Image size 8 7/8 x 14 3/4 inches (225 x 375 mm); sheet size 13 3/8 x 18 3/8 inches (340 x 467 mm).

A superb impression, on cream laid paper, with full margins (1 3/4 inches all sides). Slight toning to the center left and center right sheet edges verso, where previously taped; otherwise in excellent condition.

The composition was completed in the first state; in the second minor changes were made (i.e.,  lines representing snow were added at upper left to garbage cans, woman’s coat, and to the stonework at right and in foreground; shading added on umbrella; signature added at lower left).

Lewis initially called this Stoops in Snow – West Forties, then shortened it.

Martin Lewis (1881-1962), Winter on White Street, 1934, drypoint and sand ground, McCarron 110. Edition 41. Signed in pencil.  First state (?) of three.

Image size 10 3/4 x 6 3/4 inches (273 x 171 mm), sheet size 14 15/16 x 10 1/8 inches (379 x 257 mm).

A splendid impression, on cream wove paper; with full margins (1 5/8 to 2 1/4 inches), in excellent condition.

This print was completed compositionally in the first state; in each of the next two Lewis added some branches to the tree. Our impression corresponds to that illustrated by McCarron, which is a first state, and so we believe ours is also; however, the state differences are minimal, consisting of additions of tree branches – indeed, it appears to be difficult to discern differences as described in the catalog, and Lewis himself only recorded two states.

The location shown is White Street in Danbury Connecticut, just east of the Benjamin Feed Store.

Martin Lewis (1881-1962), Shadow Dance

McCarron 88. Edition 109 (including at least 7 trial proofs). Signed in pencil. [Signed in the plate, lower right]. Inscribed in the bottom sheet edge, verso: Park Ave. at 34th St. This print was given to me by Mrs. Lucille Lewis. The man on the left is Mr. Lewis himself.

Image size 9 7/16 x 10 7/8 inches (240 x 276 mm); sheet size 13 1/8 x 14 7/8 inches (333 x 378 mm).

A superb, rich impression, on cream wove paper, with full margins (1 3/4 to 2 inches); in pristine condition.

One of Lewis’s great Precisionist works, and an icon of American printmaking, as well as a wonderful New York image. McCarron notes that initially Lewis named this Shadow Dance, Sunset, but then shortened the title.

Martin Lewis (1882-1962), Derricks at Night, drypoint, 1927. McCarron 62, edition 104, one of 47 first state impressions. Signed in pencil; also signed in the plate, lower right. Titled in pencil, in the bottom left sheet edge.

Image size 7 7/8 x 11 7/8 inches (200 x 301 mm), sheet size 12 x 16 1/8 inches (305 x 410 mm).

A superb, atmospheric impression in warm black ink, with rich burr, on cream wove paper; full margins (2 to 2 1/4 inches), in excellent condition.

Illustrated in Contemporary American Etching, American Art Dealers Association, New York, 1930.

Derricks at Night is one of the few Lewis prints having more than one state; the composition was substantially set in the first state but small adjustments in many areas were made for a second state (e.g., “wooden slat below globe of lamp defined; bracket holding streetlight strengthened”, etc.). In general in such cases collectors typically prefer impressions of the first state (such as this impression) since the plate was slightly fresher at this stage in the print’s development. Of course the most serious collectors opt for impressions of both states!

Derricks at night is one of Lewis’s great Precisionist works, seemingly also demonstrating a cubist sensibility.

Martin Lewis, Chance Meeting - – 1941, Drypoint.

McCarron 131. Edition 105. Signed in pencil.

10 3/8 x 7 3/8 inches; sheet 15 1/2 x 10 11/16 inches

A superb, luminous impression, on cream laid paper, with full margins (1 1/2 to 2 3/4 inches); original hinge remains on the top sheet edge, recto, well away from the image, in excellent condition.

Commissioned by the Society of American Etchers, Brooklyn.

A fine glowing impression, together with the volume of American Etchers in which it was originally included; with the notary’s certificate. The volume itself is in excellent condition, with the pages still uncut.

Martin Lewis was born in Victoria Australia, and in his late teens moved to Sydney, where he received his only formal art training. In 1900 he came to the US, first to San Francisco, but eventually to New York, where he worked as a commercial artist and etcher (and became friends with Edward Hopper, among other artists). In 1920 he traveled to Japan, where he studied art for two years; the influence of his Japanese experience can perhaps be felt in the quiet dignity, and stately composition, of Little Penthouse.