Harris Schrank Fine Prints

James Abbott McNeill Whistler (1834-1903), St. Anne’s, Soho, lithograph, 1896, [signed with the butterfly in the plate],  Reference: Chicago (Spink et al) 162. Inscribed in pencil recto: F Goulding from R. Birnie Philip. In very good condition, the full sheet, 5 1/8 x 7 1/2, the sheet 14 3/4 x 10 inches.

A fine impression, printed on a cream laid paper with the watermark OWP & AOL, Fink watermark 219, listed as characteristic of the posthumous edition printed by Goulding in 1904 (edition of 48; lifetime edition of 23).

The inscription F. Goulding from R. Birnie Philip is somewhat curious: Frederick Goulding was the master printer asked by R. Birnie Philip (Whistler’s sister-in-law) to print small editions of the lithographs in 1904. This print also has the initials in pencil FG in a circular design, which we believe is Goulding’s mark (not located in Lugt).

This impression is in a Childs Gallery (Boston) mat; the print is stamped Childs Gallery verso, as well as on the mat (the mat also contains their cataloguing notes).

Whistler was working on views of the Thames in 1896; he planned a series of lithographic subjects, but completed only two, of which St. Anne’s was the first. St. Anne’s was bombed in WWII, and today only it’s yellow brick tower, outer walls, and garden survive. TR Way described the building as “one of the most unattractive buildings in London” in his early catalogue. But Elizabeth Pennell described the setting as a quiet and quaint place for the tired population of Soho to relax, in benches under the trees – as depicted by Whistler in the lithograph.

$2500

St. Anne’s – Soho – Detail

Arthur B. Davies (1862-1928), Figure in Glass, drypoint on zinc, 1916-7, printed in 1929 by the printer and artist Frank Nankivell, signed by the printer lower left with the annotation “printer”.  Reference: Czestochowski 38, only state. In very good condition, on a  blue green laid paper, 6 1/8 x 5 1/2, the sheet 9 1/4 x 7 1/2 inches,  archival mounting.

A fine impression of this American cubist rarity.

This is from the group (small, but of unknown size) of posthumous impressions printed by Frank Nankivell in 1929, the year after Davies died. Czestochoski notes that the total number of impressions printed was small but not known. Although the Nankivell posthumous impressions lack the richness of the lifetime impressions – they are more spare – they still have substantial appeal, especially to lovers of American modernist imagery.

At the time of the 1913 Armory Show, which introduced modern art to America, Davies was generally regarded as the foremost American artist – it was for this reason that the organizers of the Show asked him to endorse it, and he did. Davies became interested in Cubism for a number of years after this period, creating paintings and prints in a Cubist manner. In our opinion Figure in Glass represents his most successful Cubist print.

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Japan paper. 10 1/4 x 7 1/4 inches. Archival mounting (non-attached mylar hinging between acid free board, glassine cover).

In very good condition.

Provenance: Colnaghi, London (with their notation verso).

A fine early atmospheric impression, printed in dark brownish/black ink.

In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is removed in the fifth state. The margin below is blank, and several changes are made in successive states before the letters (the title, the publisher, the printer) are added in the sixth state.

Meryon probably printed this state, and the proofs of the next two states, personally; then a large edition of 600 was made for L’Artiste, printed by Delatre.

La Tour depicts the Clock Tower, restored in 1852, still partly covered with scaffolding, standing at the point where the Pont-au-Change meets the Ile de la Cite. The Pont is full of activity. The composition is actually a composite of two different views, not precisely what one would see from any angle, but aesthetically more satisfying to Meryon than the “real” views he had made in preparation for the print.

Charles Meryon (1821-1868), La Tour de L’Horloge (The Clock Tower, Paris), 1852, etching with engraving. Reference: Schneiderman 23, Delteil 28. Third state (of 10). On very thin Japan paper. 10 1/4 x 7 1/4 inches. Archival mounting (non-attached mylar hinging between acid free board, glassine cover).

In very good condition.

Provenance: Colnaghi, London (with their notation verso).

A fine early atmospheric impression, printed in dark brownish/black ink.

In this state the borderline at both sides has yet to be reinforced. There is still a thin horizontal line across the lower margin above the bottom platemark, which is removed in the fifth state. The margin below is blank, and several changes are made in successive states before the letters (the title, the publisher, the printer) are added in the sixth state.

Meryon printed this state, and probably the proofs of the next two states, personally; then a large edition of 600 was made for L’Artiste, printed by Delatre.

La Tour depicts the Clock Tower, restored in 1852, still partly covered with scaffolding, standing at the point where the Pont-au-Change meets the Ile de la Cite. The Pont is full of activity. The composition is actually a composite of two different views, not precisely what one would see from any angle, but aesthetically more satisfying to Meryon than the “real” views he had made in preparation for the print.

Albrecht Durer (1471-1528), Joachim and the Angel, from the Life of the Virgin, woodcut, 1504. Reference: Bartsch 78, Hollstein 190. A Meder a impression, with a High Crown watermark (Meder 20). In generally good condition apart from some light speckled foxing; paper disturbed at upper right corner due to the sharp edge of the top branch (described by Meder as indicative of an early impression); small rust spot at one of the upper branches; thin spot at upper right corner; an old horizontal fold visible verso. Narrow to thread margins, 11 3/4 x 8 3/4, the sheet 11 7/8 x 8 7/8 inches.

Meder notes the High Crown watermark (Meder 20) as characteristic of the Meder a impressions.

A fine Meder a proof impression, before the Latin Edition of 1511, with considerable gauffrage (embossing).

Provenance:

H.S. Theobald (Lugt 1375), probably sold at Gutekunst Stuttgart 12-14 May 1910 (Sale 769) as part of a complete Life of the Virgin in proof impressions. This sale is noted in Hollstein.

S. Barden (Lugt 218) and another monogram GB (not in Lugt).

Christie’s London, Sale of Old Master and Modern Prints, June, 2005.

Durer here recounts the period when Joachim had gone to the wilderness, having left the Temple in shame after his offering – in the hope’s of having a child with his wife Anne after some 20 years – was rejected by the high priest. As Anne was learning from an angel that she would bear a child – Mary – an angel appeared to Joachim telling him that Anne would bear a child and that he should go back to Jerusalem. In this woodcut Durer captures the moment when Joachim is on his knees in the wilderness praying, just before the angel (holding the cloth) annoints him.

John Skippe (1742-1811), [Moses with Tablets, on an Eagle], chiaroscuro woodcut, c. 1783. In good condition, trimmed just at or within the printed borderline, mounted to old watermarked laid album paper, 8 x 6 inches. With an added inscription below in Latin, a dedication to John Symonds, professor of modern history at Cambridge, with Skippe’s printed signature.

A fine impression, printed in four blocks, variations of brown and ochre.

Provenance: ex Collection Mr. and Mrs. Percy Simmons

Skippe was a “gentleman antiquarian” who traveled widely, collecting drawings which he later used as the basis for his chiaroscuro woodcuts. His intent was to replicate the Italian manner of Ugo da Carpi, and perhaps even encourage a re-birth of chiaroscuro woodcut printing.  His prints were superb examples, but the re-birth of the medium was not forthcoming. Skippe was not focused on the commercial possibilities of the medium, sharing his prints only with appreciative connoisseurs and colleagues.  He created a number of folios of prints; the number is unknown but they are rare, and were of varying sizes. In the United States there are two folios at the Yale Center for British Art (one of 31 prints, the other containing 20); another folio of 42 is at the Cincinnati Museum of Art, and finally a folio of 28 is at the University of Chicago.