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Omval JAMES MCBEY Scottish, (1883-1959) Etching, 1910, Hardie/Carter 78, edition 78. 4 3/4 x 6 1/2 in. Signed, titled and dated in the plate, lower right. Signed and numbered in ink. This is a stunning, beautifully inked impression of this uncommon print. The margins are full and there's an illegible watermark running vertically along the left side. The condition is fine. This early work relates closely to Rembrandt's 1645 etching by the same title. In Rembrandt's version, the tree is on the other side of the composition and there's a standing figure. SOLD |
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Venetian Night JAMES MCBEY Scottish, (1883-1959) Etching, 1925, Hardie/Carter 254; edition 81 plus 18 trial proofs. 10 7/8 x 16 5/8 in. Signed and dated in the plate. Signed and numbered in ink. This is a fine, luminous impression printed on a greenish blue paper with the top edge irregular. The sheet was originally bound into a book or volume of some kind. The margins are modest but this appears to be the full sheet as printed. The condition is fine apart from a slight mat line from an early mat opening. This memorable work is one of McBey's very best prints and it's a landmark image for early 20th century British printmaking. Venetian Night is illustrated on page 65 of Great Images of British Printmaking by Raymond Lister (1978). SOLD |
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Molo JAMES MCBEY Scottish, (1883-1959) Etching, 1928, Hardie/Carter 239, edition 80 plus 12 trial proofs. 12 3/8 x 9 1/4 in. Signed and dated in the plate, lower left. Signed and numbered in ink. This is a superb, luminous impression printed on laid paper with the watermark LOTTERY. The margins are full and the condition is excellent. This is a view of the Molo from the Balcony of the Doges' Palace. $1,800 |
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Rio dei Greci JAMES MCBEY Scottish, (1883-1959) Etching, 1926, Hardie/Carter 228, edition 80 plus 11 trial proofs. 10 3/8 x 6 5/8 in. Signed and dated in the plate. Signed and numbered in ink. This is a very fine impression printed with tone. The paper is a fine antique laid with the watermark 1818. The margins are full and the condition is fine. In the background is a view of San Giorgio dei Greci, a Greek Orthodox church dating from the 16th century. $1,400 |
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La Tour de l'Horloge (The Clock Tower) CHARLES MERYON French, (1821-1868) Etching with engraving, 1852 and later, Schneiderman 23 (iv/X), Delteil-Wright iv/X); edition unknown. 10 1/4 x 7 1/4 in. Initialed in the plate, upper right. This is a superb, luminous impression on cream laid paper with the watermark "D & C BLAUW." The margins are good measuring about 3/4" on all sides. The condition is fine other than for a tiny, imperceptible pinhole/paper imperfection in the smoke between the clock tower and the first turret. This stellar impression is from the collection of Sir Francis Seymour Haden (Lugt 3938) with his pencil initials on front of the sheet, lower right. Delteil-Wright notes that Haden purchased a fifth state impression from Delâtre for the Victoria & Albert Museum in December, 1860. SOLD |
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La Tour de l'Horloge (The Clock Tower) CHARLES MERYON French, (1821-1868) Etching with engraving, 1852 and later, Scheiderman 23 (v/X); edition unknown. 10 1/4 x 7 1/4 in. Initialed in the plate, upper right corner. This is a fine impression printed on white laid paper. There's a partial fleur de lis watermark not identified. The margins are probably full. The condition is fine apart from a trace of an old adhesive along the extreme top edge of the sheet, verso. In this, the fifth state, the horizontal line in the blank area at bottom has been removed. The susequent sixth state was printed in an edition of 600 for L'Artiste and that is inscribed in this blank are along the bottom. The catalogue lists twenty impressions mostly of which are in museum collections. SOLD |
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Paysage Feocial HENRI MEUNIER Belgian, (1873-1922) Etching with aquatint, 1901, edition unknown. 10 1/8 x 15 3/8 in. Signed and dated in the plate and signed in pencil below the image at right. A superb, atmospheric impression in very good condition.
Full margins. Minor soft handling creases in the margin at right. This stunning landscape with castle is a fine example of style and technical finesse from the early 20th century $675 |
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Man Leaning on a Spade (L'homme Appuye sur sa Beche) JEAN-FRANCOIS MILLET French, (1814-1875) Etching, before 1848, Melot 3, Delteil 3; only state. Edition unknown. 3 1/4 x 2 11/16 in. Unsigned as usual. This fine, crisp impression is printed on medium Japanese paper. The margins are full measuring about 1" to 1 3/4" all around. The condition is excellent. This appealing, early work by Millet foreshadows his larger more detailed work of similar peasant subjects shown laboring in the fields. The edition sizes of Millet etchings are generally unknown. $1,850 |
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Woman Carding Wool (La Cardeuse) JEAN-FRANCOIS MILLET French, (1814-1875) Etching, 1855-56, Delteil 15, Melot 15; edition unknown. 10 1/16 x 6 7/8 in. Unsigned as usual. This is a very fine impression printed with plate tone, probably before the posthumous Keppel reprints from around 1900 and later. The margins are full and the paper is most likely a late 18th or early 19th century laid with a greenish tint. (There's a large indecipherable watermark possibly of a bear.) Fine condition. This memorable image relates to a painting and a few drawings by Millet. There's only one state to this print and most impressions were printed by Frederick Keppel, the New York dealer. He printed many impressions on a cream oriental paper. (Note: A very good source for connoisseurship of Millet prints (and Meryon prints) is, Etchings of Urban and Rural 19th Century France, edited by Patricia Phagan with essays by William Eiland and S. William Pelletier, published by the Georgia Museum of Art, 1993. Pelletier was an astute collector of Meryon and Millet etchings and his detailed comments about the impressions in the show are most helpful. $2,500 |
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Musical Monster JOHN HAMILTON MORTIMER British, (1740-1779) Etching, 1778, Edition unknown. 9 3/8 x 6 3/4 in. Signed in the plate. A fine impression printed prior to the edition by T. Palser in 1816. Very good condition other than a small waterstain in the lower left margin corner, well away from the image. Full margins with a deckle all around. Without watermark. $750 |
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Making the Engine CHRISTOPHER R.W. NEVINSON British, (1889-1946)) Lithograph, 1917, Black 16, edition 200 signed and 100 unsigned impressions. 16 7/8 x 11 7/8 in. Signed, dated and numbered in pencil. This is a fine impression with full margins. The condition is also fine. This powerful image was part of a series of six prints called Britain's Efforts and Ideals: Making Aircraft. This was first exhibited at the Fine Art Society, London and received a very positive response. This series was Nevinson's first commission upon being appointed an official war artist in 1917. SOLD |
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North Sea Fishermen BJO NORDFELDT American, (1878-1955) Woodcut printed in colors, 1906, Donovan 11, edition unknown. 9 x15 in. Signed, dated and numbered "52" in ink in the upper left corner of the image. This is a fine impression on Japanese paper of this large, dynamic print. The condition is fine with the typical small margins on all sides. Like virtually all of Nordfelfdt's prints, color variations exist and this one is especially good looking. The influence of Japanese prints is here clearly evident. The catalogue states this is the Swedish coast off Kulaberg. SOLD |
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Reclining Female Nude (Liegender Weiblicher Akt) EMIL ORLIK Czech, (1870-1932) Drypoint, 1911, Galerie Glockner 176, edition 100 printed in 1921. 6 1/2 x 14 3/4 in. Signed and dated in pencil (1911). This is a fine impression on cream wove paper. The margins are probably full and the condition is quite good apart from minor handling creases showing mostly in the bottom margin. Orlik was a versatile printmaker and this classic study demonstrates his skills as a draftsman par excellence. $1,300 |
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In the Studio (Im Atelier) EMIL ORLIK Czech, (1870-1932) Woodcut printed in colors, 1899, edition 100. 5 1/4 x 6 1/16 in. Signed in pencil. This is a fine, fresh impression printed on thin japan paper. The margins are full. The condition is fine apart from slight light toning showing within an early mat opening. This print is page 26 from the rare portfolio, Kleine Holzschnitte, published by Verlag Neue Kunsthandlung, 1920, Berlin. There were thirty-four prints in total. The prints were mounted at the top corners on a support sheet as we have here. Orlik was born in Prague and later studied at the Munich Academy. He traveled to Japan in 1900 and spent several months studying the traditional art of the Japanese woodcut. SOLD |
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The Herdsman's Cottage or Sunset SAMUEL PALMER British, (1805-1881) Etching on a steel plate, 1850, Lister 2 (ii/II) 4 7/8 x 4 5/8 in. Initialed in the plate, lower left. This is a fine, luminous impression with wide margins from one of the published editions. The condition is fine other then for a soft small handling crease below the platemark, center. In this the final state, the etching was published three times; the Portfolio (1872), Examples of Modern Etching (1875)by Hamerton, and Etchers and Etching (1880), also by Hamerton. This impression is from one of these published editions.
$900 |
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The Weary Ploughman SAMUEL PALMER British, (1805-1881) Etching, Begun in 1858, Lister 8 (viii?/VIII), edition unknown. 5 3/16 x 7 15/16 in. Unsigned. This is a fine, luminous impression printed on chine applique. The sheet has been trimmed within the exceptionally wide platemark but there still remains about 3/4 in. around the image. The condition is fine otherwise. The eighth and final state was published by the Etching Club in 1865 and bears the number "4" just below the image at center. This impression does not have the number so it's possibly a proof before publication. The various states of this print, along with other Palmer etchings, are difficult to sort out. The Weary Ploughman is a stellar example of Palmer's work in the etching medium and he worked intensely on this plate for about six weeks. The plate was cancelled during Palmer's lifetime in about 1875. $2,750 |
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Bal Tabarin (Paris) JULES PASCIN Bulgarian-American, (1885-1930) Drypoint, 1926, Hemin 126, edition 100. 11 1/4 x 13 1/4 in. Signed and numbered in pencil. This is a fine, delicate impression printed on RIVES watermarked paper. The margins are full and the condition is fine. (There's a customs stamp on the back in the margin and two old hinges at the top corners.) Pascin was Bulgarian and moved to Paris in 1905. He exhibited at various Paris art shows and was also an exhibitor at the Armory Show in New York in 1913. He moved to New York with his lover, Hermine David, and they eventually married in 1918. Like Toulouse-Lautrec, Pascin drew upon his surroundings and his friends as subjects. Nightlife scenes, such as this one, were typical of his best work in printmaking. $1,650 |
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Royal Haymarket Theatre (London) JOSEPH PENNELL American, (1857-1926) Etching, 1906, Wuerth 408, edition probably 75. 11 x 7 7/8 in. Signed in pencil. Here we have a fine impression printed on antique laid paper. The margins are probably original but there's a loss in the lower right corner and the margin is narrow at the top. The condition is fine overall. (There's a subtle printing crease in the right side of the image.) Haymarket Theatre is a West End theatre and dates to 1720. $550 |
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Woman Picking Cabbages (Femme Cueillant des Choses) CAMILLE PISSARRO French, (1830-1903) Etching and drypoint, 1888, Delteil/Cailac 77 (ii/VII); edition 17. 4 x 2 3/8 in. Signed in pencil and inscribed "2e état - No. 2." The print is titled below by the artist.
There's an authentication inscription on the verso, top, by Georges Henri Manzana Pissarro, the artist's son. This is a fine impression of this extremely rare early state before the plate was overworked. The
condition is fine apart from slight rippling on the outer edges of the sheet and a very subtle wrinkle in the top left corner margin.
There were only 17 lifetime impressions of this print. $4,200 |
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Eglise d'Osny, Pres Pontoise CAMILLE PISSARRO French, (1830-1903) Etching, drypoint and aquatint, 1885, Delteil / Cailac 62 (iv/IV), edition 50. 4 3/4 x 6 1/4 in. Not signed in the image. This is a fine impression from the only posthumous edition of 50 printed in 1920. (There were only 12 lifetime impressions.) The margins are full and the condition is excellent. The print bears the posthumous stamp (Lugt 613) and is numbered. Given the rarity of so many of Pissarro's lifetime editions, later printings are a welcome opportunity for collectors who enjoy his work. $2,200 |
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