 10 1/2 (sheet 11 1/4 x 13). Printed on antique wove paper with subtle plate tone. Signed and numbered in ink. $1,750.

A Regatta on the Grand Canal. 1930. Drypoint. Hardie/Carter 248. 8 7/8 x 15 3/8 (Sheet 13 3/16 x 19 3/8). Edition 80, #5. A impression on cream-colored wove paper with full margins. Signed and numbered in ink. $1,950.

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The Riva at Dusk 1930. Etching. Carter 253. 15 7/8 x 9 3/8 (Sheet 18 3/8 x 11 3/4). Edition 80, #23. Signed and numbered in ink. A fine impression on cream-colored laid paper with full margins. The artist is pictured in the left foreground with his back to the viewer; his wife faces the viewer. This is a charming study of the couple in an outdoor cafe in Venice. $1,950.

The Riva at Dusk. 1930. Etching. Hardie/Carter 253. 15 7/8 x 9 3/8 (sheet 17 1/2 x 11 5/8). Edition 80, #51. A fine impression on French blue-green laid paper from an antique volume with full margins. Signed and numbered in ink. The color of the paper suggests evening. $1,950.

Santa Maria della Fava, Venice. 1925. Etching and drypoint. Hardie/Carter 234. 13 x 8 1/2 (sheet 16 11/16 x 11 1/8). Edition 80, #9. Print Collector's Quarterly 24 (1938): 430. A rich tonal impression, printed in black/brown ink on French laid blue/green paper from an antique volume. Signed and numbered in ink. $1,750.

September Sunset. 1928. Etching. Hardie/Carter 241. 8 7/8 x 17 3/4 (sheet 12 1/4 X 20 7/16). Edition 80, #50. Paper thinning in various areas, visible only from the verso, stablized professionally; a few printing folds. A rich impression with subtle tonal wiping. Printed on white laid paper with full margins. Signed in ink. $1,500.

A Tartane Leaving Venice. 1928. Etching. Hardie/Carter 240. 6 1/2 x 12 1/2 (sheet 9 5/16 x 14). Edition 80, #43.A rich impression printed in sepia ink on off-white laid paper from an antique volume. Signed and numbered in ink. $2,150.

Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 11 3/4 x 17 1/2). Edition 81. Illustrated: Guichard, British Etchers, 1850-1940; Print Collector's Quarterly 25, 1938, p. 436; Fine Prints of the Year, 1928. Published by P. & D. Colnaghi, London. A brilliant impression, printed in black ink on cream laid paper from an antique volume. Signed and numbered in ink. Venetian Night is considered to be the artist's master etching. Price upon request. Another impression.

Venetian Night. 1930. Etching. Carter 254. 10 7/8 x 16 3/4 (sheet 12 x 17 1/2). Edition 81, #iv. Signed and numbered in ink. A rich, glowing impression on pale greenish-toned laid paper from an old book.Venetian Night is considered to be the artist's master etching. $13,000.

The White Palace. 1930. Etching. Carter 260. 14 1/2 x 8 1/2 (18 x 10 3/4). Edition 80, #76. Signed and numbered in ink. A rich impression on off-white laid paper from an antique volume. Signed and numbered in ink. $2,250.

Jacob Wilhelm Mechau. 1745-1808.

Ponte antico a Civita Castellana volgarmente detto ponte Ferano. 1796. Etching. 15 x 11 1/8 (sheet 16 1/8 x 12 3/16). Signed, dated and titled in the plate. $400. Civita Castellana is a town and comune in the province of Viterbo, 65 kilometers north of Rome. >

Job Nixon. 1891-1938.

Roman Ruins (Thermae of Caracalla). 1926. Drypoint. Wright 38.iii. 8 3/16 x 14 1/2 (sheet 11 1/4 x 17 7/8). Edition 60 in this state (total 62 proofs). A rich impression printed with plate tone, on cream-colored 'hand[made]' laid paper with full margins. Signed in pencil. $375.

Jane Peterson. 1876-1965.

[Flowering Carob Tree, San Giorgio Maggiore Island, Venice]. c. 1923. Oil on canvas. 18 x 24 (framed 27 x 32 1/2). 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.' Signed "Jane Peterson" lower right. Price upon request.

Joseph Pennell, N.A. 1857-1926.

Piazza St. Peter's: Sunset. c. 1911. Conte crayon and pastel on brown paper. 8 3/4 x 12 3/8. Signed, lower center. $3,750.

Rebuilding the Campanile. No II. 1911. Etching. Wuerth 621. 9 5/8 x 12 1/2 (sheet 11 x 15 1/16). Edition probably 50. A fine impression, on cream paper from an antique volume. Printed by the artist. Signed, titled 'Rebuilding the Campanile, Venice' and annotated 'imp' in pencil in pencil. $750.

Two pencil and ink drawings for the two-volume book by Francis Marion Crawford, Salve Venetia: Gleanings from Venetian History )NY and London: MacMillan, 1906).

Ponte Canonica. c. 1902. Pencil and ink drawing. 11 1/4 x 9. Signed and titled, lower left. Volume 1, page 356. Laid onto board as done for publication. $1,750.

Via Garibaldi. Pencil and ink drawing. c. 1902. 11 1/2 x 8. Signed and titled, lower center. Laid onto board as done for publication. Volume I, p. 318. $1,750.

Giovanni Battista Piranesi. 1720-1778.

Veduta degli avanzi del Foro di Nerva. (View of the remains of the Forum of Nerva, with the Forum of Augustus.) c. 1748. Etching. H 42.v/vii; WE 181. First Paris edition. 15 7/8 x 24 1/8 (sheet 18 x 26 1/8). Trimmed margins. Fine impression on laid paper. Professionally cleaned. $1,500. Another proof with wider margins (18 3/4 x 26 1/8)on cream-colored laid paper, with minor foxing, visible primarily on the verso. Small piece of tape verso. $1,250.

Veduta degli Avanzi del castro Pretorio nella Villa Adriana a Tivoli. (View of the Remains of the Praetorian Fort [the Poecile], Hadrian's Villa, Tivoli). 1770. Etching. H 94.i/iv; WE 227. 14 5/8 x 25 5/8 (sheet 17 5/16 x 28). A rich impression on watermarked fleur-de-lys paper. $2,250.

Vedute del Palazzo Stoppani. (View of the Palazzo Vidoni [formerly the Palazzo Stoppani].) 1776. Etching. H 128.ii/iii; WE 261. Intermediate Paris edition (there were no lifetime editions; only Paris editions). 16 1/2 x 26 3/8 (sheet 18 x 27 1/2). A fine impression on heavy laid paper. This print has been cleaned professionally. $1,250.

Via del Pianta, Rome. 1928. Drypoint. McMillan 66. 7 3/4 x 6 9/16 (sheet 10 3/4 x 8 1/4). A rich impression with selective plate tone printed on cream laid paper from an antique volume. Signed in pencil. $275.

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

Ca' d'Oro, Venice. 1913. Etching and drypoint. 9 x 11 7/8 (sheet 11 1/8 x 13 7/8). A rich, tonal impression with drypoint burr printed in simili-Japan paper. Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. Signed, dated and titled in pencil. $1,500.

La Doma, Florence. Oil on panel. 8 x 12. Reproduction period frame. Unsigned. Provenance: Roth's studio. $850.

Poplars near Florence. c. 1906. Pencil and oil sketch for the etching of the same title. 20 x 16. Reproduction period frame. Unsigned. Provenance: Roth's studio. $1,125.

Grim Florence. 1907. Etching. 9 x 11 1/2 (sheet 11 x 12 3/4). A fine impression with rich tonal wiping, printed on cream laid paper. Signed, titled and annotated 'FIrenze 07' in pencil. $675.

The Iron Grill, Venice. 1913. Etching. 10 3/8 x 7 3/4 (sheet 14 2/4 x 11 13/16). Edition 100. A very rich impression with plate tone, printed on cream laid paper with wide margins. Collector's seal verso: Viola and Remig Papp (not in Lugt). Illustrated: Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940. Signed, dated and titled in pencil. $975.

Henry Rushbury, A.R.A., R.E. 1889-1968.

Porta Maggiore, Orvieto. 1923. Drypoint. Rushbury 52. 7 3/4 x 9 3/8 (sheet 11 1/2 x 15 1/4). Edition 90. A rich impression printed on cream laid paper, with full margins. Signed in pencil. $350.

The Walls of Siena. 1923. Drypoint. Schwab, Rushbury 42. 5 x 9 7/8 (sheet 9 3/8 x 15 1/4). Edition 50. A rich impression with drypoint burr printed on cream laid paper with wide margins. Signed in pencil. $350.

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

Scene in the Campagna also known as Woman at a Tank and Hindu Ablutions. (after the drawing by J.M.W. Turner, R.A., 1775-1851.) 1886. Hardie 4. Preliminary etching for the mezzotint. 8 1/2 x 11 3/8 (sheet 12 5/8 x 17 3/8). Printed in brown ink on off-white wove paper. Signed in the plate. $125.

Jules André Smith. 1880-1959.

The Molo,Venice. 1914. Drypoint. 6 3/4 x 8 3/8 (image and sheet). Illustrated: Print Collector's Quarterly 4 (1914): 181. A rich impression printed on cream laid paper. Annotated on the original mat, possibly in the artist's hand, 'Edition exhausted before 1920' and 'Note: Margins of this proof cut at plate mark because it tore in printing. Otherwise very fine impression and should have brought $75.' $275.

Sidney Tushingham A.R.E. 1884-1968.

Amalfi. 1926. Drypoint. Konody 83. 9 3/8 X 12 3/8. Edition 75. Exhibited at the Eighth International Print Makers Exhibition, Los Angeles Museum, March 1927. A fine impression printed on cream wove paper with full margins. Signed in pencil. $300.

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). Ediiton 115. A rich impression with plate tone printed on white wove paper. Signed in pencil. $850.

James Abbott McNeill Whistler. 1834-1903.

The Traghetto, No. 2. 1880. Etching and drypoint. Kennedy 191.vii. 9 1/4 x 12. Series: Twelve Etchings: First Venice Set. Edition 100. A fine, atmospheric impression printed with rich plate tone, presumably an unrecorded intermediate state between iv and v, before the drypoint on the hats of the men seated at the table, and the drypoint under the table, and before the baby's eyes are clearer. A proof printed in brown in on toned laid paper with a partial Strasbourg lily 1814 laid paper. Signed in pencil by Whistler with the butterfly and 'imp' on the tab. Price upon request.

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