The New York Stock Exchange
20th C.

Print 91 in an edition of 300. Pencil signed and titled. Plate measure 9 1/4 x 5 3/8 in a 17 x 13 black frame. Don Swann was an American artist from Baltimore who studied in Munich, Germany and Italy. His work has been shown in many cities in the United States and forms part of the permanent collections of the Metropolitan Museum, the U.S. Naval Museum, the Congressional Library, and others.

1873-1954, British

Circa 1935. Print 21 in an edition of 68. Pencil signed in the lower right, editioned in the lower left. Plate signed in the lower left. Plate measures 9 1/2 x 12 1/2 on 10 1/2 x 13 1/2 inch laid type paper.

Ostend Horse
1886-1966, British

Print 33 in an edition of 100. Pencil signed and editioned. Plate signed and dated 1926. Plate measures 7 x 9 inches on 9 1/4 x 12 3/4 inch watermarked wove type paper. Catalog: Appleby 125. Featured in Fine Prints of the Year 1927.

Blast Furnace
1904-2001, American

Etching and aquatint from 1937. Edition of 250. Published by Associated American Artists in New York. Pencil signed in the lower right. Plate size 11 3/4 x 8 1/2 on 15 x 11 3/4 inch wove type paper. Harry Sternberg was born and educated in New York City, His lithographs are in the permanent collections of the Museum of Modern Art, Whitney Museum, Fogg Museum at Harvard, Addison Gallery of American Art, Metropolitan Museum, Library of Congress, Ohio University, Victoria and Albert Museum in London, Bibliotheque Nationale in Paris, and others.

1874-1940, American

Etching from 1928. Plate signed and dated in the top left. Editioned in pencil in the lower left, pencil signed in the bottom right. Print 8 in an edition of 100. Plate size: 9 1/4 x 10 3/4 inches on 14 1/2 x 15 inch wove type paper.

Old Nan
1884-1928, British

Print 58 in an edition of 75. Pencil signed in the lower left. C. 1920. Plate measures 7 1/4 x 6 3/4 on 15 1/2 x 9 3/4 laid type paper.

Strolling Players
1891-1966, British

Pencil and plate signed in bottom right. Plate size measures 6 3/4 x 5 3/4 inches on 11 1/2 x 9 1/4 wove type paper. Featured in Fine Prints of the Year in 1927.

Mendiant Italien
1891-1965, American

Drypoint etching from 1927. Edition of 80. Plate signed in the top left, pencil signed in the bottom right. Inscription on bottom left of plate reads "Carrara '27". Plate measures 9 3/4 x 7 3/4 inches on 14 x 11 1/4 inch laid type paper. Catalog: Smith 136.

La Femme à la Mêche Tombante
1891-1965, American

Drypoint from 1929. Plate size 8½ x 11-3/8 inches on 16 1/2 x 13 3/4 inch laid type paper. Editioned in pencil in the lower left, signed in the lower right. Edition of 75. The subject is the artist's wife, Katherine Sloman Heintzelman. Catalog: Smith 142.

Hurricane's End
1889-1946, American

Pencil signed in the lower right. 7th state. Plate measures 9 3/8 x 15 15/16 inches on 11 1/2 x 18 1/4 inch medium weight wove type paper. C. 1940. Edition: approx. 100. Catalog: Giardina 198. The scene depicted was on the Maine coast.


Barbizon Landscape with a Country Road
1841-1916, American

Oil on canvas, 18 x 23 1/2 inches, in a very fine period gilt and gesso frame. There is a partial obscure signature and date in the painting lower right, the early label on the back is from the gallery of Charles G. Calder who was a well known Providence, R.I. painting dealer, also on the back is a partial label from Whitaker studios. This is a fine Barbizon style landscape painting by American artist George William Whitaker. Whitaker was a teacher and important painter in Providence R.I. and was known as an American tonalist, influenced by George Inness and Alexander Wyant.


Peacock and Ivy
20th Century, American

Etching, image size 9 7/8 x 7 inches, c. 1925, plate signed "K. Ely".


The Gathering Crowd
1881-1939, American

This is an original ink drawing on paper, image size 6 7/8 x 11 inches, 1933, signed and dated in the lower right corner. Hopper Emory was born in Baltimore, Maryland and had a successful career in banking before he turned exclusively to his artwork. He traveled to England where he studied at the Heatherly School of Art in London, then returned to Maryland where he became known for his delicately rendered architectural and maritime etchings.