Harris Schrank Fine Prints

REMBRANDT HARMENSZ. VAN RIJN (1606-1669) Diana at the Bath etching, possibly with engraving circa 1631 on laid paper, with an indistinct watermark fragment a very fine, rich and lively impression printing clearly, evenly and with strong contrasts with thread margins in very good condition Plate 177 x 159 mm. Sheet 178 x 160 mm. Provenance Presumably Six Collection (without mark; see Lugt 1539a); probably Willem Six (1662-1733), Amsterdam, nephew of Rembrandt’s patron Jan Six (1618-1700); presumably sold posthumously as part of his entire print collection in one lot, in 1734. Presumably Jacobus Houbraken (1698-1780), Dordrecht and Amsterdam (according to Barnard’s […]

ARMIN LANDECK (1905-1984) Manhattan Canyon drypoint, on wove paper, 1934, signed, dated and numbered ‘Ed. 100’ in pencil, from the edition of 100, with margins Image: 133⁄4 x 65⁄8 in. (349 x 168 mm.) Sheet: 173⁄4 x 101⁄2 in. (451 x 267 mm.) A fine impression in excellent condition. Kraeft 46 Landeck’s comment: “Done when a new wave of skyscrapers was going up in downtown New York.” Somehow Landeck made this print looking downward from a dizzying height to the street below. This print is a detail (lower left corner) of Landeck’s lithograph North River Vista (Kraeft 40).

JAMES MCNEILL WHISTLER (1834-1903) Limehouse, from Notes lithotint, on cream Japan paper mounted to plate paper (as issued), 1878, Spink, Stratis & Tedesch 7, second state (of three); Way 4, Levy 8, signed in pencil (partially trimmed), from the edition of approximately 30, published by Boussod, Valadon, and Co., London, 1887, with margins, image: 6 3⁄4 x 10 3⁄8 in. (171 x 263 mm.), sheet (Overall): 10 3⁄8 x 13 3⁄4 in. (263 x 349 mm.) A fine impression. After the printer prepared several stones with areas of half-tone he brought them to the site, and Whistler then “sat out […]

REMBRANDT HARMENSZ. VAN RIJN Leiden 1606 1669 Amsterdam The Flight into Egypt: A Night Piece 1651 etching and drypoint; 128 x 110 mm (5 x 4 3/8 inches) Bartsch 53, White/Boon sixth (final) state; Hind 253; The New Hollstein 262 sixth state (of ten) WATERMARK Strasbourg Lily with initials LC (described by Hinterding for the fifth state; the watermark is documented for prints dating between 1640 and 1651) PROVENANCE Carolyn Crossett Rowland, Boston A superb, extremely dark, and strictly contemporary (and thus quite rare) impression. It displays all the subtle nuances of the intrinsic play of light and dark characteristic […]

MAX BECKMANN (1884-1950) Selbstbildnis mit steifem Hut (Self-Portrait in Bowler Hat) drypoint 1921 on BSB laid paper a very good impression of Hofmaier’s fourth, final state signed and titled in pencil from the second, final edition of approximately 50 published by I.B. Neumann, Berlin, circa 1922 Image: 12 3⁄8 x 9 3⁄8 in. (314 x 239 mm.) Sheet: 20 x 16 in. (527 x 413 mm.) Provenance Alan and Marianne Schwartz Collection, Detroit. Literature: Hofmaier 180; Gallwitz 153 Exhibited The Detroit Institute of Arts, Master Prints of 5 Centuries: The Alan and Marianne Schwartz Collection, 1990-91, p. 195, n. 182. […]

Fritz Eichenberg (1901-1990), St. Francis, 1936, wood engraving, signed and dated in pencil bottom margin (also signed in the plate). In excellent condition, with full margins, on a cream wove paper. 8 x 6 inches, the sheet 12 x 9. Archival mounting. A fine fresh impression. This is a rarely encountered print; we have not seen another impression on the market. Fritz Eichenberg was born in Cologne where he first studied art; he later became a roving artist and reporter in Berlin, where he worked until 1933, when he immigrated to New York City. He taught at the New School, […]

RODOLPHE BRESDIN (1822-1885) Le Bon Samaritain lithograph, 1861, on wove paper with a map (of the city of d’Angouleme in 1861, printed by Lemercier, Paris) on the reverse, a brilliant impression of the first state (of two) before the First Edition, a very rare early proof printed by Lemercier, trimmed to the subject; image & sheet: 560 x 439 mm. Van Gelder, 100. Preaud, 29 (this impression cited). PROVENANCE Galerie Paul Proute S.A, Paris. Collection Sam Josefowitz, Pully The artists largest and most ambitious print,Le Bon Samaritanwas first exhibited in the Salon of 1861 under the titleAbd el-Kadersecourant un chrtien(Abd […]

SALVATOR ROSA (1615-1673) Diverse Figure Complete set of 62 etchings with drypoint (including the etched frontispiece), circa 1656-57. Each approximately 145×95 mm; 6×4 inches, with thread margins or trimmed on the plate marks. Bartsch 25-86; Wallace 6, 9-14, 21, 24-27, 29, 30, 32, 33, 35-37, 39-41, 44, 46-55, 57-60, 62-64, 65b, 66-71, 73-84 and 86-91. Each in the only state or second state (of 2). Each laid at the edges to the original mount sheet from the original Chatsworth album (fourteen sheets with four etchings per sheet; one sheet with five etchings). Superb, richly-inked and early impressions, many printed with […]

LETTERIO CALAPAI (1901-1993) 11:45 P.M., etching, engraving and aquatint, 1947. 500×301 mm; 19×11⅞ inches, full margins. Signed, titled and numbered 2/35 in pencil, lower margin. A very good impression. Among Calapai’s best known images, the title (11:45 P.M.), composition, and subject matter suggest this is a portrait of Times Square, New York, on New Year’s Eve, just before midnight. Between 1935 and 1943, Calapai completed works for the Federal Art Project of the Works Progress Administration. From 1946 to 1949 he worked at Stanley Hayter’s Atelier 17; he then established a printmaking department at the University of Buffalo where he […]

Etienne DELAUNE (c.1518-c.1583) Engraving, 1561, 220 x 108 mm. Robert-Dumesnil 314. The title MEDEA is engraved under the cauldron and the date 1561 on the mirrors frame. Fine impression, a little dry in the middle and on the left, printed on laid watermarked paper (indistinct letters). Trimmed on the platermark. In very good condition. Four tiny pinholes in the corners. Provenance: Sarah Sauvin Gallery, Paris For this design, Delaune has chosen the myth of Medea rejuvenating Aeson at the request of his son Jason, according to the version of the myth in Book VII of Ovid’s Metamorphoses. The main subject […]

John Marin (1870-1953), Downtown, The El, a proof before steelfacing, etching, 1921, signed in pencil lower right; (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published by Alfred Stieglitz, before the edition of about 30 impressions (and before the steelfaced impressions in the New Republic Series, see below). In excellent condition, the full sheet, on firm wove paper, 7 x 9 inches, the sheet 12 1/4 x 13 7/16 inches. A very fine impression, printed by Marin personally, with strong plate tone, and rich inking left on the platemark framing the composition. Provenance: Alfred Stieglitz, An […]

REMBRANDT HARMENSZ. VAN RIJN 1606 Leiden Amsterdam 1669 Death Appearing to a Wedded Couple from an Open Grave 1639 drypoint and etching; 109 x 78 mm Bartsch 109, White/Boon only state; Hind 65; New Hollstein 174, only state PROVENANCE William Bell Scott, London (Lugt 2607); his sale, Sothebys, London, April 20, 1895, lot 701 Alfred Gabriel Hubert, Paris (Lugt 130); his sale, Drouot (exp. A. Danlos), Paris, May 2529, 1909, lot 702, described as Superbe preuve dune pice que lon trouve gnralement faible; petite marge. Col.on Scott Richard Zinser, Stuttgart and New York (Lugt 5581) Joost Ritman (b. 1941), Amsterdam […]

James Abbot McNeil Whistler (1834-1903), The Dyer, 1879-1880, etching and drypoint, on laid paper, signed in pencil on the tab with the butterfly and inscribed “imp” (also with the butterfly in the plate left). Reference: Glasgow 192, first state (of 10, see discussion below), trimmed by the artist on the platemark except for the tab; 306 x 240 mm. Provenance: Louisine and Henry O. Havemeyer, by descent to their daughter Adaline Havemeyer Frelinghuysen, by descent to her son The Honorable Peter H.B. Frelinghuysen, by descent to his son Peter Frelinghuysen, by descent to his wife Barrett Frelinghuysen A very fine […]

Martin Lewis (1881-1962, Break in the Thunderstorm, drypoint, 1930, signed and titled in pencil (also signed in the plate in a rectangle lower left). Reference: McCarron 86, second state (of 2), recorded impressions 66 including 16 trial proofs, with full margins, 12 3/8 x 9 7/8, the sheet 16 x 13 1/4 inches. Printed in black ink on laid paper. A fine impression, in very good condition. McCarron notes: The location depicted is the corner of Thirty-fourth street and Park Avenue, near Lewis’s studio. On the impression now owned by the New York Public Library, Lewis noted: “imp-rag wiped-figures and […]

John Sloan (1871-1954), Barbershop, 1915, etching and aquatint, signed in pencil lower right, inscribed in pencil “For John Quinn, Esq. – John Sloan” lower left margin, (also signed and dated in the plate lower right. Reference: Morse 173, third state (of three). Morse notes the edition was 100, but the printing was probably less. Printed in a brownish/black ink on wove paper, with margins, 10 x 12 inches, the sheet 13 x 15 inches. A very fine impression. The eminent lawyer and art collector John Quinn was introduced to Sloan by John Butler Yeats, father of the poet William Butler […]

Lyonel Feininger (1871-1956) Masken (Masks) also Carnival Masks- -1920, Woodcut. Prasse W193. Proofs only. Signed and titled in pencil. Annotated 1973, the artists inventory number. Image size 5 1/2 x 4 inches (140 x 102 mm); 9 3/4 x 6 5/8 sheet size: inches (248 x 168 mm). A fine, richly-inked impression, on cream wove paper, the full sheet with margins (1 to 2 5/8 inches), in excellent condition. Very scarce proof impression, printed by the artist. Collection: Museum of Modern Art (2 proofs, one hand-colored).

Lyonel Feininger (1871-1956) Da – Da I -also titled by the artist -Der Abgott– 1918, Woodcut. Prasse W91. A proof impression. Signed in pencil and annotated 1876, the artists inventory number. Image size 4 5/8 x 3 1/2 inches (117 x 89 mm); sheet size 7 5/8 x 9 3/4 inches (194 x 248 mm). A fine, richly-inked impression on cream wove tissue paper, the full sheet with margins (1 3/8 to 3 7/16 inches), in excellent condition. Very scarce proof impression, printed by the artist. Proofs chiefly on tissue paper and one on Kozo paper; on the mounting sheet […]

Lyonel Feininger (1871-1956) Ausfahrender Dampfer Odin (Outboard Steamer Odin)- -1918, Woodcut. Prasse W75. Proofs only. Signed in pencil and annotated 1860, the artists inventory number. Image size 3 3/16 x 4 7/16 inches (81 x 113 mm); sheet size 6 1/4 x 8 1/4 inches (159 x 210 mm). A fine, richly-inked impression on fibrous cream wove Japan paper, the full sheet with margins (1 1/2 to 1 7/8 inches), in excellent condition. Very scarce proof impression, printed by the artist. Collection: Staatliche Kunstsammlungen Dresden.

Josef Albers (1888-1976), Segments – 1934, Linoleum Cut. Edition 20, 25, plus proofs; Danilowitz 79. Signed, titled, dated and annotated (proof) in pencil. Image size 9 3/8 x 11 1/8 inches (238 x 283 mm); sheet size 11 1/8 x 14 9/16 inches (432 x 370 mm). A fine, richly-inked impression, on cream wove Japan paper, with margins (3/4 to 1 3/4 inches), in very good condition. Printed at Black Mountain College with the artist’s original label, Black Mountain Art Week, Nov. 17- 23, 1941, completed and signed by the artist. Collections: The Josef and Anni Albers Foundation, Museum of […]

ARMIN LANDECK (1905-1984) Pop’s Tavern. Drypoint and aquatint, 1934. 155×257 mm; 6 1/8×10 inches, full margins. Reference: Kraeft 45. Edition of 50 (from an intended edition of 100). Signed, dated and inscribed “Ed. 100” in pencil, lower margins. In excellent condition, with full margins, printed on a cream wove paper. A superb, dark, richly-inked impression; one of Landeck’s most sought after prints. This is a view of Christopher Street in New York, across from the Hudson Movie Theatre. Landeck’s friend and fellow artist Martin Lewis used the same location for his drypoint Bedford Street Gang, 1935.

RAOUL DUFY (1877-1953) L’Amour, woodcut, 1910, signed and numbered 78/100 in pencil, lower right, from the first edition of 100, in good condition, full margins, 210×255 mm; 8 1/2×10 1/4 inches, from the set Les Plaisirs de la Paix published by Editions de la Sirene, Paris, 1910. A superb, early impression. Dufy was a primary mover in the adaptation of the woodcut technique to modern art. Dufy had an early exposure to Cubism (in 1908, working with Braque at L’Estaque, near Marseilles).L’Amour is one of a set of woodcuts Dufy made on his return in 1910 from a visit to […]

William Kentridge (b. 1955), Flatiron Building, (also known as I Am Still Learning), drypoint, 1985, on Rives paper with their watermark, signed, dated and dedicated For Hermine from William ’86; inscribed AP lower left, in excellent condition, with full margins, 7 3/4 x 5 1/4, the sheet 13 1/4 x 9 1/2 inches. Provenance: Gift of the artist Estate of Hermine Chivian-Cobb, New York Hermine Chivian-Cobb was a brilliant and highly regarded professional both as an art historian and a fine arts appraiser. Educated at Smith College, the Ecole du Louvre, and the Institute of Fine Arts of New York […]

Charles Meryon (1821-1868), Pierre Nivelle, Bishop of Lucon (1584-1660), 1861, etching on tin, after an engraving by Michel Lasne (1590-1667). Reference: Schneiderman 76, (fifth state (of 5), Delteil-Wright 81 (fifth state (of seven). In very good condition (remains of prior hinging verso), on a full sheet with wide margins, printed on laid paper with a partial coat of arms watermark with letters AM. With extensive inscriptions (in the plate) surrounding the portrait, and toward the bottom of the composition, naming the sitter, his dates, dating the etching, and with the artist’s mark and initials. 6 1/4 x 4 3/8, the […]

ADRIAEN VAN OSTADE (1610-1685) The Anglers etching, circa 1647-53, on laid paper, without watermark, a very fine impression of the rare third/ fourth state (of seven), printing with a light plate tone, with traces of burr on the bridge and elsewhere and fine wiping marks, with narrow margins, in very good condition. References: Bartsch, Hollstein, Godefroy 26, plate 113 x 166 mm., sheet 116 x 169 mm. Provenance: Richard Fisher (1809-1890), Hill Top, Midhurst, England (Lugt 931 & 2204); his sale, Sothebys, London, 23 May 1892, lot 583 ( 2,12; to Gutekunst). With H.G. Gutekunst, Stuttgart. Dr. Eduard Trautscholdt (1893-1976) […]

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185. Provenance: Kraushaar Gallery, New York A fine impression, with wide margins. The Fine Art Societys relationship with Whistler began with the new etchings of the Thames […]

M a x W e b e r – – 1 8 8 1 – 1 9 6 1 Invocation- – 1919-20, Color Woodcut. Rubenstein 27. Proofs only. Signed in pencil. Image size 3 3/4 x 2 1/8 inches (124 x 54 mm); sheet size 9 1/8 x 6 1/2 inches (238 x 171 mm). A fine impression, with fresh colors, on tissue-thin, cream laid Japan paper; the full sheet with margins (2 1/8 to 3 1/8 inches). Minor scattered toning to the sheet, several invisibly repaired tears, well away from the image, otherwise in good condition. Extremely scarce. Each […]

Reginald Marsh (1898-1954), Tattoo-Shave-Haircut, etching, 1932. Signed, titled New York. The Bowery – Trial Proof, annotated: To Tom Martin. Reference: Sasowsky 140, fifth state (of ten; see discussion below), before the edition of about 34 in the tenth state. On cream wove paper. In very good condition with margins (slight toning in margins, away from matrix), 9 7/8 x 9 3/4, the sheet 13 x 11 inches. An extremely fine rich black impression, a proof of an early state before the few lines added to the shoulder of the man in the middle. Sasowsky calls for 10 states of Tattoo-Shave, […]

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 rather 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. […]

ISRAHEL VAN MECKENEM ca. 144045 Bocholt 1503 Saints Simon and Matthew engraving; 212 x 142 mm Geisberg 249; Lehrs and Hollstein 298 first state (of two) WATERMARK quartered coat of arms with fleur-de-lis and dolphin (cf. Briquet 1647, documented between 1470 and 1500) PROVENANCE Counts Maltzan, Militisch, Silesia (not annotated, cf. Lugt 3024a) Richard Zinser, Forest Hill, New York (Lugt 5581) N.G. Stogdon, Catalogue XI: Early Northern Engravings, 1998, lot 25 private collection, Connecticut An unusually superb impression for a fifteenth-century print; it was known to Lehrs who assigned it a *** rating. The engraving retains even the finest burin […]

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 124 x 201 mm. In very good condition, with wide margins (a tiny rust spot right margin), printed in brownish/black ink on laid paper. Provenance: S.H. Nazeby Harrington (lugt 1349), with his stamp lower left recto. Harrington was an art critic, author of the catalogue raisonne for Seymour Haden (Whistler’s brother-in-law) prints. A very fine impression, with substantial plate tone. MacDonald (Glasgow) notes that relatively few impressions of the third state […]

James Whistler (1834-1903), Fanny Leyland, drypoint, 1874, signed in the plate at left with the butterfly, inscribed Fanny Leyland at upper left. Glasgow 135, 6th state (of six). Printed in a dark brown ink on an ivory laid paper, with a Pro Patria watermark. In generally good condition (some soft horizontal folds, remains of prior hinging verso, slight toning, soft fold and tiny nick at right edge). Glasgow notes that only 12 impressions are known. Provenance: John H. Wrenn (1841-1911), with his initials stamp verso (Lugt 1475). Wrenn was a Chicago financier and print collector. He is referred to in […]

Theodore Roussel, Laburnums and Battersea, etching and drypoint, 1889/1890 and 1898; signed in the plate lower right, and signed in pencil on the tab, with the inscription IMP. Hausberg 34, fifth state (of 5). From the total of 60 impressions printed in all states. In good condition, slight soft folds upper left; trimmed by the artist around the platemark, leaving a tab the the signature and inscription, 13 l/2 x 8 5/8 inches. A fine impression, with platetone delicately wiped so that the area above the buildings in the background, and the area above the sand heap in the foreground […]

Charles Meryon (1821-1868), La Morgue, 1854, etching, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. 9 3/4 x 8 3/8, the sheet 13 x 10 1/2 inches. A fine impression, printed on thin cream laid paper in a dark brown/black ink. With the Hallines Shield watermark. Meryon personally printed the impressions of this state (he printed all the impressions of The Morgue up to state 6 himself). In this impression he has left a subtle layer of plate tone throughout, but has wiped the plate slightly more on the central […]

Francisco de Goya y Lucientes (1746-1828), 1799, etching, burnished aquatiint and drypoint. Reference: Harris 90, First Edition, plate 55 from the Caprichos. Printed on fine quality strong laid paper. In very good condition, the full sheet, 8 3/4 x 6 1/8, the sheet 12 1/8 x 7 15/16 inches. A brilliant early impression of this iconic image, from the First Edition. The aquatint, dark in two tones, here contrasts well with the highlights on the maid, the old woman, the dressing table and the mirror. Consistent with the earliest impressions, there is a slight touch of drypoint burr on the […]

Adriaen Van Ostade (1610-1685), The Family, etching with drypoint, 1647, signed and dated in plate lower right. Louis Godefroy 46, fourth state (of 7), on a cream laid paper, in very good condition, 7 x 6 1/4 inches, 181x 160 mm. Provenance: Kennedy Galleries, New York, with their inventory number a49071 verso Unidentified collector with initials HW in pencil verso, not in Lugt (probably not Horace Walpole, whose initialing was a bit different) Jean-Louis Henri Le Secq (1818-1889) with his stamp verso, Lugt 1336 A very good impression, before the Picart edition (in the fifth state). Fourth state impressions are […]

James Ensor (1860-1949), Exterminating Angel (LAnge Exterminateur), etching with drypoint, 1889, signed and dated in pencil lower right, also titled and countersigned verso. References: Delteil 77, Croquez 77, Elesh 77, Taevernier 77; second (final) state. In very good condition, on a tan Japan paper with wide margins. 4 3/4 x 6 1/4, the sheet 9 5/8 x 11 15/16 inches. A fine impression printed in a grey/black ink, with substantial plate tone. Only a few impressions of a first state of this print are known; one definitively identified in 2002 published in the catalogue on Ensor prints presented for sale […]

Adoration of the Shepherds after Peter Paul Rubens (Flemish, 1577-1640), engraved by Pierre-Franois Basan (French, 1723-1797), engraving, c. 1750, in black on ivory laid paper, 282 x 200 mm., with small margins. In very good condition. A fine proof impression, before letters. A draft printing of letters is visible, lower left, below image: “Rubens”; in lower right: “F. Basan excudit” (in pencil). Basan’s engraving after Rubens may be modeled after another engraving of the Adoration after Rubens by Theodor Galle (1571-1633), which appeared as an illustration to the 1618 reprint of 1616 edition of “Missale Romanum” (Antwerp: 1618); this version, […]

Nicolaas Aartman (1713-1793), Village Fair, etching, c. 1750; etched by Jan Schouten; in good condition except glued down at corners (small tear lower right where glue hinged); 187 x 276 mm. A good impression of this mid-18th C. Northern Netherlands rural scene, with a quack (and two clowns) selling their wares on center stage; a game of nine pins and dancing in the foreground.

Francis Barlow (1626-1702) Cock, Hen, Chicken, Dove (after); etching, c. 1680. Etched by Francis Place (1647-1728). With the names of Barlow, Place, and Cooper (ex.) etched in the plate, as well as the names in of the birds depicted, as follows: Cock gallus coq ; hen gallina poulle ; chicken pullus poulcin ; dove columbus pigeon ; F. Barlow delin. ; F. Place fecit ; E. Cooper ex. From Barlow’s series Various Birds and Beasts. A good impression, in only fair condition (the paper toned due to placement in a non-archival mat), but the matrix satisfactory, with a small margin, […]

Pieter de Bailliu (1613-1660), Virtutis et Vitii Lucta, etching and drypoint, circa 1650, after a drawing by Peter van Lint (1609-1690). In fair/passable condition, the paper darkened brown; slight discoloration at top margin due to hinging, with margins, 5 1/2 x 6 1/4 inches. With the engraver and painter’s names in the plate below the Latin text. Watermark: Strasbourg Lily (?) A good impression of this rather rarely encountered print. An impression is in the Albertina (H/11/40/64). This is an allegory of combat between the Putto Satyr and a child representing virtue.

Heinrich Zille (1858-1929), The Model (Das Modell), c. 1908, color etching, on wove paper, numbered in pencil (21/100), from the presumed edition of 100, on a large sheet, 10 3/4 x 6 1/4, the sheet 26 x 16. With the artist’s stamp verso, the sheet with the artist’s chop mark lower right. A fine impression, in very good condition. A drawing for this print was sold at Christie’s New York in October, 2020.

Sybil Andrews (1898-1992), Flower Girls1934, Color Linocut. White 28. Edition 60. Signed, titled, numbered 8/60in pencil, in the image, lower left. Image size 9 7/16 x 8 9/16 inches (240 x 217 mm); sheet size 10 1/4 x 9 3/4 inches (260 x 257 mm). A brilliant, early impression, on Japanese mulberry, with margins (1/4 to 1 1/8 inches), in very good condition. From 4 blocks, printed in : 1) chrome yellow, 2) spectrum red, 3) permanent blue, 4) Chinese blue. Exhibited: London, 1936 (Redfern), no. 64. Illustrated inLinocuts of the Machine Ageby Stephen Coppel, National Gallery of Australia, 1995. […]

Rembrandt Harmensz. van Rijn 1606 Leiden Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bartsch 83, White/Boon only state; Hind 280; The New Hollstein 286 first state (of four) watermark foolscap with five-pointed collar (Hinterding variant G-b-a; vol. 2, p. 123, vol. 3, p. 214 ill.) provenance P. & D. Colnaghi & Co., London (their stock no. in pencil verso C.31001) The Montclair Art Museum, Montclair, New Jersey; their sale, Christies, New York, May 13, 1997, lot 237 (sold to C.G. Boerner) private collection, […]

Frederick Landseer Griggs (1876-1938), Palace Court,1933, etching, signed and inscribed in pencil. Reference: Comstock 49, third state (of 3), from the printing of about 75. In excellent condition, printed in a warm brownish/black ink on a cream laid paper with a letters in a row watermark. 10 x 7 inches. Special presentation proof impression, dedicated in pencil by F.L.GriggsTo my friend H.J.F. Badeley. Badeley was an accomplished original printmaker famed especially for his exquisitely engraved bookplates. A fine impression. In the first state (only 2 proofs) figures were yet to be etched, and in the lower margin was a dedication […]

  GIULIO BONASONE (1510-1576) AFTER GIULIO ROMANO (CIRCA1499-1546) Flora with her Nymphs engraving,circa1531-50, on laid paper, watermark Two crossed Arrows with a Star (Massari 77, similar to Briquet 6299), a fine impression of Massari’s second state (of three), printing with many wiping marks, trimmed inside the subject above, thread margins elsewhere, a few pale moisture stains at the sheet edges, the lower sheet edge backed, otherwise in good condition. Plate 316 x 431 mm., Sheet 316 x 435 mm. Provenance With Olimpia Theodoli, London. Acquired from the above, on 15 July 1998.

John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying), a proof before steelfacing, 1913, etching. Reference: Zigrosser 112. Signed in pencil lower right, also signed and dated 13 and B.B. 6 in the plate, lower left. From the small group of prints printed in 1913 by Marin (Zigrosser estimated about 12), before the later (1924) New Republic edition. Printed on a wove paper, 11 x 9 inches. A very fine, rich impression, printed by the artist. This impression includes much inking on the plate mark, creating a frame for the composition, and substantial plate tone. The matrix is slightly larger than […]

John Marin (1870-1953), Downtown, The El, a proof before steelfacing, etching, 1921, signed in pencil lower left and numbered (1-30); (also signed and dated in the plate). Reference: Zigrosser 134, only state. Published by Alfred Stieglitz, in an edition of about 30 impressions. In excellent condition, the full sheet, on firm wove paper, 7 x 9 inches, the full sheet, with deckle edges. A very fine impression, printed by Marin personally, with strong plate tone, carefully wiped to highlight the sky and the Woolworth Building, and rich inking left on the platemark framing the composition. Zigrosser cites a few other […]

Spring Night, Greenwich Village––1930, Drypoint and Sand Ground. McCarron 85, only state. Edition 92. Signed in pencil. Signed in the plate, lower right. Titled in pencil on the bottom left sheet edge. Image size 9 7/8 x 12 3/8 inches (248 x 315 mm); sheet size 13 3/8 x 15 7/8 inches (340 x 403 mm). An exceptionally fine, richly inked, atmospheric impression, in warm black ink, on cream laid paper; the full sheet with wide margins (1 3/4 to 1 7/8 inches), in excellent condition. Ex-collection Patricia Lewis, the artists daughter-in-law, with her collection stamp in the bottom right […]

Honore Daumier (1808-79), Following his Wife, lithograph, plate 35 from the series Moeurs Conjugales, 1841, published in 1843 in the Album Moeurs Conjugales, Daumier Register 658, third state (of 4). In good condition, a sur blanc impression, on wove paper, matted. 8.3 x 7.4 inches A very good impression. Explanation and translation from the Daumier Register: On a trial proof of this print (which can be seen in the Dreyfus Collection) Daumier wrote underneath the image: “un mari qui decouvre sa femme en tete–tete dans un fiacre”. [a husband who discovers his wife in a tete a tete in a […]

Honore Daumier (1808-79), Baissez le rideau, 1834, plate 421 from Le Caricature. Daumier Register 86, only state. Sur Blanc, on wove paper. In compromised condition: tears in margins (some poorly repaired), toning, soft folds, staining verso, other defects, not matted. 9 x 10 7/8, the sheet 10 1/2 x 13 5/8 inches. A good impression of this rare print. Here are notes and translation from the Daumier Register: This print shows a masterly interpretation of King Louis-Philippe dressed in the costume of a clown while the theatre curtain falls. With a sardonic smile he points at “Blind Justitia”, thereby insinuating […]

Honore Daumier (1808-79), You’re Free to Speak (Vous avez la parole), 1834, plate number 490, from La Caricature; Daumier Register 116, only state (rare); in generally satisfactory condition, the top trimmed close to the letters, toning, staining, various defects; 9 1/4 x 11 1/8, the sheet 10 3/8 x 14 inches, unmatted. A good impression of this great rarity. Provenance: George Longstreet, with his initial stamp recto (Lugt 4750). Note and Translation from the Daumier Register: Following the massacre of Rue Transnonain on April 13-14, 1834, a total of 121 legal cases were launched against the participating revolutionaries. Because of […]

Honore Daumier (1808-79), Le Gout, lithograph, plate 40 from the series Types Parisiens, 1839, an impression sur blanc from the Album Types Parisiens. Daumier Register 596, third state (of 5), In generally good condition but trimmed at the bottom edge (the letters still preserved), slight foxing in margins, 10 1/4 x 13 1/2 inches. A very fine impression of this humorous subject.   From the Daumier Register: Original Text: LE GOUT Fichtre! je ne m’etonne pas si gaillard la a de l’esprit. . . .et il m’appelle vielle bete! donne m’en comme ca tous les matins animal, et j’en aurai […]

Honore Daumier (1808-79), Le Cauchemar, lithograph, 1832, plate 139, published in La Caricature. Daumier Register 41, first state (of 2). In compromised condition, trimmed at the top to the line of the illustration; with various repairs, toning and fox marks, although the matix is perfectly legible. The sheet 10 5/8 x 14 inches. A sur blanc impression; a rare print. Here’s a summary background description from the Daumier Register: The print shows General Lafayette, known hero of the Polish and American wars of independence. His portrait brings to mind a painting by Ary Scheffer from 1822. This lithograph represents General […]

Honore Daumier (1808-79), The Bluestocking’s Husband, plate 46 from the series Moeurs Conjugales, published in 1842 in Le Charivari, and in the Album Moeurs Conjugales in 1843; an impression from the album, sur blanc (without the letterpress verso and on a quality wove paper); Daumier Register 669, second state (of 3). In excellent condition (tiny repaired tear bottom edge), 9.3 x 7.6 inches. A fine impression. Note: By the late 1500s, the fashion had spread to Paris where the termbas bleu(bas, stocking;bleu, blue) emerged to describe women with literary aspirations From the Daumier Register: Original Text: LE MARI DU BAS […]

Honore Daumier (1808-79), A Man for all Seasons, lithograph, plate 2 from the series Les Parisiens en 1852, published in Le Charivari, 1852. Daumier Register 2219, second state (of 2), an impression on letterpress, from Le Charivari. In good condition apart from a water stain lower right not affecting image. 9.4 x 8.4 inches A very good impression. From the Daumier Register: Original Text: Un monsieur qui s’enflamme en toute saison. Translation: A gentleman who gets excited in any season.

Honore Daumier (1808-79), The Results of Diplomacy, lithograph, plate 128 from the series Actualities, published in Le Charivari, 1867. Daumier Register 3581, fourth state (of 4). An impression from Le Charivari, with letterpress verso, in very good condition, 10.1 x 8 2 inches. A very good strong impression.   From the Daumier Register: Note: A lot of paper has been wasted by the diplomats, who had met at the World Exhibition in Paris. It is still unclear whether anything of substance has come out of all these meetings. The ragpicker shown here picking up the pieces of paper left behind […]

  Honore Daumier (1808-79), The Art Critic, lithograph, plate 2 from the series Croquis Pris au Salon par Daumier, published in Le Charivari, 1864. Daumier Register 3294, second state (of 2). A impression from Le Charivari, with letterpress verso. A very good, strong impression.   From the Daumier Register: Original Text: LE VISITEUR – Oh! pour le coup voila une composition qui est reellement insensee!…. et quelle couleur! L’ARTISTE – Cretin de bourgeois va!   Translation: THE VISITOR: – Just look at this senseless arrangement… and these colours!… hideous! The artist: – Cretin of a bourgeois… bugger off!

Honore Daumier (1808-79),La fortune fait oublier les amis,lithograph, plate 31 from the series Caricaturana, published in Le Charivari in 1837; later in Album Caricaturana (Les Robert Macaires) (1838). Daumier Register 385, third state (of 3) This impression is hand colored, on a cream wove paper, without letterpress verso (sur blanc), in generally good condition, paper toned toward edges. 9 x 9 inches A very good impression, with the colors vivid. From Daumier Register: Original Text: La fortune fait oublier les amis. John ! Portez ces 500 f. a Mr le Cure pour les pauvres de la paroisse. Quon sache bien […]

Honore Daumier (1808-1879), Floating Down the River, lithograph, plate 3 from the series Les Canotiers Parisiens, 1843, published in the journal Le Charivari, and in the Album Les Canotiers Parisiens, a sur blanc impression on wove paper without the letterpress verso. In good condition (paper slightly toned), Daumier Register 1025, second state (of 3). 8 x 10 inches. A fine impression,   From the Daumier Register: Original Text: UNE NOUVELLE MANIRE DE DESCENDRE LE FLEUVE DE LA VIE. – Brigand de Radiguet!.. que le diable t’emporte avec ta voile a nouvelle invention… elle est cause que notre partie est tombee […]

Honore Daumier (1808-1879), It Shouldn’t be Allowed, lithograph, plate 4 from the series Les Canotiers Parisiens, 1843, published in Le Charivari and in the Album Les Canotiers Parisiens, a sur blanc impression, on stiff quality wove paper without the letterpress verso, in very good condition. Daumier Register 1026, second state (of 3). 9.3 x 7.3 inches. A fine clear impression. From the Daumier Register: Original Text: – Est-il permis de revenir de Bercy dans un etat pareil… un homme etabli… que je suis malheureuse mon Dieu!… – Eh ben quoi?.. puisque j’aime l’eau!.. on ne peut donc plus aimer l’eau […]

Honore Daumier (1808-1879), I’ve Only Been Ringing for an Hour, lithograph, plate 14 from the series Moeurs Conjugales, published in Le Charivari 1839, in the Album Moeurs Conjugales 1843. A sur blanc impression, on strong wove without the letterpress verso. Daumier Register 637, second state (of 2). 9.4 x 7.5 inches A fine impression.   From the Daumier Register: Original Text: Il n’ya pourtant qu’une heure que je le tire!…   Translation: I’ve only been ringing for an hour!

Honore Daumier (1808-1879), Je t’ai defendu deja, lithograph, plate 11 from the series LES PHILANTROPES DU JOUR, published in Le Charivari, 1844. Daumier Register 1303, second state (of 2). 8.6 x 7.1 inches. Provenance: Rene Gaston-Dreyfus, with his collector’s stamp verso (not in Lugt). Gaston-Dreyfus was one of the great Daumier collectors; his collection was sold in 1966 and 1968. A fine impression, printed sur blanc, on strong wove paper with no letterpress verso.   From the Daumier Register: Original Text: – Je t’ai defendu deja de m’appeler maitre… apprend que tous les hommes sont freres… animal!…   Translation: I […]

Honore Daumier (1808-1879), [Preparing for an Outing], lithograph, plate 1 from the series Les Canotiers Parisiens, a sur blanc impression from the Album Les Canotiers Parisiens (also published separately in letterpress in Le Charivari), 1843. Reference: Daumier Register 1023, fourth state (of 5), 9.7 x 7.7 inches. A very good impression. In the mid-19th Century boating on the Seine was a popular Parisien hobby.   From the Daumier Register: Original Text: – Eh bien! Rigobert… mon vieux flambard…. nous allons faire une longue traversee aujourd’hui… as-tu embarque des vivres a bord de notre navire?… – Ne m’en parle pas!… je […]

Honore Daumier (1808-1879), [Saved from Drowning], lithograph, plate 7 from the series Les Canotiers Parisiens, a sur blanc impression from the album, with binding holes at left (also published with letterpress verso in Le Charivari; Daumier Register 1029, second state (of 3); in very good condition, 10 x 7.5 inches. A very good impression. From the Daumier Register: Original Text: UN HOMME SAUVE MALGRE LUI. – Mais puisque je vous dis que je sais nager et que je me serais bien tire de l’eau sans monsieur!…. – a ne fait rien… la loi est positive… vous devez payer vingt cinq […]

Honore Daumier (1808-1879), [A Fair Exchange], hand colored lithograph, from the series Robert Macaire, 1836-38, published in Le Charivari and also separately sur blanc. Daumier Register 357, third state (of 3), 8 1/2 x 10 1/2 inches. The matrix in adequate condition but with stains, a tear lower right (in margin), stains in margins, soft folds, other defects. A good impression, the colors vivid.   From the Daumier Register: Original Text: Robert Macaire Escompteur. Voici mes conditions : Vous me ferez une lettre de change de 40,000 f. je vous donnerai 25 f. argent 3000 f. de moutarde blanche et […]

  Honore Daumier (1808-1879), An Unpleasant Encounter, lithograph, plate 16 from the series Les Canotiers Parisiens, 1843, published in Le Charivari; in very good condition, 10 1/2 x 8 inches. Daumier Register 1038, second state (of 4), before the lines upper left were added to suggest rainfall. A very good impression, sur blanc (and thus on a strong wove paper, without letterpress verso)   From the Daumier Register: Original Text: UNE RENCONTRE DESAGREABLE. Ah! Bernardel! Bernardel! . v’la le bateau a vapeur, nous sommes enfonces! Translation: AN UNPLEASANT ENCOUNTER. Bernardel, Bernardel! Here comes the steamer… we will sink!    

Honore Daumier (1807-1879), Se posant en appreciateurs, lithograph, plate 10 from the series LES PARISIENS EN 1852, published in Le Charivari, 1852; an impression on letterpress with the letters from the journal verso. Reference: Daumier Register 2227, second state (of 2); in generally good condition, a water stain lower right, some horizontal folds, 9.8 x 8.6 inches. A strong bright impression. From the Daumier Register: Original Text: Se posant en appreciateurs de la bonne comedie. Translation: They pose as lovers of a good comedy.  

Honore Daumier (1808-1879), A Conspiracy on the Train, plate 3 from the series En Chemin de Fer, published in Le Charivari, 1864, Daumier Register 3298, second state (of 2), 9 x 8 7/8 inches. A very good impression, printed on letterpress (with the newsprint verso). From the Daumier Register: Original Text: – Ils ont l’air de se concerter….. je suis bien fach d’etre monte dans ce wagon!… et dire qu’il n’y a pas moyen de faire arreter le train!   Translation: They seem to be planning a conspiracy….how stupid of me to having chosen this compartment…. and there is no […]

Honore Daumier (1808-1879), Tout est Paye?, lithograph, plate 31 from the series Types Parisiens, published in La Caricature Provisoire, 1839, in generally good condition (a stain upper middle of matrix), trimmed at the top and bottom of the sheet so without the series title and plate number at the top and address data below, 6 x 8 inches. A good impression from the early printed edition, with letterpress verso. From the Daumier Register: Original Text: TOUT EST PAYE? NOUS N’AVONS FAIT SOTTISE A PERSONNE!!……SALUT.   Translation: EVERYTHING IS PAID FOR? AND WE DIDN’T INSULT ANYONE… BYE.

Honore Daumier (1808-1879), La Pipe Matinale, lithograph, plate 6 from the series Silhouettes, published in Le Charivari, 1841, Daumier Register 855, third state (of 3), 8 x 8 1/4 inches. A very good impression from Le Charivari, with letterpress verso.     From the Daumier Register: Original Text: LA PIPE MATINALE. Le Tabac de caporal fait maintenant partie integrale de ce que les poetes appellent les suaves parfums du matin; et grace aux bouffes que lui envoyent de toutes parts les fumeurs, l’aurore, jadis au teint de rose, doit etre bien prs d’etre culottee.   Translation: THE MORNING PIPE. The […]

Honore Daumier, No Respect for Money, lithograph, 1841, from the series Robert Macaire 2eme serie, published in Le Charivari and also in the Album Robert Macaire 2eme serie; Daumier Register 883, second state (of 3); a sur blanc impression (presumably from the album, on a fine wove paper without the letterpress verso), 8 x 9.8 inches. A very good impression. Translation: Original Text: – Comme tu y vas, on voit bien que l’argent ne te coute rien ! si je te laissais faire, je serais bientot devore.. Bah ! mon pere, ce n’est pas pour vous que vous amassez. Cest […]

Honore Daumier, La Lecture du Journal, lithograph, 1840, as published in Le Charivari, Daumier Register 852, second state (of 2). Plate 3 from the series Silhouettes. In good condition, printed on newsprint, with lettering (the journal Charivari) verso. A very good impression. Translation, from the DR: Original Text: LA LECTURE DU JOURNAL. Ah! j’espere qu’aujourd’hui enfin mon grand Journal m’apprendra quelque chose de nouveau et de definitif touchant la crise actuelle….. voyons….. “La situation est grave….” Hum! Hum! ca commence a devenir monotone. (Refrain de chaque matin).   Translation: READING THE NEWSPAPER . Oh, I hope that my great journal […]

Honore Daumier (1808-1879),Hein ! Comme il regarde les cervelas, lithograph, plate 51 from the series Moeurs Conjugales, published in Le Charivari in 1842, and in Album Moeurs Conjugales in 1843, a sur blanc impression (without letterpress verso, on strong wove paper), in good condition with only slight toning, Daumier Register 674, second state (of 3), 8.3 x 9 inches. A fine impression. Here’s the translation from the Daumier Register: Original Text: Hein ! Comme il regarde les cervelas, les jambons… Nous aimerons donc l’tat de papa…. petit cochon!….   Translation: Look! See how his eyes are on the saveloys and […]

Honore Daumier (1808-1879),Oh! monsieur, quel talent possde, lithograph, plate 8 from the series CROQUIS MUSICAUX, 1852, Daumier Register 2235, 1852, published in Charivari, with letterpress verso, in good condition apart from a stain lower right (not affecting matrix). 8.6 x 10.1 inches A very good impression. Translation from the Daumier Register:   Original Text: Oh! monsieur, quel talent possde mademoiselle votre fille… quel talent, quel talent! – Dans notre famille nous sommes tous suprieurement organiss pour la musique… moi-mme, dans ma jeunesse, j’ai t de premire force sur la clarinette.   Translation: – Oh Monsieur, your daughter possesses quite an […]

    Honore Daumier (1808-1879), Bains de Femmes, lithograph, plate 20 from the series Les Baigneurs, 1840-42, published in Le Charivari in 1841; Daumier Register 780, third state (of 3), 10.4 x 7.2 inches A very good, clear impresion on cream wove paper, without text verso. Translation from the Daumier Register: Original Text: Bains de femmes. Oui Madame, c’est comme j’ai l’honneur de vous le dire, je l’ai port onze mois, qu’on croyait que j’tais hydropique; Dirait-on que a n’a que six ans, il tient de son pre, Tambour major de la 6me Lgion, chantant la Marseillaise par cur et […]

  Honore Daumier (1808-1879), An Encounter in Open Water, lithograph, plate 11 from Les Canotiers Parisiens, 1843, Daumier Register 1033, third state (of 3), in good condition, a sur blanc impression, from the Album, on quality wove paper without the letterpress verso,10.2 x 8.1 inches. At this time boating in the Seine in Paris was a fashionable hobby. In this image it appears the working sailors are less enamored than the passengers. Translation from the Daumier Register: UNE RENCONTRE EN PLEINE EAU. – Oh! h! . . l bas . . . Capitaine! qu’y a-t-il de nouveau Paris? – Rien […]

Honore Daumier (1808-1879), Oursikoff, lithograph, from Actualities, Plate number 72, published in Charivari, 1854. Reference: Daumier Register 2519, second state of two, a newsprint impression. In adequate condition for an original newsprint impression still attached to the issue of Charivari in which the lithograph appeared. 10 x 8 inches. A fascinating example, a Russian officer looking at a rendering of himself, asking a lackey if it’s a good representation (and saying he’d be sent to Siberia if he agreed it was a good image. Here’s the translation from the Daumier Register: Original Text: – Oursikoff! …trouvez-vous cela ressemblant?……… – Non, […]

Honore Daumier (1808-1879),LHomme in naturalibus, lithograph, from the Robert Macaire 2nd series, plate number 17. Published 1840-41. In generally good condition; a tiny hole lower right, 9 x 10 inches. A very good impression, of the 4th state, noted in the Daumier Register as “Rare.”   Here’s the translation of the text from the Daumier Register: L’Homme in naturalibus. La philosophie, mon cher Bertrand, explique fort bien nos deux caractéres par nos physiques.. tu es la faiblesse, je suis la force. toi la ruse, moi le courage . tu es le lire et moi le chne, sans moi, le plus […]

  Chas Laborde (1886-1941), Tendres Stocks: The Complete Etchings, c. 1924, etching, engraving, colored etching proofs before publication of the book. A suite of 13 impressions in black and white, and 13 in color; 26 in all; impressions printed before the book edition of Tendres Stocks by Paul Morand, published by Emile-Paul Freres, Paris, 1924. This set of 13 etchings in color, and 13 in black in white, was published in a small edition of only 24, on Holland paper (many with a fleur de lys watermark). The book containing the etchings in color was published in an edition of […]

  Jean-Emile Laboureur (1877-1943), Courses a Longchamp, 1938, engraving and drypoint. Reference: Laboureur 534, sixth state (of 6). In good condition, printed on a cream wove Arches paper (with the Arches France watermark. 15 x 18 1/2, the sheet 19 3/4 x 25 3/4 inches. A very good impression, from the Chalcographie du Louvre edition (with the blindstamp, cf. Lugt 1695 and 1695a). Laboureur felt that this print represented the culmination of thirty years of working with the engraving burin.

Jean-Emile Laboureur (1877-1943), L’Entomologiste, 1932-3, engraving. Reference: Laboureur 475, sixth state (of 6). In good condition, the full sheet, printed on cream Arches paper (with the watermark), 15 x 16 1/4, the sheet 19 3/4 x 25 3/4 inches. A very good impression, from the Chalcographie du Louvre edition, with it’s blindstamp (Lugt 1695a). L’Entomologiste is a tour de force example of Laboureur’s work in engraving.

Jean-Emile Laboureur (1877-1943), La Rentree au Seminaire, 1897, woodcut, signed in ink lower right and inscribed “tire a 15 ex.” [also with monogram in the plate]. Reference: Laboureur 566, only state. In good condition, with some staining toward margin edge not affecting image, tack-holes at corners, 4 3/8 x 4 3/8, the sheet 9 5/8 x 8 1/2 inches. A fine impression, printed on a grey/green wove paper. A very early woodcut; the first time that Laboureur used a monogram within the plate. This woodcut was made shortly after Laboureur learned printmaking from the famed printmaker – and woodcut specialist […]

Jean-Emile Laboureur (1877-1943), Le Moulin Abandonne, etching and engraving, 1934, signed lower left and numbered and annotated “imp” in pencil lower right. Reference: Laboureur 489, second state (of 6), In very good condition, with large margins, printed on a cream wove paper, 10 1/8 x 11 7/8, the sheet 14 x 19 inches. A fine impression of this large composition. The composition was essentially complete in the first state; in the second state an adjustment was made to the standing woman’s hair; in the second state her reflection was added to the water, a monogram and additional shading were added […]

Jean-Emile Laboureur (1877-1943), Les Barques (the small boats), etching and drypoint, 1932, signed in pencil lower left and numbered lower right, also annotated “imp” [also with the initial in the plate lower left. Reference: Laboureur 465, second state (of 2), from the lifetime edition of about 27 (there was a posthumous edition of about 240 impressions printed in 1959, used to illustrate the volume Laboureur en Briere, by Toesca). In excellent condition, printed on a cream wove BFK Rives paper (with the watermark), 3 7/8 x 7 3/4, the sheet 9 3/4 x 12 1/2 inches. A fine impression. Briereis […]

Jean-Emile Laboureur (1877-1943), Chez le Patissier, engraving, etching and roulette, 1924, signed in pencil lower right. Reference: Laboureur 278, third state (of 3), from the total printing of about 138 impressions in all states. In excellent condition, with full margins, 5 1/2 x 4 5/8, the sheet 11 x 8 3/4 inches. A fine impression, printed on a cream wove paper. A wonderful example of Laboureur’s cubist work in engraving, with the elongated Mannerist figures so characteristic of his work in this period. This is the patisserie Mangin, rue du Havre, in Paris.

Jean-Emile Laboureur (1877-1943), Orage en Briere, etching an drypoint, 1932, signed in pencil lower left, numbered lower right and annotated “imp” (impressit, printed by the artist personally). Reference: Laboureur 461, third state (of 4), from the edition of 42 in this state (11 in states one and two; state four was published posthumously, see below). In very good condition, printed on an old greyish laid paper with irregular edges (with a Bunch of Grapes watermark), 6 3/4 x 7 1/4, the sheet 8 x 10 5/8 inches. A fine impression of this interesting composition, with two women and a child […]

Jean-Emile Laboureur (1877-1943), Chez la Fleuriste, etching, 1919-1920, unsigned [with initials and date in the plate]. Reference: Laboureur 192, second state (of 2), from the edition of about 67 proofs on a cream/tan japon paper before the much larger issue inserted in the no. IV of the review Feuillets d’art. In good condition apart from moderate light staining, with margins, 8 x 6, the sheet 11 1/2 x 8 3/4 inches. A very good impression. A fine example of Laboureur’s work in a cubist idiom, with the mannerist figures Laboureur favored during this period.

  Jean-Emile Laboureur (1877-1943), Le Facteur Rural, engraving, 1924, signed in pencil lower right. Reference: Laboureur 283, third state (of 3), from the total printing of about 80. In excellent condition, the full sheet, 5 1/8 x 6 3/4, the sheet 9 x 11 inches. A fine impression of this rural mailman, with bicycle and pouch; all in engraving with the slightest trace of roulette at the lower foreground, and with a light veil of plate tone. Printed on a cream wove Arches (France) paper, with the watermark.

Jean-Emile Laboureur (1877-1943), Causerie Villageoise (Village Chat), engraving with touches of roulette and etching, 1924, signed in pencil lower left, numbered and inscribed “imp” lower right, titled by the artist lower left margin. Reference: Laboureur 287, fourth state (of 4). In excellent condition, the full sheet, printed on a cream wove BFK Rives paper (with the watermark), 4 3/4 x 5 1/8, the sheet 7 1/2 x 10 inches. A fine impression; a splended example of Laboureur’s using engraving to render a cubist-influenced composition.

Jean-Emile Laboureur (1877-1943), Le Charmeur de Moineaux, etching and engraving, 1933, signed in pencil lower left and inscribed “a Monsieur Armand Olivier, en hommage”, also numbered lower right and annotated “imp.” Reference: Laboureur 477, third state (of 3), from the total of 75 impressions pulled, in generally good condition apart from slight light staining, 5 x 7 1/2, the sheet 8 3/4 x 10 3/4 inches. A fine impression. Although numbered 3/120, there were no impressions pulled after number 68. Laboureur also made a lithograph of a similar scene (Laboureur 784), as well as a gouache. The man at the […]

Jean-Emile Laboureur (1877-1943), Le Ferveur, etching, engraving, roulette, drypoint, 1928, signed in pencil lower left, numbered lower right, and annotated “imp.” Reference: Laboureur 370, first state (of 2), from the edition of 15 in this state (another 500 impressions were printed for inclusion in the volume Ferveur (see below). In good condition, moderate light staining, with margins, 5 1/2 x 3 1/4 inches. A very good impression, with shading especially in the clouds toward the top right created with the use of an extremely fine-pointed roulette tool. This engraving, in its second state, was the frontispiece for a recueil of […]

Jean-Emile Laboureur (1877-1943), Dimanche en Bretagne, etching, 1939, signed in pencil lower left and inscribed “ep d’artite” lower right. Reference: Laboureur 543, second state (of three, but see discussion below). In very good condition, printed on a cream/tan wove paper, 7 1/2 x 5 7/8, the sheet 10 3/4 x 8 3/8 inches. A fine lifetime impression of this rare work, the last etching printed by Laboureur before his final illness. Sylvan Laboureur, in his catalog raisonne, incorrectly notes that the monogram between the trees was entered in a third state by a technician, and that some impressions of the […]

Jean-Emile Laboureur (1877-1943), Le Chemin de Camoelin, etching and drypoint, 1928, signed in pencil lower left and numbered and annotated imp lower right. Reference: Laboureur 385, second state (of 2), from the edition of 58 in this state (another 8 impressions of the first state were printed). In excellent condition, printed on a cream wove BFK Rives paper (with their watermark), the full sheet, 4 x 4 3/4, the sheet 9 5/8 x 11 3/8 inches. A fine impression of this iconic rural composition. The first state was before the monogram bottom left, and before some lines of drypoint in […]

  Jean-Emile Laboureur (1877-1943), Le Chemin de la Foret, etching and engraving, 1926, signed in pencil lower left and inscribed epreuve d’artiste lower right. Reference: Laboureur 329, first state (of 3). In excellent condition, printed on a cream wove paper, 8 x 6, the sheet 12 3/4 x 9 1/2 inches. A fine impression, delicately printed, before the monogram and the cross-hatching of the foliage at the right. There were two artist’s proofs and another 7 numbered impressions of the first state (a total of about 100 impressions were printed in all states).

    Jean-Emile Laboureur (1877-1943), Broadway, New York, etching, 1907, signed in pencil lower left. Reference: Laboureur 70, first state (of 2), before the lettering and before publication in the Gazette des Beaux Arts, one of 50 impressions on a cream/yellow simile japon included in the deluxe edition of the Gazette des Beaux Arts. In very good condition, 7 5/8 x 6 1/8, the sheet 11 1/4 x 7 1/4 inches. A fine impression.

Jean-Emile Laboureur (1877-1943), Les Deux Chaumieres, 1927-28, etching and engraving, signed in pencil lower left and numbered lower right. Laboureur 356, second state (of 4). One of the seven impressions printed in this state (84 in all), before the monogram in the plate, and some added shading in the trees. In excellent condition (paper folded less than an inch at sides); 4 1/2 x 6, 10 x 13 (before folds) inches. A fine impression on cream wove paper. This impression appears to be an intermediate state between states one and two, before some shading on the figures at the left […]

Jean-Emile Laboureur (1877-1943), L’Auberge du Bord de L’Eau (Petite Planche), engraving, 1924, signed in pencil lower left, numbered lower right ((41/60), and titled in pencil by the artist lower margin edge. Reference: Laboureur 310, third state (of 3), from the edition of 60 in this state. In very good condition, the full sheet with deckle edges, 3 1/2 x 4 7/8, the sheet 8 3/4 x 11 inches. A fine impression of this gem, printed on a Van Gelder Zonen cream wove paper (with partial watermark). Published by Henri Petiet, with his blindstamp (Lugt 2021a). Ex collection Alan Fortunoff (not […]

  Jean-Emile Laboureur (1877-1943), Le 14-Juillet au Village, engraving and roulette, 1925, signed in pencil lower left and numbered lower right (30/100) [also initialed and dated in the plate lower left]. Reference: Laboureur 292, third state (of three), from the edition of 100 impressions in the third state (115 printed in all states). In very good condition (the slightest coloration at paper’s edge, time staining in the margins), the full sheet, 5 3/4 x 6 1/2, the sheet 11 x 15 inches. A fine impression, printed on a strong cream wove paper, with deckle edges. ex collection Alan Fortunoff A […]

  Francisco Jose de Goya y Lucientes (1746 Fuendetodos Bordeaux 1828),No se puede saber por que One cant tell why ca. 18081814, etching, burnished aquatint, drypoint, and burin on laid paper; 155 x 203 mm (6 1/8 x 8 inches), Harris 155.I.2 (of III.7) provenance Infante Don Sebastian de Borbn y Braganza Georges Provot, Paris; his sale, Hotel Drouot, April 10, 1935, lot 64 Tomas Harris, London (Lugt 4921) private collection, Germany A fine, rich proof impression for plate 35 ofLos Desastres de la Guerre, before numbers, letters, and before additional drypoint and burin work. No impression of state I.1 […]

Romare Bearden (1911-1988), Jamming at the Savoy, 1980-81, colored etching and aquatint. Reference: Gelburd and Rosenberg (2, p. 9); GG #95 (p. 29). Signed, titled and numbered (124/180), from the edition of 180. The full sheet, in excellent condition, 16 5/8 x 23 3/4, the sheet 22 1/2 x 30 1/8 inches. A fine, fresh impression, with colors vivid. This print can be provided framed or in the mat.

Jean-Emile Laboureur (1877-1943), Maisons au Bord de la Mer, etching, 1936, numbered bottom right (26/66) and inscribed in the bottom margin by Suzanne Laboureur (see below). Reference: S. Laboureur 511, third state (of 3), from the edition of about 48 pulled in 1977 at the occasion of the 100th anniversary of the birth of the artist. In excellent condition, the full sheet, printed on a heavy cream wove paper, 10 14 x 8 5/8, the sheet 15 x 11 inches. A fine impression. At the bottom of the sheet Suzanne Laboureur, Laboureur’s wife, writes that the completed edition, numbered 18 […]

Jean-Emile Laboureur (1877-1943), Une Marmite, engraving, 1916, signed in pencil lower left; titled, dated and inscribed epreuve de 1er etat bottom margin edge [with the initial and date in the plate]. Reference: S. Laboureur 149, first state (of 4); only 8 or so impressions in the first state (this may be the first); in the published state, with lettering at the bottom, there were 135 proofs. In very good condition (the margin at right cut a bit ragged and close to the plate mark, but still away from it), 7 x 5 1/2, the sheet 8 1/4 x 6 3/8 […]

Honore Daumier (1808-1879), Les Grandes Celebrites de la France, lithograph, 1939, plate 2 from the series Les Saltimbanques, from La Caricature Provisoire (also published later in Le Charivari, 1843). Reference: Daumier Register 620, second state (of 5). With lettering, and the initials (in the plate lower left). Printed on a wove paper. In good condition (formerly folded across the middle, now flattened) , 11 1/2 x 8 7/8, the sheet 13 1/8 x 10 inches. A very good impression. An impression of Les Grande Celebrites de la France was shown in the Metropolitan Museum’s show Seurat’s Circus Sideshow (At The […]

Honore Daumier (1808-1879), Dup, lithograph, 1832, from the series Celebrites de la Caricature, plate 171. Reference: Delteil 45, Daumier Register 45, only state. In generally good condition (with what appears as stains on recto but characterizing impressions of this print), with hand coloring in the contrived coat of arms below (possibly the coloring caused the staining), on wove paper, 11 x 6 1/2 inches. Provenance: G Cognacq (Lugt 538d, stamp verso) R. Gaston-Dreyfus (initials stamp verso) Ramus, Charles F. Collection Nehorayan, A. Collection. New York, NY (impression noted in the Daumier Register) Sothebys New York, February 13, 1980 An impression […]

Jean-Emile Laboureur (1877-1943), Portrait, 1917, engraving, signed in pencil lower left and numbered lower right (28/40). Reference: S. Laboureur 170, third state (of 3), from the edition of 40 in this state (54 proofs pulled overall). In excellent condition, 4 3/8 x 3 1/4, the sheet 9 1/2 x 7 1/4 inches. A fine impression, printed on a cream laid paper. An excellent example of Laboureurs adoption of a cubist idiom, using engraving lines to accentuate the linear quality of cubism; a small portrait that works splendidly.  

Frederick Garrison Hall (1879-1946), Beach and Willows, etching, c. 1920, signed in pencil by the artist (?) and annotated "by HPH". Reference: Elton Waylon Hall: Frederick Garrison Hall: Etchings, Bookplates, Designs; Beach and Willows, 1972: Etching no. 5; also The Print Connoisseur, 1921, Vol. 1, NO. 3, p 229 No. 7. Only state known, edition of 50. 6 1/2 x 10, the sheet 10 1/2 x 14 inches. In very good condition. A fine impression, printed on a wove paper. Other impressions of Beach and Willows can be found in the Boston Public Library, Library of Congress, Boston Museum of […]

(After) JAN VAN DER BRUGGEN (Brussels c1649 1690 Paris), A Drunken Night Cap, Wine is a Mocker, mezzotint, c. 1720, with artist’s name Mieris lower left in the plate, engraver’s initials JHL lower right in the plate. In generally good condition (water stain verso not visible recto), with small margins, 9 x 7 3/8, the sheet 10 1/4 x 7 3/4 inches. A fine impression, possibly before letters, on old laid paper with a high crown (?) watermark. This composition was initially conceived in a drawing (now lost) by Frans Mieris, then engravedby Hendrik Bary (Hollstein 11); later executed in […]

Frank Arthur Nankivell (18691959), [Walking in the Woods at Night], drypoint, c. 1910, signed in pencil lower right. Printed on a cream laid paper. In good condition, with margins (slight light staining). 10 x 8, the sheet 11 1/2 x 9 1/2 inches. A fine impression of this great rarity; no edition is known or indicated. Printed with extensive burr on the drypoint work, and carefully placed plate tone darkening the woods, but wiped to highlight the house in the woods and the foreground. This impression was exhibited in the International Fine Print Center New York (IPCNY) 2013 exhibit The […]

Jean-Emile Laboureur (1877-1943), Le March aux Fleurs ou la Rencontre, 1914, Engraving. Sylvain Laboureur 127, second state (of 2). Edition of 35. Signed, titled, and numbered 2/35 p in pencil. Signed and dated in the plate, lower left. Image size: 11 1/8 x 13 9/16 inches (283 x 344 mm); sheet size 12 7/8 x 16 3/8 inches (327 x 416 mm). A superb impression, with rich burr and delicate overall plate tone, on cream wove paper; full margins (6/8 to 1 3/8 inches); slight light toning within the original mat opening, otherwise in excellent condition. One of Laboureurs most […]

Jean-Emile Laboureur, Les Deux Chaumires, etching, 1927-8, signed in pencil lower left, numbered and annotated “imp” lower right. Reference: S. Laboureur 356, second state (of 4). In excellent condition (apart from paper folded back slightly at left and right), 4 1/2 x 6, the sheet 10 x 13 inches. A delicately printed, fine impression of this early state, before the initial in the plate. There were 7 impressions taken of this state, and about 80 impressions in all. Sylvan Laboureur notes that this site is at Kerfahler (a commune of Penestin), now a well known camping area in western France.

Jean-Emile Laboureur (1877-1943), Printemps Breton, 1926, drypoint, roulette, aquatint, etching; signed in pencil lower left and numbered lower right (37/50) with the imp inscription (printed by the artist). Reference: S. Laboureur 324, second state (of two), from the lifetime edition of about 50 (another edition of about 248, posthumous, was made in 1959 in conjunction with the publication of the volume Laboureur en Briere. In excellent condition, the full sheet, 3 1/8 x 5 1/8, the sheet 9 5/8 x 12 5/8 inches. A fine impression, printed on a wove BFK Rives paper (with the watermark BFK). Laboureur utilized anumber […]

  Jean-Emile Laboureur (1877-1943), Le Promenade au Phare, engraving, 1925, signed in pencil lower left and numbered lower right (24/70) [with the initial in the plate lower left]. Reference: S. Laboureur 302, third state (of 3), published by Henri Petiet, with his blindstamp, in very good condition, on a cream laid paper with margins, 6 1/2 x 7, the sheet 8 x 10 1/2 inches. A fine impression, with a light veil of plate tone overall, perhaps a bit darker toward the bottom of the sheet. Henri M. Petiet was an illustrious Paris publisher and print dealer; his stamp (Lugt […]

  Jean-Emile Laboureur (1877-1943), Sur la Marne, engraving, 1924, signed in pencil lower right [with the initial lower right in the plate]. Reference: S. Laboureur 277, third state (of 4), before the letters below the image, before the large edition in the fourth state as an illustration for an article by Claude Roger-Marx. With full margins, 7 x 5 1/4, the sheet 11 x 9 inches. A fine impression, printed on a cream Arches paper (with the Arches watermark). In addition to the cubist idiom this print, with its elongated figures, illustrates Laboureur’s interest in Mannerism – perhaps first ignited […]

    Jean-Emile Laboureur (1877-1943), La Petite Plage, 1926, etching and engraving, signed in pencil lower left [inscribed lower margin as a trial proof; also with initials and date in the plate]. Reference: S. Laboureur 327, third state (of 3), from the total printing of about 91. In generally good condition, with a mark (probably in the paper) upper left just above the plate mark (also a few light staining spots well away from image, printed on an old laid (ledger?) paper, the full sheet with wide margins, 5 x 6 3/8, the sheet 9 x 13 1/2 inches. A […]

  Jean-Emile Laboureur (1877-1943), Jeune Fille au Chapeau Blanc, 1921, etching and engraving. Reference: S. Laboureur 223, third state (of 3), edition of 30, about 47 impressions pulled in all. Signed lower left, numbered (15/30) lower right and inscribed imp (printed by the artist); also titled lower left near the edge in pencil [also with initials and date in the plate]. In excellent condition, remains of prior hinging verso, the full sheet with deckle edging, 6 1/2 x 4 5/8, the sheet 10 1/4 x 7 1/4 inches. A fine fresh impression of this attractive inhabitant of Croisic. Printed on […]

  Honore Daumier (1808-1879), Un Homme a La Mer lithograph, 1843, [with initials in the plate]. Reference: Daumier Register 1036, plate number 14 from the series Les Canotiers Parisiens, published in Le Charivari, third state (of 4), before publication in Le Charivari, a sur blanc impression, in very good condition, with margins, on wove paper, 9 1/2 x 10 1/4, the sheet 10 1/2 x 13 5/8 inches. With the letters, addresses of Pannier (lower left), Aubert (lower center). A fine strong impression. Translation of the text from the Daumier Register: Original Text: UN HOMME A LA MER. – Harponne […]

Jean-Emile Laboureur (1877-1943), L’Employe des Pompes Funebres (The Mortician), color etching, 1902, signed and annotated (essai l’eau forte in 2 planches) in pencil lower left [also signed and dated in the plate lower left]. Reference: Sylvan Laboureur 29, only state (a line plate, then color plate(s). Printed on a cream laid paper with the watermark ARCHES. In excellent condition, the full sheet with deckle edging, 7 3/4 x 9, the sheet 10 3/4 x 14. Provenance: Alfred Beurdeley, Paris (Lugt 421, stamp lower right recto); Eric Carlson, New York A fine fresh impression of this early Laboureur rarity. A trial […]

  Camille Pissarro (1830-1903), Paysannes Dans un Champ de Haricots, etching, aquatint, maniere grise; 1891, titled, signed, annotated 1er etat no. 10, also marked with a large Z by the artist in pencil. Reference: Delteil 103, only state. Delteil notes that there were 14 lifetime proofs (then 18 posthumous impressions). Printed on a cream laid paper, the image within the platemark: platemark size is 9 1/2 x 6 1/8, the image 6 7/8 x 5 1/4, the full sheet with deckle edges 16 3/4 x 11 3/4. In excellent condition. A fine impression of this great rarity, printed personally by […]

Reginald Marsh (1898-1954), Merry-Go-Round, etching, 1930, signed in pencil lower right and numbered “24” lower left. In very good condition, with margins (cut irregularly, and with some ink smudges, as is customary for prints printed personally by Marsh).  Printed in black on an ivory laid paper. Reference: Sasowsky 99, sixth state (of 6); an estimate of about 50-60 impressions printed (surely an exaggerated estimate).  6 7/8 x 9 3/4, the sheet 8 1/2 x 12 1/2 inches, archival matting. Provenance: Downtown Gallery, with their stamp verso, and stamp dated Nov. 12, 1931. Collection of Mr. and Mrs. Edward Crossett, with […]

Jean-Emile Laboureur (1877-1943), Bachelor’s Fare, engraving, 1916-1920, signed lower left, numbered lower right and inscribed “imp” in pencil. Reference: S. Laboureur 169, third state (of 3), from the total printing of 38 in all states. In excellent condition, the full sheet printed on a laid paper with a Horn in Shield watermark; 6 1/4 x 5, the sheet 9 x 7 inches. A fine crisp impression of this early cubist-influenced engraving. An illustration for this print was done as early as 1914; the print may have been started around 1916 and, as with so many of the war-time Laboureur prints, […]

Jean-Emile Laboureur (1877-1943), Au Balcon, engraving, 1917-1919, signed in pencil bottom left, numbered (8/35) and inscribed imp bottom right, titled bottom left margin. Laboureur 181, third state (of 3), from the total printing in all states of about 45.  In good condition (browning at bottom edge),  with margins, 7 3/4 x 4 7/8, the sheet 11 1/4 x 8 3/8 inches. A fine impression. One of Laboureur’s iconic images, the aesthetic structure to be reprised a few years later in Le Balcon sur la Mer (1923). The dating of this print, like a number of the prints interrupted by the […]

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, withfull 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 […]

James Whistler (1834-1903), Venus, 1859.Etching and drypoint, printed in black ink on laid paper, an impression in the second (final) state: there was no published edition. 6 x 9 inches (15 x 22.6 cm) sheet 73/8 x 117/8 inches (18.8 x 30.3 cm) Reference: Kennedy 59; Glasgow 60 A study of Fumette, asleep in bed, her head pressed into the pillow and the bedclothes covering her lower legs. This is one of three portraits Whistler made of Fumette in 1859: one of the others shows her standing and in the third only her head and shoulders are depicted. Venus is […]

  James Whistler (1834-1903), Penny Passengers, Limehouse, 1860. Etching and drypoint, signed in pencil with a butterfly and inscribed imp, printed in black ink on laid paper, trimmed at the platemark, leaving a signature tab, an impression in the second (final) state, one of only six recorded, 31/4 x 81/8 inches (8.2 x 20.7 cm) Provenance: Otto Gerstenberg, stamp verso [Lugt 2785] Reference: Kennedy 67; Glasgow 71 The buildings on the far bank of the Thames and the ship and their masts moored there show the distinctive draughtsmanship of the period 1859–1860 when Whistler worked in Limehouse and made an […]

        Howard Cook (1901-1980), Chrysler Building (Chrysler Building in Construction) – –1930, Wood Engraving. Duffy 122. Edition 75, only 50 printed. 1931, signed in pencil, annotated “imp” and dated; printed by the artist Image size 10 1/16 x 6 11/16 inches (256 x 170 mm); sheet size 11 7/8 x 9 inches (302 x 229 mm). A superb, black impression, on thin cream wove Japan paper, in excellent condition. By the early 1930s, Cook’s prints of New York, especially its skyscrapers and bridges, were widely known and often reproduced in such magazines as Harpers and The Atlantic Monthly. The first solo […]

  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, 10 5/8 x 11 7/8, the sheet 13 1/2 x 15 7/8 inches. Provenance: Estate of  Edward G Kennedy (?) (with stamped initials EGK verso, cf. Lugt 857) A fine rich impression of this iconic image, printed in black ink on an ivory laid paper. Lewis described this location as “Skillman Ave. Queens”; it is probably at the intersection of Skillman Avenue and 49th […]

Emile-Alfred Dezaunay (1854-1938) Jeune Fille de Rosporden, c. 1890 etching and aquatint printed in color on cream-colored laid ARCHES paper; Reference: Morane 66. plate: 278 x 199 mm (11 x 7 7/8 inches)  numbered 2/50 and signed in pencil Timbre sec : Ed. Sagot éditeur (L. 2254).

    Sybil Andrews (1898-1992), Sails, linocut in colors, 1960, signed (twice), titled, and inscribed “TP” in pencil.   Reference: White 50. In good condition, two sheets, each image 7 1/8 x 9, each sheet 10 5/8 x 11 inches. Consisting of two sheets, unattached, each with the entire image, and placed one atop the other.  The bottom sheet: signed in pencil twice and inscribed “TP”; the top sheet annotated “sample printing”.  Each sheet printed on tissue-thin laid Japan. A brilliant vividly colored presentation, as achieved through the juxtapositioning of two proof impressions of this print, presumably by the artist.  As […]

    John Marin (1870-1953), St. Germain-Des-Pres, Paris, etching, 1906. Signed in pencil lower right and titled lower left [also signed and dated in the plate]. Zigrosser 47, only state, from the edition estimated by Zigrosser of about 25. Printed on wove Japan paper, with wide margins, a deckle edge at top, in very good condition (paper loss lower right corner, paper crease lower left margin), 8 x 5 5/8, the sheet 13 x 9 inches. A fine impression, printed with plate tone. Marin lived and worked in Europe from late 1905 to 1909, mostly in Paris but also in Venice, […]

Martin Lewis (1881-1962, Shadows, Garage at Night, drypoint, 1928, signed in pencil lower right[also signed in the plate lower right].Reference: McCarron 69, only state, from the total printing of 49. In excellent condition, the full sheet, 9 7/8 x 11 7/8, the sheet 12 3/4 x 15 inches. A very fine impression, printed in black ink on a cream wove paper. A”noir”rural scene, presumably from the Danbury, Connecticut area, with the focus on cars, and shadows.  

  Gerald Geerlings (1897-1998), Black Magic, etching and aquatint, 1929, signed in pencil lower right, titled and annotated (New York, 1928) lower left margin. Reference: Czestochowski 6, fourth state (of 4), from the edition of 100. In excellent condition, with full margins (slight rippling at outer margin edges), 11 3/4 x 6 1/2, the sheet 17 x 12 1/4 inches. A fine glowing impression, printed on a greenish laid paper with the watermark TG Head & Co. According to the web site of the Philadelphia Museum of Art this etching and aquatint portrays the Warwick Hotel (on West 54th Street and […]

  Theodore Roussel (1847-1926), The Gate, Chelsea; etching and drypoint, 1889-1890, signed on the tab and inscribed imp [also signed in the plate lowere right]. Reference: Hausberg 33, fourth state (of 4), from the total printing of about 43 impressions. In excellent condition, trimmed by the artist all around on the plate mark except for the tab, 8 1/8 x 6 1/2 inches. A fine impression, printed on a light cream wove paper with plate tone (wiped to brighten the gate and doorway area) and substantial burr in the drypoint work. According to Hausberg, “The gate and house behind it […]

Theodore Roussel (1847-1926), The Avon on the Road to Bexhill, drypoint, 1919, signed in pencil  and dated (15.7.19) lower left [also signed in the plate]. Reference: Hausberg 115, fourth state (of 4), from the total printing of about 22 impressions, about 12 in this state. In excellent condition, printed on a very thin laid Japon with margins, 4 1/2 x 5 7/8, the sheet 6 x 7 3/4 inches. A very fine impression with substantial burr from the drypoint work. According to Hausberg “Bexhill lies just west of St. Leonards-on-Sea, where Roussel lived from 1914. The River Avon does not […]

Camille Pissarro (1830-1903), L’île Lacroix, à Rouen, etching, aquatint, maniere grise, drypoint, burnishing, c. 1887. Signed and numbered (No. 1) in pencil lower left, annotated 1er étāt lower right. Delteil 69, second state (of 2). In very good condition, with full  margins (traces of foxing), 4 1/2 x 6 1/4, the sheet 10 3/4 x 13 inches. A fine impression of this great rarity. Delteil notes that only a few impressions were made of the first state, and eight impressions of the second. Although Pissarro himself notes that this is an example of the first state, Delteil shows that in the second […]

  Theodore Roussel (1847-1926), A Street in Ventnor, Isle of Wight, etching, soft ground etching, drypoint, 1912, signed in pencil on the tab and inscribed “imp” (printed by the artist) [also signed in the plate lower left]. Reference: Hausberg 102, third state (of 3), from group of about 30 impressions in this state, 37 overall;  in excellent condition, trimmed by the artist outside of the platemark except for the signature tab, 4 x 2 3/4 inches. A fine impression, printed with tone. Roussel visited the Isle of Wight in the summer of 1912, filling two sketchbooks with drawings; based on the […]

  Gerald Leslie Brockhurst (1890-1978), James McBey, etching, 1931, signed in pencil lower right [also signed in the plate, in reverse, lower right just under the borderline, and titled just under the borderline lower left]. Fletcher 69, ninth state (of nine), from the edition of 111. In excellent condition, the full sheet, 7 1/2 x 10 1/2, the sheet 14 7/8 x 11 inches. Provenance: Kennedy Galleries, New York (with their stock number A55738 Unidentified collector (initials TW lower left margin recto, not in Lugt) A fine impression, printed in black on a cream wove paper. Gerald Leslie Brockhurst was […]

Elyse Ashe Lord (1900-1971), Couple Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 11 3/4 x 12 1/4, the sheet 17 x 16 inches. A fine impression, with strong colors and plate tone. Printed on a light laid ivory Japan paper. Elyse Ashe Lord developed her unique artistic style exclusively around oriental subject matter. Her art was inspired by both Chinese art and various aspects of oriental culture. Although E.A.Lord never actually travelled to China, she used Chinese paintings, […]

    William Strang (1859-1921), Le Bourg de Batz, etching and drypoint on copper, 1913, signed in pencil lower right [also signed and dated in the plate].  Reference: Binyon 654, only state, edition of 58. In very good condition, printed in black/brown ink on an ivory laid paper, with full margins, 16 3/4 x 13 3/4, the sheet 20 x 17 1/2 inches. A fine strong impression of this large composition.  Printed with a light veil of plate tone. Le Bourg de Batz is a commune in western France; the town lies between the Bay of Biscay and its salt marshes, […]

  William Strang (1859-1921), Mother Earth, 1897, etching, drypoint, aquatint (listed in Binyon as etching mezzotint); signed in pencil lower right, and signed by the printer David Strang and inscribed “imp” lower left. Reference: Binyon 312, 35 proofs. With the notation in pencil lower margin “406 (312) final state.” In excellent condition, with margins, 7 3/4 x 6, the sheet 10 1/8 x 7. A fine impression, printed with carefully wiped plate tone, so that the figure of Mother Earth and children is stands out; much tone is left on the top and central hilly area, and a subtle veil […]

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4).  Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published.  Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This […]

  Elyse Ashe Lord (1900-1971), Celestial Nymph I, c. 1930, color etching, soft ground, drypoint; signed lower right in pencil and numbered by the artist lower left. In very good condition, the full sheet, 8 1/4 x 10, the sheet 17 x 13 1/2 inches. A fine impression, with strong color and plate tone on the nymph and surrounding decorations, and with pencil additions in various places on the nymph by the artist (using the same pencil as with signing). Printed on a light laid ivory Japan paper. Provenance: Kennedy Galleries, New York (with their stock number A 32064) Elyse […]

Edvard Munch (1863-1944) Kristiania Boheme I (or Kristiania Bohemians I; Drinking Session/Drinking Bohemians), etching, drypoint and burnishing, 1895, signed in pencil lower right, also signed by the printer Felsing lower left. References: Willoch 9, Schiefler 10, Woll 15, third state (of 3). Kristiania Bohme I was included in the Meier-Graefe Portfolio, a portfolio of intaglio prints by Munch, printed by the firm of Angerer in Berlin in an edition of 65; impressions printed by Otto Felsing (including some such as this impression signed by him, were printed outside of the portfolio). In excellent condition, with full margins, 8 1/2 x […]

James Whistler (1834-1903), The Little Mast, etching, drypoint and burnishing, 1879-80, signed in pencil with the early shaded butterfly lower left and annotated “imp”. References: Glasgow 196, Kennedy 185. Glasgow’s third state (of 8). From the Twelve Etchings, The First Venice Set. With margins, 10 5/8 x 7 1/2, the sheet 12 3/8 x 8 7/8 inches. In very good condition. Provenance: Charles C. Cunningham (with his stamp verso, Lugt 4684 James Lawrence Claghorn (with his stamp recto lower right, Lugt 555c) Kennedy Galleries (with their stock number a94365 verso) A very fine early proof impression, printed on a Chinese […]

  James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference:  Glasgow 190, seventh state (of 17),  Kennedy 194, fourth state (of 9), from the First Venice Set. In excellent condition (tiny nick bottom margin; remains of hinges verso), with margins, 12 1/8 x 8 1/4 inches, the sheet 13 x 9 1/4 inches. An exceedingly fine impression, printed on sturdy laid paper, with a Strasbourg Lily with a W watermark. With substantial plate tone especially towards the bottom of the composition, wiped carefully to highlight the figures at the end of the tunnel, and […]

Emil Nolde (1867-1956), Unterhaltung (Conversation), etching, 1906, signed and dated in pencil lower right and also signed by the printer Otto Felsing lower left. Reference: Gustav Schiefler 37, fourth state (of 4). A proof apart from the edition of only 20 and “some proofs” (Schiefler says: “einige probedrucke”) of this state. In excellent condition, on a heavy laid handmade paper with the (partial) watermark “V”, the full sheet with deckle edges, 6 x 7 1/2, the sheet 21 1/2 x 15 inches. A fine exceptionally fresh impression of this superb composition, printed in a rich dark blue/green ink. According to Schiefler only 5 proofs […]

Claude Flight (1881-1955), Swing Boats, circa 1919-1921, color linoleum cut on very thin Japan paper, signed and numbered by the artist lower left. In very good condition, with the full colored margin outside of the borderline (with slight imperfections typical of these British futurist linoleum proofs, i.e., border edge somewhat rough-cut, small loss upper left corner, a printing fold toward the middle of the image, slight wrinkling upper right).  The sheet 10 x 12 3/4 inches. Provenance: The Redfern Gallery, 27 Old Bond Street, London (with their label affixed to the mat). A fine impression, with the colors fresh and balanced. […]

Montparnasse Street– 1931, Etching Duffy 128. Edition 50, only 25 printed. Signed, dated, and annotated imp and 50 in pencil. Image size 4 7/8 x 9 7/8 inches (124 x 251 mm); sheet size 7 1/2 x 13 1/2 inches (191 x 343 mm). A fine, rich impression, on cream laid paper, with full margins (1 1/4 to 1 7/8 inch), in excellent condition. Printed by the artist. Scarce. Collections: NMAA, Philadelphia Museum of Art, Smithsonian American Art Museum, UNM.

  Anders Zorn (1860-1920), At the Piano, etching, 1900, signed in pencil lower right. Reference: Asplund 160, Hjert and Hjert 108, second state (of 2), from the edition of 60-70.  Printed on an ivory laid paper, in very good condition (some repaired tears, loss at bottom edge), 7 7/8 x 5 3/4, the sheet 14 3/4 x 11 3/4 inches. A fine delicately printed impression. The sitter is Mrs. Anna Burnett Hardin; the plate was made at the home of Charles Deering, an industrialist and patron of Zorn’s, in Evanston, Illinois. Two pencil drawings are in the Zornmusset and another […]

J a m e s= M c B e y– – – 1 8 8 3 – 1 9 5 9 Palazzo Dei Cammerlenghi–   1926, Etching. Edition 60, 20. Signed in ink. Numbered AI, indicating the first impression of the American edition of 20 [also signed and dated October 1925 in the plate lower right]. Reference: Hardie and Carter 231, only state (there were about 11 trial proofs, where slight changes were made, before the published first state).  Image size 8 3/4 x 5 3/4 inches (222 x 146 mm); sheet size 11 5/8 x 8 3/8 inches (295 […]

  Henri Fantin-Latour (1836-1904),Vérité (petite planche), 1900, lithograph.  Hediard-Mason 156, first state (of 3). A proof of the first state before the edition published in La Revue de l’Art Ancien et Moderne. In excellent condition, the full sheet, 7 3/8 x 5 1/2, the sheet 13 x 9 7/8 inches (matrix 190 x 137 mm.). A fine proof impression, printed on a light chine volant. In the published state lettering at the bottom margin gave the name of the artist, the title, publication, and printer (Clot).

Theodore Roussel (1847-1927), Chelsea Children, Chelsea Embankment, etching, 1889, signed in pencil on the tab and inscribed “imp” [also signed in the plate]. Reference: Hausberg 32, only state, from the total printing of about 30 impressions. Printed in a reddish brown ink on a thin laid paper. In very good condition, trimmed by the artist on the platemark except for the tab, 7 1/2 x 5 1/16 inches. A fine impression, printed with a veil of plate tone, wiped a bit less toward the sky making the sky darker than the street scene. Hausberg notes that this etching “depicts, in reverse, a […]

    John Marin (1870-1953), Brooklyn Bridge No. 6 (Swaying) = 1913, Etching. Z112. Edition c. 12 (Steiglitz); 1924, unknown but small (New Republic). Signed in pencil. Signed and dated 13 and B.B. 6 in the plate, lower left. Image size 10 5/8 x 8 3/4, the sheet size 14 x 10 7/8 inches. A superb, richly inked impression, with selectively wiped platetone; on warm cream wove paper, with wide margins (1 to 1 5/8 inches), in excellent condition. Very scarce. First published by Alfred Stieglitz in 1913, a small number of later impressions were printed as the work was […]

The Bohemians Jacques Callot (1592-1635), The Bohemians, the set of four etchings touched with burin, 1621. Reference: Lieure 374 (second state of four); Lieure 375-77 (second state of two). In very good condition, trimmed on or slightly within the platemark but outside of the borderline, 124 x 238 mm. A fine uniform early set of these iconic images. The first plate (L. 374) is known in four states, the latter two posthumous (our impression is the second state of four, before the posthumous printings). The first state for each plate is extremely rare (Lieure RRRR). L. 377 with a Cross […]

    Camille Pissarro (1830-1903), Grand-mere (effet de lumiere), etching and drypoint, 1889, signed in pencil lower right, titled lower left, inscribed “No 3 – 2e etat” lower left in pencil. Delteil 80, second state (of 7). In good condition (slight rubbing in lower right margin at the signature), the full sheet, 6 5/8 x 10 1/4, the sheet 10 5/8 x 16 inches. Printed in black on a tan/ivory moderate weight Japan wove paper. A fine rich mpression of this very rare print, with substantial burr from the drypoint work. Only one impression is known of the first state; this is one […]

    STANLEY W. HAYTER (1901-1988) Facile Proie. Set of 8 engravings, 1938-39. 250×325 mm; 9 7/8 x 12 3/4 inches (sheets), full margins, loose as issued, with the cover and . Each print signed and numbered 43/100 in pencil, lower margin. Numbered 43 in red pencil, on the justification page. Published by Guy Levis Mano, Paris. With the cover and container as issued, in generally good condition, some prints with slight spotting in margins, the outer cover with wear; the album in excellent condition. Very good impressions of these scarce, early prints.  This is the initial edition; a restrike edition […]

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 (the catalogue entry mentions a note on the mat which identifies this […]

Jean-Emile Laboureur (1877-1943), Instantes, 1911, a portfolio of six woodcuts, including the original paper wrapper, each print is signed and numbered (14/40) in pencil, printed in various colors. Reference: Laboureur 655 (1-6), only  state. Printed on soft wove paper. In very good condition, each print matted as issued, the largest about 7 1/4 x 5 1/2, the sheets 11 1/4 x 8 1/4 inches. This set is one of only five in color pulled by hand. The first 10 sets were pulled by hand in black and white, the next five pulled by hand in color, the rest printed by […]

Jean-Emile Laboureur (1877-1943), Trois Contes Cruels, set of 9 color woodcuts, 1926, each signed in pencil, with the original portfolio wrapper. Reference: Laboureur 748, from the deluxe edition of 10,  printed in gold and silver, apart from the text (book) edition of 160 numbered copies; there was also an edition of 9 portfolios issued in black and white; printed on a soft cream wove paper.  In very good condition, with margins, the largest image is about 4 1/2 x 4, the sheets each 9 3/8 x 6 1/4 inches. Fine impressions of this rare set. According to Laboureur’s notebook entry, […]

Camille Pissarro (1830-1903), Le Pont de Pierre, a Rouen, etching and drypoint, 1887. Reference: Delteil 66, second state (of 2).  Signed lower right in pencil, annotated lower left “No 4 Epreuve d’artiste Pont de Pierre a Rouen Zinc”.  In very good condition (tiny fox mark lower right), the full sheet with full margins, 5 x 7 3/4, the sheet 10 1/2 x 14 inches. Printed in black ink on a cream/tan laid paper. A fine impression, with substantial burr from the drypoint work, with plate tone. Delteil notes that Pissarro printed two impressions of the first state, and about thirty […]

    James Whistler (1834-1903), The Duet, lithograph, 1894, signed in pencil with the butterfly lower left margin (also signed in the plate upper left). Reference: Spink 104, Way 64, Levy 95, only state; 39 lifetime impressions printed. In very good condition (slight rippling right), printed on cream laid paper, with full margins, 246 x 165 mm, 9 1/2 x 6 1/2 inches, the sheet 280 x 196 mm, 11 x 7 7/8 inches. Provenance: Rosalind Birnie Philip (her stamp verso, Lugt 406). Birnie Philip, Whistler’s sister-in-law and executrix, used two stamps on the lithographs in her collection. Lugt 406, […]

  Childe Hassam (1859-1935), Midsummer, etching, 1919, signed lower right and inscribed “imp” [also signed and dated in the plate]. Reference: Clayton/Cortissoz 150. In very good condition, with the usual drying holes and associated nicks at edges, printed on a cream wove paper with margins, 9 x 7, the sheet 9 1/2 x 11 3/4 inches. A fine fresh and vivid impression of this great rarity. Midsummer is printed on a sheet with a cancelled impression of The Greek Dance (C/C 91) verso; this was made a few years earlier (1916). Hassam is known to have saved preferred papers, and he […]

    Camille Pissarro (1831-1903), Rue Saint-Romain, à Rouen, 2nd Plate, 1896, signed, titled and inscribed No. 1 in pencil. Reference: Delteil 177, first state (of 2). In very good condition, with full margins, 7 1/2 x 5 1/2, the sheet 13 3/4 x 10 1/4 inches. Provenance: unknown collector, with stamp (ES within a square) verso (Lugt 3498). A fine fresh impression of this great rarity, printed on a cream wove paper. This is one of only two proofs Pissarro made of the first state, each of which was numbered (1 and 2) titled and signed. In the second state […]

      Howard Cook (1901-1980), Soaring New York, aquatint, soft0ground etching, roulette, 1931-2; signed, dated and annotated “imp” in pencil lower right, titled lower margin. Reference: Duffy 165, fifth state (of 5), from the edition of 75. In very good condition, the full sheet with deckle edges, 8 15/16 x 11 3/4, the sheet 11 x 15 1/8 inches. A fine atmospheric impression, printed on a cream wove paper. Nearly half of Cook’s entire print output was done in the period from 1928-1931, including most of his iconic images of New York. Soaring New York is one of the most […]

  Howard Cook (1901-1980), Financial District, lithograph, 1931, signed and dated in pencil lower right and numbered 75 lower left. Reference: Duffy 155, from the stated edition of 75. In very good condition, with full margins, 13 3/8 x 10 3/8, the sheet 18 3/8 x 13 7/8 inches. A fine impression, printed on cream wove paper. Cook’s lithographs were made in collaboration with famed printer George Miller. Nearly half of Cook’s entire print output was done in the period from 1928-1931, including most of his iconic images of New York.

Felicien Rops (1833-1898), Paniconography (Pornography), etching, drypoint, soft-ground etching, c. 1880, signed and titled in pencil lower right, and signed again toward the bottom of the sheet. References: Exteens 764, Revens and Amiel 210. In good condition, the full sheet (some soft handling folds, slight soiling, toning), with full margins, 8 1/2 x 6 1/4, the sheet 18 x 11 5/8 inches.  Printed in black ink on an ivory/tan wove paper with the watermark MBM. A fine impression of a woman perched atop a centaur, plus a few sketches of faces in the upper left. As usual, Rops utilizes his […]

Martin Erich Phillip (1887-1978), Nude on Couch, 1920, etching, signed in pencil lower right and titled and numbered lower left [also initialed MEPH in the plate]. Second state (of 2). In excellent condition, printed on a heavy cream wove paper, with full margins (5 3/4 x 3 3/4, the sheet 12 1/2 x 9 1/2 inches. A fine fresh impression, with plate tone. In the second state the artist darkened the women’s coat and her shadow. Austrian-born Phillip worked also in the US, where he is well-known for his color woodcuts of birds and flora; this etching obviously represents a […]

James McNeill Whistler (1834-1903), Gants de Suede, lithograph, 1890, signed in pencil with the butterfly lower left [also with the artist’s butterfly signature in the plate].  Reference: Spink, Stratis and Tedeschi 35. In good condition, with slight evidence of pale mat staining, pinhole toward bottom edge.   8 1/2 x 4 1/8, the sheet 12 1/2 x 8 3/16 inches. Provenance: Kennedy Galleries, with their stock number (a23958) recto. Estate of Marie D. Powers (acquired from above, 1974) A fine lifetime impression. Printed on a cream laid paper with the watermark IV, Spink et al’s Watermark number 191 (IV countermark to […]

Odilon Redon (1840-1916), Le jour enfin paraît, lithograph, 1896, signed in pencil upper left, plate 24 from the portfolio  The Temptation of Saint Anthony, Troisieme Serie, on chine appliqué. Printed by Vollard, Paris, published by Auguste Clot, Paris, edition of 50. Reference: Mellerio 157, only state.  In good condition, slight light staining, a small repaired tear bottom and right edges, 10 1/2 x 6 3/8″ , the  sheet: 22 1/4 x 15 1/4 inches. A fine impression of this iconic portrait. The printing at the bottom of Le Jour: Le jour enfin paraît . . . et dans le disque […]

Giovanni Battista Piranesi (1720-1778), Quirinal Hill, etching, 1745,  [signature lower right, enumeration of locations in the print at margin bottom, in the plate]. 1745. Focillon 95, Wilton-Ely 98. From the Varie Veduti di Roma Anticha e Moderna. In compromised condition: laid down, light stain, tear bottom right, trimmed to or just within plate mark, rubbed area upper right near edge).  5 x 7 1/2 inches. A fair impression. The Quirinal Hill consists of: 1. Pontifical Palace, 2. Church of St. Mary Magdalen, 3. Palazzo della Consulta, 4. Palazzo Rospigliosi, 5. Pontifical Stables and Barracks of the Bodyguard. The Pontifical Palace […]

Giovanni Battista Piranesi (1720-1778), Veduta dell’interno del Tempio di S. Stefano Rotondo (Interior view of the Church of San Stefano Rotondo), etching, 1756. First Edition, from the series Le Antichita Romane, Bouchard e Gravier 1756, section XXV, figure 2 [signed, numbered and titled in the plate]. References: Focillon 192, Wilton-Ely 327.  In good condition, with margins,  5 1/2 x 8, the sheet 6 1/4 x 9 inches. A very good impression, printed on a stiff cream laid paper. Piranesi developed the plates of the Antichita Romane (Roman Antiquities) after eight years of careful study and excavation. His aim, as with […]

Jean-Emile Laboureur (1877-1943), Le Balcon sur la Mer, engraving, 1923, signed in pencil lower right and numbered (49/57) [also initialed in the plate lower right]. Reference: Sylvain Laboureur 274, third state (of 3), from the total printing in all states of about 75. In very good condition, the full sheet, 77 7/8 x 8 1/4, the sheet 18 7/8 x 12 inches. Provenance: Henri M. Petiet (cf. Lugt 2021a, with his stamp verso) A fine impression of this iconic Laboureur print, printed in black on a greenish laid paper, with unidentified initials watermark. This composition is said to depict the […]

Martin Lewis (1881-1962), Tree, Manhattan, drypoint, 1930, signed in pencil lower right [also signed in the plate lower left]. Reference: McCarron 87, only state; 91 recorded impressions including 10 trial proofs; intended edition 100. In excellent condition, with full margins, 12 5/8 x 9 3/4, the sheet 16 1/4 x 13 1/4 inches. A very fine fresh impression, printed in black ink on a cream laid paper. Tree, Manhattan is a tour de force print demonstrating Lewis’s mastery of drypoint. Hues range from the rich black of the figures in the lower left to the near-white of the fire and […]

Lyonel Feininger (1871-1956), Wagon Crossing a Bridge (Wagen auf einer Brucke), woodcut, c. 1941, signed in pencil lower left, with the artist’s work number lower center (1867). Reference: Prasser W 82, only state.  In very good condition, with margins, 3 1/2 x 4 3/4, the sheet 4 7/8 x 6 7/8 inches. A fine fresh proof impression of this intricate cubist composition, printed in black ink on a thin Japan wove paper. Prasser notes a few proofs, on various papers, some unsigned. This print was included as No. 5 of the portfolio Ten Woodcuts by Lyonel Feininger, 1941, edition of […]

  Jean-Emile Laboureur (1877-1943), Le Diner Chez le Bistro, engraving, 1923, signed in pencil lower left, numbered (9/60) and inscribed “imp” lower right [also with the monogram and date lower left in the plate]. Reference: Laboureur 255, second state (of 2), from the edition of 60, the total printing was 74. In excellent condition, the full sheet with full margins, printed on a white wove paper (watermark “J Perrigo”). 6 1/4 x 5 1/2, the sheet 11 x 8 15/16 inches. A fine impression, printed by the artist personally, with a subtle veil of plate tone. Sylvain Laboureur notes that […]

Jean-Emile Laboureur (1877-1943), Le Diner a L’Auberge, 1917-1922), engraving, signed in pencil lower left and numbered (45/55) lower right. Reference: Sylvain Laboureur 173, second state (of 2). In excellent condition, with full margins, 8 x 6 3/4, the sheet 11 3/4 x 9 3/4 inches. A fine impression, printed in black ink on a cream wove paper. In the second state the figure of the woman is adjusted so that she holds the hat pin appended to her hat. Proofs of the first state were pulled in 1917;  a numbered edition of 55 impressions in the second state were printed […]

Jean-Emile Laboureur (1877-1943), La Marchande de Violettes, etching, 1914, signed in pencil lower left and numbered (33/35) lower right [also signed and dated in the plate lower right].  Reference: Sylvan Laboureur 132, only state, from the edition of 35.  Printed in black ink on a greenish tinged laid ledger paper (with a V watermark), with the ledger lines still showing (visible on the right and left platemarks), in excellent condition, the full sheet with wide margins, 10 1/2 x 8 3/4, the sheet 18 1/16 x 12 1/2 inches. A very fine impression, on this unusual paper, particularly effective given […]

  Jean-Emile Laboureur (1877-1943), Le Cafe du Commerce, etching, 1913, signed in pencil lower left and numbered lower right 28/35 [also with the signature and date in the plate]. Reference: Godefroy 126, Sylvain Laboureur 126, only state. From the edition of 35; there were also 4 artist proofs. In excellent condition, with full margins and deckle edges, 11 3/4 x 13 1/2, the sheet 15 1/4 x 19 7/8 inches. On a heavy cream/ivory wove paper. A fine impression of Laboureur’s great Cubist masterpiece, printed with a subtle veil of plate tone. Provenance: Henri M. Petiet (with his oval ink […]

    William Auerbach-Levy (1889-1964), The Traveler (also The Emmigrant, Marchant des’habits), 1920, etching with plate tone, signed in pencil lower right and inscribed “imp” [also signed and dated in the plate].  In very good condition, with margins, printed on a cream wove paper (very slight toning, remains of prior hinging verso), 8 1/4 x 6, the sheet 11 1/2 x 8 inches. Provenance: ex Coll: Cortland Field Bishop (1870-1935) (Lugt 2770b, with his stamp verso) A fine impression. William Auerbach-Levy was born William Auerbach in Brest-Litovsk, Russia, on February 14, 1889. His parents adopted the surname of Levy after […]

William Auerbach-Levy (1889-1964), The Troubadour, c. 1935, etching in dark brown ink with plate tone, signed in pencil lower right and inscribed “imp”, also inscribed “1st State” lower left. In very good condition, with margins, 8 1/4 x 6, the sheet 11 1/2 x 8 inches. Provenance: ex Coll: Cortland Field Bishop (1870-1935) (Lugt 2770b, with his stamp verso) A fine impression of this rare print. Although inscribed 1st state we have seen another impression without the player’s right hand, and before some shading on the other hand. So this may be a second state. This is a portrait of […]

    Raphael Soyer (1899-1987), The Search Party (From the Cracked Mirror), color lithograph, c. 1975, signed in pencil lower right and numbered III/XXV lower left; 22 1/2 x 16 1/2 inches. In good condition, the full sheet with margins.  With a BSA chopmark lower right. A fine impression, printed in colors on a stiff cream wove paper.

John Buckland Wright (1897-1954), The Virgin and the Unicorn (large version),  wood engraving in colors, 1947, the original block and a proof, the proof titled, signed and dated lower margin. Reference: The Engravings of John Buckland Wright, edited and with an introduction by Christopher Buckland Wright, L 142. 6 1/16 x 4 1/16 inches, framed. A fine impression of this great rarity, one of the three artist’s proofs (there was no edition), together with the block. There was an earlier small version (Ld 155), which was rejected. The background on this print is described in Buckland Wright as follows: “Experimental […]

Jean-Emile Laboureur (1877-1943), La Fille aux Oies, engraving, 1916, signed in pencil lower left, numbered (4/40) lower right and inscribed “imp,” also titled lower left margin edge. Reference: Sylvan Laboureur 159, second state (of 2), from the edition of 40.In very good condition, with margins (remains of prior hinging verso), 6 3/4 x 6 1/8, the sheet 11 x 8 3/4 inches. A fine impression of this early cubist-influenced engraving. In 1917 Apollinaire wrote to Laboureur: “Je voudrais bien avoir le portrait de femme [L. 170] et la gardienne d’oies promis.”

Donald Shaw MacLaughlin (1876-1938), Doorway of the Doges, Venice, etching with plate tone, 1909, signed bottom right [also signed and dated in the plate]. Reference: Marie Bruette 124, only state [reproduced after page 91 in the Bruette catalogue], a probable edition of c. 50. In good condition, with small margins all around, trimmed to or just inside the plate mark at the top, with a repaired area at the top. On medium laid Van Gelder Zonen paper with a partial watermark.  15 5/8 x 8 inches. A fine impression, printed in dark brown ink, with plate tone overall but wiped […]

Lesser Ury (German, 1861–1931), , drypoint, Grabender Bauer (Farmer Digging), c. 1920, signed in pencil lower right and numbered xxix/xxx, from the edition of 30 on Japan (another 100 were editioned on wove). Reference: Rosenbach 102, only state.  In excellent condition, printed in black on extremely thin laid Japan, with margins, 7 1/16 x 4, the sheet 10 1/2 x 8 1/4 inches. A fine rich impression with substantial burr from the drypoint work. Ury was born in Birnbaum, the son of a baker whose death in 1872 was followed by the Ury family’s move to Berlin. In 1878 Lesser […]

John Sloan (1871-1951), Anshutz on Anatomy, etching, 1912, signed titled and inscribed “100 proofs” by the artist, and also signed “Ernest Roth imp” by the printer. Reference: Morse 155, eighth state (of 8), from the edition of 80. In very good condition, the full sheet, printed in dark brown ink on a brown/tan wove paper, 7 1/2 x 9, the sheet 11 1/8 x 12 3/4 inches. A fine impression. Sloan wrote of this print: “Tom Anshutz, our old teacher at the Pennsylvania Academy, gave anatomical demonstrations of great value to art students. Modelling the muscles in clay, he would […]

Camille Pissarro (1830-1903), Paysanne Donnant a Manger a un Enfant, etching on zinc, 1874, signed in pencil lower right and inscribed lower left “No 1 – 1er  etat”, also titled in pencil with the added annotation “zinc”. Reference: Delteil 12, first state (of 4). In excellent condition, 4 3/4 x 4 5/8, the sheet 10 3/4 x 7 inches. Provenance: Kennedy Galleries, NY [and with customs stamps verso] A fine clear impression, printed in brown ink on cream wove paper, with plate tone. Pissarro pulled 8 or 9 impressions in this first state, in 1874; 15 years later (1889)  he […]

  Theophile Alexandre Steinlen (1859-1923), Femme de Chagrin, 1894, lithograph, signed in pencil lower right [also signed in the plate lower center]. Reference: Crauzat 454, first state (of two), with color added and before lettering except for the title. In very good condition apart from oil stains at edges (away from matrix), with margins, 10 3/4 x 7 1/2, the sheet 12 1/2 x 10 3/4 inches. A fine impression with printed in rich black ink with fresh color added (au patron). This is the first state for a music cover, a children’s lullaby (berceuse) with the title shown but […]

Emil Nolde (1867-1956), Frauenprofil (Profile of a Woman), woodcut, 1917, signed in pencil lower right (also titled, numbered 8, and annotated III.10 lower left). Reference: Schiefler/MOsel 136, third state (of 3). In very good condition, 8 1/4 x 5 15/16, the sheet 11 3/4 x 8 3/4 inches. Provenance: Collection of H. Neuerburg, Koln (with the blindstamp lower left, Lugt 1344a). A fine fresh impression with considerable gaufrage, printed on a thin wove white/ivory paper with a partial circle watermark. Rare in this condition, only 12 impressions were made of this state (and three each of prior states) according to […]

    Emil  Nolde (1876-1956), Abschied (Parting),  etching and aquatint (tonal effects), 1906, signed in pencil lower right. Reference: Schiefler/Mosel 20, third state (of 3). One of only 15 hand pulled proofs.  In excellent condition, on a thick cream/ivory wove paper with full margins, 6 1/2 x 4 15/16, the sheet 17 1/2 x 12 3/8 inches. A fine, evocative impression, printed in dark brown ink.  The composition was complete in the first state but in succeeding states Nolde strengthened the defining lines in critical areas such as the hands of the figure at the right. Nolde’s method of achieving his […]

  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 […]

Theophile Alexandre Steinlen (1859-1923), Chanson du Soir, etching,  c. 1913,  signed in pencil lower right. Not in Crauzat (but see below) 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; the print is known is several versions and states; this is an early state, after the first state but before larger unsigned […]

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 […]

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 […]

    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. […]

  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), 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). […]

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), 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 […]

  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 […]

  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), Bandits Cave, 1920 (Morse 195), 7 x 5 inches A […]

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 […]

  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 […]

  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 […]

Jean-Francois Raffaelli (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. Raffaelli 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, 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), […]

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 […]

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), 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 […]

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. […]

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 […]

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), 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 […]

Reginald Marsh (1898-1954), Merry-Go-Round, etching and engraving, 1938, signed in pencil lower right and inscribed Forty Proofs lower left,  [also signed in the plate lower left and inscribed SC]. Reference: Sasowsky 179, fourth state (of 4). In good condition, with margins (a paper loss upper right corner well outside of the platemark, stains from prior hinging, notations in pencil lower margin edge). 10 x 8, the sheet 11 1/2 x 9 1/8 inches. A very good impression, printed in black on a wove paper with a partial FRANCE watermark. Sasowsky notes that Marsh printed 15 impressions of this state (and […]

Adolphe-Marie Beaufrère (1876-1960) A Douelan, etching, 1923, signed in pencil and numbered (21/50) [also initials and date in the plate]. Reference: Morane 23-07, BN Laran 175. Second state (of 2). In very good condition, printer’s crease bottom margin not near image. With the Sagot Editions, Paris stamp (Lugt 2254). 6 1/4 x 7 3/4, the sheet 8 1/4 x 9 1/2 inches. A fine impression, with tone, on a blue/green cream laid paper. The figures on the boat towards the right were added in the second state. The road pictured is along the river on the way to the port […]

Felix Buhot (1847-1898), Westminster Palace, etching, drypoint, roulette, 1884, signed in pencil and extensively annotated. Bourcard/Goodfriend 155, Bourcard’s third state (of 5); Goodfriend’s fourth state (of 7). In very good condition (minor thinning in spots verso), printed on a heavy cream/greenish wove paper with margins; 11 1/2 x 15 1/4, the sheet 13 1/2 x 17 1/4 inches. Provenance: Collection of Mr. and Mrs. Edward Flower A fine impression, printed in a brownish/black ink with plate tone. The extensive pencil annotation by Buhot includes: upper left margin, the words “Le Palais de Westminster;” upper center Buhot has drawn in pencil […]

Jean-Emile Laboureur (1877-1943), La Fille au Litre (Grande Planche), engraving, 1921, signed in pencil lower left and inscribed “ep d’art”. Reference: Sylvain Laboureur 217, third state (of 3), the trial proof (or one of the five impressions “hors-tirage”, the edition was 65. In excellent condition, remains of prior hinging verso, printed on a cream wove paper with full margins, 8 3/8 x 7 1/8, the sheet 12 3/4 x 9 3/4 inches. A fine impression. Perhaps Laboureur’s most famous engraved portrait,  made in his incomparable cubist manner, and a stunning example of his use of engraving within his mature cubism […]

Jean-Emile Laboureur (1877-1943), Tea-Room Du Front Anglais, etching and engraving, 1919-1923.  Reference: Sylvain Laboureur 189. Five sheets: the drawing for the print, an impression of the first state (of 2), an impression of the first state extensively drawn over in pencil in preparation for the second state, an impression of the final state, and an impression of the canceled plate. The drawing: in pen and pencil, signed, titled and dated, with margins, 8 3/8 x 7 15/16 inches, the sheet 11 1/4 x 10 inches, on a thin tan wove tracing paper, in generally good condition, with tack holes in […]

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In good condition (skillfully repaired hole in the sky upper left) with margins, on a cream/ivory laid paper,  7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British Etchers, 1850-1940; Keppel, The Golden Age of Engraving; Print Collector’s Quarterly 1 (1911): 1; Guichard, […]

Felix Buhot (1847-1898),  L’Hiver a Paris ou La Neige a Paris, 1879,  etching, aquatint, drypoint, roulette. [signed and dated in the plate Felix Buhot Paris 1879].  Reference: Bourcard/Goodfriend 5th state (of 9). In excellent condition, on a cream laid Van Gelder Zonen paper (with the watermark), the full sheet, 9 3/8 x 13 5/8, the sheet 14 7/8 x 19 1/4 inches. A fine impression; a published state before additional work was done primarily involving the dogs in the foreground. Bourcard’s description of the states for this print are clarified by Goodfriend, who describes 9 states (Bourcard had only 5). […]

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Reference: Pennington 1397, third state (of 6). In generally good condition, on laid paper with wide margins (browning toward margin edges, repaired tear upper right margin). 6 1/4 x 4 1/2, the sheet 10 3/8 x 6 1/2 inches. Provenance: Collection of Mrs. George A. Martin, then to Baldwin-Wallace College, Berea, Ohio; de-acquistioned 2010. A fine impression. Adam Elsheimer (1578-1610) was an influential German painter, famed for some of his very small-scale studies, and for a number of […]

John Sloan (American 1871 – 1954), Fashions of the Past, etching and aquatint, 1926, signed and titled by the artist in pencil (Morse 224 IV/IV), also signed by the printer. From the edition of 100 (of which75 were printed, according to Morse). Annotated: Peter Platt imp (Platt was an early, and one of Sloan’s favorite, printer). In very good condition, with wide margins, with the tack holes at outer margins for drying, as usual for impressions printed by Peter Platt; on wove paper, conservation matted. 7 7/8 x 9 3/4 inches, the sheet 12 1/2 x 14 1/2 inches. A fine […]

John Sloan (1871-1954), The Green Hour (or Angna Enters in “The Green Hour”), etching, 1930, signed in pencil lower right, inscribed “100 proofs” lower left [with the signature and date lower right, title lower left in the plate]. Reference: Morse 245, second state (of 2), of 90 printed. In very good condition, the full sheet with deckle edges, 5 x 4, the sheet 12 1/2 x 9 3/4 inches. Printed on a cream wove paper by Peter Platt, with his characteristic drying holes around the edges. A superb impression. Peter Platt was one of Sloan’s favorite printers. He printed 25 […]

Jean-Emile Laboureur (1877-1943), Le Gramophone, 1918-21, woodcut – both the woodblock and a print from the block. The print is signed in pencil lower left, and numbered lower right (24/45) [also initialed in the block lower right].  Reference: Sylvain Laboureur 712, only state, total printing of 45 impressions. Both in excellent condition; the print on a cream wove paper, a nick at left edge, some handling folds in margins; the full sheet with deckle edges, both the print and block are 9 3/4 x 8 1/2, the sheet 17 1/2 x 11 3/4 inches. The block is about 3/4 inch […]

James McNeill Whistler (1834-1903), Limehouse, etching, 1859. References: Glasgow 48, fifth state (of 6), Kennedy 40, third state (of 3), signed with the butterfly in pencil in the lower margin. [Also signed and dated in the plate.]With margins, 5 x 7 7/8 inches, the sheet 6 1/2 x 9 1/2 inches. Published as no. 12 in A Series of Sixteen Etchings of Scenes on the Thames and Other Subjects, otherwise known as the Thames Set. In good condition apart from a soft diagonal fold in the sky. A very fine impression, in black ink on a thin Japan paper. Provenance:  Dr. […]

Georg Pencz (1500-50) engraving, c. 1540,  Abraham and Sarah (Sarah Presenting Hagar to Abraham). Reference: Bartsch 1, Landau 1, only state.  [titled Sarah/Abraham and initialed in the plate with the interweaving PG].  In good condition, slight time discoloration (graphite verso), with thread margins, 50 x 85 mm, 2 x 2 3/8 inches. Provenance: unidentified collector’s stamp verso A very good impression with strong details. Pencz was one of the German Little Masters, the Northern Renaissance engravers known for their small scale engravings. In this engraving, the first of five Pencz made of the story of Abraham, we see his wife […]

Hans Burgkmair (1459-1519),  The Old White King on the Journey to His Bride, painted woodcut, 1514-16. Reference: Bartsch 80-(224) 6, from the History of Emperor Maximilian I. In excellent condition, on old laid paper, 8 3/4 x 7 1/2 inches. A brilliantly colored impression, with the colors vibrant and fresh. The History of the Weisskunig (White King) is an autobiography in the style of an illustrated novel without words. Although it is the story of Emperor Maximilian I all the characters have symbolic names. The White King is the name Maximilian  chose for himself, as it both stands for  whiteness […]

Hans Burgkmair (1459-1519), Council of the Swiss and Swabian War, painted woodcut, 1514-16. Reference: Bartsch 80-(224) 162, from the History of Emperor Maximilian I. In excellent condition, on old laid paper, 8 3/4 x 7 5/8 inches. A fine impression, with the colors vibrant and fresh. The History of the Weisskunig (White King) is an autobiography in the style of an illustrated novel without words. Although it is the story of Emperor Maximilian I all the characters have symbolic names. The White King is the name Maximilian  chose for himself, as it both stands for  whiteness (purity) and is associated […]

Hendrik Bary (1640-1707),  Old Woman Emptying Pot Throught the Window,  etching and engraving, after the  Frans van Mieris (1635-1681)painting “Goore Besje” (Sleazy Bess), c. 1670. Reference: Hollstein 10, fourth state (of 5); Wurzbach 6, third state (of 4), after the addition of the inscription J. Tangenas exc. In very good condition, on old laid paper with a Foolscap watermark, small margins, 10 1/8 x 7 1/2 inches. A very good impression. Simon Schama’s discussion of Dutch paintings such as this one in his Embarrassment of Riches is on point; he notes: “To judge from their art there were no wrinkles […]

Jean- Louis Forain (1852-1931), Similitudes, etching and drypoint, not signed [signed in the plate upper right], 1880, from the total edition of 545, on wove paper, in generally good condition (slight toning), the frontispiece for J.K. Huysman’s Croquis Parisiens, published by Henri Vaton, 5 5/8 x 3 3/4, the sheet 11 1/4 x 9 1/8 inches. A fine impression. Forain was an impressionist painter and printmaker; influenced by Daumier as well as Degas, he depicted law courts as well as lovely ladies.

Honore Daumier (1808-1879), L’Ivrogne, lithograph, 1834 [with initials in the plate]. Reference: Daumier Register 189, second state (of 2), with letters verso but before/without text. As published in Charivari.  In generally good condition, trimmed rather closely and irregularly, edges browned, 10 7/8 x 8 3/4, the sheet 12 x 9 1/8 inches. A good impression of this exceedingly rare print. This is a Daumier print without an explanatory title, thus perhaps justifying my unabashedly quoting the various theories about the print as related by the Daumier Register: ” The title of this print might be: “The drunkard” or “Consequences of […]

Jean-Emile Laboureur (1877-1943), Asperges et Radis, engraving, 1928, impressions of each of the four states of the engraving, and the preliminary pencil drawing (in reverse, see illustration below). Each of the engravings signed and numbered, the drawing initialled and dated.  Reference: Sylvain Laboureur 384, four states, about 75 impressions printed in all four states, 35 in the edition in the fourth state. 7 x 9 1/2 inches, 165 x 225 mm. Provenance: Henri Petiet, with his initials (HMP) stamp verso (not in Lugt) states 2 and 4. The drawing is 6 1/4 x 9 1/8 inches, in pencil, in reverse. […]

Arthur B. Davies (1862-1928), Ecstasy (alternate title: Leda), 1916, drypoint, signed in pencil lower right. Reference: Price 165, Czestochowski 30, third state (of 3). Edition size unknown but small. In very good condition, the full sheet, printed on a thin ivory wove paper, 2 3/4 x 4, the sheet 9 1/2 x 7 1/2 inches, archival mounting. A very fine impression of this rare drypoint, printed in black ink with the drypoint burr extraordinarily rich. One of the earliest of Davies’ modernistic experiments, created at a time when Davies was generally regarded as the preeminent American artist of his generation. After the Armory […]

Arthur B. Davies (1862-1928), Ecstasy (alternate title: Leda), 1916, drypoint, with the stamp and initials NMD [Niles Davies, a descendant] lower right. Reference: Price 165, Czestochowski 30, first state (of 3, but cf discussion). Edition size unknown but small. In very good condition, printed on a very thin cream wove paper, the sheet printed in the manner of chine colle, on a backing card, full sheet, printed on a thin ivory wove paper, 3 7/8 x 3 inches, the full sheet 8 x 7 1/4 inches. This impression is about 1/8 inch wider than the later state impressions described by […]

Arthur B. Davies, Up-Rising, soft ground etching and aquatint on a cream laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In good condition, with margins.  From a small edition, 6 x 9, the sheet 8 3/8 x 12 1/4 inches. A fine atmospheric impression. The first state of this print was before the aquatint; it was in soft ground etching only (the third state was printed in color by Frank Nankivell in 1924). At this stage of his career Davies was experimenting with modernism in his printmaking; he had developed substantial expertise […]

Arthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint, 1916, signed with the estate stamp lower right. Reference: Czestochowski 35, third state (of 3), with the aquatint.  The total printing was unknown but small. With margins, printed on a blue/green laid paper, in good condition, 3 x 5, the sheet 5 x 8 inches. A fine  impression, with the complex aquatint layering contrasting effectively. Aquatint was added in the second state to many areas of the plate except the figure; in the third state aquatint was added to the figure.

Arthur B. Davies (1862-1928), Resurrection (aka Flying Figures; Border of the Lake), drypoint, 1916, signed with the estate stamp lower right. Reference: Czestochowski 35, first state (of 3), before aquatint.  The total printing was unknown but small. With margins, printed on a very thin wove paper, in good condition, 3 x 5, the sheet 6 1/2 x 8 1/4 inches. A fine proof impression, with substantial burr from the drypoint work, printed with a veil of plate tone overall. Aquatint was added in the second state to many areas of the plate except the figure; in the third state aquatint […]

Arthur B. Davies (1862-1928), Entreat (aka Nude with Uplifted Arms), mezzotint, 1927, signed in pencil lower right margin. Reference: Czestochowski 217, only state. Edition unspecified, total printing unknown but small. In good condition, printed on a cream wove paper, with margins, 6 x 4, the sheet 8 1/2 x 5 1/2 inches. A very good impression of this rarity.

Arthur B. Davies (1862-1928), Torment, soft ground etching with aquatint and roulette, 1919-20, signed with the estate stamp lower right, and signed by the printer Frank A. Nankivell (and inscribed “Printer”) lower left. Reference: Czestochowski 102, fourth state (of 4). In generally good condition apart from light staining toward the top of the image, and light staining at the top margin edge, a crease in the right margin. With margins, 7 13/16 x 11 7/8, the sheet 9 3/8 x 13 5/8 inches. A fine impression.Printed on thin laid paper with the watermark Vassier. Czestochowski notes that this print was […]

Arthur B. Davies (1862-1928), Mirror of Illusion (aka The Mirror; Maya; Mirror No. 2), drypoint, signed with the estate stamp lower right. Reference: Czestochowski 31, first state (of 2). In generally good condition, with margins (creasing and folds in margins, browning toward edges), 6 3/8 x 8 3/8, the sheet 8 7/8 x 11 1/4 inches. A fine proof impression of the first state, printed with a heavy plate tone. In the first state the design is made with drypoint only, and the platemaker’s name is clearly visible on the middle right margin. The platemaker’s inscription reads: John Sellers and […]

Arthur B. Davies (1862-1928), Tartessians, soft ground etching with aquatint, 1919-20, signed in pencil lower right. Reference: Czestochowski 96, second state (of 2), total printing unknown but small. In good condition, slight mat toning, printed on a cream wove paper, with margins, 4 7/8 x 3 1/4, the sheet 10 7/8 x 7 1/2 inches. A fine impression, with the aquatint tones contrasting effectively.

Arthur B. Davies (1862-1928), By the Sea (aka Idyll), soft ground etching and aquatint, 1919,  signed in pencil lower right. Reference: Czestochowski 72, fourth state (of 5; see discussion below), edition about 21. In very good condition, printed in black on a green laid paper, 8 7/8 x 5 7/8, the sheet 10 1/4 x 8 inches. A fine impression. Davies put this complex composition through some extensive state changes, adding aquatint in the second state, grinding it down on the figures in the third state while adding some tint in the third and fourth state. This impression may represent […]

Arthur B. Davies (1862-1928), Round of Summer (aka Four Figures), soft ground etching, 1919, signed in pencil lower right. Reference: Czestochowski 91, first state (of 3), trial proofs only in this state.  With margins, extensive wrinkling, tape on margins verso (showing through at top margin),  soiling (mostly in margins), printed on light wove paper, 7 7/8 x 5 7/8, the sheet 11 x 7 3/8 inches. A good impression; the rough condition indicates that this is a trial proof. In later states aquatint was added to cover the figures, foreground, and the tree upper middle; this state is interesting for […]

Arthur B. Davies (1862-1928), Afternoon, transfer lithograph, 1920, signed in pencil lower left. Reference: Czestochowski 188, only state, from the edition of 25 (another 300 unsigned proofs cut down to the image were distributed by Weyhe Gallery as gallery souvenirs); one of a set of eight lithographs, in generally good condition, some light fox spots mostly verso, the slightest toning, the full sheet, printed on a stiff cream wove paper, 7 1/2 x 6, the sheet 15 x 10 7/8 inches, archival matting. A good impression. Printer: George C. Miller.

Arthur B. Davies (1862-1928), Strength in Shadow, soft ground etching with drypoint, roulette and aquatint, 1919, with the estate stamp lower right. Reference: Czestochowski 90, only state, total printing unknown but small. In good condition apart from several creases across the middle of the image (a result of the printing process?).  Printed on laid paper, with wide margins,  6 5/8 x 4 5/8, the sheet 12 x 9 5/8 inches. A very good impression

Arthur B. Davies (1862-1928), Contemplation (alternate title: Ishlamih Group), drypoint on zinc, 1917, with the estate stamp lower right margin. Reference: Czestochowski 53, only state, total printing unknown but small. In good condition, with margins, 2 7/8 x 6 1/8, the sheet 7 x 9 inches. Printed on a very light laid paper, with extensive cataloguing notes in pencil verso bottom. A fine impression, printed with much drypoint burr, and an overall veil of plate tone. We also have a working proof of Contemplation (illustrated below) printed on a light laid paper, with inky fingerprints in the margins (going into […]

Arthur B. Davies (1862-1928), Pompeian Veil, soft ground etching with aquatint, with pencil additions, 1918-1919, with the stamp signature. Reference: Czestochowski 63, fifth state (or a state between the 4th and 5th) of 5. In generally good condition, soiling and soft folding in margins, 5 3/8 x 3 ¼, the sheet 9 7/8 x 7 ¼ inches.  Printed on a cream/yellow wove paper. A good impression, with pencil additions to the nose, hair and hand of the figure; these additions were then made in the plate for Czestochowski’s fifth state. Only trial impressions were made of the fifth state. Pompeian […]

Arthur B. Davies (1862-1928), Venus (alternative title: Spindrift), mezzotint, 1927, with the estate stamp lower right, signed in pencil by Frank A.  Nankivell lower left and inscribed “Printer”.  Reference: Czestochowski 218, first state (of 2), edition unspecified, total printing unknown.  In good condition apart from light fox marks in margins, with margins, printed on laid paper with a bunch of grapes (?) watermark,  9 15/16 x 5 15/16, the sheet 13 ½ x 8 ¾ inches. A very good impression of this rarely encountered print; no impressions signed by Davies are known.

Arthur B. Davies (1862-1928), Retrospection, drypoint on zinc, 1916-17, with the estate stamp lower right. Reference: Czestochowski 40, first state (of 2).  Total printing unknown but small.  In good condition, with margins (a soft fold upper left margin away from image, paper very thin along the left platemark where the plate was unburnished). 4 7/8 x 3 3/8, the sheet 8 ½ x 6 ¼ inches. A fine, delicately printed impression, printed on thin cream wove paper with plate tone, the central area of the figures wiped selectively so that this area is brighter and whiter, with substantial burr from […]

Honore Daumier (1808-1879), Monsieur – Here’s Your Handkerchief, lithograph, 1842. Daumier Register 670, third state (of 3), sur blanc, plate 47 from the series Moeurs Conjugales, published in the album of that title and then in the journal Le Charivari. In good condition, a tear bottom edge margin, with margins, 12 x 8 1/2, the sheet 13 1/2 x 10 inches. A very good impression, on sur blanc wove paper (from the small collector’s edition, without the letterpress verso as the print was issued in the large Le Charivari edition). Here’s the translation from the indispensable Daumier Register (note: the […]

Jean-Emile Laboureur (1877-1943), Sortie de Theatre a Londres, etching and drypoint, 1911, signed in pencil lower left [also signed and dated in the plate upper right]. Reference: Laboureur 104, third state (of 3).  Published for La Societe des amis de l’eau-forte, with the blindstamp with the inscription: Circle Librairie Estampes. From an edition in the third state of 109; there were also 5 impressions of the first state and five of the second state. In excellent condition, the full sheet with deckle edges bottom and sides, 6 3/4 x 14; a remarque lower left 2 x 3 1/2, the sheet […]

  Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5.  10 printed in pairs on one sheet; one on a smaller sheet (still with margins), and the larger frontispiece on a single sheet. In generally good condition, browning toward the outer edge of the sheets, some other defects affecting outer edges but not the images.  Each of the paired compositions  about 6 1/2 x 8 1/4 inches on sheets 16 3/4 x 10 3/8; the frontispiece 7 1/4 x 10 5/8 on a sheet 16 3/4 x 10 […]

Ira Moskowitz (1912-1985), [Mountain Scene], 1943, lithograph, signed in pencil lower right, numbered lower left (27/50) [also signed and dated 1943 in the plate lower right], from the (presumed) edition of 50, not in Czestochowski. In pristine condition, on a cream wove paper with deckle edges, 10 1/8 x 14, the sheet 13 3/4 x 18 inches. A fine impression of the hilly countryside, with donkeys and goats grazing on the hillside, farm cabins in the distance; probably Taos.  A rarely encountered print, apparently not known to Czestochowski (and not in his catalogue raisonné). Ira Moskowitz was born in Poland […]

Cecil Bell (1906-1970), At the Round House, soft-ground etching and aquatint, c. 1935, signed in pencil lower right and titled lower left (also numbered 45), printed on a cream wove paper, the full sheet, in excellent condition, 5 3/4 x 7 5/8, the sheet 8 3/4 x 10 1/4 inches. A fine impression of this evocative image. Cecil Bell, born in Seattle in 1906, started his artistic career as a cartoonist. He moved to New York and enrolled in the Art Student’s League in 1930, where he had John Sloan as a teacher.  “I want principally to get down life […]

Max Pollack (1886-1970), Bohemia, drypoint with wash and pencil additions, c. 1925, signed in pencil lower right and titled lower left. In very good condition, printed on a chine colle with wove backing, the full sheet with deckle edges, 4 1/2 x 5 1/4, the sheet 11 1/2 x 9 3/8 inches. A fine impression, printed in a blue/black ink on a white background, rich burr from the drypoint work, with extensive pencil additions particularly as shading for the houses and added trees in the background, and a darker grey wash with pencil additions at the top. The coloration and […]

Jean-Emile Laboureur (1877-1943), Paysage aux Buttes-Chaumont (First Plate), etching, 1920,  signed in pencil lower left, numbered (2/8) and inscribed imp, also titled. Reference: Laboureur 204, only state. In very good condition, the full sheet, some thin spots in margins verso. 7 7/8 x 9, the sheet 10 5/8 x 14 1/4 inches. A fine impression of this rare plate, printed on cream wove paper. Laboureur made only 10 impressions in all, two trial proofs and 8 numbered. He later made another version (L. 205). Conceived by the architect Haussmann in the late 19th century, the Buttes-Chaumont is a sweeping romantic-style […]

Alphonse Legros (1837-1921), Les Moissonneurs (The Reapers), etching, c. 1890, signed in pencil lower right margin. Reference: Bliss 464, third state (of 3). In excellent condition, printed on a cream wove paper, the full sheet, 6 x 9 7/8, the sheet 9 1/4 x 12 3/4 inches. Provenance: Colnaghi’s, London (with their stock number c65632 verso) Kennedy Galleries, New York (with their stock number A22741 recto) A delicately printed impression, with a light veil of plate tone overall. This is a rare example; there were only 12 impressions of the third state, and 5 of the second.

Edmund Blampied (1886-1966), A Jersey Vraic Cart. 1939, etching,  signed in ink lower margin [also signed and dated in the plate]. Reference:  Appleby 183, the full sheet, on a J. Whatman cream laid paper, with the watermark, in excellent condition,  8 9/16 x 11 1/16 (sheet 11 7/16 x 15 5/16). From the edition of 250 for the Print Club of Cleveland. Provenance: Gift of the Print Club of Cleveland to the San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA. A fine fresh impression, still in its original Cleveland mat. Printed with selective […]

Gerald Leslie Brockhurst (1891-1978), Una (Portrait of a Creole Lady), etching, 1929, signed in pencil lower right, and also inscribed by the artist: “2nd State, GB”. Reference: Fletcher 65, second state (of 10), before the edition of 111. In very good condition, printed on a cream wove paper with full margins, 8 5/8 x 6 1/4, the sheet 15 3/8 x 10 1/8 inches, archival matting. A fine impression of this early state, before the signature in the plate and much additional shading in the background and on the figure. Only 4 proofs are known in this state. A painting […]

Reginald Marsh (1896-1954), Pennsylvania Rail Road Loco Waiting to be Junked, 1932, etching, signed in pencil lower right and numbered “12” lower left.  Reference: Sasowsky 130, fifth state (of 5). In very good condition, with margins (slightest trace of light stain), 6 x 11 3/4, the sheet 7 1/4 x 13 3/4 inches. Provenance: Kennedy Galleries (with their stock number on margins. A fine impression, printed in black on cream wove BFK Rives paper (with a partial watermark). This impression was printed by Marsh personally (and has margins trimmed a bit irregularly, as is typically of Marsh’s self-printed prints). His […]

Walt Kuhn (1877-1949), Advice, etching and drypoint, 1915, signed in pencil lower right and titled lower left. In generally good condition but obviously a proof impression, with margins (trimmed irregularly), remains of prior hinging showing through at upper margin, a red ink notation lower margin (“29 Conversation”), 4 3/8 x 2 1/2, the sheet 6 1/8 x 4 5/8 inches. Provenance: ex Collection: Jonathan Greenberg, New York. A very good, inky impression of this great rarity. The total number of proofs is about 6 or less, probably 3 or 4.  This is listed as number 3 in the Kennedy Galleries […]

Walt Kuhn (1877-1949), Strong Girl, drypoint, 1916 [signed in pencil by Kenneth Hays Miller and inscribed Zinc sheet E printed by Howard Moore Park 1928). In very good condition, printed on a cream wove paper, 7 1/2 x 5 1/4, the sheet 11 1/8 x 8 1/2 inches. Provenance: ex Collection: The Metropolitan Museum of New York, with their stamp verso. ex Coll: Jonathan Greenberg, New York City A very good impression of this rare early Kuhn print. This is listed as number 48 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967. […]

Arthur B. Davies (1862-1928), Girl Running (or Woman Running), drypoint, 1917, signed in pencil (twice) lower leftand dated lower right. Reference: Czestochowski 44, Price 126, first state (of 2). In very good condition, on a light cream laid paper, with margins, 4 3/8 x 3 7/16, the sheet 6 1/2 x 5 1/8 inches. Provenance: ex Collection Elizabeth Luther Carey (pencil verso). Ms. Carey was an American art and literary critic, well-known in the early 20th century for her works on Tennyson, Browning and Emerson, and the artists Whistler, Daumier and Blake. A fine impression, with much burr from the […]

Arthur B. Davies (1862-1928), Iris (Nude Seated), 1916, drypoint on zinc, signed in pencil lower right.  Reference: Czestochowski 33, second state (of 2), total printing unknown but small.   In very good condition, with margins, printed in black with an overall plate tone on a light cream wove paper.  8 7/8 x 6 15/16, the sheet 12 1/2 x 9 5/8  inches, archival matting. A very good impression, after the addition of roulette and various shades of aquatint in 1918. In this delicately printed impression Davies achieves the floating gauzy effect of his pre-Armory show symbolist imagery. The light drypoint lines […]

Arthur B. Davies (1862-1928), Iris (Nude Seated), drypoint on zinc, 1916, signed in pencil lower left.  Reference: Czestochowski 33, first state (of 2).  In excellent condition, on a very light laid paper. With margins, 8 7/8 x 6 15/16, the sheet 11 1/4 x 8 3/4  inches, archival matting. Provenance: ex Collection Lansing C. Baldwin A fine impression of this rare proof, with a substantial layer of plate tone, and burr from the drypoint work. This print was not editioned in any state. This first state impression shows the design drawn in drypoint; in the second state aquatint was added as […]

Arthur B. Davies (1862-1928), Moonlight on the Grassy Bank, soft ground etching and aquatint, drypoint and roulette, 1919, signed in pencil lower right. Reference: Czestochowski 71, fourth state (of 5); total printing unknown but small. In good condition apart from traces of foxing and staining especially toward to the margin edges away from the image, remains of prior hinging verso, with margins, 11 3/4 x 7 3/4, the sheet 14 1/4 x 9 7/8 inches. A fine impression, with the aquatint layering contrasting vividly. Printed in black ink on a cream laid paper. Moonlight on the Grassy Bank is a […]

Jacques Villon (1875-1963), Pour le Bapteme de Madeleine, 1900, aquatint , etching, printed in soft blue ink, signed in pencil lower right and numbered 7/10. On laid paper. Reference: Genestet and Pouillon 45, only state. [Also signed in the plate “G Duchamp”, fully titled, dated “Juin 1900”, and with the name Madeleine added on the box cover (?) lower right.] In very good condition, the full sheet with margins (indications of inking in margins, as typical of a trial proof). 7 1/8 x 5 5/8, the sheet 14 1/4 x 11 inches. A fine, delicately and lightly printed impression of […]

Wenzel Hollar (1607-1677), Charles I, etching, 1644. Reference: Pennington 1686, third state (of 3) [with initials WH fec in the plate]. On laid paper, In adequate condition, a pinhole in the wide margin at bottom away from image, slight staining in spots, with small margins top and sides, larger bottom, 9 7/8 x 7 3/4, the sheet 11 1/2 x 8 inches, archival matting. A fair impression printed in 1705 for the frontispiece of Edward Walker’s Historical Discourses, with lettering verso (showing through slightly). Charles I is pictured bareheaded, in armor, holding a baton; in the background between the horse’s […]

Charles Meryon 1821-1868), La Morgue, etching, fourth state (of 7), printed in brown/black ink, Schneiderman 42 [with the inscription, date, address in the plate]. In very good condition, with margins (several nicks at margin edges, remains of prior hinging verso, tiny loss left margin edge, bottom right corner). 9 x 8 1/8 inches, the sheet 10 13/16 x 9 1/2 inches. Provenance: Sir John Day (his blindstamp recto lower left, Lugt 526) C.W. Dowdeswell, 36 Chancery Lane, London (stamp verso, Lugt 690) Arthur Hahlo and Company A fine, richly inked impression, printed on thin laid paper in a dark brown/black […]

Charles Meryon (1821-1868), La Morgue, etching, 1854, third state (of 7), printed in dark brown/black ink. References: Delteil Wright 36, Schneiderman 42. On a thin laid paper with a watermark with the initials CD. In excellent condition, hinge remains verso, with margins, image 8 3/8 x 7 1/2, the plate 9 1/8 x 8 1/8, the sheet 9 3/4 x 8 1/2 inches. A superb atmospheric impression, with extensive and selective wiping of the plate, and particularly effective inking and plate tone in the ominous clouds of smoke and the shadowy areas at the left. The richness of the lines attest to the […]

Emil Orlik (1870-1932), Am Gänsehäufel in Wien, 1911, soft-ground etching, signed and dated in pencil lower right.  In very good condition, on firm laid paper with margins, 5 1/2 x 8, the sheet 9 3/4 x 12 1/2 inches. A fine impression of this great rarity; few impressions are known to exist. Printed on a cream colored laid paper in dark brownish/black ink. In this splendid example of Orlik’s printmaking expertise,  he may have used aquatint to achieve the solid areas of print and selected wiping of the plate to achieve shading; the burr on some of the figures suggests […]

Hans Sebald Beham (1500-1550), an engraving after Beham’s Two Fools (or Fool and Foolish Woman), engraving, c 1540, a copy or impression in reverse of Pauli 215, Bartsch 213, the copy after the first state. In excellent condition, trimmed on or just outside or inside the plate mark, on old laid paper, numerous notes in pencil verso, 1 15/16 x 2 1/16 inches. A brilliant impression of this famous image, after the Beham composition. The subject matter for this print was addressed by numerous artists in the 15th and 16th centuries.  In this rendering the allusions refer to the folly […]

Jean-Emile Laboureur (1877-1943), Chez la Corsetiere, soft ground etching and drypoint, a color etching made with two plates, 1934, signed in pencil lower left, also titled and inscribed “epreuve d’essai (en couleur)” and “tire a 5 epreuves” lower margin by the artist. Reference: Sylvain Laboureur 494, first state (of 2). In excellent condition, printed on a cream wove paper with the watermark initials AMV. The full sheet with margins, 8 1/4 x 6, the sheet 11 x 8 3/4 inches, archival matting. A fine impression of the rare first state, before additional definitional lines to the mirror and other areas […]

Arthur B. Davies (1862-1928), Sea Maidens (or, Sunshine; Girls on the Beach), soft ground etching and aquatint, 1919, signed in pencil lower right. Reference: Czestochoski 79, second state (of 3). Total edition unknown but small. In generally good condition apart from a tear (repaired, now unobtrusive, see detail one below) upper center c 1″ into image, soiling verso and in margins, nicks at paper edges.  Printed in black on a green laid paper.  With margins, 8 x 11 7/8, the sheet 9 5/8 x 14 1/2 inches. A fine impression, with the several aquatint layers contrasting effectively against the greenish […]

Charles Emile Jacque (1813-1894), Petits, Petits, etching on chine colle, c. 1864 [signed in the plate upper left, also with the name of the artist and the printer (Sarazin)]. Reference: Guiffrey 187, third state (of 3). In good condition, the full sheet, 5 x 6 7/8, the sheet 12 x 16 3/4 inches, archival matting. Provenance: Alfred Beurdeley (his stamp recto lower right, Lugt 421). A fine clear impression. Although Jacque’s training as an artist was spotty, he did learn printmaking early in his career, and developed a strong reputation in the graphic arts.  In 1845 Baudelaire wrote of this […]

Henri Rivière (French, 1864-1951), Loguivy le Soir (Loguivy at Evening), 1904,Plate 7 for Le Beau Pays de Bretagne. Published by Eugène Verneau, Paris. Color lithograph. Signed in blue crayon lower right and numbered 37 [also signed in the stone]. The full sheet with full margins, 9 x 14, the sheet 19 x 23 5/8 inches. In good condition, some soft folds well outside of the image. Provenance:  ex Collection Ernest Shapiro A fine atmospheric impression, with the intentionally subdued colors effectively contrasting. Rivière was one of the most creative artists of his time – he created a form of shadow […]

Alphonse Legros (1837-1911), Un Charron (The Wheelwright), etching, c. 1890, signed in pencil lower right. Reference: Bliss 267. In good condition, printed on a cream laid paper with a flower (?) watermark, with margins, 6 x 8, the sheet 6 5/8 x 8 5/8 inches. Provenance: Frank E. Bliss (with his stamp verso, Lugt 265. Bliss was the author of a catalogue raisonne of the Legros prints). Collection of the Artist.  The following is written on the mat: “Ex library Deigton 16/12/09. The proof bought from Deighton was subsequently exchanged Legros for the proof in the artist’s Private Collection.” A […]

Richard Earlom (1743-1822), etching and roulette, mezzotint, 1776, after a drawing by Claude Lorrain (Claude Gelee), number 135 from the Original Collection of the Duke of Devonshire, 1776, published by John Boydell. [With the lettering in the plate Claude le Lorrain delin at left, the Boydell address center, R. Earlom fecit right, and below the lettering From the Original Drawing in the Collection of the Duke of Devonshire, No. 135]. In generally good condition, with margins (a stain upper right edge well away from image), printed in sepia on a laid paper with a watermark 1809, 8 1/4 x 10 […]

Harriet Lanfair (1900-1988) lithograph, c. 1935, signed in pencil on lower right margin. Printed on a very light japan paper, with margins. A proof impression, with  printers ink and creasing in irregularly trimmed margins (as characteristic of a working proof, these margin defects not affecting image), slight foxing also mostly in margins. Archival matting, 8 1/4 x 13 inches, the sheet 12 x 15 inches. A fine impression of this rarity – this is a working proof impression, and we know of no edition or other impressions of this fascinating composition that have appeared on the market. Lanfair, a California painter and printmaker (born in Pasadena, studied […]

Richard Earlom (1743-1822), etching and roulette, mezzotint, 1776, after a drawing by Claude Lorrain (Claude Gelee), number 162 from the Original Collection of the Duke of Devonshire, 1776, published by John Boydell. [With the lettering in the plate Claude le Lorrain delin at left, the Boydell address center, R. Earlom fecit right, and below the lettering From the Original Drawing in the Collection of the Duke of Devonshire, No. 162]. In generally good condition, with margins (a stain upper right edge well away from image), printed in sepia on a laid paper with a watermark 1809, 8 1/4 x 10 […]

Jerome Myers drypoint, Springtime: Immigrant Mother and Children, circa 1907, signed in pencil lower right, in good condition (soft printer’s creases lower left margin corner), on a soft cream wove paper with a shell/leaf watermark, wide margins, 7 7/8 x 5 7/8 (the sheet 17 1/4 x 11 1/2) inches, archival mounting. A fine clear impression, with a veil of plate tone, with substantial drypoint burr. Myers (1876-1940) was an actor and artist, a specialist in the American turn of the century immigrant experience, particularly those immigrants in the Lower East Side of Manhattan; this is a prototypical example of his […]

Kenneth Hayes Miller (1876-1952), Nurse and Child (or Virgin and Child), etching, c.1928, signed in pencil lower right and numbered 25 lower left.   Reference: Associated American Artists 25, from the edition of about 25, probably the second state (of 2).  Printed on a strong wove paper, watermark FRANCE. In good condition apart from moderate light stain, with margins, 6 7/8 x 5, the sheet 10 1/2 x 7 7/8 inches. A very good impression, with the lines added to the pillow at the left, and cross hatching added to the woman’s dress at the right. Hayes Miller studied at […]

Kenneth Hayes Miller (1876-1952), Nurse and Child (or Virgin and Child), etching, c.1928, signed in pencil lower right, titled Virgin and Child, signed, priced ($25) and addressed by the artist verso (Hayes Miller, 6 E. 14th Street, New York).  Reference: Associated American Artists 25. A proof impression of presumably the first state (of 2?),  in generally good condition but somewhat soiled in the margins, remains of prior hinging verso, some grease stains in margin and matrix bottom right and verso, creases in matrix (all as befitting a proof impression). On a heavy wove paper, 6 7/8 x 5, the sheet […]

George Biddle (1885-1973), Carnival in Rio No. 4, lithograph, 1947, signed and dated in pencil lower right; titled lower left [also signed and dated in the stone lower left]. Reference: Pennigar 151, only state, from the edition of 20. In good condition, with margins (remains of prior hinging verso), 10 1/2 x 11 1/4, the sheet 11 3/4 x 16 inches, not matted. Biddle signs and dates the print “Biddle 1944”  in the stone in barely visible scratches just above the pencil title.  This dating would presumably change Pennigar’s dating of the print from 1947 to 1944. Also, it might […]

Michael Goldberg (1924-2007), Cover (from Odes)– – 1961, Color Serigraph. Edition 10. Signed, dated and annotated Special Edition 2/10 in pencil. Image size 16 1/4 x 13 1/2 inches (425 x 343 mm); sheet size 19 5/8 x 14 15/16 (498 x 379 mm). A fine, painterly impression, with fresh colors, on off-white wove paper; full margins (5/16 to 2 1/4 inches), in excellent condition. Created for the Tiber Press four-volume set of poetry by Kenneth Koch, John Ashbery, Frank O’Hara, and James Schuyler, illustrated with original silkscreen prints by Alfred Leslie, Joan Mitchell, Michael Goldberg, and Grace Hartigan. The […]

Cornelis Bega (1631/32-64), The Young Hostess, c. 1660-64, etching. Reference: Hollstein, Bartsch 33, third state (of 5). With the address of J. Covens and C Mortier bottom left – before the address was removed (in the fourth state) and the artist’s signature was added (in the fifth state). In excellent condition, printed in black/grey ink on an old laid paper, with a 3/16 inch margin outside the plate mark all around, archival matting. Provenance: Ex collection Graff (with stamp verso, Lugt 1092a), LRV (with stamp verso, Lugt 1761), an unidentified collector’s stamp verso, and Dr. Karl Herveg (his stamp verso, not […]

Arthur B. Davies, Uprising, soft ground etching and aquatint on a green laid paper, 1919, signed in pencil lower right margin. Reference: Czestochowski 78, second state (of 3). In good condition, with margins (slight mat stain away from platemark); on a green laid paper. From a small edition, 6 x 9, the sheet 8.3/4  x 12 inches. A fine atmospheric impression, carefully printed in black/grey ink on old green laid paper. The first state of this print was before the aquatint; it was in soft ground etching only (the third state was printed in color by Frank Nankivell in 1924). […]

Jean-Emile Laboueur (1877-1943), La Repasseuse (The Presser), 1937, engraving and drypoint. Signed and numbered in pencil (29/67) [with the monogram bottom left]. Reference: Sylvain Laboureur 527, third state of three. In good condition, on  tan wove paper, with wide margins (remains of prior hinging verso), 9 1/4 x 7, the sheet 13 1/2 x 10 1/2 inches, archival mounting. A fine impression. Jean-Emile Laboureur traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he never officially matriculated there, he became immersed in the Parisian art scene. In […]

Arthur B. Davies (1862-1928), Dawn (or, Kneeling Figure), 1918, soft ground etching and aquatint, signed in pencil lower right. Reference: Czestochowski 59, second state (of 3). In very good condition, with margins, 11 7/8 x 7 7/8, the sheet 14 x 9 1/2 inches. Printed in black ink on a cream wove paper. A fine impression of this very strong composition. Dawn is unusual among Davies’s printed images for the great clarity and strength of the image, undergirded by the blackness of the aquatint background. At this stage of his career Davis was making a transition from explorations into the […]

Arthur B. Davies (1862-1928), Baptism (or, Group of Ten Men – One Seated), drypoint on zinc, 1917, signed in pencil , printed in black on very thin laid paper. In very good condition, cockling top and bottom margins (result of printing process), the matrix excellent, 6 3/8 x 4 1/4, the sheet 9 1/2 x 8 1/2 inches. Reference: Czestochowski 52, second state (of 2), total printing unknown but small. A fine rich impression of this great rarity (most of the other impressions are in museums), with substantial burr from the drypoint work, with platetone overall but carefully wiped to […]

Arthur B. Davies (1862-1928),  Guiding Spirit, 1918, etching, drypoint and roulette,  signed in pencil lower right. Reference: Czestochowski 55, Second state (of 2), edition of 22, 4 ¾ x 6 7/8, the sheet 8 ¾ x 11 inches.  In good condition apart from some light rust marks or paper imperfections dotting the surface. A fine impression with substantial burr from the drypoint work, wiped selectively so that the central floating figures are much lighter than the figures below or to the sides. Printed in black on a cream wove paper. A superb example of Davies’s Symbolist work as well as […]

Gerald Brockhurst (1890-1978), A Galway Peasant (also, An Irish Peasant), etching, 1920, signed in pencil lower right. Reference: Fletcher 10, from the edition of 55, third state (of 3), printed on laid paper, the full sheet, in very good condition (remains of prior hinging verso), 4 x 4 1/4, the sheet 10 1/2 x 9 inches, window mount. A fine impression, printed in greyish/black ink on ivory laid paper. Brockhurst was one of the outstanding British artists of the early 20th Century, hugely popular in the ’20’s and early ’30’s. Today he is still renowned for his poignant images of […]

Gerald Brockhurst, Elizabeth (Anais, also called the London Coster Girl), etching, 1922, signed in pencil lower right, also initialed and annotated “1st State” lower left margin corner [also signed, in reverse, in the plate lower left].  Reference: Fletcher 32, first state (of 10), 2 proofs in this state, edition of 76.  In very good condition, with inkmarks, slight soiling and fingerprints in the margins as befits an early proof impression. 7 x 5 3/8, the sheet 8 1/2 x 11 1/8; the image is 5 3/4 x 4 3/8. A very fine impression of this first state impression (there were only two proofs in this […]

Irving Wolfson (b.1899), West Street, New York City, etching and drypoint with plate tone, signed, titled and inscribed in pencil  “ed 99.” In very good condition (with only the slightest hint of any light stain) on a cream laid paper with margins, 11 7/8 x 7 7/8, the sheet 15 1/4 x 11 1/4 inches, archival mounting. A fine atmospheric impression. Wolfson here looks at downtown, facing east from West Street (which lies close to the Hudson on the lower west side of Manhattan), and of course the most famous landmark from that vantage point at the time (and perhaps still today) […]

Honore Daumier (1808-1879), Les Mannequins Politiques, lithograph, 1834. Reference: Daumier Register 96, first state (of 2), on wove paper (no lettering verso).Published in La Caricature, 11/20/1834. In good condition, slight soiling at outer edges, with wide margins,  9 1/2 x 10 1/2, the sheet 10 5/8 x 13 3/4 inches. Provenance:  ex Collection: Vouay, S. Mme (Lugt 2373c, with the red stamp lower right recto) Here is the explanation of this print, and translation,  unabashedly taken verbatim from the invaluable online Daumier Register (with my continuing indebtedness and thanks to Lilian and Dieter Noack): Two persons, the King and de […]

Adolphe Beaufrere (1876-1960), Lavoir de Kervino, 1908, etching, with the Beaufrere red estate stamp lower left recto [also signed and dated in the plate lower right]. References: Morane 08-02, Laran 35.  Printed in a dark brown ink, on a thin wove Japan paper. In very good condition, unobtrusive water stain lower left, crease lower right corner, with margins, 9 1/2 x 12, the sheet 10 1/4 x 13 1/4 inches. Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son. A fine impression of this very rare print. This impression is probably a first state working proof, before some foliage was […]

Camille Pissarro (1830-1903), Narrow Street in Rouen (Petite Rue Nationale, a Rouen), etching, drypoint, maniere grise, aquatint, 1896, signed in pencil lower right, numbered (No 6) and annotated “ep defi” (definitive proof)  lower left, titled below (and with the added annotation Z). Reference: Delteil 122, third state (of 3). In excellent condition, the full sheet with very wide margins (remains of prior hinging verso, mat staining in margins not affecting image), printed on an ivory laid paper, 6 1/2 x 5 1/8, the sheet 16 1/4 x 11 5/8 inches. There was one impression of the first state, one of […]

Kenneth Hayes Miller (1876-1952), Pause by a Window (or Waiting for the Bus), etching, 1930. Associated American Artists checklist 101. Two impressions, one of the first state, one of the second. The first is stamp/estate signed, the second pencil signed by the artist and numbered 27. In very good condition, both with wide margins, the state 1 proof with drying holes all around, on a white/cream wove paper,9 x 4 7/8, the sheet 13 x 7; state 2 on a cream/ivory wove paper, 9 x 4 7/8, the sheet 13 3/8 x 9 inches. Fine impressions of each state, the […]

George Bellows (1882-1925), Tennis (Tennis Tournament), lithograph, 1921, signed in pencil lower right, also signed and annotated by the printer Bolton Brown, imp lower left, and numbered 37. Reference: Mason 71, only state, from the edition of about 63. In very good condition, repaired tears in margins left and bottom not affecting image, with margins; 18 3/8 x 20 inches. A superb impression, printed on a thin Japan paper. A souvenir of the summers Bellows spent with his family at Middletown, Rhode Island. Emma Bellows can be seen wearing the black hat, sitting at the left.  Critics have speculated that […]

Jean-Emile Laboureur (1877-1943), Le Marché aux Fleurs ou la Rencontre, 1914, Engraving. Sylvain Laboureur 127, second state (of 2). Edition of 35. Signed, titled, and numbered 2/35 ép in pencil. Signed and dated in the plate, lower left. Image size: 11 1/8 x 13 9/16 inches (283 x 344 mm); sheet size 12 7/8 x 16 3/8 inches (327 x 416 mm). A superb impression, with rich burr and delicate overall plate tone, on cream wove paper; full margins (6/8 to 1 3/8 inches); slight light toning within the original mat opening, otherwise in excellent condition. One of Laboureur’s most […]

Jean-Emile Laboureur (1887-1943),  Le Jockey d’Epsom (Deuxieme Planche), 1913, engraving. Reference:Sylvain Laboureur 125, only state. Edition of only 30. Signed, titled, and numbered 17/30 in pencil. Initialed and dated in the plate, lower left. Image size: 8 1/4 x 8 13/16 inches (210 x 224 mm); sheet size 9 1/2 x 10 inches (241 x 254 mm). A fine impression, with rich burr throughout and delicate overall plate tone, on cream wove paper; full margins (5/8 to 3/4 inch), in excellent condition. In the “L’Express de l”Ouest” of February 18, 1914, the critic Bernesto wrote: “Cette eau-forte est une des […]

TRAVIÈS, (Traviès de Villers, Charles-Joseph) (Wülflingen, Switzerland, February 21, 1804 – Paris, August 13, 1859), Drole Politicians, c. 1845 hand painted lithograph. Published by Aubert [with signature lower left image, letters and addresses in margin below, in the plate]. In very good condition, small paper loss left margin, printed on a tan wove paper with wide margins, 10 x 7 1/2, the sheet 13 1/2 x 10 1/4 inches, archival window matting. A fine impression of this amusing portrait, skillfully hand colored; a print sur blanc (on wove paper, no lettering verso). This balding establishment figure, himself surely a member of the […]

Honore Daumier (1808-1879), lithograph (Delteil 94), published in La Caricature (November 11, 1834),  [with the inscription, address, initials in the plate]. A very good impression of this early (1834) political print. Louis-Phillipe is shown addressing 3 Republicans in the ruins of the prison at St. Michel (“Tres-bien! Tres-bien! Vous etes parfaitment conduites!”). An impression of the only state,  on heavy white wove paper without the letterpress verso (as published and inserted in the journal). The top margin is trimmed closely and roughly, outside the upper borderline but just abutting printing on top, otherwise with margins and in satisfactory condition, archival matting. […]

James Abbot McNeill Whistler (1834-1903), Gabled Roofs, lithograph, 1893. Reference: Chicago (Spink et al) 64, only state. From the lifetime edition of 12 (there was also a posthumous edition of 53 printed by Goulding in 1904). In very good condition, with margins, 7 3/4 x 6 1/4, the sheet 12 1/4 x 7 3/4 inches. Provenance: Childs Gallery, Boston, with their stamp verso, and on their mat (with their catalogue notations). A fine impression of this rare lithograph, printed on a cream laid paper with the watermark ProPatriaB (this is Spink watermark 251, one of the watermarks specified in Spink […]

Honore Daumier (1808-1879), Le Bambillon (Red Mullet; or Le Barbillon entraîne la ligne, The Fish Pulls the Line), lithograph, 1840-41, [with initials in the plate]. Reference: Daumier Register 818, second state (of 2), with the letters, Plate 4 from LA PÊCHE, in the published form in Caricature, a sur blanc impression, in very good condition, with margins, on wove paper, 8 1/4 x 6 3/8, the sheet 14 x 9 1/2 inches, archival matting. A fine clear impression. This is a sur blanc impression, printed in a small contemporaneous edition for collectors (probably 100-150 impressions only). This form of the print […]

Rudolph Ruzicka (1883-1978), A Summer Day, wood engraving, 1936, unsigned [with the initial R in the plate; the AAG logo, title, name, address stamp verso). Published by the American Artists Group. In very good condition, in the original AAG mat, the full sheet with full margins, 5 1/16 x 7 7/8 inches, the sheet 13 x 18 inches. A fine impression, still in its original mat as issued. The American Artists Group was formed in 1934, during the Great Depression, with the express purpose of providing unsigned inexpensive prints which were to be widely distributed. AAG published prints by Ganso, Spruance, Meissner, and […]

Carl Schultheiss (1885-1961), The Shepherd, engraving, 1951, signed in pencil lower right margin. In excellent condition, with prior hinging verso, on a cream wove paper, the full sheet, 7 1/2 x 4 3/4, the sheet 11 3/8 x 8 5/8 inches. Archival storage, with non-attached mylar hinging between acid free boards. A fine fresh impression. Provenance: The Print Club of Rochester Presentation Print, 1951. At the time Schultheiss was created the presentation print for the Print Club of Albany John Taylor Arms wrote of him: “His prints have a rich mellowness born of study, contemplation and understanding. Conceived in the […]

Carl Max Schultheiss (1865-1963), Off to Market, etching, 1944. Signed in pencil bottom right and numbered bottom left margin (2/50). In excellent condition, on a cream wove paper, with wide margins, 8 3/8 x 7 3/8, the sheet 11 3/4 x 10 5/8 inches, archival matting. A fine fresh impression printed in black ink. Provenance: Kennedy Galleries, Inc. (still in their mat, with their label) German-born artist Carl Schultheiss was trained classically, and his respect for the Old Masters is always evident in his work (and Off to Market is no exception; it recollects the pastoral tradition in 15th and […]

Emil Ganso (1895-1941). Little Harbor or Boats, Maine, etching and aquatint, c. 1920, not signed [signed with a copyright mark in the plate], inscribed “To Lucille”. Reference: Smith I78B. In very good condition, the matrix excellent, a couple of small spots in margins and the remains of a prior hinge verso, with margins, 10 3/8 x 14 7/8, the sheet 13 x 17 inches, window mat. A fine impression, with effective aquatint tonalities. Little Harbor, a very successful composition, was chosen as an American Artists Group print, reproduced in AAG original etchings, and also in Zink, American Artists Group Prints, 30. We do not […]

Emil Ganso (1895-1941), Studio Mirror, chiaroscuro wood engraving, 1936. Not signed [signed and dated in the block, with the backward s in Ganso and the date also reversed]. Reference: Smith R-77B, edition not stated. In very good condition, on  cream wove paper, the full sheet, 14 3/8 x 9 3/8 inches, the sheet 18 x 13 inches. Published by the American Artists Group, and in their original mat. A fine impression, printed in two colors, light and dark brown. The American Artists Group was formed in 1934, during the Great Depression, with the express purpose of providing unsigned inexpensive prints which were to […]

Honore Daumier (1808-1879), Le Trepas du Caniche, lithograph, 1840. Reference: Delteil 651. Plate 28 from Moeurs Conjugales. [initialed in the plate, and with the inscription, name of publisher, seller.] Third state of three, after removal of the address of Aubert; a sur blanc impression (no newprint verso). On cream wove paper, pale light staining overall, tear upper right and bottom margins (not affecting image), light foxing verso, mounted in acid free mats, 10 x 8, the sheet 13 1/2 x 10 inches. A very good impression. The sur blanc impressions of this print were taken apart from the large run for the […]

Honore Daumier (1808-1879), She’s Gone (Ciel! apres trois mois…), lithograph, 1841, published in Le Charivari as plate 45 in the series Moeurs Conjugales. References: Delteil 668, Daumier Register 668, Delteil’s third state of three, DR’s fourth state of four. A sur blanc impression, without letterpress verso. [With the address, inscription, number, and initials of artist in the plate] In very good condition, with wide margins, 12 1/4 x 8, the sheet 14 x 11 inches, archival matting. A fine clear and black good impression of this humourous print. Loys Delteil did not identify this state of the print, but the recently […]

Honore Daumier, The Pleasures of Fishing, lithograph, Plate 50 from the series Moeurs Conjugales, 1839-42. Reference: Daumier Register 673, Delteil 673. DR fourth state (of 4). A sur blanc impression (without newsprint verso) issued apart from the edition published in La Caricature. In very good condition, only slight traces of foxing.  With margins, 11 1/2 x 8 1/2, the sheet 12 3/4 x 8 3/4 inches, matted. A fine bright impression. The sur blanc edition was made for collectors, published on a cream wove paper (the Caricature impressions are on a lighter paper, and the newsprint can be seen through the […]

Honore Daumier (1808-1879), Une Navigation Difficile, lithograph, 1843, plate 6 from the series Les Canotiers Parisiens [with the addresses, text, and Daumier’s initials in the plate]. Reference: Daumier Register, Delteil 1028. Second state (of 3), on wove paper, sur blanc, with the address of Aubert; printed before the publication in the journal Le Charivari. In very good condition, 9 3/4 x 10 3/8, the sheet 10 x 13 1/2 inches, archival matting. A fine strong impression, printed on a heavy wove paper, before the newsprint edition (sur blanc) for the collector’s edition, which was limited to about 150 impressions. During […]

Honore Daumier (1808-1879), Jeune et Vielle Garde, 1848, lithograph. Plate 52 froma the series Tout ce que on Voudra; as published in the Album Comique. Reference: Daumier Register 1698, Delteil 1698. Second state of two, sur blanc (without the letterpress verso as it appeared in the journal Charivari). [with the initials hD and stone number 1267 in the plate] In very good condition (with only a few fox marks mostly verso not affecting image, mounted on the left side), with margins, 10 1/4 x 7 1/2, the sheet 13 x 9 inches, matted with a window mat. A fine fresh black impression […]

Hans Burgkmair (1459-1519), The White King Receiving a Message About the Defeat of the Croats, woodcut, 1514-1516.  Reference: Bartsch 80-(224) 153 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining, foxing), on old laid paper, 8 1/4 x 7 5/8, the sheet 10 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688).  Lugt notes of Liphart, a distinguished collector of old master prints, “il commence […]

Camille Pissarro (1830-1903), Femme a la Barriere (Woman at the Gate), etching and drypoint, 1889, signed in pencil with the initials CP lower right (annotated “imprime par C.P.”), annotated “No. 3, 6 etat” lower left and also titled “femme a la barriere” (largely erased) lower left. Reference: Delteil 84, sixth state (of 10). In very good condition, on a cream laid Arches paper, with a partial Arches watermark, with wide or full margins (remains of prior hinging verso), 6 7/8 x 4 1/8, the sheet 9 3/8 x 6 inches. A fine delicately printed impression, printed in brown ink. Pissarro […]

Jean-Emile Laboureur (1877-1943), Toilette– 1930, Drypoint. Sylvain Laboureur 432, Godefroy 432. Total printing only 26, in both states; 2nd state (of 2). Signed and annotated 4/15 ép. in pencil. Signed in the plate, lower left. Image size: 10 1/2 x 7 inches (267 x 178 mm); sheet size 17 5/8 x 11 inches (448 x 479 mm). A fine impression, on pale gray wove paper, with full margins (2 to 4 1/2 inches), in excellent condition. Laboureur considered Toilette, initially titled “Le Baton de Rouge or Femme a Sa Toilette, an “essai de pointe seche”; it is a very rare […]

Jean-Emile Laboureur (1887-1943), La Peche aux Crevette– 1928, Engraving. Sylvain Laboureur 375, Godefroy 375. Total printing 82 (58 in the third state); 3rd state (of 3). Signed and numbered 24/58 ep in pencil. Initialed in the plate, lower left. Image size: 5 3/8 x 4 1/8 inches (143 x 105 mm); sheet size 12 7/8 x 9 3/4 inches (327 x 248 mm). A fine impression, on cream wove paper, with full margins (2 3/4 to 4 5/8 inches); in excellent condition. One of Laboureur’s most delightful small-scale compositions, La Peche aux Crevette has been included in at least 24 […]

Emil Orlik (1870-1932), Portrait of Slevogt, etching, 1921, signed in pencil and numbered (27/100) [also signed and dated in the plate], from the presumed edition of 100. In very good condition, 3 5/8 x 3 3/4, the sheet 12 x 10 1/4 inches. A very good impression, on ivory laid paper. Max Slevogt (1866-1932), a friend of Orlik, was a leading German artist, printmaker, and illustrator. The definitive source of information on Orlik, with pictures of his prints (some for sale) and an extensive biography,  is of course the comprehensive  website produced by Allan Wolman and Anne Schneider (www.orlikprints.com).

Jean-Emile Laboureur, The Amores, plate 5 (Impotence), etching in sanguine, 1931, signed. Reference: Sylvain Laboureur 440, volume 2, page 231. The rare first state (there were six proofs of the first state, only one printed in sanguine); in the second state the etching was included as part of the book The Amores at the Golden Cockerel Press, Waltham St. Lawrence, Berkshire. In very good condition, remains of prior hinging top corners, on a cream wove paper with the watermark AMV, the full sheet with wide margins, 5 3/8 x 4, the sheet 11 x 8 3/4 inches, archival window matting. A […]

Jean-Emile Laboureur (1877-1943), Negres Americains a Saint-Nazaire, 1917-1920, engraving on cream wove paper, signed in pencil lower left, titled lower left margin edge, and numbered (4/35) and inscribed imp lower right [monogram in the plate], 6.25 x 5.06, the sheet 9.75 x 7.5 inches. Reference: Sylvain Laboureur, Godefry 180. Second state (of 2). In very good condition, with margins and archival mounting. A fine impression of this important and rare cubist-influenced engraving. One of the most popular and engaging of Laboureur’s early images of World War I, Negres Americains a Saint-Nazaire has been exhibited at at least 18 of the […]

Jean-Emile Laboureur, Anzacs, woodcut, 1918-22,  signed and numbered (7/45), the second state (of 2). Reference: Sylvain Laboureur 713. In good condition, with remains of old hinges at left margin, a fold at bottom margin edge, archival matting. Plate 10 x 5 1/2 inches, the sheet 17 x 9 1/4 inches. A clean, bright impression, made in 1918 (a few proofs printed at that time; the edition printed a bit later) just as Laboureur’s singular approach to cubism was emerging. ANZACs stands for Australian New Zealand Army Corps (in France during WWI). On laid paper, with an MBM watermark. Jean-Emile Laboureur was born in […]

Jean-Emile Laboureur (1877-, Souper a New York, etching on zinc, 1907, signed in pencil bottom left margin; also annotated “No 11/20 imp” bottom margin. Reference: Sylvain Laboureur 67, only state. [with the signature and date in the plate lower right] From the small edition of only 16 impressions. In very good condition, the full sheet with deckle edges, on cream laid Ch. Whittman paper with their watermark, 6 x 7 1/2, the sheet 9 3/4 x 13 inches; archival mounting. A fine impression, printed in a dark brown/black ink. Sylvain Laboureur notes that this print was numbered according to a proposed edition size […]

Jan-Emile Laboureur (1877-1943), Touristes en Bretagne, engraving and roulette, 1928, signed in pencil lower left; numbered (42/58) and annotated “imp.” lower right [with the initial L bottom right in the plate]. Reference: Sylvain Laboureur 376, third state (of 3). In very good condition, with wide/full margins, printed on a cream wove paper, 4 3/8 x 4 3/4, the sheet 9 1/4 x 12 1/2 inches, archival matting. A fine delicately printed impression. The natives of this small town are at the left, carrying baskets and wearing aprons and wooden shoes; the small group of tourists at the right are gazing […]

Jean-Emile Laboureur, Jeunes Filles Sur Le Port, 1920, engraving, signed in pencil [also initialed and dated in the plate]. Reference: Godefry, Sylvain Laboureur 200, second state of two. An artist’s proof apart from the edition of 85 in this state; there were about 110 impressions printed in all before the plate was cancelled. In pristine condition, the full sheet with deckle edges, 6 x 5 3/8, the sheet 11 x 9 inches, archival mounting. A fine clear impression. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but […]

Jean-Emile Laboureur (1877-1943), La Promenade Sur Le Port, 1933, engraving, signed in pencil lower left. Reference: Godefry 482, Sylvain Laboureur 482, second state (of 2); from the edition of 235 (a total of 263 were printed) printed for the Print Club of Cleveland as a Presentation Print (1935). In pristine condition, still in the original presentation mat, on a cream wove paper with full margins, 8 1/2 x 8 3/4, the sheet 13 1/2 x 12 3/4 inches. A fine impression, printed with a subtle veil of plate tone. By the mid-Thirties Laboureur was of course well known as a printmaker […]

Jean-Emile Laboureur (1877-1943) engraving La Halte des Bohemiens, 1938, signed and numbered (73/108) in pencil. References: Godefry, Sylvain Laboureur 539. Third state of three, edition of 108 in this state, about 120 in all states.  Published by the Societe de Peintres – Graveurs, and with their blindstamp lower left. In excellent condition, with full margins (tiny nick bottom margin edge); archival mounting. 12 3/4 x 11, the sheet 19 x 14 3/4 inches. A fine impression of this tour-de-force of modernist engraving. La Halte des Bohemiens is one of Laboureur’s larger plates, an ambitious undertaking for the artist who was just over […]

Jean-Emile Laboureur (1877-1943) etching and engraving Paysage au Buttes-Chaumont (2nd Planche), 1920-21, signed and numbered ( 38/55) in pencil.  Reference: Sylvain Laboureur 205. In very good condition with wide margins (remains of old hinging on margin verso, some showing through not near image).  On white wove paper, 7 7/8 x 9 1/4, the sheet 10 x 13 1/2 inches, archival matting. A fine, fresh and clear impression of this important cubist-influenced scene. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby […]

Jean-Emile Laboureur (1877-1947), Coin de Rue Dans Soho, woodcut, 1909, signed in pencil lower left and numbered (15/15) [also initials in the plate]. Reference: Sylvain Laboureur 642, Godefroy 642, second state (of 2). In very good condition, with wide margins, deckle edges left and bottom, slight traces of spotting in margin at left and bottom. 4 1/2 x 5 3/4, the sheet 8 1/2 x 11 1/2 inches. Archival mounting with window mat. A fine clear and bright impression of this early and rare woodcut. At this stage of his development Laboureur had arrived at an interesting modernist approach to the woodcut, somewhat comparable […]

Arthur B. Davies, Spring Dance (or On Willow Brook), lithograph, 1924, signed in pencil. Reference: Czestochowski 211, Price 116, only state. From the edition of 25. Printer: George C. Miller. In good condition apart from moderate light stain, remains of glue and backing from prior hinging verso. With margins, 12 x 19 1/2, the sheet 14 1/2 x 21 1/2 inches, archival mounting. A very good impression of this classic Davies composition. Provenance: Fort Worth Art Museum. This impression is the print shown in Czestochowski’s catalogue raisonne of the Davies prints. It is noted there that the impression was a “Gift […]

John Sloan ((1871-1951), Westminster Abbey, c. 1891, the complete set of13 etchings, ribbon bound with ahand-painted gilt cover [many of the etchingssignedand variously annotated in the plate]. Reference: Morse 11-23, only state. Printed byPeters Brothersand published byA. Edward Newton (1864-1940).Theetching imagematrices are in excellent condition, thefull sheets with wide margins (slight soiling and foxing near margin edges, the first (blank) page with some losses; other pages with nicks, some water stains not near images). Etchings are c. 3 1/4 x 5,the sheets 8 x 10 1/4 inches. These etchings are finelyand delicately printed in dark brown or sepia ink on […]

Clement Haupers (1900-1982), Metro 2nd Class, aquatint and etching, 1928, signed, titled, numbered (6/20), dated and inscribed “Paris.” In very good condition, slight toning and remains of prior hinging, on Van Gelder Zonen cream wove paper with margins, the full sheet, 4 x 5 3/4, the sheet 9 7/8 x 12 1/2 inches, archival mounting. A fine fresh impression, with the various aquatint tonalities contrasting vividly. A fascinating study of rush hour in a Paris Metro 2nd Class car. Haupers studied in Paris with the Cubist painter André Llote, who influenced his style and perspective. Upon completing his studies in France, […]

Paul Gavarni (1804-1866), Fashion Plates (a collection of 12), lithographs, c. 1840, as published in Le Charivari, with the letterpress verso. [Some are signed in the plate, the address of the gallery Aubert is noted, most are noted as by Gavarni] Several with customs stamps (Royal Seine) verso. In generally good condition, with folds (generally four folds per sheet, as the newspaper was folded), the full or near full sheets, the images c. 8 x 6 1/2, the sheets c. 13 1/2 x 8 1/2, unmatted, to be issued loose. Very good impressions of these fascinating fashions and models. Paul Gavarni (the […]

Emil Ganso (1895-1941), Two Nudes, 1928, wood engraving, signed in pencil lower right. Reference: Smith R-86A, First state (of 2). Edition of 5. In pristine condition, printed on a wove paper with margins, 3 3/4 x 5 1/8, the sheet 6 x 7 7/8 inches. Loose as issued, not matted. A good impression of this engraving, rare (edition of 5) before letters. In a later state this print was used as an announcement card, with these letters added: Paintings and Drawings by Emil Ganso at the Weyhe Gallery…October 22nd to November 10th, 1928. These models are picknicking, as evidenced by the […]

Emil Ganso (1895-1941), Landscape and Houses (or, Woodstock, number 3, or Country Path), c. 1928, signed in pencil lower right. Reference: Smith R-29, only state. In pristine condition, not mounted or matted, with margins, deckle edges sides and bottom, 3 7/8 x 5 3/8, the sheet 5 1/8 x 6 7/8 inches. A fine impression of this tiny wood engraving, printed in black ink on a cream wove paper with the watermark ITALY. We believe this is a relatively rare Ganso print; Smith did not know of an edition. Starting in the late ’20’s Ganso spent much of May through November […]

Emil Ganso (1895-1941), Eddyville, or Morning Stroll, 1935 (also given as 1932), wash and scratch lithograph in brown ink, signed in pencil lower right and inscribed Ed 35 lower left. Reference: Smith L 30B. In good condition, with margins (loss at upper left corner), on a chine colle on cream wove, 10 3/4 x 15 1/2, the sheet 13 5/8 x 18 1/2 inches, archival window matting. A fine impression, printed in brownish black ink. Eddyville is a superb example of Ganso’s experimental “wash and scratch” lithographic technique – one can see numerous scratches in the grassy banks in the […]

John Sloan (1871-1954) etching, James B. Moore, Esq., signed in pencil lower right and inscribed “100 proofs” lower left (although only 25 were printed). [Also signed and dated lower left, and titled upper left, in the plate.] Reference: Morse 126. Third state of three. In very good condition, on a cream wove watermarked Van Gelder-Zonen Holland paper, archival matting.  Plate size 12 x 10, picture size 11 1/4 x 9 1/4, sheet 15 x 12 1/2, with the drying holes at left and right margin edges. This paper, the characteristic drying holes, as well as the high quality of the impression, indicate that […]

John Sloan (1871-1951), Romany Marye in Christopher Street, 1922, etching, signed in pencil lower right, titled, dated and inscribed 100 proofs bottom margin. Reference: Morse 278, seventh state (of 7), from the edition of 52 impressions, all printed by Charles White. In very good condition, with barely visible light toning, printed on a cream laid paper with margins (small loss upper left margin edge), 6 x 8 inches, the sheet 8 1/4 x 10 3/8 inches, archival mounting. A fine rich atmospheric impression, printed with a plate tone overall which heightens the sense that this is a night scene. Although Sloan […]

Jan Matulka (1890-1972), Spanish Woman with Guitar, lithograph, 1925, an unsigned proof impression. Reference: Flint 13, only a few impressions known. In generally good condition except for faint soiling or spotting, trimmed near the margin at left, just outside the margin right and bottom, and well above the margin (although unevenly) top. 13 3/4 x 11 5/8, the sheet 15 x 11 3/4 (approx.) inches, archival window mat. A very good strong impression of this rarity, printed on a cream wove paper. The inky borders and irregular trimming (as well as the lack of signature) are characteristic of Matulka’s proof printing. […]

Jan Matulka (1890-1972), Maine, lithograph, c. 1925, an unsigned proof impression. Reference: Flint 25, only a few impressions known. In generally good condition, with the inky and oily margins and irregular trimming (as well as the lack of signature) characteristic of Matulka’s proof printing. 11 1/2 x 14 3/8, the sheet 12 1/2 x 19, archival matting. A good strong impression of this rarely encountered print (no edition was published), printed on a cream wove paper. Provenance: ex Collection Sylvan Cole Born in Prague, Czechoslovakia, in 1890, Jan Matulka became a leading American modernist working at the same time as Lozowick to develop the […]

Jean-Emile Laboureur (1877-1943), Le Tir Forain, engraving, 1920-21, signed in pencil lower left, titled lower left, and numbered 10//85 lower right, also annotated “imp.” [also with the monogram and date 1920 in the plate upper right]. Reference: Godefroy, Laboureur 191. Fourth state (of 4), total lifetime edition of 108 including all states. Posthumous impressions were taken in 1988, which are clearly stamped and identified. The plate has been cancelled. In very good condition, on an ivory laid paper with a double MBM watermark; the full sheet with wide margins (very slight toning, remains of prior hinging verso), 10 1/2 x 9, the sheet 15 1/2 […]

  James Whistler (1834-1903), La Marchande de moutarde – The Mustard Merchant 1858,  etching and drypoint on cream laid paper (with a partial script watermark).  Reference: Kennedy 22, first state (of five); Glasgow 20 (Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) first state (of 5). Lochnan 24. In very good condition, with wide margins: 6 ¼ x 3 1/2; the sheet 9 1/8 x 7 ¼ inches. A very fine impression of the extremely rare first state of five, printing with rich tone; before the […]

Honore Daumier 1808-1879), Ah Tu Trouves…, lithograph, 1841 [with initials in the plate, other annotation: Chez Aubert, gal. Véro-Dodat lower center Se vend chez Bauger & Cie Editeurs… lower right Imp. d’Aubert & Cie]. Reference: Daumier Register 661, second state (of 3), before the erasure of the address. Published in Le Charivari. Plate 38 from Moeurs Conjugales. In good condition, with margins (spotting in margins) 9 x 12, the sheet 13 1/2 x 10 1/8 inches, archival matting. A very good black sur blanc impression.  The sur blanc impressions were printed in a limited edition apart from the large newsprint edition, for collectors, on […]

Honore Daumier (1808-1879),  UNE DEMANDE EN SÉPARATION (A Divorce Case), lithograph, 1845. Reference: Daumier Register, second state (of 2, with letters [initials in the plate]), Plate 40 of Les Beaux Jours de la Vie, published in Le Charivari, 8 7/8 x 9 1/4, the sheet 14 1/2 x 9 3/4 inches. In good condition, slight paper toning, horizontal fold. A fine strong and clear impression of this iconic Daumier lawyer image, as published in Le Charivari, with the letterpress verso. Here, as quoted from the Daumier Register is the translation: Original Text: UNE DEMANDE EN SÉPARATION. – Mon client n’est […]

Theodore Roussel (1847-1926), The Sleeping Model or The Sleeper, etching and drypoint with additional pencil coloring, signed on the tab and inscribed “imp”, also inscribed “to Hetty” and initialed verso. Reference: Hausberg 145, an undescribed third state (of 5), colored by the artist in pencil, in very good condition, on antique laid paper trimmed to the plate mark by the artist with the tab left for the signature, 5 1/8 x 7 inches, archival mounting. A fine impression of a proof before the addition of lines on the couch and background, shading near the model’s fingers, and the addition of aquatint for […]

Theodore Roussel (1847-1926), The Street, Chelsea Embankment, etching, 1888-9, signed in pencil on the tab and annotated “imp” [also signed lower left in the plate]. Reference: Hausberg 26, only state, about 40 impressions printed.  In good condition (tiny repaired tear upper margin, trimmed by the artist at the platemark leaving a tab for the signature), 5 7/8 x 8 1/4 inches.  Printed in brownish/black ink on an old laid paper, archival mounting. A fine atmospheric impression, printed by the artist with an overall veil of plate tone. Roussel was a student and admirer of Whistler, and, like Whistler, he printed his […]

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate).  Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, […]

Jules Pascin (1885-1930), Comparaison (Nude Bathers), 1929, drypoint and aquatint, signed in pencil and numbered (99/253). Reference: Hemin 162 (p. 133). In good condition with full margins, slight light stain, on cream wove paper, 7 1/4 x 7, the sheet 16 1/2 x 13 inches. The plate for this print was not cut squarely, so the top margin is angled; also, at the right of the plate one can see a watery line within the platemark where the plate was not completely bitten by acid. A very good impression of this rather idiosycratic print.  The voluminous nudes, and light virtuoso drypoint […]

George Biddle (1885-1973), Goat Herder’s Wife, 1928, lithograph, signed in pencil lower right and titled and numbered (64/100) in pencil lower left margin [with the inscription “Biddle/1928” in the plate lower right] Reference: Pennigar 82, Trotter 48. Printed by George C. Miller. From the edition of 100. In excellent condition, on Rives cream wove paper, with full margins (tiny nick upper right edge); 9 1/2 x 13, the sheet 16 x 18 1/2 inches. Archival mounting (unattached mylar hinging between acid free boards, glassine cover). A fine clear impression, in pristine condition. After Groton, Harvard College and Harvard Law (and several breakdowns) […]

George Biddle (1885-1973), The Expectant Thistles, 1928, lithograph, signed and dated in pencil lower right, titled and numbered in pencil lower left [also inscribed in the plate lower left Biddle/1928/46]. References: Pennigar 80, Trotter 46, only state, from the edition of 100. Printed by George C. Miller. On cream wove Rives paper, the full sheet with deckle edges, in pristine condition (never framed or matted), 7 x 11 1/4, the sheet 11 1/2 x 15 3/4 inches. Archival mounting (mylar unattached hinging between acid free mats, glassine cover). A fine fresh impression; a good example of Biddle’s technique of scratching and sanding the […]

Hans Sebald Beham (1500-1550), Virgin and Child with the Pear, engraving, 1520. Initials monogram and date in the plate. References: Bartsch 18, Pauli, Hollstein 19. First state (of two). In good condition, on old laid paper with thread margins on three sides, trimmed on the platemark bottom right and bottom, and archival mounting.  h: 4.5 x w: 3 in / h: 11.4 x w: 7.6 cm A very good impression of this rarity. Hollstein indicates that earlier impressions, such as this one, do not have a scratch above the head of the Virgin. Beham was one of the Northern Renaissance […]

James Whistler (1830-1903), Battersea Morn (also Battersea Dawn),  drypoint, 1875, Kennedy 155, signed in pencil with the butterfly and inscribed “imp”. Kennedy 155, first state (of 4), Glasgow 174, first state (of 5). On laid paper with a Coat of Arms watermark, also signed in the plate with a faint butterfly upper right, with full margins, in good condition apart from a few slight fox marks and light soiling in the margins, a tiny printer’s crease in the right edge, hinge stains and small related creases in the upper corners verso, 5 3/4 x 8 7/8 (sheet 8 x 13) […]

Tod Lindemuth (1885-1956), The Runway (Provincetown), color woodcut, 1917, signed in pencil lower right, titled and numbered (67/100; possibly later, see below)  lower left. On medium weight Japan paper, in very good condition, with margins (slight evidence of yellowing here and there, the slightest marginal light staining), the full sheet with deckle edges, 14 3/8 x 11 1/8, the sheet 18 x 15 1/2 inches, archival mounting with window mat. A fine, carefully printed impression of this important – and rare – American early modernist woodcut. Although the print is annotated with a number, we believe this is probably not evidence of […]

Reginald Marsh (1898-1954), Irving Place Burlesque (#2), etching, 1928, signed in pencil lower right by Felicia Meyer Marsh, numbered (21) lower left margin, also with the initials RW lower left. Reference: Sasowsky 49, a proof impression of the 7th state (of 8). In good condition with margins, with characteristics of a Marsh proof, i.e., some inky fingerprints in margins, trimmed irregularly especially at left margin edge, printer’s creases. On an ivory laid paper, 7 x 10 3/4, the sheet 9 3/4 x 13 1/4 inches. A very good impression, before engraving and additional work darkening composition. Apparently Marsh experimented with burnishing […]

Reginald Marsh (1898-1954), Switch Engines, Erie Yards, Jersey City, Stone No. 3, lithograph, 1948, signed in pencil lower right. Reference: Sasowsky 30, only state, from the edition of 253 as published by the Print Club of Cleveland. In very good condition, slight spotting verso, 9 x 13, the sheet 13 x 16 3/4 inches. A fine fresh impression, in its original mat with the inscription on the mat of the Print Club of Cleveland, with its stamp verso, printed on a cream wove paper, the full sheet with deckle edges. Marsh made two earlier versions of this lithograph, which he […]

Reginald Marsh (1898-1954), St. Jean de Luz, lithograph, c. 1928, signed in pencil lower right and inscribed “40 proofs” lower left [also signed in the plate lower left], printed on a chine colle. In good condition, the full sheet with full margins (slight soiling, nicks, handling folds in margins, remains of prior hinging verso). 8 1/4 x 12 5/8, the sheet 12 3/4 x 19 1/4 inches, archival matting. A good strong impression. Provenance: Estate of Ernest Shapiro In this marvelous display of draftsmanship, Marsh draws a fierce storm, with a fiery sky and a group of people trying to get onto […]

Reginald Marsh (1898-1954), Loco-Erie Watering, 1929, etching, signed in pencil lower right, and numbered (16) lower left. Reference: Sasowsky 85, fourth state (of 4). On Whatman paper. In very good condition (apart from two hinging stains verso showing through top margin just into plate mark, some printers ink and soiling in margins), with margins, 7 x 9 7/8, the sheet 8 1/4 x 11 7/8 inches. Archival matting (acid free hinging and board, window mat, glassine cover). A fine clear black impression. Provenance: Kennedy Galleries, New York, and with their label and annotations still on mat. Marsh (obviously) printed this […]

Reginald Marsh (1898-1954), Fan Dance at Jimmy Kelly’s, etching, 1936, signed and inscribed 50 proofs (only 24 known printed) [also with the initials and date in the plate lower left]. Reference: Sasowsky 161, third state (of 3). In very good condition, with wide margins, on Rives cream wove paper (with the Rives watermark). 6 x5, the sheet 9 1/2 x 7 inches. Archival mounting. A fine, delicately printed impression. Fandance was printed in three states; the design was essentially complete in the first state and small changes were made for the second and third states. Two proofs were made of […]

Reginald Marsh (1898-1954), Tank Car Rail, 1929, etching, signed lower right and numbered 15 lower left margin [also signed and dated in the plate]. Reference: Sasowsky 86, fifth state (of 5). In very good condition, on cream laid paper with margins, 6 x 8 3/4, the sheet 8 1/8 x 11 inches, archival mounting. A fine impression of this rarely seen image. Marsh printed this personally, and worked on the plate extensively after creating areas of foul biting in the first state (foul biting occurs when acid gets through the etching ground and creates tiny holes in the plate, and resulting spots […]

John Sloan (1871-1951), Subway Stairs, etching, 1926, signed, titled and inscribed “working proof 1;” also with the notation “JS imp” in pencil bottom margin [with the name and date in the plate].  Reference: Morse 221, third state (of 7). There was an edition in the seventh state, 60 printed. In very good condition, on ivory laid paper with margins (the slightest toning toward the margin edges). 6 7/8 x 5, the sheet 8 1/2 x 7 1/2 inches. Archival mounting, with acid free board, window mat. A fine early state proof impression of one of Sloan’s most alluring subjects. In this third state […]

John Sloan etching Schuylkill River, 1894, signed, titled, annotated “100 proofs” [only 25 were printed], also signed by the printer “Peter Platt imp’ in pencil lower left margin.  From the edition (of 25) all printed by Peter Platt.  Morse 60, only state. Provenance: ex. coll. VO and MP Potamkin Collection; Kraushaar Galleries. A fine impression, with plate tone.  On a tan wove paper with a partial crest and fleur de lys watermark, with margins, in good condition, a tiny nick right edge, slightest browning toward outer margin edges, 8 1/4 x 5  1/4 (the sheet 12 1/2 x 10) inches, archival […]

John Sloan (1871-1951), “Up the Line, Miss?”, etching, 1930, signed, titled and inscribed 100 proofs [also signed in the plate]. Reference: Morse 243, fifth state (of 5). In excellent condition, with full margins (slightly irregular lower edge, typical for the older paper favored by this printer, see note below). On an old laid paper with a circles in shield watermark. 5 1/2 x 7, the sheet 9 1/2 x 12 inches. Archival mounting. A fine impression. Only 80 impressions of the edition were printed. This impression is printed on an old laid paper, of the sort the printer and artist Ernst […]

Jerome Myers (1867-1940), On Rivington Street, c. 1910, colored etching, signed in pencil lower right. In very good condition, with margins, 6 1/4 x 7 3/4, the sheet 9 1/4 x 10 3/8 inches, printed on a cream wove paper, archival matting. A fine impression of this rarely encountered print, with the colors fresh, printed in brown, red, yellow, orange, two shades of green.  This print shows no signs of having been editioned. Myers printed his color prints personally, using different plates for the coloring. Myers’s artistry, and printing skill, are apparent here – one can discern that the various plates used for the coloring were not […]

Jerome Myers (1867-1940), Children in Mulberry Street, c. 1910, soft ground etching and plate tone, signed in pencil lower right. In good condition (apart from weakening at platemark left), with full margins, on a cream laid paper, 8 1/8 x 10 1/2, the sheet 12 x 18 7/8 inches, archival mounting. A fine fresh impression of this great rarity. This is a sketch pad, using the print medium (a la Rembrandt). The figure at the upper left is apparently a drawing, or at least the same figure, as Myers used in another etching called Conversation, two women on a bench […]

Jean-Emile Laboureur (1877-1943), La Receveuse, engraving, 1919-1920, signed in pencil lower left, numbered (2/38) lower right and annotated ”imp” [also with initials and the date 1918 in the plate (Godefry’s notes indicate that the plate was finished in 1919)]. Reference: Godefroy 190, Sylvain Laboureur 190, second state (of 2). In very good condition, the full sheet, printed on a cream wove paper with deckle edges, 7 7/8 x 5 7/8, the sheet 11 1/2 x 10 inches, archival mounting. A fine impression of this Cubist portrait. Here Laboureur uses the engraving technique which produces straight or regularly curved sharp lines, well […]

Jean-Emile Laboureur (1877-1943), La Cabaretiere Obese, engraving, 1917, signed in pencil lower left and numbered 7/8 lower right, also inscribed imp. Reference: Sylvain Laboureur, Godefry 172, first state (of 2). There was a trial proof and eight impressions of the first state, made in 1917; then in 1921 an edition of 45 in the second state. In very good condition, on greenish/ivory laid paper, with an elaborate Crown with the initials MBM watermark, with margins, 7 1/2 x 6 3/4, the sheet 8 7/8 x 7 1/2, archival matting. A fine impression, still with wiping marks and plate tone, especially on […]

John Sloan (1871-1951), Nude on Stairs, etching, 1930, signed in pencil lower right margin, titled in pencil center, inscribed “100 proofs” lower left [also signed in the plate lower left]. Reference: Morse 241, ninth (published) state (of 9). In very good condition, the full sheet with margins (slightest toning in margins), printed in black on a cream wove paper, 9 7/8 x 8, the sheet 14 1/2 x 11 1/2 inches, archival matting. A superb impression, printing very black and clear. Provenance: Collection unknown collector, stamp SN in a circle verso (not located in Lugt) At this point in his […]

James McBey (1883-1959), Ransdorp, etching, 1910, signed in ink bottom right margin and numbered XXXVI bottom left [also signed, titled and dated 29 Aug. 1910 in the plate]. Reference: Hardie and Carter 75, only state, edition of 41, 4 7/8 x 8 15/16, the sheet 9 1/4 x 11 1/2 inches. Printed on old laid paper, with wide margins, a deckle edge bottom and sides. In very good condition, slight soiling in margins, a touch of light tone, archival mounting. A fine impression, with a veil of plate tone on the area of water in the foreground. At the age […]

James McBey (1883-1959), Laguna Veneta, 1926, etching, signed in ink bottom right and inscribed “Trial proof IX” bottom left margins. Reference: Hardie 227. One of 11 trial proofs before the edition of 80. In very good condition, with margins (slight mat staining upper margin well above plate line, trimmed irregularly bottom with a loss away from image). On fine laid paper with an elaborate initials (IHS?) watermark. Archival mounting. 7 x 15, the sheet 9 1/2 x 16 1/2 inches. A fine impression, with plate tone especially toward the left in the water and sky, printed in a dark brown ink. This is one of […]

James McNeill Whistler (1830-1903), Lagoon: Noon, etching and drypoint, 1879-1880, signed with the butterfly and inscribed “imp” on the tab [also signed with the butterfly in the plate lower left]. Reference: Glasgow 209, third state (of 3), Kennedy 216, third state (of 3); Lochnan 231, 4 7/8 x 7 7/8 inches. A fine impression with very little plate tone, and printed with extraordinary attention to the etching and drypoint details. The printed butterfly, usually only barely visible, is clearly defined in this impression (see detail below).  Kennedy mades special note that an impression like this, with the clearly visible butterfly, […]

Jan Matulka (1890-1972), Three-Quarter View of Nude Bathing Seated Near Lamp, lithograph, 1925, signed and dated in pencil lower right. Reference: Flint 9. Edition: only a few impressions known. On cream laid Japan paper. In good condition, with wide margins at top and bottom, narrow margins on sides, 11 1/2 x 9 7/8, the sheet 17 x 10 3/4 inches, archival mounting. A fine impression of this important – and rare – Matulka lithograph. This proof impression shows evidence of printing by the artist himself since there is substantial inking in the margins and outside of the image itself; also it […]

James Whistler (1834-1903), The Mill, 1889, etching and drypoint, signed in pencil with the butterfly on the tab and inscribed “imp”, and inscribed “first state” (twice) and annotated “Wunderlich” and signed again with the butterfly verso.  Reference: Kennedy 413, first state (of 5). Glasgow 457, second state (of 6; see discussion below) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011) On laid paper, in very good condition, trimmed just outside of the platemark all around except for the tab by the artist, 6 1/4 x […]

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192). A very good impression, with bright contrasts and strong burr from the drypoint, on laid Japan with margins. Ex. coll: Estate of June W. Schuster; Mrs David Steinmetz III. In good condition, with margins (pale light and mat stain in margins, minor soiling at the bottom left margin corner), 9 3/8 x 6 5/8 (the sheet 13 x 9) inches. This is from the Minne series, a group of prints made by Villon in 1907, […]

Isabel Bishop (1902-1988), Putting on the Coat, etching, 1943, signed in pencil lower right and titled (Putting on Coat (front)) lower left margins. Reference: Teller 31. In excellent condition, printed on cream wove paper, with margins, 5 7/8 x 3 7/8, the sheet 7 5/8 x 4 5/8 inches, archival mounting with window mount. A fine atmospheric proof impression, before the edition printed decades later and before the corners of the plate were burnished (and thus with a platemark set in strong relief), printed with a light veil of plate tone. Provenance: Associated American Artists, with a copy of their […]

Hermine David, drypoint and engraving Boxing Match, circa 1927, signed and numbered (4/10) in pencil, lower margin. Reference: Jean Adhemar, Inventaire Bibliotheque Nationale #12. In excellent condition, with full margins (some staining top margin near edge) (8 1/4 x 9 1/2, the sheet 12 3/4 x 16 1/4 inches), on BFK Rives cream wove paper, archival mounting. A fine impression, with the burr from the drypoint giving the composition an atmospheric quality, while at the same time the drypoint is used to convey even the finest details of the many figures. Hermine David (1886-1970) studied at the Ecole des Beaux Arts from the […]

Hermine David (1886-1970) La Corrida, etching and drypoint, 1929,  signed and numbered (20/100) in pencil (Inventaire Bibliotheque Nationale de France #22).  From Trois Plates au Nouvel Essor. On a medium weight cream wove paper, in very good condition with only the slightest trace of light stain, the matrix perfect, with wide margins, 10 x 11 3/4, the sheet 14 x 18 inches, archival acid free matting. A fine, bright impression, with substantial burr from the drypoint and engraving work. Hermine David was an established artist in Paris from about 1905 onward, even before she met Jules Pascin (in 1907), who she […]

Gerald Brockhurst, L’Eventail (The Fan), etching, 1926, signed in pencil, from the edition of 76. Reference: Fletcher 22, Wright 22. In good condition, on cream laid paper with margins (a thin spot inherent in paper lower margin near edge), the matrix pristine, archival matting. A fine impression of this small but impressive demonstration of Brockhurst’s mastery of etching. The woman carrying the fan is of course Brockhurst’s favorite model, at least at this time, his wife Anais. She wears an embroidered coat which allows Brockhurst to display his capacity to capture complex textures with the etching needle – much as his […]

Gerald Leslie Brockhurst (1891-1978), Aglaia, etching, 1926, signed in pencil lower right [also signed in reverse in the plate]. Reference: Fletcher 54, ninth state (of 9), from the edition of 106.  In very good condition apart from slight light toning, with wide margins, 5 x 3 1/2, the sheet 11 x 8 1/4 inches, archival window matting. A fine delicately printed impression, printed in a blackish/grey ink, on an ivory wove paper. Aglaia was the Greek goddess of beauty, splendour, glory, magnificence and adornment. She was the youngest and most beautiful of the Three Graces, the sisters who typically appear dancing in a circle (the others […]

Franz Edmund Weirotter (1730-1771), Paysages (Landscapes), 1759, complete set of 6 (4 are illustrated on this site), [signed in the plates lower right Weirotter sc, and also signed and dated in the images upper left; plate one with the title and inscription “Dessines et engraves apre nature par Weyrotter”]. Reference: Nagler 22. In generally good condition, with full margins (stains and spotting in margins away from images, browning at edges, plate 5 with an unobtrusive printer’s crease and thin area outside of image, plate 1 with a stain bottom edge well away from image). Platemarks app. 7 x 9 1/2, […]

Hans Burgkmair (1459-1519), The Old White King Warning His Son Not to Trust the Flemish Party, woodcut, 1514-1516.  Reference: Bartsch 80-(224) 62 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink top and bottom margin, some slight staining, foxing), on old laid paper, 8 3/4 x 7 5/8, the sheet 10 1/2 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688).  Lugt notes of Liphart, a distinguished collector of old […]

Hans Burgkmair (1459-1519), The Alliance of the Four Kings, woodcut, 1514-1516.  Reference: Bartsch 80-(224) 183 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining), on old laid paper,  8 3/4 x 7 3/4, the sheet 10 1/4 x 8 3/8 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688).  Lugt notes of Liphart, a distinguished collector of old master prints, “il commence par l’oeuvre de Ridinger et par […]

Jean-Emile Laboureur (1877-1943), engraving, 1925, signed in pencil lower left, numbered 53/65 lower right and annotated imp. Reference: Laboueur 300, third state (of 3), from the total of about 69 lifetime proofs (there was also a posthumous edition). In very good condition, minor handling folds at margin edges; with wide/full margins, on a cream wove paper, archival mounting with window mat, 7 1/4 x 7 5/8, the sheet 9 3/4 x 12 3/4 inches. A fine fresh impression. Laboureur created Pecheurs au Carrelet in engraving, a technique which  provided sharp and exact lines complimenting his personal interpretation of cubism; as is […]

Jean-Emile Laboureur, engraving La Boutique du Cremier, 1937, signed and numbered 5/110, from the edition of 110 in this state (only a few proofs were made in a first state).  Reference: Godefry, Sylvain Laboureur 526, second state of two. With the blindstamp of the Société des Peintres-Graveurs Français (Lugt 1195a). In very fine condition, with full margins, 6 1/4 x 5 1/4, the sheet 10 1/2 x 7 1/2 inches, archival mounting. A fine impression of this late 1930’s cubist/modernist composition. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at […]

Jean-Emile Laboureur (1877-1943), Le Policeman, Londres, 1913, etching on zinc. Signed lower left in pencil [also with the signature and date in the plate]. Reference: Godefroy, Sylvain Laboureur 119, only state, a proof impression apart from the edition of only 14 lifetime impressions (Laboureur calls for one trial impression). In good condition, with the deckle edges, on ivory laid paper with the watermark A Parbeauf. 7 15/16 x 10 1/4, the sheet 9 x 12 3/8 inches, archival matting with non-attached mylar hinging. A very good impression of this rare print, printed with a light veil of plate tone Le Policeman […]

Jean-Emile Laboureur (1877-1943), Le Chapeau de Velours, etching, 1914, signed in pencil lower left and numbered (17/30) lower right [also signed and dated in the plate upper right]. Reference: Godefroy, Sylvain Laboureur 128, only state. In very good condition, with margins (small thin areas verso toward corners), 8 x 6 1/4, the sheet 9 3/4 x 8 3/8 inches. Archival matting. A fine impression, printed with plate tone on an ivory wove paper. Le Chapeau is a markedly modernist print, done as Laboureur was immersed in developing the unique approach to cubism that represented a break from the more conventional aesthetic of his […]

Jean-Emile Laboureur, Lassitude, 1912, woodcut, signed and numbered (24/35) in pencil. Reference: Sylvain Laboureur 682, third state (of 3). From the edition of about 35, published by Frequet, in very good condition, with wide margins, deckle edges right and bottom, a pinhole left and right margins, 9 1/2 x 10 1/8, the sheet 12 3/4 x 14 3/4 inches. A fine impression of one of Laboureur’s most famous images; the colors fresh. Although Laboureur’s own notes indicated that there were three states of this print (a few proofs inearly states) his later notes for an exhibition of his work (in […]

Reginald Marsh (1898-1954), Girl Standing – Repeated, engraving, 1943, signed in pencil lower right and inscribed: “& Hoppe”.  Reference: Sasowsky 224, only state, no edition or printing numbers known. In very good condition, with wide margins (remains of prior hinging at upper corners verso, repaired tear upper left edge well away from image), printed on wove paper, 6 1/2 x 4 3/16, the sheet 9 5/8 x 6 inches, archival matting. A fine impression of this great rarity, printed with plate tone. Provenance: Estate of Ernest Shapiro This unusual print is apparently the result of a session with the engraver William Hoppe […]

Reginald Marsh (1898-1954), East Tenth Street Jungle, 1934, etching, signed and annotated “Second Proof, First State”, in pencil [also initialed and dated in the plate]. Reference: Sasowsky 154, first state of 4. In very good condition, with margins, mat stain in margins outside of platemark, remains of glue from prior hinging upper margin corners recto, some pencil notations lower margin. Size: 8 x 12, the sheet 10 x 13 3/4 inches, archival matting. A fine, delicately printed trial proof impression. This is one of the two first state impressions, with the composition completed but before shading in the wall at left, […]

Pablo Picasso (1881-1973), Le Couple, 1951, drypoint on chine volant, signed lower right margin and numbered (5/XI) lower left margin. References: Bloch 690, Baer 889. Presumably an impression of Baer’s 889 Bb before the edition of 400 included in the book Dons des Feminines. 8 1/2 x 6 5/8, the sheet 19 1/5 x 12 3/4 inches. In good condition except for extensive rippling in the (very wide) margins, probably resulting from the process of printing on this paper (not affecting the image), a printer’s crease at right, a reinforced thin spot verso in the margin. Full margins with archival […]

Emil Orlik (1870-1932), Die Loge im Gaite Montparnasse (Paris), drypoint, etching and soft ground, 1911, signed and numbered in pencil lower right, for the portfolio Zuschauer und Zuhorer (Listening and Watching), in very good condition, on an orange chine colle paper, 5 x 7 1/2, the (backing) sheet 8 3/4 x 11 5/8. A fine impression. Orlik captures the intense interest of each of these nine spectators, sitting and standing in the Loge at the Gaity in Montparnasse. Orlik visited Paris often, getting to know artists including Vallotton, Toulouse-Lautrec, Pissarro and Renoir.  And of course one of his great interests was the theatre […]

Erich Heckel (1883-1970), Antwerp, drypoint, 1914, signed and dated in pencil lower right margin. Reference: Dube 123. In excellent condition, the full sheet on a cream/ivory wove paper, 12 1/2 x 7 3/4, the sheet 18 1/4 x 13 1/4 inches, archival matting. A fine fresh impression, printed in black ink on a cream/ivory paper with substantial plate tone and strong burr from the drypoint work. Erich Heckel was born in Saxony in 1883. He studied architecture at the Technical College in Dresden where he met Kirchner and was a founding member of Die Brücke in 1905. Heckel moved to Berlin in […]

Emil Ganso (1895-1941), Halberstadt III, 1929, etching, aquatint, soft-ground etching, roulette, signed in pencil lower right,and numbered 13/35 lower left; also titled lower center. Reference: Smith I 59, second state (of 2), from the edition of 35. In very good condition, with some printer’s fingerprints in the margin edges, on a sturdy ivory wove paper with margins, 9 13/16 x 11 15/16, the sheet 11 x 15 inches, matted. A fine atmospheric impression. Provenance: Weyhe Gallery, still in their original worn mat, with their cataloguing annotations. Weyhe, one of the oldest and most distinguished Madison Avenue New York dealers, was Ganso’s dealer. Halberstadt […]

Edmund Blampied (1886-1966), Loading Vraic St. Malo, drypoint, c. 1926, signed in pencil lower right margin and numbered 50/100 lower left. Reference: Appleby 122. In very good condition, with margins, on an ivory laid paper; 6 7/8 x 10, the sheet 10 x 15 1/2 inches, archival mounting. A fine impression, with substantial burr from the drypoint work. Provenance: Collection: Albert M. Bender; San Francisco Museum of Modern Art; sold at Christie’s New York to benefit the SFMMA. The medieval city of St. Malo is a ferry’s trip from Jersey, and we can see the walled city with the spire […]

Charles Dufresne (1876-1938), Une Escale au Brasil (A Stopover in Brazil), etching and drypoint, c. 1920, signed in pencil lower right margin and inscribed “epreuve de artist” lower left. Reference: Thomas Dufresne 35. Edition of only 25. In very good condition, with full margins on a cream wove paper, with the watermark Van Gelder Zonen and also Alfred Porcabeuf (?), 9 1/8 x 12, the sheet 12 1/2 x 18 inches, archival matting. A fine impression of this artist’s proof, printed in black ink. Dufresne used techniques beyond etching and drypoint here, perhaps softground etching and a piercing tool too […]

Arthur B. Davies (1862-1928), Against Green (also Three Figure Composition, Figures Against Green), soft ground etching and aquatint, 1918, signed in pencil lower right; also titled lower margin “Figures Against Green.” Reference: Czestochowski 58, fifth state (of 6). From an edition of unknown size, but according to Czestochowski “unknown but small.” In generally good condition, the matrix in very good condition, oil and slight light staining in margins and verso, remains of prior hinging, archival matting. Printed on an ivory laid paper, with margins, 7 13/16 x 11 7/8, the sheet 10 x 14 3/8 inches. A fine strong impression, with […]

Adriaen Van Ostade (1610-1685) etching The Anglers, circa 1647, Godefry 26, Bartsch 26. Very good condition, with small (1/2 inch) margins, on cream laid paper, archival mounting. 4 1/2 x 6 5/8 inches. A fine, rich impression of the sixth state of seven. This state appears identical to Godefry’s fifth state, but the borderline appears a bit stronger than that pictured in Godefry, so we’ve taken a conservative position and assigned it as sixth state. But the horizontal lines in the sky upper right are printing quite well as in the earlier states, and the inking is quite rich and […]

Adolphe-Marie Beaufrere (1876-1960), Aux Approches de Madrid (also Aux Abords de la Ville), drypoint, 1927, signed and numbered (14/55), from the edition of 55, with the blindstamp of Sagot, publisher (Lugt 2254). Reference: Morane 27-19. In good condition, on very thin cream Japan paper, 6 1/2 x 9, the sheet 8 3/8 x 11 1/4 inches, archival matting. A fine impression, with the drypoint burr extremely rich and effective (due in part to the use of a Japan paper, which tends to diffuse the ink surrounding the drypoint lines). Beaufrere was born at Quimperle, in Brittany, and though he traveled widely he […]

Jacques Villon (1875-1963), two drypoints, 1905, (Ginestet and Pouillion E156) each signed in pencil: an impression of the final state (third state of three) printed in bistre, with lettering (Adresse Sagot); and an impression of the second state (of 3), before lettering, printed in sanguine. Both in very good condition: impression in bistre on cream wove with wide margins; impression in sanguine with wide margins, on laid paper, with very pale time staining in upper right sheet edge, minor surface soiling. Image: 9 1/2 x 8 1/2 inches (sheets: 12 1/2 x 10, 14 x 10), archival mounting. Both fine […]

Jacques Callot (1592-1635), Le Combat a La Barriere (The Combat at the Barrier), 1627, etchings, the complete set of 10, including the title plate and the nine etchings. Reference: Lieure 575-584. In very good condition, on old laid papers with thread margins (occasionally trimmed on the platemark); two with center folds, occasional stains or soiling), the title 6 x 4 3/8, the plates approximately 6 1/8 -6 3/16 x 8 11/16 – 9 9/16 inches. A fine, uniform early set, before the posthumous Fagnani printing, in only states except: L. 575 in state 2 (of 3) [Lieure notes that state one is extremely rare]; […]

Jacques Villon (1875-1963),  La Parisienne (tournee a gauche, petite planche), 1904, etching and aquatint in color (black, brown, red), signed  and dated (’04) in pencil. Reference: Ginestet and Pouillon E093, fifth state (of five). In very good condition, with margins, 9 1/2 x 6 1/2, the sheet 13 1/4 x 9 1/2 inches. A fine delicately printed impression. Provenance: Louis Carre (1897-1977), Villon’s dealer in both New York and Paris, who organized the first comprehensive exhibit of Villon’s graphic work, in Paris in 1954, and who kept many of the finest working proofs of Villon’s early prints, such as this […]

Jacques Villon (1875-1963), La Parisienne, (tournee a gauche, petite planche), 1904, etching, roulette and aquatint, signed in pencil [also signed in plate]. Reference: Ginestet and Pouillon E093. Second state (of  5).  In very good condition. On cream wove paper, with margins, 9 3/8 x 6 1/2, the sheet 15 x 11, archival mounting. A fine proof impression, with the fine roulette effects very evident, the aquatint layering clear and effective, and careful shading through the use of plate tone. Marcel Duchamp (Villon’s brother) has stated (in a note on the Museum of Modern Art impression of this print) that Yvonne Duchamp was […]

Jacques Villon (1875-1963), La Couseuse (The Seamstress), 1905, signed in pencil lower right margin. Reference: Ginestet and Pouillon 147, Auberty and Perussaux 96. On a heavy cream laid paper with a partial initials watermark. In good condition apart from slight time stain; soft fold along a laid paper line, a few marks in margins. Archival mounting. With margins, 6 3/8 x 6 3/8, the sheet 8 1/2 x 11 1/4 inches. A fine, black atmospheric impression, with the drypoint burr fresh and satiny. This is an exceedingly rare impression. When Ginestet and Poullon did their recent catalogue raisonne of Villon’s […]

John Sloan (1871-1951), Hell Hole, 1917, etching and aquatint, signed bottom right, titled bottom center, and inscribed “100 proofs”. Reference: Morse 186, second state (of 2). From the edition of 100, printing of 110. In good condition, slight toning; with wide margins (trimmed irregularly at right and left, soft folds in margins, with  the printer Peter Platt’s drying holes and associated paper losses, reinforced tears and nicks at margin edges). On a cream wove paper, 8 x 10, the sheet 11 1/2 x 14 3/4 inches, window matted. A fine impression of this Sloan masterpiece. This impression was printed by Peter Platt, one of […]

Theodore Roussel (1847-1926), The Sign of the White Horse, Parson’s Green, etching, 1906, signed in pencil on the tab and inscribed “imp.” [also signed in the plate lower right] Reference: Hausberg 68, 14th state (of 14), from the total printing of about 60 impressions, about 30 in this state. In very good condition, on a laid paper, trimmed by the artist on the platemark with the tab, 4 7/8 x 3 1/4 inches, archival mounting. A fine impression with exquisite detailing, printed in black ink with strong plate tone. Roussel apparently perfected this plate through a series of 14 states, making […]

Hendrick Goltzius (1558-1617), engraving, 1593 [with extensive inscription in the plate]. Reference: Bartsch 161, Hollstein 177, second state (of two). In very good condition (old hinges verso, horizontal centerfold visible verso), trimmed outside of the borderline, 10 7/16 x 7 5/16 inches, archival mounting. A very good, balanced impression, with exquisite detailing. This portrait of Bol was taken in the last year of his life, when he was 58. According to the inscription it is dedicated to Bol’s stepson Frans Bol. The skull with the upside-down torches indicatesthat this engraving was made by Goltzius after Bol died, and thus is […]

Louis Marcoussis (1883-1941), Un Reve, etching, 1930, signed in pencil lower right and inscribed “2nd etat 1/2” lower left. Plate 1 of the portfolio Aurelia. Reference: Milet 55II, second state (of 4), before the edition (of 153 in the fourth state). In good condition, on a wove paper with full margins (a small area of discoloration below the border lower left, remains of prior glue right margin edge), 7 1/4 x 5 3/8, the sheet 15 5/8 x 9 3/8 inches, archival matting. A fine impression of a rare proof, before the edition. This is one of the two proofs of […]

Marguerite Zorach (1887-1968), A New England Family (The Father), linoleum cut, c. 1917, signed in pencil lower right margin. One of a small number of proofs; there was no edition. In excellent condition, on a very thin cream Japan paper, with margins, 12 7/8 x 8 3/4, the sheet 15 3/4 x 10 5/8 inches.  Archival matting. . A fine impression of this very rarely encountered American modernist/cubist print. The Zorachs (William and Marguerite), who met in Paris, spent several summers in Provincetown (1915, 1916, 1921, 1922), with artist friends such as Max Weber and Marsden Hartley, and the summers of 1917 […]

George Bellows (1882-1925), The Black Hat (Emma in a Black Hat), lithograph, 1921. Reference: Morse 113. From the edition of 55. Signed in pencil by the artist, and also inscribed in pencil by the printer “Bolton Brown imp”, lower margin. In good condition (tiny fox mark lower margin center, faintest pale time staining), on cream/tan thin Japan paper, with margins, 13 1/8 x 9 1/4, the sheet 14 1/4 x 10 3/8 inches. Provenance: Estate of Ralph Spencer; Allison Gallery (H.V. Allison and Company, 11 East 57th Street, New York, NY was a noted gallery famed for handling Bellows prints. […]

Clement Haupers (1900-1982), Induction, aquatint and etching, 1945, signed, titled, dated and inscribed “ed 75”. In excellent condition, printed in black on a heavy ivory wove paper with full margins and deckle edges all around, presumably printed in an edition of 75,  10 5/8 x 6 3/4, the sheet 14 3/4 x 11 inches, archival matting. A fine fresh impression, with the various aquatint tonalities contrasting vividly. This World War II scene portrays a doctor giving an inductee a physical exam, presumably checking on reflexes, as two other nude inductees are seen in the rear. Haupers studied in Paris with the Cubist painter […]

Edmund Blampied (1886-1966), Ostend Horse, drypoint, 1926, signed in pencil lower margin [also signed and dated in the plate lower left], from the edition of 100, printed on ivory laid paper with full margins with deckle edges, 7 x 9, the sheet 9 1/4 x 12 1/2 inches, still in the original SFA Museum mat with extensive annotations. Provenance: Kennedy Galleries (with their stock number A49359) Ex Collection: Albert M. Bender Ex Collection: San Francisco Museum of Art Christie’s New York A fine fresh impression, with rich burr from the drypoint work and a subtle layering of plate tone. One […]

Edgar Chahine (1874-1947), Ada, 1901, drypoint, signed in pencil lower left also initials, dated and titled in the plate] Reference: Tabanelli 65, second state (of 2). In very good condition, with full margins, on cream wove paper, 7 1/4 x 13, the sheet 14 x 22 inches. Archival mounting with window mat. A very fine impression of this important Fin de Siecle Belle Epoque masterpiece, surely Chahine’s greatest portrait. With a rich drypoint burr on Ada’s fur and hat, and a subtle layer of plate tone over her dress and divan; her face and parts of the hat have been […]

Arthur B. Davies (1862-1928), Amber Garden (Hand Raised, Autumn Mist), soft ground etching and aquatint, 1919, signed in pencil lower right margin. Reference: Czestochowski 73, third state (of 4), from an edition of unspecified size but according to Czestochowski “total printing unknown but small.” In very good condition, the matrix pristine, some folds and creasing in the (wide) margins, printed on a cream wove paper with the watermark SPECIAL MBM, 11 3/4 x 7 13/16, the sheet 14 3/4 x 11 5/8 inches; archival mounting with acid free window mat. A fine strong impression with the several layers of aquatint contrasting effectively. At […]

Cornelis Bega (1631/2-1664), The Mother Seated in an Inn, etching, circa 1660-64. Reference: Hollstein 31, first state of two. In good condition, trimmed outside of the plate mark top and sides, on the plate mark bottom; 6  1/4 x 4 7/8 inches, archival mounting. Cornelis Bega was born in Haarlem, the son of Pieter Bega, a wood carver and silversmith, and Maria Cornelis, daughter of the Mannerist painter Cornelis van Haarlem. He is known as a pupil of Adriaen Van Ostade, and of course his work bears a resemblance to Van Ostade’s. He was admitted to the Haarlem artists’ guild in […]

George Biddle (1885-1973), Hombre! Que Sin Vergeunza!, 1928, lithograph, signed and dated in pencil lower right, titled and numbered lower left [also signed in plate lower left “Biddle/1928/44]. References: Pennigar 78, Trotter 44. Edition 100. In excellent condition (never framed, without light or time staining), with wide margins, the full sheet, 9 3/4 x 13 3/4, the sheet 15 1/2 x 20 1/2 inches. Printed by George C. Miller. On cream wove paper with the FRANCE watermark.  Archival mounting (mylar unattached mounting between acid-free board). A fine, fresh impression, in pristine condition. According to Pennigar the title translates roughly to “Buddy! Aren’t you ashamed […]

George Biddle (1885-1973), Banana Grove, lithograph, 1928. Signed, titled and numbered in pencil [also annotated in the plate “Biddle/1928, lower right “47).  References: Pennigar 81, Trotter 47. In excellent condition, the full sheet, on cream wove BFK RIVES paper, with their (partial) watermark. 12 1/2 x 9, the sheet 20 x 16, archival mounting (non attached mylar hinging between acid free board, glassine cover). A fine fresh rich impression in pristine condition. After Groton, Harvard College and Harvard Law (and several breakdowns) Biddle decided that a conventional career in law was not for him; he decided on art, went to Paris, worked with Mary Cassatt […]

George Biddle (1885-1973), Cows and Sugar Cane, 1928, lithograph, signed in pencil bottom right margin, titled and numbered bottom left margin [also signed and dated in the plate bottom left]. Reference: Pennigar 79, Trotter 45. From the edition of 55, on BFK RIVES wove paper (with their partial watermark), printed by George C. Miller. In excellent condition, the full sheet with wide margins (remains of old hinging margin corners verso), 11 9/16 x 7 3/4, the sheet 15 1/2 x 11 1/2 inches. Archival mounting (mylar corners on acid free board, glassine cover). A fine black impression. After Groton, Harvard College and […]

Jerome Myers (1867-1940), Morning on the East Side, c. 1910, colored etching, signed in pencil lower right and annotated “imp.”; numbered and titled (twice) lower left. In very good condition, with full margins, 7 5/8 x 6 3/8, the sheet 11 1/2 x 8 7/8 inches, printed on a cream wove paper, archival matting. A fine impression of this rarely encountered print, with the colors fresh, printed in brown, yellow, pink, blue. This print is numbered 100/14, suggesting there was an edition of 100. Since we have not encountered another impression of this print, we doubt that this print was editioned at all, […]

Jerome Myers (1867-1940), At the Show, etching and drypoint, c. 1920, signed in pencil lower right. In good condition, with margins (paper losses upper corners), faint ink marks and fingerprints in margins and matrix. 5 3/4 x 8 3/4, the sheet 8 1/2 x 11 1/2 inches, archival matting. A fine strong impression, printed on a tan wove paper, with the burr from the drypoint work printing effectively, and a light veil of plate tone, wiped selectively to frame the faces of the viewers. This proof, surely printed by the artist, is probably quite rare since we know of no edition or other impressions that […]

Cyril Power (1872-1951) color linoleum cut, Monseignor St. Thomas, circa 1931, signed and titled in pencil at the lower right, apart from the edition of 60. Reference: Redfern 24. In very good condition, on buff oriental laid tissue, conservation matted, with margins, 13 7/8 x 11 1/8, the sheet 15 x 12 5/8 inches. A fine impression, with the colors fresh and vivid. Printed in four colors (yellow, red, blue and dark blue). The prints of the Grosvenor School artists were created by applying colors with successive blocks. The margins show the colors of each of these blocks (see illustration of […]

Camille Pissarro (1831-1903), etching, 1889,  signed, titled and inscribed “No. 6 Epreuve de Artiste.” Reference: Delteil 89, third state (of 3). On tan laid paper. In good condition (slight time staining and spotting), with margins and archival mounting. A fine impression of this charming composition, a great rarity. Only 7 or 8 impressions of this state of the print were made (and only 10 or 11 in all, each personally printed by Pissarro), each signed, numbered and annotated. (Another 12 impressions were taken posthumously, but of course they lack the character, atmosphere and quality of the lifetime impressions; these were […]

Camille Pissarro (1830-1903), Baigneuses a L’Ombre des Berges Boisees (Women Bathing in the Shade of Wooded Banks), 1894, lithograph, signed in pencil lower right. Reference: Delteil 142, second state (of two). As published in L’Estampe Originale, with their blind stamp lower right (Lugt 819), edition of 100. On chine applique, in very good condition, with very wide margins (the full sheet, slight browning toward sheet edges, a few grease spots on margins far from image; prior hinging verso), 6 1/8 x 8 1/2, the sheet 16 3/4 x 23 1/2 inches, archival mounting (acid free unattached mounts, acid free matting). […]

Jacques Callot (1592-1635), Mysteries of the Passion (Variae Tum Passionis Christi, Tum Vitiae Beatae Mariae Virginis), complete set of 20 etchings plus the frontispiece by Abraham Bosse (Reference Meaume 31). c. 1631. Reference: Lieure 679-698, second state (of 2). In very good condition, archival mounting. A fine set of these small etchings, printed on 5 plates/sheets of laid paper, with margins, 3 of the plates with partial Crown watermarks (possibly Lieure 45). The set of 20 etchings includes 7 in circular format, with a diameter of 1 1/4 inches; 7 larger ovals with a length of 1 7/8 inches, and […]

Andre Derain (1880-1954), Baigneuse Nue aux Arbres (Nude Bather amidst Trees), etching and drypoint, c. 1909, signed in pencil and numbered 27/100. Reference: Adhemar 50. In very good condition, on ARCHES cream laid paper, with their watermark, with full margins, 7 x 3 3/4, the sheet 22 1/4 x 17 1/2 inches, archivally matted. A fine impression, with a subtle layering of plate tone. Derain clearly based the face in this print on the famous African Fang mask which he owned (and which influenced others who saw it in his apartment such as Picasso, e.g., in his Demoiselles d’Avignon). It is also related to a […]

Hans Burgkmair (1459-1519), King Philip Received at Castile and Sworn to Loyalty, woodcut, 1514-1516.  Reference: Bartsch 80-(224) 218 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink bottom margin, some slight staining), on old laid paper, 8 5/8 x 7 5/8, the sheet 10 1/4 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688).  Lugt notes of Liphart, a distinguished collector of old master prints, “il commence par l’oeuvre de […]

Adolphe Beaufrere (1876-1960), Femmes au Tub (Women Bathing), c. 1902, colored woodcut, signed in pencil, also with the artist’s red monogram stamp. Reference: Morane B-1; Musee des Beaux Arts de Renne 1. On brown Japon paper. Printed in dark brown, orange, tan and light blue. 13 1/2 x 8 7/8 inches. Trimmed just outside of the borderline. Soft creases upper left and associated slight rubbing, 2 soft folds upper right corner, soft creases lower left, soft fold near left border, a few rubbed or lightly printed areas in image. Provenance: acquired directly from Jean-Noel Beaufrere, the artist’s son. A fine impression of this […]

Camille Pissarro (1830-1903), Paysanne au Puits (Peasant Woman at the Well), etching and aquatint, 1891, signed, titled and numbered (3 etat no 2). Reference: Delteil 101, third state (of 3). In excellent condition, on an ivory laid paper, no watermark discernible, with margins (remains of prior hinging verso). 9 1/4 x 7 5/8, the sheet 12 1/4 x 9 7/8 inches, archival mounting with non-attached mylar hinges, window mat. A superb, atmospheric impression of this great rarity, printed with a veil of plate tone overall. The composition of Paysanne au Puits was essentially complete in the first state of the […]

Bernard Kretzschmar (1889-1972), Auction,  etching, drypoint, and burnished aquatint, 1921, signed and dated (’20) in pencil lower right [also initialed in the plate lower left] Reference: Diether Schmidt 80. In very good condition, the full sheet with wide margins, 13 1/2 x 15 1/2, the sheet 18 x 22 inches, archival window mat. Published by the Marées-Gesellschaft, with their blindstamp lower right. A fine impression. This impression may be a second state, after burnishing of the plate. Burnishing marks are evident especially in the lower section, the lower left corner, the area surrounding the head of the auctioneer, the face of the man […]

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12, Schneiderman 15, third/fourth state (of 10). In very good condition, on a thin Japan paper, with margins, 6 1/4 x 4 1/2, the sheet 8 1/4 x 5 3/4 inches, archival mounting (window mat, unattached mylar hinging). A very fine impression, carefully wiped above the chimneys in the background, with blacks of the trees and shadows in the foreground contrasting effectively with the greys of the mansion to create a marvelous sense of depth. We believe this is the third state, before the […]

Wenzel Hollar (1606-1677), Air, 1647, after Petrus van Avont, from the Four Elements. [signed and dated W. Hollar 1647 lower right and inscribed P. van Avont inu lower left in the plate] Reference: Pennington 522, third state (of 3). In good condition (a thin spot upper left verso), on laid paper, trimmed outside of the borderline all around, 5 1/2 x 8 1/8 inches. Provenance: the London firm of Craddock and Barnard, still in their mat, with the Barnard annotations. A fine strong impression of this whimsical representation of the element Air. Hollar (1607-1677) had learned etching as a gentlemanly pursuit before, as a […]

Walt Kuhn (1877-1949), [Reclining Nude], c. 1920, etching, signed in pencil lower margin. In pristine condition, soft fold upper right, with no sign of prior framing or exposure, the full sheet on yellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 3/4 inches, archival mounting. A fine impression. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist; illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he joined with others to encourage Arthur B. Davies to get behind the […]

Walt Kuhn (1877-1949), [Nude on Chaise], c. 1920, etching, signed in pencil lower margin. In very good condition, no sign of prior framing, with margins (slight discoloration in margins), the full sheet on yellow/cream laid paper, 6 x 7 3/4, the sheet 9 3/8 x 11 1/4 inches, archival mounting. A fine impression, printed with a light veil of plate tone. Walt Kuhn was born in Brooklyn, and after a period of study art in Europe, he returned to the US to work as a cartoonist, illustrator, and developing artist. Aware of the great surge of modernist artistic activity in Europe, he […]

Walt Kuhn (1877-1949), Negligee, c. 1920, etching, signed and titled in pencil lower margin. In good condition, on cream wove paper, printed with a light veil of plate tone, with wide margins, 6 x 8, the sheet 8 1/2 x 11 1/4 inches, archival mounting. A fine impression of this great rarity; it is listed as number 39 in the Kennedy Galleries Walt Kuhn Checklist, made for an exhibit of his prints in 1967; it is cited as a print where no more than 6 impressions are known to exist. Walt Kuhn was born in Brooklyn, and after a period of study art in […]

Theophile Steinlen (1859-1923), Interior of Tramway, lithograph, 1896, signed lower right in red pencil. Reference: Crauzat 173. In good condition, on Chine Volant with wide (full) margins, 10 5/8 x 13 5/8, the sheet 16 1/2 x 20. A proof impression apart from the edition of 50. A fine proof impression of this well known masterpiece. Theophile Alexandre Steinlen began his career as an illustrator for Paris journals (Le Chat Noir, Gil Blas), and was naturally attracted to printmaking presumably because he was such an excellent draughtsman. His lithographic work, such as Interior of Tramway, was of course informed by the marvelous […]

Wassily Kandinsky (1866-1944), Etching for Stephen Spender “Fraternity”, etching and drypoint, 1939, signed in pencil lower right. Reference: Roethel 202, only state. From the edition of 113 (of which not all were signed). In very good condition, on Montvale ivory laid paper, with a partial “woman bathing” watermark, the full sheet, 5 1/16 x 3 1/4, the sheet 9 x 6 3/8 inches. Published by Atelier 17, Paris. A fine impression of this rarely encountered print. After the Bauhaus closed, in 1933, Kandinsky moved to Paris where he made only a small number (6) of prints. Etching for Stephen Spender is […]

Wassily Kandinsky (1866-1944), Etching 1916 Number II, drypoint, signed in pencil lower right, titled, numbered (No. 9) and dated lower left [also with initials and date in the plate lower right].  Reference: Roethel 154, only state, edition of 10. In excellent condition (the barest handling fold at sheet edge), printed on a heavy ivory wove paper, the full sheet with full margins, 4 7/8 x 3 1/4, the sheet 17 1/2 x 13 inches, archival mount with window mat. A fine fresh impression of this great rarity, printed in a dark brown ink. Kandinsky created this drypoint (erroneously named Etching 1916) in […]

James McBey (1883-1959), The Ebb Tide, or, Brightling Sea, etching, 1922-3, signed in ink bottom right margin and numbered in ink bottom left margin (IV/L) [also signed, dated and titled in the plate]. Reference: Hardie and Carter 216. From the British Edition (as numbered in Roman Numerals from I to L); the total edition was 76. In very good condition (some glue on verso, small loss lower margin edge far from image, on old laid paper with a Four Balls watermark, with margins, 8 3/8 x 13 3/4, the sheet 10 1/2 x 16 1/2 inches.  Archivally matted, with acid free window […]

Pablo Picasso, Model Contemplating Sculpture,  etching, signed in pencil, 1933, a fine impression, published by Vollard, from the Vollard Suite, edition of 310, Bloch 175, Geiser 328, printed by Lacouriere, with the Picasso watermark.  In pristine condition, with small margins, 11 7/8 x 14 1/2 inches. A fine, delicately printed, clear impression of this fascinating composition. The model at left (looking rather sculpted herself) contemplates a sculpted group – a horse with attending figures – as well as the sculpteur. Small faces below the sculpture view the scene, or perhaps the viewer. This is one of the more complex compositions […]

Max Beckmann, Spring (Fruling) (also known as Street in Frankfort), etching and drypoint, 1918, signed lower right. Reference: Hofmaier 133IIb, from the edition of 60 on laid paper; another 40 were on Japan. Plate 13 of Gesichter (Faces), as published byR. Piper, Marees-Gesellschaft, and with their stamp bottom right hand corner. In very good condition, on an ivory  laid paper, the full sheet, 11 3/4 x 7 3/4, the sheet 14 1/2 x 11 3/4 inches. Printed by Franz Hanfstaengel, Munich, archival window matting. A fine fresh impression.  This is an impression of the second state (of two); only one […]

Jan Matulka (1890-1972), Four Nudes in a Landscape, drypoint, c. 1923, signed in pencil lower right margin [also with initials in the plate lower left]. Reference: Flint 4, only state. Edition: no edition, only several proofs were made. In very good condition, with margins, 10 11/16 x 13 15/16, the sheet 12 1/2 x 17 inches. On laid Strathmore Japan paper, with their watermark, deckle edges top and bottom, archival mount with window mat. A fine fresh impression, a rare proof (no edition is known), with extensive burr from the drypoint work, and a substantial layering of plate tone. Born in Prague, […]

Jean-Emile Laboureur (1877-1943), La Lecture Interrompue (also La Liseuse), 1912, woodcut, signed and annotated “ep. d’artiste du 3 etat”. Reference: Sylvain Laboureur 674. In excellent condition (tiny fleck upper right, paper imperfection), on hand made cream wove paper, the full sheet with deckle edges, 9 7/8 x 6 7/8, the sheet 15 x 11 inches, archival mounting. A fine impression of one of Laboureur’s great images; a rarity – only 11 lifetime impressions were printed. Jean-Emile Laboureur traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby famed Academie Julian, and although he […]

Reginald Marsh (1898-1954), Opera Box, 1936, engraving, signed, numbered and annotated in pencil (State II 4/5, “to Dolsy and Eddie”); one of only 11 proofs. Reference: Sasowsky 162, second state of three. In very good condition, with wide margins (not shown in the illustration, and also somewhat uneven, as trimmed by the artist), 7 x 5, the sheet 9 3/4 x 7 1/4 inches, archival mounting. A superb black impression of this very rare print. Only five impressions were made of this print in this state (one of the first state, and five of the third; eleven altogether). The design […]

Reginald Marsh (1898-1954), Irving Place Burlesk, etching, 1929, signed in pencil lower right and numbered (18) lower left. Reference: Sasowsky 75, third state (of 3). In very good condition, with margins (trimmed by Marsh in his usual fashion, i.e., slightly unevenly), on an ivory laid paper; 7 1/8 x 9 3/4, the sheet 8 5/8 x  10 3/4 inches. Archival mounting with window mat, unattached mylar hinging. A suberb impression, printed by the artist in black ink on an ivory paper. In contrast to many of his famed burlesque prints Marsh here focuses almost entirely on the audience – men smiling […]

Reginald Marsh (1898-1954), Flying Concellos, etching, 1936, signed in pencil lower right and annotated “40 Proofs” lower left. Reference: Sasowsky 163, fourth state (of 4). In excellent condition, on a RIVES wove paper, the full sheet with deckle edges, with full margins (tiny hinges upper corners from prior hinging), 8 x 10, the sheet 11 3/8 x 15 3/4 inches, archival matting. A fine impression. Flying Concellos was printed in a 11 or so proofs, then 15 impressions by Marsh in July of 1936 and another 10 in October ’36 by Charles White. Since this impression is in such fine condition […]

Reginald Marsh (1898-1954), Tattoo-Shave-Haircut, etching, 1932. Signed, titled (Tattoo-Haircut-Shave), dedicated (for Arnold Newman), and annotated (Fourth State. First of Two Prints). Reference: Sasowsky 140. On cream wove paper. In very good condition, with small margins (as trimmed, slightly irregularly, by the artist) (slight foxing in margins), remains of prior hinging verso; 9 7/8 x 9 3/4, the sheet 10 15/16 x 10 5/8 inches; archival matting. A very fine rich black impression. Provenance: Estate of Arnold Newman. Arnold Newman (1918-2006) was one of the great 20th Century masters of photography, and a friend of many leading artists; it is appears […]

Reginald Marsh (1898-1954), Irving Place Burlesque, lithograph, 1928, signed in pencil lower right and inscribed 25 proofs lower left margin [also signed and dated in the plate upper left]. Reference: Sasowsky 15, only state. Chine colle on a thick cream wove paper, the matrix in adequate condition but the backing sheet with multiple (repaired) tears, some going just up to the image. Although these tears do not materially interfere with the matrix this print should not be considered by anyone at all fussy about condition. 10 x 11 5/8, the sheet 11 7/8 x 13 1/4 inches, archival matting. Provenance: Estate […]

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 […]

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 […]

Théophile Steinlen (1859-1923), Veuves d’un Louis, lithograph in two colors (brown and black), 1915, numbered (326/400 but not signed [signed, titled and dated in the plate], from the edition of 400.  Not in Crauzat (Crauzat was published in 1913, and so did not include works after that date).  In very good condition, the full sheet, on a cream wove paper, 16 x 12 1/4, the sheet 22 x 15 inches. A fine impression. Although he is famed  for his fin de siecle posters (and for his cats!), Steinlen’s work throughout his career was marked by strong social consciousness. From early on, he […]

Jean-Emile Laboureur, Le Petit Metropolitan Life Building, etching, 1909, signed and dated in pen lower left, numbered in pencil (1/2) lower right. Reference: Sylvain Laboureur 88, only state, one of the two proofs of this print, no edition. In very good condition, on a cream laid Arches paper (with a partial watermark), the full sheet, 6 3/4 x 4, the sheet 12 x 8 1/2 inches. A fine impression of this great rarity, printed with platetone. Laboureur made only two impressions of Le Petit Metropolitan Life Building; he later made another stab at this subject, larger size and in reverse […]

Jean-Emile Laboureur (1877-1943), Cahier de Six Paysages, etchings, 1928, each signed in pencil and inscribed “ep d’artiste”.  Reference: Sylvain Laboureur 386-391, the artist’s proofs of the third state (of 3). The total printing in all states was 150. Contained in green hardcover boards, with a title cover.  The green board covers and the prints themselves are in excellent condition (the outer cover is torn extensively). Printed on a cream/tan Japan paper, with full margins, 3 5/8 x 5 3/8, the sheets 10 1/2 x 11 3/4 inches. Ex collection: John Gribbel (with his pencil inscription on cover) Fine clear delicately […]

Jean-Emile Laboureur (1877-1943), Sur la Tamise, woodcut, 1914, signed in pencil lower left margins and numbered (3/35) lower right margin. Reference: Sylvain Laboureur 696, only state. In generally good condition apart from mat stain outside of the image, slight toning, on Arches laid paper, with margins, 11 3/8 c 14 3/8, the sheet 13 1/2 x 16 1/2 inches. A good impression of this early cubist-influenced woodcut. Laboureur was of course close to Felix Vallotton, even before the turn of the century, and this woodcut shows the continuing influence of Vallotton as Laboureur was beginning to bring cubism into his […]

Jean-Emile Laboureur (1877-1943), Paysage au Tunnel, etching, 1920, signed in pencil lower left, numbered (19/55 ep) lower right and also titled lower left edge. Reference: Sylvain Laboureur 195, second state (of 2), from the edition of 55. In very good condition, printed on a cream wove paper with deckle edges, the full sheet with wide margins, 7 7/8 x 9, the sheet 11 x 16 1/8 inches. A fine impression, printed in a dark brownish/black ink. This is similar to the composition of Paysage au Butte Chaumont (L 205) but it a more dramatic etching (here along the Loire, near […]

Jean-Emile Laboureur etching and roulette, Chaumieres Dans Les Marais, 1930, signed lower left and numbered 12/80, Reference: Sylvain Laboureur 422, Godefry 422. Third state of three. From the total printing of 108, 85 in this state. With the blindstamp of Jacquart lower right margin. In very good condition, on medium wove paper with full margins, 7 3/4 x 8 3/4, the sheet 11 1/2 x 14 1/4 inches. A fine, vivid impression. Jean-Emile Laboureur was born in Nantes in 1877. He traveled to Paris in 1895 intending to study law at the Sorbonne, but found himself drawn to the nearby […]

Jean-Emile Laboureur (1877-1943), Faubourg, soft ground etching in two plates (black and sanguine), 1930, signed in pencil lower left and inscribed “imp d’essai” lower right. Reference: Sylvain Laboureur 413, a trial proof of the first state (of 2); there were 20 impressions of the first state, and 170 of the second state which was issued in conjunction with the publication of L’Eloge de J.-E. Laboureur by Dr. Lucien-Graux.  In very good condition, with wide (full?) margins, 7 3/4 x 5 3/4, the sheet 10 1/2 x 8 1/4 inches. A fine proof impression of the first state. In the second […]

Jean-Emile Laboureur lithograph La Depart Pour La Chasse, in five colors, 1927, signed and numbered (35/150) in pencil (Sylvain Laboureur, Godefry 780), from the edition of 150 plus 20 hors tirage. 9 x 8 1/4 (sheet: 19 1/2 x 13 1/4) inches; 229 x 210 (sheet 495 x 337) mm, acid-free mounting.  Good condition, on a heavy wove paper with wide (full) margins and deckle edges (a fox spot in right margin away from image, scattered foxing at extreme margin edges, 2 pinholes in margins) A fine impression in vivid colors. The edition was published by the review Le Chien de […]

    I get many questions about Goya prints, so thought it might be useful to sketch an overview of some of his most famous and common prints: the aquatint sets. Francisco Goya (1746-1828) was of course one of the greatest of Western artists, and printmaking was central to his career. He created four major series of prints, and many other prints including a series of lithographs late in his career. Due to the way most of his prints were created and published, there is much confusion today about their dating, their rarity, their appearance and their value. In this guide […]

Many aspiring print collectors are initially interested in collecting Rembrandt prints; this is understandable since Rembrandt is well known, and of course fine examples of Rembrandt prints are extraordinarily beautiful and justifiably sought after. But a high level of Rembrandt print connoisseurship can be gained only through study, or the guidance of a reputable and knowledgeable dealer, or preferably both. This note is an introduction to some of the issues. Rembrandt made etchings and drypoints, working on copper plates, creating ink-holding furrows in these plates either directly (using a drypoint needle) or with etching (drawing through a wax-like substance covering […]

Hans Burgkmair (1459-1519), The Alliance of the White King, The Pope, Spain and Hungary, woodcut, 1514-1516.  Reference: Bartsch 80-(224) 182 [by Leonhard Beck], from the History of Emperor Maximilian I. In very good condition (with margins; some very old script in ink at bottom margin, some slight staining, foxing), on old laid paper, 8 3/8 x 7 5/8, the sheet 10 1/8 x 8 1/2 inches. Provenance: Karl Edward von Liphart (1808-1891, Dorpat, Bonn and Florence), with his graphite mark verso (Lugt 1651, see also Lugt 1687, 1688).  Lugt notes of Liphart, a distinguished collector of old master prints, “il […]