HARRIS SCHRANK FINE PRINTS

  Lyonel Feininger, “Kreuzende Segelschiffe 2 (Cruising Sailing Ships 2)” 1919, Woodcut. Prasse W175. Edition 275 unsigned for portfolio Die tunlte Jahresgabe des Kreises graphischer Kunstler und Sammier, 1925; 25 signed de luxe edition nos. I-XXV, on Japanese Milo paper; 150 signed edition nos. 1-150, on Zanders cream laid paper; 100 unsigned nos. 151-250. Signed and titled in pencil.Image size 6 x 8 7/8 inches (171 x 225 mm); sheet size 9 1/2 x 11 7/8 inches (241 x 302 mm). A superb, black, proof impression, apart from the published editions, on tissue-thin cream laid Japan, with full margins ( [...]

    Jean-Emile Laboureur (1877-1943), Cavaliers Anglais en Picardie, engraving, 1916, signed in pencil lower left, numbered (20/35) and inscribed “imp” lower right [also initialed in the plate lower left]. Reference: Laboureur 158, second state (of 2), from the edition of 35, a total of 43 impressions were printed. In good condition, some unobtrusive scuff marks, on a tan laid paper, watermark MBM, with margins, 8 1/2 x 5 3/4, the shet 10 3/4 x 8 1/2 inches. A fine impression of this cubist-influenced engraving. Laboureur studied the old masters in the print rooms of Europe, and here combines a [...]

    Francisco Goya (1746-1828), Ya van Desplumados (There They Go Plucked, i.e., Fleeced), etching, burnished aquatint and drypoint,  1799. Reference: Harris 55, Delteil 57; plate 20 from Los Caprichos, The First Edition (of 12). In  good condition, with margins (soiling in margins, remains of binding holes at left;  8 1/2 x 6, the sheet 12 x 7 7/8 inches. A very good impression, printed in sepia on soft but strong laid paper, as specified by Harris for the First Edition impressions. Printed in two shades of aquatint, one very pale, the other darker. This can be seen perhaps most [...]

  Bror Julius Olsson NORDFELDT (American 1878 – 1955) The Mist, Anglers. Donovan 10. Color woodcut on thin cream laid paper. Signed and dated in pencil, in very good condition. 8 3/4 x 12 7/8 inches. A fine impression of this rare woodcut. Bror Julius Olsson Nordfeldt was born in Sweden, moving at the age of 14 with his family to the United States, settling in Chicago. In 1896 he began studies at the Art Institute of Chicago while working as a typesetter on the Swedish newspaper, “Hemlandet”. At the Art Institute, he studied with Frederick Richardson and John H. [...]

Theophile Alexandre Steinlen (1859-1923), Les Chanteurs Des Rues, etching,  c. 1913,  signed in pencil lower right. Not in Crauzat, in excellent condition, printed on a cream laid Arches paper (with a partial watermark), 11 3/4 x 6, the sheet 12 3/4 x 9 3/4 inches. Provenance: ex Collection: Forgues, Eugène Daurand (1857-1933) Premier Président de la Cour d’Appel, Paris, with his stamp recto lower right margin (Lugt 743a) A fine strong impression of this rare print, probably a second state (see discussion below). Street singers were a favorite theme of Steinlen; this impression is related in composition and subject matter [...]

  Mary Cassatt (1844-1926), The Bonnet, drypoint, c. 1891, signed in pencil lower right. Reference: Breeskin 137, third state (of 3). In very good condition, with full margins, 7 1/4 x 5 1/2, the sheet 11 5/8 x 9 1/2 inches; the sheet with deckle edges. Ex collection: Mrs Gardner Cowles A suberb impression, printed in a brown ink on heavy cream laid paper, with much burr from the drypoint work, particularly in the hat and ribbon, and printed with a subtle layer of plate tone. Only one impression of the first state is known, a few of the second, [...]

Martin Lewis (1882-1962), Derricks at Night, drypoint, 1927. McCarron 62, second state (of 2), intended edition 100, 104 printed. Signed in pencil; also signed in the plate, lower right.  In excellent condition (evidence of prior hinging upper corners, Image size 7 7/8 x 11 7/8 inches, sheet size 11 1/4 x 15 /7/8 inches. Provenance: Estate of Delores D. DiPaola; also with the Kennedy stock number verso. A superb, atmospheric impression in warm black ink, with rich burr, on cream laid paper. Illustrated in Contemporary American Etching, American Art Dealers Association, New York, 1930. Derricks at Night is one of [...]

Albert Abramovitz (1879-1963), Wuxtry! [Extra?!], linocut in colors, c. 1936, signed in pencil lower right and titled lower center [also initialed in the plate]. In very good condition, with full margins, 14 1/2 x 10, the sheet 18 x 13 inches. On Japan paper. A fine fresh impression of this exceedingly rare print. Albert Abramovitz was born in Riga, Latvia, on January 24, 1879. He studied art at the Imperial Art School in Odessa and at the Grande Chaumière in Paris. In Paris, he became a member of the Salon in 1911. In 1913 he became a member of its [...]

Jean-Emile Laboureur (1877-1943), La Marchande de Liqueurs, engraving, 1916-1920, signed in pencil lower left and numbered (7/45), annotated “imp” lower right, and titled lower left margin. Reference: Laboureur 165, second state (of 2). In very good condition (remains of prior hinging right edge verso), the full sheet with wide margins, printed in black ink on cream laid paper. 5 1/4 x 4 1/4, the sheet 10 3/4 x 8 5/8 inches. Provenance: Marcel Lecompte, Paris A fine fresh impression, printed with a subtle veil of plate tone. An exquisite example of Laboureur’s use of the burin in furtherance of his [...]

Jean-Emile Laboureur (1877-1943), 25e Rue, New York, etching and drypoint, 1907, signed in pencil lower left, also titled “Coin de rue Sixth Avenue, New York” and numbered “no. 6″ at the bottom margin [also signed, titled and dated in the plate lower right]. Reference: Laboureur 69, second state (of 2). One of about 23 proofs taken during Laboureur’s lifetime in this state; there were another four first state impressions (before the drypoint work was added to the sky). In very good condition, the full sheet, 7 1/2 x 6, the sheet 12 1/2 x 9 1/2 inches. Provenance: Marcel Le [...]

Martin Lewis (1881-1962), Rainy Day, Queens, drypoint, 1931, signed in pencil lower right [also signed in the plate lower right]. Reference: McCarron 94, only state, from the edition of about 70. In very good condition (the slightest toning upper margin edge), the full sheet, 10 5/8 x 11 7/8, the sheet 14 1/4 x 15 1/2 inches. Provenance: ex Collection: Delores D. DiPaola Kennedy Galleries (with their stock data in pencil, recto and verso) A fine rich impression of this iconic image, printed in black ink on an ivory wove paper. Lewis described this location as “Skillman Ave. Queens”; it [...]

Jean-Emile Laboureur (1877-1943), L’ile Desert, etching, 1914, signed in pencil lower left and numbered lower right (33/35). Reference: Laboureur 135, only state, from the edition of 35. In very good condition, the full sheet, printed on cream wove Van Gelder Zonen paper (with the full watermark), 11 5/8 x 13 5/8, the sheet 17 1/2 x 22 inches. Provenance: Marcel Lecompte, Paris, with his pencil marking recto. A fine impression of this large cubist composition, printed in a dark brownish/black ink on a cream white wove paper. L’ile Desert was based on a visit Laboureur made to Nova Scotia (La [...]

Reginald Marsh (1898-1954), Two Models on a Bed, lithograph, 1928, signed and inscribed “15 proofs” [also initialed and dated in the plate]. Reference: Sasowsky 9, only state, from the edition of 15. In excellent condition, printed on chine applique on a stiff cream wove paper, 9 x 10 1/2, the sheet 12 5/8 x 17 3/4 inches. A fine impression. This is a relatively rare print, from a small edition (15); since several impressions are in public institutions (such as the Boston Public Library, Yale University Art Gallery, New York Public Library) the print is rarely obtainable on the market. [...]

    Jean-Emile Laboureur (1877-1943), L’Amazon, etching on zinc, 1913, signed in pencil and inscribed to R. Bonfils, dated, and numbered 15/25. Reference: Laboureur 120, only state, from the edition of 25. In very good condition (crease in right margin), the full sheet, 7 3/4 x 5 3/4, the sheet 9 5/8 x 7 3/4 inches. Provenance: Marcel Lecompte; also (presumably) the artist Robert Bonfils to whom the print is inscribed. A fine impression of this delicately printed composition, with a subtle veil of plate tone. The subject is the artist’s sister in front of the family home in Nantes. [...]

  James A.M. Whistler (1834-1903), Nocturne: Furnaces, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. References: Kennedy 213, Glasgow 208, eleventh state (of 12), published in the Second Venice Set. In generally good condition (repaired thin spots upper right and a tiny spot lower right), trimmed by the artist on the platemark except for the tab, 6 5/8 x 9 1/8 inches. A fine impression, printed in a dark brown/black ink on ivory laid paper. This impression has been meticulously wiped by the artist, generally from the center outward thus illuminating the central furnace [...]

  Jean-Emile Laboureur (1877-1943), Bar en Pennsylvanie, etching, 1914. Signed in pencil lower left and numbered 21/35 lower right [also signed and dated lower in the plate lower left]. Printed in a dark brownish/black ink on cream laid MBM paper (with the watermark). Reference: Laboureur 134, only state, from the edition of 35. In very good condition, the full sheet (slight soiling in margin edge upper left, small tear margin edge bottom, remains of prior hinging verso). 8 1/4 x 8 5/8, the sheet 13 x 11 inches. A fine impression of this quintessential cubist print. In the famed exhibit [...]

  Lee Hall (1934-), Connecticut Summer Fragments, a portfolio of stained paper studies, 29 in all, each about 5 ¼ x 7 ¼ inches, on hand made paper attached to a backing, in a portfolio with board covers (also with a stained colored paper), folding out as a screen; signed, dated (1978) and titled on the cover (Connecticut Summer Fragments), inscribed to Edith and Lloyd Goodrich. In excellent condition. A beautiful collection of rare stained watercolors. Hall, a New York Abstract Expressionist artist, was a friend of many artists, including Helen Frankenthaler (whose stained paintings are related to these works). [...]

    George Biddle (1885-1973), Coffee Huskers, 1928, lithograph, signed, titled and numbered [also inscribed '43/Biddle/1928 in the plate]. Reference: Pennigar 77, Trotter 43. From the edition of 100, on Rives cream wove paper, with the Rives watermark. In excellent condition, probably never framed or matted, the full sheet, 13 1/4 x 9 3/4, the sheet 16 x 11 1/2 inches, archival mounting (mylar non-attached hinging between acid free boards glassine cover).  A fine black impression.  Biddle wrote of this lithograph, in 1943: “After scraping the tusche away…I worked back with a pensil (sic) and again with diamond. This all [...]

Jean-Emile Laboureur (1877-1943), Jeune Fille au Cocktail, engraving, 1921, signed in pencil lower left, numbered (18/65) lower right and annotated “imp”. Reference: Laboureur 224, second state (of 2), from the edition of 65 (another 8 impressions were printed in the first state). In good condition, the full sheet, some cockling in the paper towards the left.  Printed in black on a cream laid MBM paper (with the watermark), 5 1/2 x 4 3/4, the sheet 10 1/2 x 8 3/4 inches. Provenance: Marcel Lecompte, with his pencil marking recto. A fine impression of this delicately printed composition, engraved in a [...]

  Hans Sebald Beham (1500-1550), Coat of Arms With an Eagle, engraving, 1543. References: Bartsch 257, Pauli 268, only state. In generally good condition, with narrow margins, two repaired tears lower center, soiling. Provenance: L. Freiherr von Biegeleben (Lugt 385) E. Schultze (Lugt 906) Albert W. Blum (Lugt 79b), his sale Sotheby’s New York, 2/’88, lot 1189) A rubbed impression, and so details not clear.

Hans Sebald Beham (1500-1550), Coat of Arms with a Cock, engraving, 1543. References: Bartsch 256, Pauli 267, second state (of 2) [signed and dated in the plate]. On laid paper with no watermark. In very good condition (usual slim margins, some soiling in margins), 69 x 47 mm, sheet 72 x 51 mm. Provenance: Dr. Erich von Rath (Lugt 2721) Albert W. Blum (Lugt 79b), his sale Sotheby’s, New York, 2/1988, lot 1191 A fine rich impression.    

Martin Lewis (1881-1962), Little Penthouse, drypoint, 1931, signed in pencil lower right [signed in the plate in a rectangle lower left]. Reference: McCarron 91, only state. Printed for inclusion in the Deluxe Edition of American Etchers Volume XI (Martin Lewis) by the Crafton Collection, NY, and distributed by P&D Colnaghi in London in 1931. The total number of recorded impressions is 84. In fine condition, with full margins, 9 7/8 x 6 13/16 inches, the sheet 11 1/2 x 8 1/2 inches. A fine glowing impression, printed on a cream laid paper. Martin Lewis was born in Victoria Australia, and in [...]

Hans Sebald Beham (1500-1550), The Little Buffoon, engraving, 1642. References: Bartsch 230, Pauli 234, first state (of 2). In very good condition apart two minor thin spots lower right and an unobtrusive vertical crease, mainly visible verso, trimmed to the platemark, 45 x 81 mm. A fine, rich impression of the first state. Provenance: Heinrich Stiebel (Lugt 1367) W. Meyer (L. 1813) Albert W. Blum (L. 79b); his sale Sotheby’s, New York, Feb. 27, 1988. lot 1190 The inscription reads: ON DIR HAB ICH GERISEN DAS ICH MICH HAB BESCHISEN (I have written on you that I have beshit myself). [...]

  Hans Sebald Beham (1500-1550), Pacienta (Patience), engraving, 1540 [signed, dated, titled, and inscribed in the plate]. Reference: Bartsch 138, Pauli 141. In good condition, trimmed on or just inside the platemark, 4 1/8 x 2 13/16 inches. Printed on laid paper with a partial Crest of Nuremberg, Small watermark (Meder watermark 210, Briquet 917); this watermark is found on a German drawing 1643 and Durer prints circa mid 16th Century. Provenance: ex Collection Delores D. Di Paola (not in Lugt) A fine impression of this interesting composition: Patience protects a lamb while a rather unattractive creature next to her [...]

James Whistler (1834-1903), Longshoremen, etching and drypoint, 1859 [signed and dated in the plate]. References: Glasgow 52, fourth state (of 4), Kennedy 45. In excellent condition, with margins, 5 15/16 x 8 3/4, the sheet 8 1/16 x 11 1/16 inches. A very fine impression, an early impression of this state, printed in a dark brownish/black ink on an ivory thin laid Japan paper.  In the later impressions the curling drypoint lines on the left arm of the man at the left tend to fade; in this impression they are clear. Later impressions tend to be cleanly wiped; in this [...]

Hafendock (Harbor Dock) – 1919, Woodcut. Prasse W154, 1919, only state, . No published edition–one of only a few known proofs. Signed in pencil and numbered 1934 (the artist’s work number, not the date) in the bottom center margin. Estate stamped and numbered W 716 in pencil, in the bottom left sheet corner. Image size 3 3/8 x 3 1/2 inches (86 x 89 mm); sheet size 5 1/2 x 8 1/2 inches (140 x 216 mm). A fine, black impression, on tan carbon-copy paper, with full margins (3/4 to 2 9/16 inches), in excellent condition. Very scarce. Prasse notes [...]

Kirche und Dorf (Church and Village)- 1919, Woodcut. Prasse W18. No published edition–one of only a few proofs. Signed in pencil and numbered 1814 (the artist’s work number) in the artist’s hand, bottom center margin. Estate stamped and numbered W 37 in pencil, in the bottom right sheet corner. Image size 3 3/8 x 4 5/8 inches (86 x 117 mm); sheet size 5 1/2 x 8 1/2 inches (140 x 216 mm). A fine, black impression, on oatmeal-tan carbon-copy paper, with full margins (3/4 to 2 9/16 inches), in excellent condition. Very scarce. Prasse notes “Proofs chiefly on oatmeal-tan [...]

Honore Daumier (1808-1879), vlà un petit pochard!, lithograph, 1842, plate 42 from the series Moeurs Conjugales, published in Le Charivari, and the Album Moeurs Conjugales (1839-42). Reference: Daumier Register 665, second state (of 3), in good condition apart from a short (repaired) tear upper edge well away from image, slight browning, 11 1/4 x 8, the sheet 13 1/2 x 10 inches. A good impression, sur blanc (on firm white wove paper without the letterpress verso). Translation from the Daumier Register: Original Text: En vlà un petit pochard! il vous avale ça comme du lait! pauvre chou…. c’est tout le [...]

  Honore Daumier (1808-1879), ILS REVIENNENT DE PLUMER LES CANARDS, 1846, lithograph, Reference: Daumier Register 1185, second state (of 2), plate 97 from the series LES BEAUX JOURS DE LA VIE, published in an album of that name (1843-6) and in Le Charivari.  In generally good condition, some fox marks, a repaired tear upper left corner not near matrix, hinged along the left edge. 11 1/4 x 9, the sheet 13 1/4 x 10 inches.  A good impression of this evocative composition; two rather well dressed older men apparently satisfied that they have taken advantage of someone. A sur blanc impression, [...]

  Honore Daumier (1808-1879), Poids et Mesures, lithograph, plate 8 from the series ACTUALITÉS, published in La Caricature, 2e série, nr. 5 in 1840. Reference: Daumier Register 791, second state (of 4), before the number 8 was added. In good condition, hinged along the left margin, 11 1/2 x 8 1/2, the sheet 13 1/4 x 9 5/8 inches. A very good impression. The indispensable Daumier Register explains the background of this print: “The law of July 4, 1837 brought the introduction of the metric system to France from January 1840 on. As early as 1790, the Academy of Science [...]

  Honore Daumier (1808-1879),Mon Cher Ami, lithograph, 1838, plate 4 from the series CROQUIS D’EXPRESSIONS . Reference: Daumier Register 469, second state (of 2).  Published in Le Charivari in 1838; in the publication Musée pour Rire in 1839-40. In generally satisfactory condition, with binding holes along upper edge. A relatively weak but still satisfactory impression, sur blanc on cream wove paper. We considered the possibility that this is from the Musée pour Rire publication of 150 caricatures, but unlike the reprints from that publication this impression has the title of the series at the top, and the printing at the [...]

Honore Daumier (1808-1879), L’OEIL DU MAÎTRE, lithograph, 1842, published in Le Charivari in 1842. Reference: Daumier Register 681, second state (of 3). From the series Moeurs Conjugales, plate 58. In good condition (remains of prior hinging verso), a sur blanc impression, on sturdy wove paper without the letterpress verso, 11 x 8, 13 1/2 x 10 1/4 inches. A very good impression of this curious subject. The indispensible  Daumier Register notes that “The comedy “L’Oeil de Verre” (The glass eye) was written by M. Léon and first shown in the Vaudeville Theatre on September 15, 1840.” Here is the translation [...]

  Honore Daumier (1808-1879), Eh. Eh? petit gredin, lithograph, 1840, published in Le Charivari in 1840. Reference: Daumier Register 649, third state (of 4). From the series Moeurs Conjugales, plate 26. A sur blanc impression. In generally satisfactory condition, with two repaired tears right edge, nick lower left, slight toning, remains of prior hinging verso. 11 x 8, the sheet 13 3/8 10 1/4 inches. A good impression of this comical scene. Translation from the Daumier Register: Original Text: Eh. Eh? petit gredin, vous en ferez aussi des moutards, vous avez déja des yeux de scélérat. Vous serez comme votre [...]

Honore Daumier (1808-1879), Une Partie de Campagne, lithograph, 1842, plate 59 from the series Moeurs Conjugales, published in Le Charivari in 1842, and in the album of the series in 1843. Reference: Daumier Register 682, second state (of 2). A sur blanc impression on wove paper (as published in the album for collectors, without the newsprint verso). In very good condition, 11 1/2 x 9, the sheet 13 1/4 x 10 1/2 inches. A fine impression, with the blacks rich, contrasting well with the greys and white. Here is the translation from the Daumier Register: Original Text: UNE PARTIE DE [...]

  James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 191, fourth state (of 6), Glasgow (MacDonald et al) 223, 7th state (of 9), before the eyes are added to the child at the left, and without the carafe on the table. From the First Venice Set. In excellent condition, trimmed by the artist to the platemark except for the signature tab. 9 1/2 x 11 7/8 inches. A fine impression, printed on laid paper, with subtle plate tone.  With Whistler’s three tiny circles in pencil verso, indicating [...]

    Honore Daumier (1808-1879), Panic of the Lilliputians, lithograph, 1851, plate 158 from the series ACTUALITÉS, as published in LE CHARIVARI.  Reference: Daumier Register 2120, second state (of 2), with letters (an impression before letters is very rare; the Daumier Register lists only one); a sur blanc impression (without the letterpress verso, on a strong wove paper).  In good condition apart from a repair bottom left corner (possible replacement of corner or repaired tear) not affecting image;   10 x 10 7/8, the sheet 10 1/4 x 13 inches. A very good impression. Translation from the Daumier Register: Original [...]

  Honore Daumier (1808-1879), I Would Have Bet On It [a Child at the Theatre], lithograph, 1841, Plate 34 from Moeurs Conjugales, published in LA CARICATURE (Deuxième Publication), then published in Le Charivari.  Reference: Daumier Register, third state (of 4), a sur blanc impression. In very good condition, 11 x 9, the sheet 13 1/2 x 10 1/8 inches. A fine impression of this vivid composition, with marked contrast among the charcoal blacks and greys. The sur blanc impressions were issued in limited numbers for collectors, on a stiff  wove paper with no newsprint verso. The translation, from the Daumier [...]

  Honore Daumier (1808-1879), Je vous disais tout à l’heure que je ne serais pas fâché que l’affaire d’Orient s’arrangeât. Lithograph, 1853, published in Le Charivari in 1853. A newsprint impression, with the lettering from Le Charivari verso. Reference: Daumier Register, second state (of three), before the changes made for publication in LE CHARIVARI BELGE. Plate number 28 from the series ACTUALITÉS. In general Daumier was opposed to France’s using military force against its neighbors. The Daumier Register points out that in Daumier’s prints Mars is the personification of war threats. In this print, on the eve of the Crimean [...]

  Honore Daumier (1808-1879), Flanerie par le dégel (A Walk in the Snow), , lithograph, 1841, published in LA CARICATURE (Deuxième Publication) in 1841, then in an album ÉMOTIONS PARISIENNES in 1842.  Daumier Register 724, fourth state (of four). Plate number 40 from the series ÉMOTIONS PARISIENNES.  With the initials HD lower left. A  sur blanc impression. In very good condition, with margins, 11 1/2 x 8, the sheet 12 3/4 x 9 1/2 inches. A fine impression, with rich black inking and strong contrasts. The sur blanc impressions were made for collectors, in limited numbers (often less than 100); [...]

  Honore Daumier (1808-1879), Un Monsieur au dessous de ses affaires, lithograph, 1841, published in LA CARICATURE (Deuxième Publication) in 1842, Daumier Register 718, fourth state (of five), before the name of Aubert is removed.  Plate number 34 from the series ÉMOTIONS PARISIENNES.  With the initials HD lower left. A  sur blanc impression. In good condition, a slight tear right margin expertly repaired, slight evidence of fox marks, with margins, 11 x 7 3/4, the sheet 13 x 9 7/8 inches. A fine impression of this famous image. Un Monsieur was the cover image of the Daumier Centenary Tribute published [...]

Anders Zorn ((1860-1920), Omnibus, etching, 1892, signed in pencil lower right. Reference: Delteil 71, Asplund 72, Hjert/Hjert 183, second state (of 3).  One of only a few impressions of the second state, edition 75. In excellent condition, the full sheet, 10 3/4 x 7 3/4, the sheet 17 1/4 x 12 3/8 inches. A fine striking impression of this early rare state, before the several lines added to the left of the face of the woman at the upper left. Zorn’s composition of people on the omnibus is a variation on a theme popularized by many artists, including Mary Cassatt’s [...]

James Whistler (1834-1903), The Garden, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed imp; also inscribed ox verso, on early 18th Century laid paper with the watermark Arms of Amsterdam. References: Kennedy 210, sixth state (of 8).  Glasgow 194, probably 8th state (of 15), before the figure of the woman at the right in the doorway turns toward her right (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) From the Second Venice Set, edition of 30 plus 12 individual proofs [...]

  James Abbott McNeill Whistler  (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on 18th Century laid paper, a proof impression apart from The Second Venice Set. References: Glasgow 243, only state; Kennedy 237, only state. In very good condition, with very wide margins, 6 3/8 x 3 7/8, the sheet 11 x 8 3/4 inches. A fine early impression, printed in brownish/black ink. Drury Lane, London, was known then as now as a centre of theatres and entertainment. Although titled the Second Venice Set [...]

James Whistler (1834-1903), The Storm, etching and drypoint, 1861. Glasgow 80, Kennedy 81, probably third (cancelled) state (of three). In good condition, on thin bluish gray laid paper, with margins, 6 ¼ x 11 ¼ inches. Two interesting impressions, on the recto an inky black impression with much burr; finer than the cancelled impressions ordinarily encountered; on the verso a dryer impression with little burr. According to Kennedy only 4 impressions are known before cancellation. The plate was cancelled in 1879, bought by the Fine Art Society in an auction at the end of that year (the Whistler bankruptcy auction), [...]

Reginald Marsh (1898-1954), Box at the Metropolitan, etching and engraving, 1934, signed in pencil lower right, and numbered 22 (erased, lower left).  Reference: Sasowsky 143, fifth state (of 5). In very good condition (a few minor stains verso, slight skinning where prior hinging verso), with margins, 10 x 8, the sheet 11 ¾ x 8 7/8 inches. A fine impression, printed on a heavy cream wove paper. In 1936 Marsh made another Opera Box engraving (S. 162, known as Opera Box), a smaller print but with the same format, and also showing six people. The inhabitants of the box have [...]

  Six American Etchings: The New Republic Portfolio 1924 The complete set of six etchings, as issued in 1924, including: Peggy Bacon (1895–1987), The Promenade Deck, 1920 (Flint 47), 6 x 8 3/8 inches Ernest Haskell (1876–1925), The Sentinels of North Creek, ca. 1923, 5 x 7 7/8 inches Edward Hopper (1882–1967), Night Shadows, 1921 (Levin 82) 7 x 8 3/8 inches John Marin (1870–1953), Downtown the El (Zigrosser 134), 6 7/8 x 8 3/4 inches Hayes Miller (1876–1952), Play, 1919, 4 7/8 x 5 7/8 inches John Sloan (1871–1951), Bandit’s Cave, 1920 (Morse 195), 7 x 5 inches A [...]

  François Vivares (1709–1780), Beggar Leaning on a Stick Facing Left (after Rembrandt, reversed), etching, c. 1765. In very good condition, with margins, 3 1/4 x 2 1/4, the sheet 3 3/4 x 2 7/8. A fine impression, on wove paper. Provenance: initials AT verso in pencil (not in Lugt). This is a copy in reverse of Rembrandt’s rather rare etching Beggar Leaning on a Stick, Bartsch 163. Here, from Wikipedia, are some notes on Vivares,  surely among the most prolific of printmakers, in terms of offspring if not art: He was born at Saint-Jean-du-Bruel, near Montpellier, France, on 11 [...]

  Hans Schäufelein (c. 1482-1539), The Pentecost – Die Sendung des Heiligen Geistes, woodcut,1513. Reference: cf. Bartsch 34-28 (253). From “Das Buch des Newen Testaments”, Hans Schönsperger, Augsburg, 1513.  Signed with the monogram in ligature and the shovel, bottom center. In very good condition, trimmed well outside of the borderline (a tiny repaired nick bottom edge); 9 1/8 x 6 1/4 inches. A fine, clear and strong impression. The biblical narrative of Pentecost is given in the second chapter of the Book of Acts. As recounted in Acts 2:1-6: And when the day of Pentecost was fully come, they were [...]

Six American Etchings: The New Republic Portfolio 1924 The complete set of six etchings, as issued in 1924, containing Marin’s rare Brooklyn Bridge No. 6 (Swaying), which appeared in only a few sets before being substituted by Marin’s Downtown the El (Zigrosser 134). The set includes: Peggy Bacon (1895–1987), The Promenade Deck, 1920 (Flint 47), 6 x 8 3/8 inches Ernest Haskell (1876–1925), The Sentinels of North Creek, ca. 1923, 5 x 7 7/8 inches Edward Hopper (1882–1967), Night Shadows, 1921 (Levin 82) 7 x 8 3/8 inches John Marin (1870–1953), Brooklyn Bridge No. 6 (Swaying), 1913 (Zigrosser 112) 10 [...]

Rudolph Ruzicka (1883-1978), The First Church Burial Ground —1916, Color Wood Engraving. Edition not stated. Signed in pencil. With the artist’s monogram and date in the block, lower right. Image size 7 9/16 x 5 5/16 inches (192 x 135 mm); sheet size 11 7/8 x 8 7/8 inches (302 x 225 mm). A fine impression, with fresh colors, on cream laid paper; full margins (1 1/4 to 2 3/4 inches), in excellent condition. Ruzicka’s color wood engravings are rarely encountered in today’s marketplace, but are highly valued by collectors, both because of the subtlety of their design and composition, and [...]

Rudolph Ruzicka (1883-1978) View of Newark from Harrison —1916, Color Wood Engraving. Edition not stated. Signed in pencil. With the artist’s monogram and date in the block, lower left. Image size 7 1/2 x 5 1/2 inches (191 x 140 mm); sheet size 11 7/8 x 9 inches (302 x 229 mm). A fine impression, with fresh colors, on cream laid paper; full margins (1 1/8 to 2 7/8 inches), in excellent condition. Ruzicka’s color wood engravings are rarely encountered in today’s marketplace, but are highly valued by collectors, both because of the subtlety of their design and composition, and Ruzicka’s [...]

Benton Spruance (1904-1967), Subway Shift; The Second Front , 1943, Lithograph. Fine and Looney 223.  Edition:  30;  signed, titled and annotated Ed 30 in pencil. Initialed in the stone, lower right. Image size 10 3/16 x 16 1/4 inches (368 x 486 mm); sheet size 15 1/4 x 23 1/8 inches (387 x 587 mm). A fine, rich impression, on cream wove paper with a Signature watermark, with full margins,  in excellent condition. Printed by Cuno. Subway Shift has of course been reproduced widely, including recently in The American Scene: Prints from Hopper to Pollock, Stephen Coppel, The British Museum, [...]

  Nicolas-Toussaint Charlet (1792-1845), Tu Vois Austerlitz au Moment du Tremblement, lithograph, 1827. Published by Gihaut Freres, Paris. Reference: Fonds Francais IV, p. 336, no. 12. Printed by Villain. In generally good condition apart from foxing verso, lightly showing through image. 7 1/4 x 6, the sheet 14 1/4 x 10 1/2. This print was included in the catalogue and exhibit Prints About Prints (Diane Ewan Wolfe, 1981, exhibit arranged by Martin Gordon and Sigma Art Fund), #8. The old veteran of the Napoleonic wars, standing before a stand of prints, is selling his war stories; a young soldier interrupts [...]

Emil Orlik (1870-1932), Würfler – Gambler, etching, 1897, signed in pencil lower right. Reference: Söhn 52803-6, published in the art periodical PAN Vol.3, October 1897. In good condition, with margins  (browning toward margin edges), 2 3 1/4, the sheet 3 x 4 1/4 inches. A fine impression of this rarely encountered tiny gem, printed on laid paper, with plate tone. This print was later published in Pan, Vol. 3, October 1897. Allan Wolman, in his indispensable website on Orlik (www.orlikprints.com), writes of the context of Orlik’s career at this early transitional stage: In 1896 Orlik returned to Munich to work [...]

Max Weber (1881-1961), Mother Love (Madonna and Child), woodcut in colors, 1920, signed in pencil lower right margin. Reference: Rubenstein 35, no edition stated. The matrix in good condition, with wide margins (stains in margins, remains of prior hinging visible recto, loss upper left).  4 13/16 x 2 1/8, the sheet 8 3/4 x 5 5/8 inches. A very good impression of this great rarity, with vivid  colors, printed on a tan/cream Japan paper. Weber did not make his small color woodcuts in editions, and he changed the colors from one impression to another; thus each print is a variation [...]

Muirhead Bone (1876-1953), Rainy Night in Rome, drypoint, 1913,signed in pencil lower right and inscribed “Trial Proof” lower left margin.  Reference: Dodgson 299, first state (of 10), a total of 125 impressions were printed in all 10 states.  In very good condition, with margins, 12 x 8 7/8 inches, the sheet 15 3/4 x 11 inches. A fine rich impression, with substantial burr and carefully wiped plate tone lightening the center of the composition, printed on a cream wove paper. A trial proof aside from the 48 impressions in this state. As described by Dodgson, the ground at the bottom [...]

Bror Julius Olsson NORDFELDT (American 1878 – 1955) The Wave, Moonrise; 1906 Donovan 19. Color woodcut on thin cream laid paper. Signed and dated in pencil, also inscribed with the number 249, upper left. In very good condition. 9 1/4 x 11 1/4 inches. A fine impression of this rare woodcut.  Nordfeldt’s numbering system appears to be related to the total number of prints he made;  impressions of The Wave, Moonrise are quite rare, and indeed we have not encountered them on the market in recent decades. Bror Julius Olsson Nordfeldt was born in Sweden, moving at the age of [...]

  Hermine David (1886-1970), Marechal Ferrant (The Blacksmith), etching and drypoint, signed in pencil lower right [also signed in the plate lower left], in very good condition (remains of prior hinging verso). The full sheet, printed on an Arches wove paper, 7 5/8 x 10 1/8, the sheet 9 7/8 x 13 inches. A fine impression of this great rarity. We have not encountered another impression of this print on the art market. In this print, in a departure from the sharply delineated drypoint work characterizing many of her prints, David achieves a range of grey shadings through extensive use [...]

Henri Boutet (1851-1919), [Femme, Woman Facing a Fireplace], c. 1890, drypoint, signed and numbered (N. 2) in pencil lower right and with the artist’s red stamp (Lugt 1295a). In good condition, with wide/full margins (brown at edges), 7 1/2 x 5, the sheet 12 1/4 x 8 3/4. A fine impression, with substantial burr from the drypoint work. Boutet was one of the most talented of the Belle Epoque artists. He made a number of small drypoint portraits of women in tiny editions, or women in various Japonisme related postures.  These prints, carefully printed, wiped and signed, are rather rarely encountered [...]

Edgar Chahine (1874-1947), Les Buttes Chaumont (Premier Planche), drypoint, 1917, signed in pencil lower left, annotated “ep d’artiste”, titled lower right. Reference: Tabanelli 337, second state (of 2). Aside from the edition of 50. In very good condition, printed on a Japon pelure applique (on a heavy cream Arches paper, with the Arches watermark), as called for by Tabanelli. The full sheet with deckle edges, 8 1/2 x 12 1/2, the sheet 13 x 19 3/4 inches. Provenance: Galerie Grillon, Paris A fine impression, printed in a brownish/black ink with substantial burr from the drypoint work, and plate tone. In [...]

Pierre Gatier (1878-1944), Le Salon de M. Doucet, rue de la Paix, or Chez le Couturier, colored etching and aquatint in three plates, 1911, signed in pencil lower right, and numbered lower left (18) [also signed in the plate]. Reference: F. Gatier 76, only state. From the edition of 125, as editioned by Georges Petit, and with the blindstamp lower left of the Cercle de la Librairie (Lugt 438). 10 1/2 x 17 3/4, the sheet 14 3/8 x 19 3/4 inches. Provenance: Galerie Grillon, Paris A fine fresh impression. Georges Petit published Gatier’s prints from about 1909 to 1911; [...]

Jean-François Raffaëlli (1850-1924), La Fumee du Bateau, color etching and drypoint, 1911, signed and numbered in pencil  lower right. Reference: Delteil 98. In very good condition, the full sheet, printed on a firm cream wove simile Japon paper, 7 3/4 x 5 1/2, the sheet 12 1/2 x 9 1/2 inches. A fine fresh impression, printed in colors (blue, blue-green, yellow, reddish brown, black), with substantial burr from the drypoint work. Raffaëlli used different plates to create this print, using tiny registration holes to align the prints. In From Pissarro to Picasso: Color Etching in France, Cate and Grivel write [...]

Enea Vico (1523-1567) engraving, Trophy With a Breas Plate Leaning Toward the Left, 1550, Bartsch 444, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numbers.  Good condition,  with small margins all around,  archival matting, 10 x 7  inches. A fine, fresh impression.  A single stack of weird beasts, arms, armor, and shields. On laid paper with a Ladder in a Circle watermark. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fine impressions of Vico’s Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted [...]

Enea Vico (1523-1567) engraving, Trophy With a Cuirass on a Trunk of a Tree, 1550, Bartsch 446, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numbers.  Good condition,  with small margins all around,  archival matting, 9 1/8 x 6 3/4  inches. A fine, fresh impression. On laid paper with a Ladder in a Circle watermark. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fine impressions of Vico’s Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted as lacking in original draughtsmanship or inventiveness, [...]

Enea Vico (1523-1567) engraving, Trophies Including a Helmeted Woman, 1550, Bartsch 442, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numbers.  Very good condition,  with small margins all around,  archival matting, 10 x 6 7/8  inches. A fine, fresh impression, the trophies in two parallel piles, the right side featuring ferocious birds, or at least winged creatures, as well as the helmeted woman; the left side has a pile of armor, weird animal and human faces, shields, and a bit of weaponry as well. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fine impressions [...]

Enea Vico (1523-1567) engraving, Ornamental Panel With A Rampant Lion In An Oval Cartouche, 1550, Bartsch 443, with the name of the publisher Ant[onio] Lafreri at bottom and also bottom center, first state (of 2) before numbers.  Good condition, with some printer’s smudges toward the edges, with small margins all around,  archival matting, 9 1/4 x 6 5/8 inches. A fine, fresh impression, with many comedic features including a pair of exhausted lions on either side of the cartouche, snail-like hats/faces just below them, and a quiver of arrows and other arms toward the top of the elaborate design. Provenance: Furstich [...]

Enea Vico (1523-1567) engraving, Two Trophies With a Cuirass Lower Left, 1550, Bartsch 449, with the name of the publisher Ant[onio] Lafreri at bottom, first state (of 2) before numbers.  Good condition, with small margins all around,  archival matting, 9 5/8 x 7 inches. A fine, fresh impression. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fine impressions of Vico’s Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted as lacking in original draughtsmanship or inventiveness, but recent work (as exemplified in the British Museum exhibit The Print in Italy, 1550-1620), [...]

James Goetz (1915-1946) , Rhea, etching and engraving, 1946, signed in pencil lower right, from the Primordials Portfolio, in an edition of only 30. In very good condition, printed on Murillo paper (heavy buff wove paper).  Printed at Atelier 17. The full sheet, 8 7/8 x 4 7/8, the sheet 12 7/8 x 9 3/8 inches. A very fine, intricately engraved and printed impression. S.W.Hayter, the famed printmaker and founder of Atelier 17, said of Goetz: “James Goetz was young. He was an artist who became a soldier; I understand a good one… An officer in the 5th Armored Division, [...]

Adriaen van de Velde (1636 – Amsterdam – 1672 – Amsterdam), Two Cows and a Sheep, etching, c. 1657-9. Reference: Hollstein 4. In good condition, on old laid paper, a soft horizontal fold, trimmed on the borderline and window mounted, 4 1/4 x 5 1/8 inches. A very good impression. Adriaen van de Velde, the son of Willem van de Velde the 1st, was apparently not interested in pursuing marine paintings which were the specialty of his brother and father, and so was sent to Haarlem to learn landscape painting. And he did indeed specialize in landscapes, particularly pastures and [...]

John Marin (1870-1953), Downtown, The El, etching, 1921, signed in pencil lower left (also signed and dated in the plate). Reference: Zigrosser 134, only state.  Published initially by Alfred Stieglitz and then included as part of the Folio of American Etchings by the magazine The New Republic in 1924, in an edition of unknown size but probably above 500.  In very good condition, the full sheet, on Van Gelder wove paper, 6 3/4 x 8 3/4, the sheet 11 x 13 3/4 inches. Provenance: Hirschl and Adler Galleries, Inc., New York, New York. A fine bright impression. Initially the New [...]

Werner Drewes (1899-1983), Farm in the Woods, woodcut, 1933, signed and dated in pencil lower right (also numbered 1-xxx and titled lower left). Reference: Rose 83. In very good condition, on hand made cream colored Japan paper with an upper and lower deckle edge, 9 1/8 x 11 1/2, the sheet 10 3/4 x 13 7/8 inches. Provenance: Heald Collection A fine strong impression. Drewes, who studied at the Bauhaus in Weimar and Dessau during the ’20′s, with Paul Klee, Wassily Kandinsky, and Lyonel Feininger, came to the United States in 1930. His early work reflects the Bauhaus emphasis on [...]

Joseph Hirsch (1910-1981), Lunch Hour, 1942, lithograph, signed in pencil.  Published by Associated American Artists, in good condition (some time staining) with full margins, on a cream wove paper, 9 x 11 3/4, the sheet 11 x 13 7/8 inches. A very good impression, still in its original Associated American Artists mat (which, surprisingly, does not appear to be acid-free). Hirsch was a traditionalist, a social realist painter and printmaker, who won numerous prizes and awards over the course of a long career. His work did not tend to break new ground, but if he were producing these paintings and [...]

Enea Vico (1523-1567 engraving, Two Trophies With a Breast Plate and a Ram’s Head, 1550, Bartsch 447, with the name of the publisher Ant[onio] Lafreri at bottom, before numbers.  Good condition, with small margins all around (slight discoloration upper right and left due to hinging),  archival matting, 9 1/2 x 7 inches. A fine, fresh impression. Provenance: Furstich Waldburg Wolfegg’sches Kupferstichkabinett (Lugt 2542). The fine impressions of Vico’s Trophy series, such as this example, are of astonishing clarity and brilliance. This sort of showmanship was until recently discounted as lacking in original draughtsmanship or inventiveness, but recent work (as exemplified in the [...]

Childe Hassam (1859-1935), The Avenue of the Allies, drypoint, 1918, signed with the initials cipher in pencil lower right and inscribed “imp” [also signed CH 1918 lower left corner in the plate]. Reference: Clayton/Cortissoz 147, only state.  Printed on a sheet of old laid paper the artist tore from a book; with rough margins and losses from tearing of the sheet from the book, some repaired tears, 14 3/4 c 9 5/8, the sheet approx. 17 x 11 inches. A fine impression of this very rare large drypoint, with substantial drypoint burr especially on the women lower right, also on [...]

James Whistler (1834-1903), The “Adam and Eve” Old Chelsea, etching and drypoint, 1878 [with the butterfly initial in the plate, in the sky left]. References: Glasgow 182, third state (of 3), Kennedy 175, third state (of 3). In very good condition, printed on a thin laid paper with full margins, 7 x 11 15/16 x 8 3/4 x 13 7/8 inches. A fine impression, with touches of burr from the drypoint work especially on the boats and sails at the left, the crumbling porch of the Adam and Eve, and elsewhere.  Many impressions in the edition were not printed with [...]

Childe Hassam (1859-1935), The Billboards, New York, etching and drypoint, 1916, signed with the cipher in pencil lower right and annotated “imp” [also signed, dated and titled New York in the plate]. Reference: Cortissoz 87. In good condition, slight light toning, barely perceptible printer’s crease center, with full/wide margins ( the usual pin holes for drying all around), 4 5/8 x 6 1/8, the sheet 9 3/8 x 12 inches. A fine delicately printed and atmospheric impression, printed on a wove paper with very carefully placed plate tone. The clouds at the top in particular have been left with a layer [...]

Childe Hassam (1859-1935), House on the Main Street, Easthampton, 1922, etching, signed in pencil with the cipher lower right and annotated “imp” [also signed Easthampton, April 22, C.H. 1922 in the plate lower left corner]. Reference: Cortissoz/Clayton 213. In very good condition, with full margins (with the characteristic drying holes all around). Printed by the artist in black ink on cream/ivory wove paper, with deckle edges; 6 x 12 1/8, the sheet 8 x 14 1/8 inches. A fine impression, printed with a light layer of plate tone. Hassam’s plates of Easthampton constitute a high point of American Impressionist printmaking, [...]

Jean-Emile Laboureur (1877-1943), Le Souper des Dockers, engraving, 1919-1920, signed in pencil lower left, titled lower left, and numbered (27/35) lower right. Reference: Laboureur 186, second state (of 2), from the edition of 35. In very good condition, the full sheet with wide margins (remains of prior hinging verso), printed on a cream wove Van Gelder Zonen paper (with the watermark), 4 5/8 x 4 7/8, the sheet 10 7/8 x 8 3/4 inches. Provenance: Galerie Marcel Lecompte (Paris, with his pencil mark);  Colnaghi (London, with their stock number C.68527) A fine sharp impression printed in black ink. A superb [...]

Martin Lewis (1881-1962), Chance Meeting – – 1941, Drypoint. McCarron 131. Edition 105. Signed in pencil lower right [initialled in the plate lower left], in good condition. 10 3/8 x 7 3/8 inches; sheet 14 l/2 x 9 3/4  inches A fine impression, on ivory/cream laid paper, with full/wide margins. Commissioned by the Society of American Etchers, Brooklyn. McCarron notes: “This is one of Lewis’s most complex plates, one in which he was able to harmonize many diverse elements.”  The print is replete with commercial and social references – one magazine hanging in the window is called “G-Man”, the other [...]

Max Pechstein (1881-1955), Am Ufer (At the Riverbank), etching and drypoint, 1920, signed in pencil lower right, with the blindstamp of Die Schaffenden lower left, Plate 9 from Die Schaffenden III, Jahrgang 1, published by Verlag Gustav Kiepenheuer, Weimar, 1921. Reference: Kruger R 116, from the edition of 125. In good condition, slight handling folds, minor soiling; printed on a cream/tan wove paper, the full sheet, 8 1/4 x 10 1/2, the sheet 12 1/8 x 16 inches. A fine impression, printed in black ink on cream/tan wove with  substantial burr on the drypoint work and with plate tone overall. [...]

Pierre Gatier (1878-1948), La Toilette (also known as Le Rimmel or L’elegante a sa Toilette), 1911, preliminary  drawing in pencil, ink and watercolor for the etching and aquatint, signed in color lower right and and inscribed “aquarelle dessin pour L’Eegantes de Monmartre”.  The reference for the print is  Felix Gatier 81, from the series L’Elegantes de Montmarte, 1911″ (4 plates), as edited by George Petit, and published in a suite of 100. In very good condition (some handling folds toward the outer edges), on a light simile Japan wove paper, the full sheet with wide margins, 8 5/8 x 12 [...]

Pierre Gatier (1878-1948), La Toilette (also known as Le Rimmel or L’elegante a sa Toilette), 1911, etching and aquatint, signed and inscribed “Recherche de couleurs”. [also signed and dated in the plate]. Reference: Felix Gatier 81, from the series L’Elegantes de Montmarte, 1911″ (4 plates), as edited by George Petit, and published in a suite of 100. In very good condition, on a heavy cream wove paper, the full sheet with deckle edges, 8 5/8 x 12 1/2, the sheet 13 7/8 x 19 5/8 inches. A fine fresh impression of this colorful Fin de Siecle aquatint, printed in three [...]

  Tod Lindenmuth (1885-1956), Morning at the Weir, color woodcut, c. 1930, signed in pencil lower right and titled lower left. In good condition, paper showing through where printed lightly in cream; the full sheet, 14 3/8 x 11, the sheet 18 1/4 x 16 inches. A fine atmospheric impression. In the Archives of American Art Lindenmuth’s daughter recalls that she saw this print once, and estimated that it was made in the ’30′s. In all likelihood it was made earlier, when Lindenmuth was active as one of the Provincetown printmakers (a group which included Blanche Lazzell, Agnes Weinrich, and [...]

Reginald Marsh (1898-1954), Skyline from Pier 10 Brooklyn, 1931, etching,  Sasowsky 129, fourth state (of 4). There were 18 impressions of the final state printed by Marsh; 11 postumous (1956); 100 Whitney, 1971. In excellent condition; with the usual fingerprints and stray spots of ink in the margins and paper trimmed a bit unevenly as characterizes the impressions printed personally by Marsh. Signed and annotated # 7 in pencil. Signed and dated in the plate, lower right. Image size 6 3/8 x 11 7/8 inches (162 x 222 mm); sheet size 8 1/8 x 13 5/8 inches (206 x 346 [...]

Reginald Marsh (1898-1954), Skyline from Pier 10, Brooklyn, etching, 1931, signed in pencil [also signed in the plate]. Reference: Sasowsky 129. First state (of 4). In very good condition with margins (a couple of ink marks in margins, a stain upper right margin tip). Archival mounting (acid free board, window mat, not attached hinging). 6 1/2 x 11 7/8, the sheet 7 1/2 x 13 1/16 inches. A fine impression of this rare first state proof, printed in black on laid paper. This is one of the two first state proofs, proof A (proof B was extensively touched). The composition [...]

William Meyerowitz (1898-1981), Armistice Day, 1918, etching with watercolor. Edition not stated. Signed in pencil. Signed and dated in the plate, lower left. Image size 9 3/4 x 8 inches (248 x 203 mm); sheet size 12 3/8 x 9 1/2 inches (314 x 241 mm). A unique impression with the artist’s watercolor additions throughout, on off-white wove paper, with full margins (5/8 to 1 3/8 inches), in excellent condition.

Theodore Roussel (1847-1926), Study From the Nude of a Girl Lying Down, 1890,  drypoint with plate tone, signed with the tab and inscribed “imp” [also signed in the plate upper left]. Reference: Hausberg 40, only state, from the total printing of about 20  impressions. In good condition, trimmed as usual by the artist on the plate mark with the tab left for the signature, 2 11/16 x 3 7/16 inches. A fine impression, with a heavy veil of plate tone. Hausberg notes that the model was “presumably Hetty Pettigrew”, who was Roussel’s model from the early 1880′s until the second [...]

Childe Hassam (1859-1935), French Cruiser, lithotint, 1918, signed in pencil with the cipher lower right. Reference: Griffith 8. In very good condition, printed in black ink on cream wove paper with a flower watermark, the full sheet with deckle edges, 6 x 11, the sheet 11 1/8 x 18 inches. A fine impression of this rare print. Hassam was of the course the pre-eminent American Impressionist, and French Cruiser is a superb example of his use of impressionism in printmaking.  In his lithotints he applied ink with the same fluidity as with his watercolors. The detailed line-work of the etchings [...]

Theodore Roussel (1847-1926), Penelope, A Doorway, Chelsea; etching, 1888-89, signed and inscribed “imp” in pencil in the tab [also signed in the plate upper left]. Reference: Hausberg 23, only state, from the edition of about 30. In very good condition, trimmed by the artist on the platemark all around except for the tab. Printed in black ink on cream laid paper, 4 1/4 x 2 11/16 inches. Plate later cancelled. A fine impression with a light veil of plate tone. The title refers to Ulysses’ wife Penelope, who passed the time weaving while waiting for her husband to return. The [...]

James McNeill Whistler (1834-1903), Rotherhithe, etching and drypoint, 1860 [signed and dated in the plate lower left]. Reference: Glasgow 60, first/second state (of 6),  Kennedy 66, first state (of 3). Published, in the last state, as part of the Thames Set. In very good condition, trimmed about 1/8″ outside of the platemark, printed in black on a cream laid paper. 10 3/4 x  7 3/4 inches. Provenance: Unknown collector,  initials in ink verso, not found in Lugt. A fine impression, before the completion of the hull of the boat lower foreground, and before much drypoint work in various places including [...]

Wenzel Hollar (1607-1677), Young Woman with a Cap with a Feather, etching, 1647, after Holbein. Reference: Pennington 1550, first state (of 2) [annotation in the plate: HHolbein inv, WHollar fec: A.A. Bierling excud: 1647]. In very good condition, trimmed just outside of the platemark all around, on an old laid paper, hinged (with glue?) at the top, partial unidentified watermark, 5 1/4 x 3 5/8 inches. A fine impression. Pennington notes that A.B. Chamberlain in his Hans Holbein the Younger, 1913, says that no original for this print is known, and that it appears in J.M. M’Creery’s Collection of 1816. [...]

Hans Bol (1534-1593), engraving, 1570, engraved by Pieter van der Heyden. From the set of the Four Seasons. Reference: Hollstein 202 (first state of 2), Lebeer 78. With several thin spots, repaired areas, other flaws, trimmed around the borderline, 9 x 11 1/4 inches. Watermark: Gothic P A very good impression. When he died Pieter Bruegel the Elder had completed 2 drawings for the set of the Four Seasons; one was executed in 1565, another in 1568, undertaken by Hieronymus Cock.  The publisher entrusted completion of the set to Hans Bol. Bol’s design is closely linked to a Bruegel drawing [...]

Wenzel Hollar (1607-1677)  Mulier Diepana – from the Theatrum Mulierum and Aula Veneris, etching, 1649,[signed and dated in the plate (with the title below and the words Ein Normandische Fraw von Diepen added by Hollar in the plate above]. Reference: Pennington 1874, second state (or possibly third) of 3. In excellent condition, on laid paper with thread margins, 3 5/8 x 2 3/8 inches. A fine impression. Hollar’s set of about 105 images of women’s fashions from various countries is one of an even larger group of miniature costumed portraits. The underlying motives for publishing these sets, and even the [...]

Jan van de Velde (1593-1641), Cascade,  etching, 1616. References:  Hollstein 264,  first state (of 2),  Francken and Van der Kellen 303, third state (of four).  Plate number 9 from the series Landscapes: Third Part. In generally good condition apart from light stain over left half of image, printed on old laid paper with an elaborate shield watermark, with margins, 4 3/4 x 7 1/2 inches, the sheet 5 1/8 x 8 1/4 inches. A very good impression. A cascade flows down the hillside and under a bridge at the left; at the right a covered wagon rolls around a bend [...]

Jan van de Velde (1593-1641), Skaters, etching, c. 1616. References:  Hollstein 238, second state (of 3),  Francken and Van der Kellen322, third state (of four). In good condition, affixed to a card at top by two spots of glue, trimmed on or just inside of the borderline, minor toning, 4 3/4 x 7 7/16 inches. A very good strong impression. An exceedingly well-dressed foursome, men in top hats, women in long coats, converse bottom right; another well dressed man attends a woman’s skates bottom center. The magnificent bare trees serve as a lush backdrop.

Jan van de Velde (1593-1641), Woman with Child, etching, 1616. References:  Hollstein 260, first state (of 2),  Francken and Van der Kellen299, third state (of four).  Plate number 5 from the series Landscapes: Third Part. In very good condition, with small margins outside of the plate mark (trimmed a bit unevenly; a few spots of staining/foxing; remains of prior hinging verso, printed on a thin laid paper. 4 3/4 x 7 1/2 inches. A very good impression. A mother and child in the foreground walk toward a huge structure in ruins, being held up by a post in front; in [...]

Jan van de Velde (1593-1641), Frontispiece, from Landscapes, Third Part (1616),  Reference:  Francken and Van der Kellen 295, Hollstein 256, second state (of 4). In good condition, with full margins (browning toward margin edges), printed on a laid paper with a jug (?) watermark.  4 3/4 x 7 1/2, the sheet 7 1/4 x 10 inches. A very good impression. With the address of Claes Visscher, date (1616), and the artist’s name in elaborate seal at the top center.  A peaceful scene, made at about the time of Rembrandt’s birth; it has of course been conjectured that this and like [...]

Jan van de Velde (1593-1641), Marche aux Legumes, etching, c. 1614.  References:  Francken and Van der Kellen 283, fourth state (of 4). The frontispiece from Soixante Paysages, the second part of the series.  In very good condition, overall toning, with small margins, 7 5/8 x 4 3/16 inches. Printed on a yellowish laid paper, with a Pro Patria watermark. Provenance: Succession Grendolf #1444, with the stamp recto (not in Lugt). Christie’s New York, Old Master and Modern Prints, 11/16/1982 A very good impression. In a discussion of Van de Velde’s depiction of his Pancake Woman (Clifford Ackley, Printmaking in the [...]

Charles Dufresne (1876-1938), Chasseurs de Lion (The Lion Hunters), etching, aquatint and drypoint, 1921, signed in pencil lower right and numbered (40/40) lower left [also signed in the plate lower center]. Reference: Thomas Dufresne 39. In very good condition, with full margins, on an ivory/tan laid Arches paper, with a (partial) Arches watermark. 11 3/4 x 14 7/8k, the sheet 14 5/8 x 21 3/4 inches. Published by Editions Sagot, with the blindstamp of Edmund Sagot Lugt 2254) bottom margin. A fine rich impression, printed in a brownish/black ink, with substantial drypoint burr. The Lion Hunters is a tour de [...]

Jan van de Velde (1593-1641), Shrove Tuesday (also, Carnival), engraving, c. 1630, after Pieter Molyn (1595-1661). References: Hollstein 150, Francken and Van der Kellen 67, third state (of 3). In generally good condition but pricked as if for transfer (visible verso), slight staining generall not affecting image, with small margins, trimmed outside of the plate mark.  9 x 6 3/4 inches. Inscription Content: Lettered in lower margin, with production details and two lines of Latin: “Ludere sic … / … venter eget.” and “J. V. Velde scul. / P. de Molyn inve.”. A fine impression. After about 1622 Jan van [...]