Fine and Not-So-Fine Dining.
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Condition is excellent; defects are noted.
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Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 13 1/2 x 10 3/8). Edition 100, #42. A very fine impression on cream-colored 'Whatman' laid paper with full margins. Signed and numbered in ink. $975.
The Butterfly. 1928-29. Drypoint. Appleby 133 9 5/8 x 7 7/8 (sheet 15 1/4 x 10 3/16). Edition 100 #51.. A rich impression printed on cream-colored laid 'F.J.Head & Co.' paper with full margins. Signed and numbered in pencil. $1,200.
The Carousal (A Carouse). 1936-37. Drypoint. Appleby 134. 9 x 14 3/4 (sheet 12 9/16 x 18 5/16). Edition 36, #17. A rich impression on cream-colored wove paper with full margins. Signed and numbered in ink. This is an extremely scarce work. $2,750.
The Cider Barrel. 1928-29. Drypoint. Appleby 134. 10 5/8 x 10 1/2 (sheet 15 7/8 x 12 1/2). Edition 100, #57. A very rich impression on cream-colored laid paper with full margins. Signed and numbered in ink. $1,750.
Cider Drinkers (2nd Plate). 1925. Drypoint. Appleby 102. 10 1/4 x 8 3/16 (sheet 18 1/8 x 11 3/8). Edition 50. Illustrated: Fine Prints of the Year under the title 'Country Cider'; Salaman, Modern Masters of Etching 1926. A rich impression with drypoint burr printed on Hand [Made] laid paper. Signed in pencil. $1,250.
Les Deux Petits Verres. 1928-29. Drypoint. Appleby 135.10 1/2 x 10 3/16 (sheet 181/8 x 12 1/2). Edition 100, #40. Illustrated: Print Collector's Quarterly (1937): 374. A fold in the upper and lower margin, well outside the image. A rich impression, with burr, printed on the full sheet of 'ENGLAND'laid paper. A fold in the upper and lower margin, well outside the image. Signed and numbered in pencil. $1,250.
The Letter. 1921. Drypoint. Appleby 107. 7 x 9 3/8 (sheet 10 1/2 x 15 7/16). Edition 100. Illustrated: Fine Prints of the Year, 1925; Salaman, Modern Masters of Etching: Edmund Blampied; Print Collector's Quarterly 13 (1026): 93. A rich impression with drypoint burr, printed on cream laid paper on the full sheet with deckle edges. Signed in pencil. $1,250.
Madame Dupré 1929-30. Drypoint. A 147. 8 5/8 x 7 1/8. Edition 100. $1,250.
San Sebastian (Lunch Hour). 1924. Drypoint. Appleby 99. 8 7/8 x 11 7/8 (sheet 12 3/8 x 18). Edition 100. A rich impression with plate tone, printed on the full sheet of cream wove paper with deckle edges. Signed in pencil. $750.
Soup. 1920. Drypoint. Appleby 65. 9 x 8 1/8 (sheet 15 x 11 9/16). Edition 100. Illlustrated: Print Collector's Quarterly 13 (1926): 85. Signed in pencil. $850. Signed in pencil. $850.
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.
Toute de Suite. 1930-31. Drypoint. Appleby 151. 10 1/8 x 8 1/16 (sheet 15 1/2 x 10 7/16). Edition 100, #9. A rich impression, with drypoint burr, printed on the full sheet of laid paper. Signed and numbered in ink. $1,250.
Vin Rouge. (Red Wine.) 1932. Drypoint. Appleby 167. 9 1/4 x 11 5/8 (sheet 11 3/8 x 17 15/16). Edition 100 #48. Mat line, well outside the image; otherwise excellent condition. A rich impression with drypoint burr printed on laid paper. Titled in pencil; signed and numbered in ink. $1,750.
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. 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.
English Bar. 1908. Etching and drypoint. Exsteens 275.ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed and numbered in pencil. $1,500.
Sportsmen. 1908. Etching and drypoint. Exsteens 271.i/ii. 11 1/4 x 5 3/4 (sheet 17 3/8 x 12 1/4). Series: Les Bars. From the first state edition of 30 proofs with the remarque sketch at the foot of the image (total edition 95). Printed on laid paper watermarked "Pellet et Legrand" on the full sheet with deckle edges. With the red Pellet stamp, lower right. Signed in pencil. $1,500.
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. Price upon request.
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. A rare proof. Housed in a double grey and cream colored archival mat and a decorative grey and copper-colored 12 2/3 x 14 3/4-inch frame. $2,500.
Old French Market, Louisiana. c. 1928. Etching. 8 7/8 x 11 3/4 (sheet 11 x 14 1/2). A very rich impression printed on "Fabiano Italy" countermarked paper. Signed in pencil. Annotated in pencil by the artist, "To, Eugene A. Noble. I agree with you that an artist should follow his work to the bitter end and so I hope to do. Have patience." Annotated by a different hand, probably Eugene A. Noble, "E.A. N." "Old French Market LA" "This is the first print from the first plate by E.H. Suydam. $1,750.
Planters Tavern, Greenwich Street, New York. 1926. Conte crayon drawing. 12 1/4 x 11 (sheet 14 3/8 x 14 1/2). Provenance: Schwartz Galleries, Manhattan. A fine impression on 'Strathmore Woromoco Damask Made in U.S.A.' countermarked paper. Signed in pencil. $475.
The Gamekeeper's Cottage. 1928. Etching. Garton 8.iv. 6 7/8 x 8 3/4 (sheet 10 3/8 x 13). Final state published in an edition of 12 by Garton & Cooke in 1982 (Nicolson published an edition of 50 in 1929). Signed in pencil. Housed in a 17 3/4 x 20 1/2-inch burled wood and gold frame. $2,750.
The Master Smith. 1895. Lithograph. Way 84; Levy 123; Tedeschi, Stratis and Spink 120.i/ii. 4 1/2 x 5 1/2 (sheet 76 x 5 3/8). Only 15 lifetime impressions (in 2 states) listed by Way; Goulding printed 38 impressions on 14 December, 1903. The stone was erased in 1903. Printed on cream wove proofing paper. Monogrammed with the butterfly in the stone. A fine impression of this extremely rare lithograph. $5,000.
Maunder's Fish Shop. 1890. Lithograph. Way 26, Levy 42, Stratis, Spink and Tedeschi 37.ii. 7 3/4 x 6 3/4 (sheet 11 1/4 x 8 3/4). Printed on smooth ivory wove paper. As published in the December 27, 1890 edition of The Whirlwind. The printed text has been trimmed off, and pencil annotations in the margin added by another hand. Monogrammed with the butterfly in the stone, just above the sign saying 'Maunder'. $2,500.
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 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.
Whistler visited London frequently from 1855 to 1858, mainly to see his half-sister Deborah, who had married the artist Francis Seymour Haden (1818-1910), and her family. These visits provided the subjects for more of his etchings from this time and prepared the way for his move to London in 1859.
This still-life study, which stands alone in Whistler's etched oeuvre, was made shortly after his return to London from Paris upon the completion of the French Set or Douze eaux-fortes d'après Nature. Whistler and his brother-in-law worked closely for several months during this time at the latter's house on Sloane Street, London, where Haden had installed his own etching press.
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. $8,750.
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