Approaching New York


Etching, image size 15 x 8 1/2 inches, 1934, cat: Hardie- 269, ed. 80, signed and editioned in black ink, pencil titled along bottom of sheet, also plate signed and inscribed "McBey New York 22 October 1929". Ref: "Fine Prints of the Year 1934"

Le Dernier Roman


Color aquatint and drypoint etching C. 1907. Edition of 100. Provenance Merrill Chase Galleries, according to a label on back with a detailed biography of the artist. Plate signed in the lower left and numbered in pencil "No. 55" below the signature. Plate measures 20 1/2 x 14 1/2 inches in a gold 31 x 24 1/2 inch frame. Robbe studied at the Academie Julien and the Ecole des Beaux Artes, becoming a master of the aquatint medium. He developed much of his own aquatint techniques, which enabled him to create his uniquely painterly, richly colored images.

Late Sunlight on the Cliffs


Original etching, drypoint and aquatint by American Southwestern printmaker, Gene Kloss. The title of this work is: "Late Sunlight on the Cliffs", it was created and printed in 1941 in an edition of only 75.
This etching is hand signed and titled in the lower border. The image measures 13 3/4X10 3/4 inches. Printed on a medium weight wove type paper, very nice condition. A rich and very expressive
image. Kloss at her very best!

Fujiyama at Sunset, Miono Matsubara


Original color woodblock by British artist Charles Bartlett (1860-1040) The title of this work is "Miono-Matsubara", Fujiyama at Sunset with returning fishing boats, This image was published by Watanabe Shozaburo in 1916. Bartlett had 21 woodblocks printed by Watanabe whom he met and befriended during his trip through Asia. The image measures 10 1/4X15 1/2 inches. It is nicely framed. The image is hand signed in red pencil lower left border and stamped with his red seal in the lower right. This was from his Japan series created pre-earthquake. This image appears in the Miles catalog as image number 34. A very rich impression, the sheet is sandwiched and glued down between matboards.

Sara Smiling


Colored drypoint from 1904. Catalog: Breeskin 195. This is the only known state, some impressions in color (like this one). A delicate portrait that captures the subject well. Plate measures 8 3/4 x 6 inches on 10 x 7 1/2 inch wove paper. Cassatt originally only pulled one or two proofs from these plates. Cassatt tried to have them printed 20 years after their creation, but a patron of hers insisted that she had printed them before and they should be dated, as they were a second edition. Cassatt insisted that they were a first edition and, suspecting the patron of trying to get the prints for less money, refused to sign or date them, which is why this print has neither a date nor a signature. Mary Cassatt was one of three women to exhibit with the Impressionists group, as well as being the only American. She is best known for her portraits of mothers and children in their daily life. Cassatt studied at the Pennsylvania Academy of Fine Arts from 1861 to 1865, and moved to France in 1866, where she painted alongside Renoir, Degas, and Sisley.

New York from Weehawken


A remarkable etching by James McBey of the New York City skyline from Weehawken, NJ, this etching measures 8 x 14 7/8 inches, 1940, cat: Hardie-277, plate signed and dated, hand signed and numbered "XXVII" in ink. Born into poverty McBey was primarily self-taught, becoming a very well respected artist and leading figure of the British Etching Revival. He traveled extensively throughout Europe, America and the Middle East, creating remarkable etchings of the places he visited. McBey lived in New York for several years, and his images of the city are considered some of his finest work.

Son Avocat, et Phrases Creuses


This is an original etching and aquatint from 1922. Unsigned. Plate 19 from Miserere: Son avocat, et phrases creuses, clame sa totale inconscience. Plate measures 21 x 16 inches in a silver 30 x 24 1/2 inch frame. Georges Rouault began his art career at age fourteen, when he began a five year apprenticeship painting and restoring glass. This appears to have had a heavy influence on his cloisonnist style, with the heavy black contouring and glowing colors resembling leaded glass. He began attending evening classes during this apprenticeship and in 1891 entered the École des Beaux-Arts, where he studied under Gustave Moreau. A devout Roman Catholic, his work was often religious, exploring themes of sin and redemption. Rouault is often associated with the Fauvist and Expressionist movements.



This 1928 marine etching by the British printmaker Arthur Briscoe measures 12 1/8 x 8 7/8 inches, hand signed in ink and editioned as 7/75. Briscoe studied at the Slade Art School and the Academy Julian in Paris and then spent the rest of his time sailing, becoming one of the most prominent British marine artists of the 20th century. He owned his own three ton cutter which he used to sail around the Essex coast. Also crewing on a Polish ship, he sketched every aspect of life on the boat. Most of Briscoe's etchings show sailing ships and the men who sailed them. His beautifully etched images present an invaluable historical record of the workings of the last great commercial vessels.

Coast of Maine


The original hand signed lithograph by American artist Stow Wengenroth. The title of this work is: "Coast of Maine", the location is Port Clyde, Maine, this lithograph was created and printed in 1957 in an edition of only 55 signed proofs. The image is quite large, measuring 9 7/8X15 3/8 inches. Flawless condition! This is Wengenroth at his best, showing the relationship of man and nature at the edge of the sea...

The Temple of Jupiter, Evening


A truly remarkable original lithograph by Joseph Pennell, this image measures 21 1/8 x 16 5/8 inches, published in 1913 in a very small edition of 50, pencil signed, from Pennell's series of lithographs created in his travels through Italy and Greece. Printed on a cream colored laid type paper with the watermark "Ingres PMF Italia". In his book "In the Land of Temples", Pennell writes of this image, "Night was falling as I was coming back from drawing by the river Ilissos. The subject was the most impressive I saw in the Land of Temples, and in the gathering darkness I drew it as well as I could."