Joseph Pennell, N.A. 1857-1926.

Available artwork: etchings, drawings, watercolors, aquatints, lithographs.

All works are signed in pencil unless indicated otherwise.

Click on the small images for larger screens.

America.

New York

The Biggest of All; Telephone and Telegraph Building. 1925. Etching. Wuerth 853. 9 7/8 x 11 7/8 (sheet 11 3/4 x 17 1/4). Edition probably 35. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed and annotated 'imp' in pencil. $850.

The East River from the Brooklyn Waterfront. Watercolor on grey paper. 10 x 12. Signed, upper right. $3,500.

The Elevated. 1921. Etching. 9 7/8 x 6 7/8 (sheet 13 3/8 x 9 3/8). Edition probably 50. A richly inked inpression printed by the artist on the full sheet of laid paper from an antique volume. Signed and annotated 'imp' in pencil. $775.

Madison Avenue. 1923. Etching. Wuerth 11. 12 x 9 1/8. Edition probably 50. Illustrated: Bryant, Joseph Pennell's New York Etchings. Signed in pencil. $850.

Montague Terrace, Children Skating. 1924. Etching. Wuerth 832. 8 x 9 7/8 (sheet 8 1/2 x 13). Series: Brooklyn Heights. Edition about 75. Illustrated: Bryant, Joseph Pennell's New York Etchings. Printed on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $500.

Mystery of the Mist. 1910. Lithograph. W 178. 17 3/8 x 11 1/4 (sheet 20 3/4 x 14). Edition 25. Niagara Falls series. A fine impression on the full sheet of watermarked laid paper, printed by the artist. Signed in pencil. $750.

Nassau Street. 1904. Lithograph. W 158.10 11/16 x 6 1/4. New York series. Commission for the Society of Iconophiles. Signed in pencil. $350.

New York, from Brooklyn. 1915. Etching. Wuerth 671. 7 3/8 x 11 3/4 (sheet 9 3/8 x 14). Edition probably 80. A rich impression with plate tone, printed by the artist on simili-Japan paper. Signed and annotated 'imp' in pencil. $1,750.

An Orgy of Building. 1923. Etching. Wuerth 808. 12 1/4 x 9 1/4 (sheet 16 1/2 x 10 3/8). Edition about 50. llustrated: Bryant, Joseph Pennell's New York Etchings. Printed by the artist on cream laid paper from an antique volume. Signed and annotated 'imp' in pencil. $750.

Standard Oil Building. 1923. Etching. Wuerth 817. 12 1/4 x 9 1/4 (sheet 13 1/2 x 10 1/16). Edition probably 50. A glowing impression, printed by the artist on antique cream wove paper. Signed and annotated 'imp' in pencil. $775.

The Stock Exchange. 1904. Etching. Wuerth 331. 12 x 7 (sheet 14 7/16 x 10 5/16). Edition 90. A dark,rich, tonal impression printed on tissue paper mounted on Japan paper. Signed in pencil. $750.

Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 1/2 x 10 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on very fine antique cream laid paper. Pennell used light yellow-brown plate tone to suggest lingering sunlight. Signed and annotated 'imp' in pencil. $1,250.

Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 11 3/8 x 16 7/8). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on sturdy cream laid paper from an antique volume. Pennell used red-brown plate tone to suggest evening tinged with sunlight. Signed in pencil. $1,250.

Sunset from Williamsburg Bridge. 1915. Etching. Wuerth 674. 8 1/2 x 11 (sheet 10 x 12 1/16). Edition 100. Illustrated: Salaman, Modern Masters of Etching. Printed on simili-Japan paper. Pennell used black-brown ink to suggest the tones of evening. Signed and annotated 'imp' in pencil. $2,000.

The Telephone and Telegraph Foundation. 1924. Etching. Wuerth 827. 12 7/8 x 8 7/8 (sheet 15 3/16 x 9 7/8).Private plate, etched for McKenzie, Vorhees and Gmelin. An atmospheric impression with plate tone, printed on antique laid paper from an old book. Printed by the artist. Signed in pencil. $850.

Wall Street. 1904. Etching. Wuerth 344. 11 3/4 x 7 7/16 (sheet 15 1/2 x 10 1/4). Edition about 75. A rich, tonal impression printed on Japanese mulberry paper. Signed in pencil. $975.

The Woolworth Building. 1915. Etching. Wuerth 675. 11 7/8 x 7 3/8 (sheet 15 x 9 1/4). Edition about 100. A rich, tonal impression printed on antique laid paper from an old volume. The inking and wiping suggest a misty morning. Signed in pencil. $975.

Pennsylvania

The Alleyway, Philadelphia. 1884. Etching. Wuerth 91. 5 1/4 x 5 1/2 (sheet 7 1/4 x 7 3/4). No edition. Printed on fine laid paper. An rare early Pennell etching that shows the influence of Whistler's Venice series. Signed and annotated 'imp' in pencil. $350.

Pennsylvania Railroad Station, Philadelphia. 1919. Etching. Wuerth 713. 11 3/4 x 8 (sheet 13 1/2 x 9 1/4). Railroad series. Edition probably 50. Railroad series. A carefully-wiped impression printed on fine pale blue-grey wove paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $1,250.

Sogno Mio, No. II. 1920. Etching. Wuerth 761. 10 x 11 7/8 (sheet 12 1/4 x 15 7/8). No published edition. Private plate, etched for John F. Braun, Esq., Merion, Pennsylvania. A very rich impression, printed in sepia ink on heavy cream wove paper with wide margins. Signed in pencil. A rare proof of this elegant Italianate home. Signed in pencil. $550.

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.

The Trains that Come, and the Trains that Go, Pennsylvania Railroad, Philadelphia. 1919. Etching. Wuerth 712. 10 x 11 1/6 (sheet 10 5/8 x 13 3/4). Railroad series. Edition probably 75. A carefully-wiped impression printed on fine off-white laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $5,500.

Missouri

St. Louis by the Mississippi. 1919. Lithograph. 19 3/4 x 17 1/4 (sheet 24 1/2 x 18 1/2). Edition c. 25. Printed on the full sheet of 'Ingres' laid paper,A fine impression pulled by the artist. Signed in pencil. $550.

South America: The Panama Canal

This is Pennell's most famous lithographic series. In January of 1912, Pennell went to the Isthmus of Panama to draw the work on the canal for Century Magazine and London Illustrated News. There were 28 large lithographs in the series (issued in an edition of 50. (There were also etchings). Pennell published the series in his book Joseph Pennell's Pictures of the Panama Canal (Philadelphia: Lippincott, 1912). Four of the most famous and striking works are those below:

At the Bottom of Gatun Lock. 1912. Lithograph. Wuerth 228. 17 x 22 1/4 (sheet 18 5/16 x 25). Panama Canal series #4. Edition 50. A rich, well-inked printing on 'Fabriano (Italy)' countermarked laid paper, on the full sheet with deckle edges. Signed and titled in pencil. $1,500

The Cut from Culebra. 1912. Lithograph. Wuerth 228. 22 1/4 x 16 7/8 (sheet 25 7/8 x 20 7/8). Panama Canal series #13. Edition 50. A rich, well-inked printing on 'Fabriano (Italy)' countermarked laid paper, on the full sheet with deckle edges. $1,000.

Pennell wrote, 'At this point the cut is far the deepest at the continental divide, and here the French did their greatest work, and here this is recorded by the United States on a placque high up on the left-hand bare mountain face of Gold Hill. The drawing was made looking towards Pedro Miguel.

Dinner Time, Gatun Lock. 1912. Lithograph. Wuerth 227. 22 x 16 7/8 (sheet 25 7/8 x 20 7/8). Panama Canal series #3. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Unobtrusive repaired small puncture. Illustrated: Beall, American Prints in the Library of Congress, page 349. Signed in pencil. $3,500

Pennell wrote of the work, "Between Mount Hope and Gatun is much more of the swamp and much more abandoned machinery, but the Canal is not to be seen from the railroad, or any evidence of it, till the train stops at the station of Old Gatun, with its workmen's dwellings crowning the hillside. I regret I made no drawing of these, so picturesquely perched. At the statio of Gatun -- the first time I stopped -- I saw the workmen -- indecorative fashion -- coming to the surface for dinner. The lithograph was made from a temporary bridge spanning the locks and looking toward Colon. The great machines on each side of the locks are for mixing and carrying to their place, in huge buckets, the cement and concrete, of which the locks are built. The French Canal is in the extreme distance, now used by our engineers."

End of the Day - Gatun Lock. 1912. Lithograph. Wuerth 234. 16 15/15 x 22 1/4 (sheet 18 15/16 x 25). Panama Canal series #7. Edition 50. A rich, well-inked printing on 'MBM (France) Ingres d'Arches' countermarked laid paper, on the full sheet with deckle edges. Unobtrusive repaired small puncture that Brigitte repaired and neither of us could find because she did such a good job. Illustrated: Beall, American Prints in the Library of Congress, page 352. Signed in pencil. $3,000

Pennell describes the image, "This was another subject I saw as the men stopped work in the evening. On the left is the stairway which most of them use, and on both sides are iron ladders which a few climb. The semicircular openings are for mooring the ships."

Europe

United Kingdom: London

The Admiralty. 1903. Etching. Wuerth 266. 11 x 8 (sheet 14 1/2 x 9 5/8). Edition probably 50. Pennell printed this rich impression with dramatic tonal wiping, printed on antique cream laid paper. Signed and annotated 'imp' in pencil. $350.

Albert Hall.1903. Etching. Wuerth 267.ii. 3 3/8 x 5 1/2 (sheet 6 3/8 x 9 3/8). A rare working proof with the figures added in pencil. Four printing folds, the artist's fingerprints in the margins. Printed on off-white laid paper by the artist. Signed, titled and annotated 'imp' in pencil. $375.

The Barber Shop. 1905. Etching. W 392. 10 7/8 x 8 9/16 (sheet 14 3/8 x 10 3/4). Edition probably 25. Printed on cream wove paper. Signed in pencil. Annotation on verso, in Pennell's hand, "Cote (report of imp. lithos)." Doodles on the front in the same crayon, probably by Pennell. A charming, Whistleresque image. Printed by Pennell. Signed in pencil. $450.

Cab Stand, Street in Bloomsbury. 1893. Etching. Wuerth 158. 6 5/8 x 9 5/8 (sheet 8 x 10 1/8). A rich, tonal impression printed on Japanese mulberry paper. A charming, and exceptionally rare image. Signed, titled and annotated 'cab/stand 3 printed (destroyed)' in pencil. $1,250.

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably from an old volume. Annotated 'Rome' and 'Charing Cross Bridge from my Window' by the artist. A rich dark proof, printed by the artist himself. Signed and annotated 'imp' in pencil. $4,500.

Church of St. Mary-le-Strand [London]. 1906. Etching. Wuerth 421. 6 x 3 5/8 (sheet 8 1/2 x 5 3/4). The plate has been reduced from 10 x 8. THe original etching includes both the Church of St. Mary-Le-Strand and St. Clement Danes. The plate was cut into sections. The image above actually shows the Church of St. Clement Dane's. Pennell had previously etched that Church in the same year (Wuerth 411). Extremely rare proof and example of Pennell's working technique. Printed on simili-Japan paper. Signed and titled in pencil. $175.

The City, Evening. 1909. Mezzotint. Wuerth 506. 10 x 14 7/8 (sheet 10 3/4 x 17 5/16). Printed on cream laid paper from an antique volume, numbered '12' in ink, upper left. Irregular bottom margin. Edition about 50. Magnificent, glowing proof with watercolor additions. Signed, titled 'London out of my window' and 'imp' in pencil, indicating a proof printed by the artist. $4,500.

Dark Day on the Embankment. 1909. Etching and aquatint. Wuerth 507. 9 7/8 x 12 3/4 (sheet 11 1/2 x 17 1/4). Edition probably 40. A rich, tonal impression printed by Pennell on cream laid paper from an antique volume. Signed and annotated 'imp' and 'Shot Tower Misty Morning' in pencil by the artist. $2,500.

Leadenhall Market II. 1903. Etching. Wuerth 254.10 7/8 x 8 3/8 (sheet 12 1/8 x 9 3/4). Faint mat line, otherwise excellent condition. A rich, tonal impression printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $450.

Lion Brewery, from the Embankment. 1903. Etching. Wuerth 237.i/ii before the plate was reduced. 10 1/2 x 8 (sheet 11 3/8 x 8 1/4). Trial proof, apart from the edition of 20 in this state (total edition about 40). An extremely rich tonal impression printed on laid paper from an antique volume. Signed and annotated 'tr proof' in pencil. $1,950.

Park Lane. 1904. Etching. W 290.iii. Plate reduced to 5 1/16 x 3 1/2 (sheet 7 3/4 x 6 1/4).Printed on antique paper from an old volume. Signed and annotated 'imp' in pencil. $175.

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. $1,250.

Song of the Search Lights (London in War Time). 1920. Resin aquatint. Wuerth 687. 4 x 6 7/8. Printed by the artist on cream wove paper. Signed and annotated 'imp' in pencil. Illustrated: Pennell, Etchers and Etching, 1920. $2,000.

St. Bartholomew's Gate. 1907. Etching. Wuerth 448. 9 3/8 x 8 1/2 (sheet 12 1/2 x 10 7/16). Edition probably 75. A subtle impression with plate tone, printed on cream laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $325.

St. Clement Danes. 1906. Etching. Wuerth 411. 11 x 8 1/2 (sheet 12 x 10 5/8). Edition probably 50. An uninked line from a hair on the plate, lower left. Printed with subtle tonal wiping on cream laid paper from an antique volume. Signed in pencil. $275.

St. Paul's from Bankside. 1905. Etching. Wuerth 393. 9 3/8 x 12 1/2 (sheet 10 x 14 3/4). Edition c. 50. A rich impression printed on laid paper from an antique volume. Printed by the artist. Signed and annotated 'imp' in pencil. $750.

Under Canon St. Station. 1904. Etching. Wuerth 309. 8 1/2 x 11 (sheet 9 7/8 x 14 1/2). Trial proof before the edition of approximately 25. Printed on cream laid paper from an antique volume with the page number '450' in ink in the right-hand margin. Excellent condition apart from a rust spot from iron in the paper, top center, outside the image. Signed and annotated 'imp' and 'trial proof' and titled 'Under Charing Cross' in Pennell's hand. A rich impression of this very rare image, printed by the artist, and especially interesting for the difference in Pennell's and Wuerth's titles. $650.

The Underground Station. 1893. Etching. Wuerth 167. 10 1/8 x 4 1/2 (sheet 12 1/8 x 14 3/4). Series: Easter Set, #17. Trial proof before the edition of 15. Printed on cream laid paper. Signed, dated and annotated 'trial proof' in Pennell's hand. A rich impression of this extremely rare image. $975.

West Door, St.Paul's. 1903. Etching and aquatint. Wuerth 272. 11 x 8 3/4 (sheet 13 3/16 x 10). Edition probably 50. A dark tonal impression with detailed wiping by the artist. Signed and annotated 'imp' in pencil. $750.

Whitehall Court. 1903. Etching. Wuerth 275. 10 1/2 x 8(sheet 12 5/8 x 8 7/8). Edition 12. A rich impression printed on antique blue/green laid paper, probably from France. Printed by the artist. Signed, titled 'Whitehall Court -- with the lights of Charing Cross Bridge' , '12 printed' and annotated 'imp' in pencil. A unique proof with white watercolor highlights in the lights on the bridge and the reflections in the water. $3,500.

Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8. Printed on cream wove paper. A rich impression printed by the artist,with his inky thumbprints along the sheet edges. Signed annotated 'imp' and dedicated 'To Charles Locke' in pencil. $4,500.

Belgium, France and Spain

The Bridge of Alcantara, Toledo. 1904. Etching. Wuerth 322. 10 x 7 7/8 (sheet 12 1/4 x 9 1/8). Edition probably 25 pencil-signed proofs, and an unsigned edition published in 1909 by Gesellschaft fur Vervielfaltigunde Kunst. Plate destroyed.A rich subtle proof on fine laid paper. Signed in pencil. $375.

Rouen from Bon Secours. 1907. Etching. Wuerth 464. 7 7/8 x 12 1/2 (sheet x 15 5/8). Edition probably 90. Printed on aid paper from an antique French journal. A glowing impression, printed by the artist. Signed and annotated 'imp' in pencil. $350.

St. Jacques, Cathedral in the City. 1919. Lithograph. 19 3/4 x 17 1/4 (sheet 24 1/2 x 18 1/2). Edition c. 25. Printed on the full sheet of 'Ingres' laid paper,A fine impression pulled by the artist. Signed in pencil. $550.

The Travellers, Charleroi. 1911. Lithograph. W 202. 22 1/4 x 17 7/8. Edition 24. Belgium series. Signed in pencil. $550.

Italy

The New Bay of Baiae. 1913. Lithograph. W 372. 16 1/2 x 21 5/8. Series: Carrara, the Marble City. Edition 25. First plate issued by the Senefelder Club, London. Collector' seal: Heinrich Stinnes. Signed in pencil. $650.

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.

Siena (Italy). 1883. Etching. Wuerth 80. 13 3/4 x 9 1/4 (sheet 16 7/8 x 12 1/2). No published edition. Slight mat line and glue stains in the margins, well outside the image. A unique proof printed on white wove paper with pencil additions in the towers on the right, and etched lines in the sky. Signed in pencil. $450.

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.

Allinson Gallery Index.

American Fine Prints.

Watercolors.

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