Etching, 1934. 3-3/8" x 4-3/8" with full margins. Signed in pencil lower RH corner, dedicated lower LH corner. A richly inked, superb impression. In the opinion of our good friend George Summers, Jr., the dedication "for Sandy" refers, in all probability, to Sandy Campbell, an actor who enjoyed a long and successful Broadway career and who modeled for Cadmus on a number of occasions. Since Paul Cadmus was some eighteen years Campbell's senior, this print was undoubtedly presented by the artist many years after the actual edition was printed. Davenport 37. Archivally matted and framed.

$1,800

Etching & aquatint, 1904; edition not stated. Image size 7” x 5¼”; sheet size 16-5/8” x 13-3/8”. Published by Macmillan & Co., London. A well-inked impression in very good overall condition.

$475

Etching and drypoint, 1915; edition of 98. Image size 8¾" x 16½"; sheet size 12-3/8" x 19-5/8". Signed in the plate and in pencil by the artist in the lower margin. A fine impression in fine condition. Handsomely framed in an archival mount.

Tewkesbury Abbey is located in Gloucestershire. The site has been occupied since the early eighth century. In the twelfth century, it was re-established as a Benedictine abbey and remains one of the finest such establishments in the United Kingdom. Rinder 457.

$1,400

Etching on wove paper, 1903. Image size 6” x 10-3/8;” sheet size 7¾” x 12.” Published by The Studio, London, and Signed “D. Y. Cameron” in the plate. Fine overall condition.

$225

Etching marked "trial proof", 1973. Plate dimensions 4-1/8" x 3½" on 7½" x 6½" sheet. Signed and titled in pencil lower margin. A fine, well-inked impression with a faint ink line about ¼" beyond the plate mark on three sides.

SOLD

Etching and aquatint in two colors, edition of 200, 1975. Plate 3½" x 6-7/8"; overall sheet size 7½" x 12". Numbered, titled, and signed by the artist on lower margin. A fine impression with a minor crease upper LH corner of sheet well away from the image.

SOLD

Lithograph, 1946. Edition of 250, published by Associated American Artists, New York. Image 9-3/8" x 13" with full margins. Initialed in image and signed in pencil lower RH corner. Very faintly and uniformly toned.

$180

Etching, ca. 1960; edition of 100. Image size 10¾” x 9¼”; sheet size 20¾” x 15”. Numbered 9/100, Titled, and signed in pencil by the artist in the lower margin. Fine. Freundlich 130.

$575

Etching, ca. 1965; edition of 100. Image size 9-1/8” x 10-11/16”; sheet size 14¾” x 20½”. Numbered, titled, and signed in pencil by the artist in the lower margin. Fine. Freundlich

$525

Lithograph, 1940; edition of 250. Image size 9-3/8" x 12-5/8"; sheet size 12-5/8" x 17". Published by Associated American Artists, New York. Signed in pencil by Castellon in the lower margin. A beautiful, nuanced impression in fine condition.

$400

Etching and aquatint, ca. 1965; edition of 100. Image size 11-7/8” x 14-3/4”; sheet size 17-1/8” x 20-3/4”. Titled, numbered 28/100, and signed by Castellòn in pencil in the lower margin. A fine, well-inked impression in fine condition. Museum-quality archival mat and mount.

$450

Etching, 1967; edition of 110; Image size 6” x 11-7/8”; sheet size 12-7/8” x 19¾”. Trial proof for the portfolio Six Etchings, published by Associated American Artists, New York and printed by Atelier Lacouriere, Paris, on BFK Rives heavy weight paper. Numbered and signed in pencil by Castellon in the lower margin. Fine. Freundlich 187.

$350

Etching, 1967; edition of 110; Image size 7¾" x 9-7/8”; sheet size 12-7/8” x 19¾”. Trial proof for the portfolio Six Etchings, published by Associated American Artists, New York and printed by Atelier Lacouriere, Paris, on BFK Rives heavy weight paper. Numbered and signed in pencil by Castellon in the lower margin. Fine. Freundlich 182.

$325

Etching, 1967; edition of 110; Image size 9-1/8" x 10-7/8”; sheet size 12-7/8” x 19¾”. Trial proof for the portfolio Six Etchings, published by Associated American Artists, New York and printed by Atelier Lacouriere, Paris, on BFK Rives heavy weight paper. Numbered and signed in pencil by Castellon in the lower margin. Fine. Freundlich 184.

$375

Etching, 1967; edition of 110; Image size 7¾" x 9-13/16”; sheet size 12-7/8” x 19¾”. Trial proof for the portfolio Six Etchings, published by Associated American Artists, New York and printed by Atelier Lacouriere, Paris, on BFK Rives heavy weight paper. Numbered and signed in pencil by Castellon in the lower margin. Fine. Freundlich 185.

$325

Etching, 1967; edition of 110; Image size 7¾" x 11-7/8”; sheet size 12-7/8” x 19¾”. Trial proof for the portfolio Six Etchings, published by Associated American Artists, New York and printed by Atelier Lacouriere, Paris, on BFK Rives heavy weight paper. Numbered and signed in pencil by Castellon in the lower margin. Fine. Freundlich 186.

$325

Lithograph, 1949; edition of 150. Image size 12-7/8” x 9-7/8”; sheet size 14-5/8” x 18”. Published by the Print Club of Albany. Singed in pencil by the artist in the lower margin. Freundlich 33. A fine impression. Small tape remnants verso, else fine overall condition.

$275

Lithograph, ca. 1950; edition of 250. Image size 11-7/8” x 8-13/16”; sheet size 15-3/8” x 11¾”. Signed on the stone and in pencil in the lower margin by Castellon. A fine impression overall, with small losses at the upper corners of the sheet.

$375

Etching on cream wove paper, early 20th Century. Edition unknown, but probably fewer than 50 proofs.. Image size 3-7/8” x 6-1/16”; sheet size 9-13/16” x 11-7/8”. Titled and signed in pencil by Chalandre in the lower margin.

Place Carnot abuts the former Ducal palace, one of its two towers is shown in this etching. Before its extensive renovation beginning in the 1890s, Place Carnot was an open air market, ultimately covered and enlarged in 1895 on what had been the site of the Hôtel-Dieu Saint-Didier and its cemetery. It was named in honor of Marie François Sadi Carnot, President of France, who was assassinated in 1894. A richly inked print in overall fine condition.

$325

Etching, 1909; edition not stated, but probably fewer than 50 proofs. Image size 9¼” x 15¼”; sheet size 11-3/16: x 17½”. Signed in pencil by the artist in the lower margin. Annotated “Salon de la Nationale 1909”. A beautiful, complex work with masterful play of light and dark in overall fine condition with minor, unobtrusive creasing at the lower edge of the sheet, well away from the sight area.

$475

Etching on cream wove paper, ca. 1912. Edition unknown, but likely to be fewer than 50 proofs. Image size 3¼” x 5-5/8”; sheet size 9-15/16” x 12-5/8”. Titled and signed in pencil in the lower margin.

More an alley than a street, Rue Casse-Cou is distinctive for its long and steep flight of challenging stone steps, which explains its name, which translates to “Dare-Devil”. This rich and whimsical image employs Chalandre’s adept contrapuntal use of light and shadow. Fine.

$250

Etching, ca. 1912; edition size unknown, but probably 50 or less. Image size 3¼” x 5¾”; sheet size 9¾” x 11”. Rue des Recollets, which leads uphill to the ancient Castle of Nevers, was originally named Vicus de Castro in 1323; its name was changed on several occasions before the current name was established in 1600. In the year VIII, following the French Revolution, the name was changed to Rue des ci-devant Récollets, or roughly, “the street formerly known as Rue des Récollets”. A fine impression with very faint toning in what was likely the mat aperture, and minor scuffs along the side edges of the sheet.

$175

Etching, ca. 1912; edition unknown, but likely fewer than 50 proofs. Image size 3-5/16” x 4-7/8”; sheet size 9-13/16” x 11¾”. Constructed at the end of the fourteenth century, this iconic fortification consisted of tower and battlements and a drawbridge that carried traffic across the Passière, which was subsequently routed through an underground culvert. In 1847, the Baron Vertpré recognizing the historic significance of the structure, bought it to prevent its destruction and sold it to Nevers 1851. The city restored the complex and created a historical museum on three levels of the tower. Today, it is operated by the Nivernese Society of Ats and Sciences.

Titled in the plate; signed in pencil in the lower margin. Fine overall condition.

$225

Etching, ca. 1912; edition size unknown, but probably less than 50. Image size 3-1/8” x 6-13/16”; sheet size 9-7/8” x 11¾”. A narrow and crooked alley last widened in 1903, the Rue des Oulches - or Ouches - was given its present name in 1571. Its footprint marks the line of an old ditch at the base of the original ramparts of Nevers. It includes remains of the original city walls as well as portions of the structure of the Ducal castle and its outbuildings. A beautiful etching that captures the ancient character of this venerable place, in fine condition, titled and signed by Chalandre in the lower margin.

$225

Etching, ca. 1912. Edition not known, but probably fewer than 50 proofs. Image size 3-3/8” x 4-15/16”; sheet size 9-7/8” x 12-5/8”. Titled and signed by Chalandre in pencil in the lower margin

Looming above the Rue St. Etienne streetscape is the eastern view of the tower of the Church of Saint-Etienne. Its construction spanned the eleventh and twelfth centuries and it is a remarkable, if somewhat disfigured, survivor of classic Romanesque architecture. The print is richly inked and in fine overall condition.

$275

Etching, ca. 1912. Edition unknown, though likely fewer than twenty proofs. Image size 3¼” x 4-7/8”; sheet size 9¾” x 12-5/8”. Signed in pencil by Chalandre in the lower margin and also in lower right-hand corner of he plate. A haunting moonlit scene of Nevers lying beyond the Loire, with a tree-lined embankment separating the river from the road. Fine.

SOLD

Lithograph, 1945. Edition of 250, published by Associated American Artists, New York. Image size 7" x 11-7/8" with full margins.  A fine impression, signed by artist lower RH corner.

$225

Lithograph, ca. 1946. Image size 8-3/4" x 12-7/8"; overall sheet size 12" x 16". Edition of 250, published by Associated American Artists, New York. A fine impression with mild, uniformly toned sheet. Signed by the artist lower RH corner.

$225

Etching on laid paper, 1879; edition not stated. Image size 3½” x 5¾”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed in the plate. Fine overall condition.

$375

Etching and aquatint on unmounted Japan paper, 1876; edition not stated. Image size 8¾” x 6½”; sheet size 10-5/8” x 8¼”. Signed in the plate as well as in pencil in the lower margin. A fine, rich impression in overall very good condition with small loss in upper right corner and faint adhesive residue at the edges.

$675

Wood engraving, ca. 1945, edition not stated. Image 8-3/8" x 5-7/8" on 12-3/8" x 10½" sheet. Titled and signed by artist in lower margin. Fine condition; Springfield 75.

SOLD

Wood engraving, ca. 1950; edition not stated. Image size 8-7/8" x 6" on 12½" x 9½" sheet. Titled and signed by artist lower margin. Fine overall condition. Springfield 91.

$SOLD

Wood engraving, ca. 1945. Edition of 250, published by Associated American Artists, New York. Signed by artist lower RH corner. Image size 9" x 4-3/4" with full margins. A fine image with faint toning in aperture and darkened overall by uniform mat burn. Springfield 76.

SOLD

Wood engraving, 1929; edition not stated. Image size 4-7/16” x 5½”; sheet size 9-3/8” x 11-7/8” An early work in very good condition. Springfield 18.

$525

Wood engraving, 1928; edition of 100. Image size 4" x 5"; sheet size 7" x 11". Initialed in the block and titled and signed in pencil in the lower margin by the artist. Springfield 10, a very early and scarce work. This portrait of the founder of the Bahai faith is a superb impression in fine overall condition. Numbered 7/100.

SOLD

Wood engraving, 1941; edition of 250. Image size 9-15/16” x 6-1/8”; sheet size 14¼” x 10-3/8”. Published by Associated American Artists, New York. A fine impression in overall fine condition.

$ SOLD

Woodcut, 1928; edition of 100. Image size 5" x 4"; sheet size 9½" x 11¼". Titled, numbered 20/100, and signed in pencil by the artist. A fine, well-inked impression of this scarce, very early work. Springfield 5.

$500

Wood engraving, 1930; Proof. Image size 8” x 6”; sheet size 12” x 9”. Titled in pencil by the artist in the lower margin but not signed. A detailed, well-inked impression on thin paper in very good overall condition, with rippling top and bottom. Springfield 24.

SOLD

Wood engraving on cream Japan paper, 1928; edition not stated. Image size 7” x 5”; sheet size 11¼” x 6”. A fine impression in overall very good condition. Faint toning in sight area and tape residue in upper corners of sheet. An early work - Springfield catalog 6.

$625

Lithograph, ca. 1940; edition of 184. Image size 15¼” x 11¾”; sheet size 17-7/8” x 13-5/8”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. Fine.

SOLD

Silver gelatin print, edition of 20. Image size 9½" x 14-3/16"; sheet size 11¼" x 15-13/16". Numbered 4/20 and signed by Lucien Clergue in ink in the lower margin. A beautiful image in fine condition. Ex Forbes Collection of Fine Art.

$1,600

Wood engraving on wove paper after an original painting by James Kelly, originally published in the August, 1877 issue of Scribner’s Monthly. Image size 3-5/16” x 4-5/16”; sheet size 10” x 12¼”. Signed in pencil by Cole in the lower margin. A fine impression in overall fine condition. Smith 73

SOLD

Wood engraving on wove paper after an original drawing by Charles Stanley Reinhart, published in the September, 1877 issue of Scribner’s Monthly. Image size 5” x 4½”; sheet size 10” x 12¼”. Cole’s signet and Reinhart’s initials in the block. Signed by Cole in pencil in the lower margin. Fine impression in overall fine condition. Smith 74.

SOLD

Wood engraving on wove paper after a pen-and-ink portrait by Wyatt Eaton. Published in Scribner’s Monthly in December, 1877. Artist’s and engraver’s names in the lower margin of the block. Image size 4-15/16” x 6-1/16”; sheet size 9” x 11¼”. A fine image in overall fine condition. Smith 78a.

$200

Wood engraving on wove paper, after a painting by Gabriel von Max. The engraving was published in the January, 1878 issue of Scribner’s Monthly. Image size 4-7/16” x 6-1/8”; sheet size 10” x 12¼”. Cole’s insignia in the block. Signed in pencil by Cole in the lower margin. A fine impression in overall fine condition. Smith 80.

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after a painting by Henry Sandham, published in Scribner’s Monthly in 1878. Image size 4-7/8” x 4-7/8”; sheet size 9” x 11-3/8”. Sandham’s signature and Cole’s monogram in the block; signed in pencil by Cole in the lower margin. A fine, crisp impression in overall very good condition. The proof is rippled at the edges and there are small losses in the corners, well away from the sight area. the proof has been secured to its mount at these points using archival mounting tape. Smith 81.

$250

Wood engraving on wove paper after an oil painting ca. 1875 by Frederik Hendrik Kaemmerer. The etching was published in the February, 1878 issue of Scribner’s Magazine. Image size 3-15/16” x 5-11/16”; sheet size 10” x 12¼”. Cole’s monogram in the block and his signature in pencil in the lower margin. A fine impression in overall fine condition. Smith 84.

SOLD

Wood engraving on wove paper, after a drawing by Mary Hallock Foote. The engraving was published in the May, 1878 issue of St. Nicholas Magazine. Image size 7” x 5½”; sheet size 12¼” x 10”. Signed in pencil by Cole in the lower margin. A fine impression in overall fine condition. Smith 86a.

$225

Wood engraving on wove paper after a drawing by Mary Hallock Foote. Image size 5” x 4”; sheet size 10” x 12¼”. The engraving was published in the August, 1878 issue of Scribner’s Monthly. Signed in pencil by Cole in the lower margin. A fine impression in overall fine condition. Smith 88a.

$175

Wood engraving on wove paper, after a drawing by Mary Hallock Foote. The engraving was published in the August, 1878 issue of Scribner’s Magazine. Image size 4-15/16” x 6¼”; sheet size 10” x 12¼”. Signed by Cole in pencil in the lower margin. A beautiful impression in overall fine condition. Smith 88b.

SOLD

Wood engraving on wove paper, after an 1877 oil painting by William Merritt Chase. Image size 3½” x 5¼”; sheet size 9¼” x 12”. The engraving was published in the September, 1878 issue of Scribner’s Monthly. Signed by Cole in pencil in the lower margin. Fine impression in fine overall condition. Smith 89.

$275

Wood engraving after a drawing by Mary Hallock Foote, published in the January, 1879 issue of Scribner’s Monthly. Image size 5” x 5½”; sheet size 10” x 12¼”. Signed by Cole in pencil in the lower margin. Good overall condition, with a faint diagonal crease on the left of the image. Smith 93.

$110

Wood engraving on wove paper after a painting by William Page. The engraving was published in the January, 1879 issue of St. Nicholas Magazine. Image size 6-13/16” x 5-3/16”; sheet size 12¼” x 10”. Signed in pencil by Cole in the lower margin. A fine impression in fine overall condition. Smith 96.

$175

Wood engraving on wove paper, after a ca. 1878 painting by Elihu Vedder in the collection of The Crystal Bridges Museum of American Art, Bentonville, Arkansas. The engraving was published in the June, 1879 issue of Scribner’s Monthly. Image size 5” x 3¾”; sheet size 12¼” x 10”. Signed by Cole in pencil in the lower margin. A fine impression in overall fine condition, save for a small spot at the right edge of the sheet, well away from the image. Smith 101.

SOLD

Wood engraving after a sculpture by Paul Dubois, published in the June, 1879 issue of Scribner’s Monthly. Image size 4-7/16” x 5-13/16”; sheet size 10” x 12¼”. Signed by Cole both in the matrix and in pencil in the lower margin. A beautifully rendered image in overall fine condition. Smith 103.

$225

Wood engraving on wove paper after an 1870 painting by Franklin Blackwell Mayer in the collection of the New Britain Museum of American Art, New Britain, Connecticut. The engraving was published in the September, 1879 issue of Scribner’s Monthly. Image size 4-15/16” x 5-5/16”; sheet size 10” x 12¼”. Signed “Timothy Cole” in pencil in the lower margin. A warm, detailed impression in overall fine condition. Smith 109.

$275

Wood engraving on wove paper, after an 1868 oil painting by Marià Fortuny i Marsal in the collection of The Prado, Madrid. The engraving was published in the October, 1879 issue of Scribner’s Monthly. Image size 4-7/16” x 6-1/8;” sheet xize 10” x 12¼.” Signed in pencil by Cole in the lower margin. A fine impression in overall fine condition.

SOLD

Wood engraving on India proof paper affixed at its corners to a protective mount, after a painting by Antoine Wiertz. The engraving was published in American Art Review in 1880. Image size 7-5/8” x 6-1/16;” sheet size 9-9/16” x 7-15/16.” Titled, attributed, and signed “T Cole” in pencil in the lower margin. A fine impression, with a narrow band of adhesive staining at top edge of the proof, about ¾” above the impression. Smith 116.

$225

Wood engraving on wove paper after a drawing by Mary Hallock Foote from Volume II of Longfellow’s Works, published by Houghton Mifflin in 1880. Image size 5-5/8” x 4-11/16;” sheet size 12” x 9¼.” Attribution and Cole’s signature in pencil in the lower margin. A fine impression in very good condition, with faint toning in the sight area and mounting hinge remnants along the reverse upper edge. Smith 120.

$ 225

Wood engraving on India proof paper affixed at its corners to a protective mount, after an Ambrotype photograph, published in the October, 1882 issue of The Century Magazine. Image size 4-7/8” x 6-7/16;” sheet size 9-1/8” x 12.” Signed by Cole in the matrix and in pencil in the lower margin. A fine impression in overall near-fine condition with faint adhesive staining in the corners. Smith 157.

$250

Wood engraving on wove paper, after a painting by Sir Hubert von Herkomer. The engraving was published in the October, 1883 issue of The Century Magazine. Image size 5-3.16” x 6-3/8;” sheet size 9½” x 12.” Signed by Cole in pencil in the lower margin. Faint bleed-through from hinge remnants in the upper corners, else fine. Smith 174.

$225

Wood engraving on wove paper after a drawing by Wyatt Eaton of the Polish actress. The engraving was published in the November, 1883 issue of The Century Magazine. Image size 5-1/16” x 6-9/16;” sheet size 9½” x 12-1/8.” Signed “T. Cole, Sc.” in the matrix and signed “Timothy Cole” in pencil in the lower margin. A nuanced portrait in overall fine condition.

$250

Wood engraving on wove paper after a 1464 painting by Andrea Mantegna. The engraving was published in the January, 1890 issue of The Century Magazine. Image size 7-5/8” x 5¼;” sheet size 12” x 9½.” Signed “Timothy Cole” in pencil in the lower margin. A prime example of Cole’s use of understated shading to achieve a remarkable range of tonal effects in the lavishly chromatic original work. Faintly toned in the sight area, but fine in all other respects.

$325

Wood Engraving on wove paper after a 1632 painting by Rembrandt in the collection of The Louvre, Paris. The engraving was published in the December, 1893 issue of The Century Magazine. Image size 6-5/16” X 5-5/16;” sheet size 12-1/8” x 9½.” Signed “Timothy Cole” in pencil in the lower margin. Overall fine condition.

SOLD

Wood engraving on wove paper, after a ca. 1665 oil painting by Jan Steen in the Royal Belgian Museums of Fine Art, Brussels. Image size 4¾” x 5-7/8;” sheet size 7¼” x 10-1/16.” Published ca. 1894. Artist, title, and engravers’ names printed in the lower margin of the image, which was apparently issued in a contemporary book or unidentified monthly journal. A beautiful impression.

Most of his work credits Timothy Cole, who was born Walter Sylvanus Timotheus Cole in 1852, and why his true given name was used in this instance is not clear. Nevertheless, the draftsmanship and tool work are unmistakable. At the time, Cole was under contract to The Century Magazine, which planned a portfolio of his wood engravings after Italian, French, German, Dutch, and English masters. L’Offre Galante may have been a money-making detour on his part.

The only work by Steen named in the Smith checklist of 1925 is an engraving by Cole of The Feast of Saint Nicholas (Smith 266). We are placing L’Offre Galante in the same time frame and taking the liberty of numbering it 266a. In those years, Cole was busily engraving the works of European masters during his long stay in Europe and complaining repeatedly to his employers about inadequate compensation and the scheduling demands imposed upon him. Smith 266a.

$475

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1659 painting in The Louvre by Adriaen van Ostade, published in the June, 1894 issue of The Century Magazine. Image size 5¼” x 6;” sheet size 9-3/16” x 13-3/8.” “T. Cole Sc. Louvre Paris Oct 1893” inscribed in the block beneath the image, and signed in pencil by Cole in the lower margin. A masterful example of Cole’s use of light and shadow. The corners of the sheet have wrinkling and small losses; Archival tape with water-soluble glue has been used in two of the corners in order to secure the etching to its mount. A barely discernible diagonal crease spans the image from its upper left to lower right side; otherwise, none of the defects lie within the sight area. Smith 275.

SOLD

Wood engraving on India proof paper affixed at its corners to a protective mount, after the 1641 oil painting Young Girl As Shepherdess by Govert Flinck in the collection of The Louvre, Paris. The engraving was published in the January, 1895 issue of The Century Magazine. Image size 5¼” x 6-9/16;” sheet size 9” x 13-7/16.” “T Cole, Sc - Paris July 1894” engraved in the block below the image, and signed “Timothy Cole” in pencil in the lower margin. Small losses in the two lower corners; archival tape with water-soluble glue has been used in order to secure the etching to its mount in these locations, else fine on a good+ age-toned mount. Smith 284.

SOLD

Wood engraving on India proof paper affixed at its corners to a protective mount, after a portrait by George Romney completed in 1778, now in the collection of the Metropolitan Museum of Art, New York. The engraving was published in the July, 1898 issue of The Century Magazine. Image size 5-1/8” x 6½;” sheet size 8-7/8” x 11-3/8.” Signed by Cole in pencil in the lower margin. Small losses at the two left-hand corners, repaired using archival mounting tape to secure the etching to its mount. A fine impression in overall fine condition except as noted above. Smith 313.

$425

Wood engraving on tan wove paper, after a ca. 1805 portrait by Sir William Beechey in the collection of The Louvre, Paris. The engraving was published in The August, 1898 issue of The Century Magazine. Image size 5¼” x 7-5/16;” sheet size 9½” x 12.” Inscribed “T. Cole Sc 1898” in the block and signed by Cole in pencil in the lower margin. Fine overall condition. Smith 315.

$325

Wood engraving on Japan paper after an oil painting by John Opie ca. 1790-91 in the collection of the Tate Gallery, London. The engraving was published in the February, 1899 issue of The Century Magazine. Image size 5-1/16” x 6¼;” Sheet size 8-15/16” x 11-3/8.” Inscribed T Cole in the block. A fine impression in fine condition with minor creasing on the left and right-hand edges of the sheet and minor losses to the upper corners of the sheet secured to the mount using archival mounting tape. Smith 321.

$375

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1791 oil painting by John Moreland in the collection of the Tate Gallery, London. The engraving was published in the April, 1899 issue of The Century Magazine. Image size 7¼” x 5-1/8;” sheet size 11-3/8” x 9.” Cole’s monogram and “1898” engraved in the block. A fine impression in overall fine condition, excepting a small loss in the lower right-hand corner of sheet, secured to the mount using archival mounting tape. Smith 323.

$425

Wood engraving on wove paper after a painting by John Sell Cotman. The engraving was published in the August, 1899 issue of The Century Magazine. Image size 5-3/16” x 6-5/8;” sheet size 9½” x 12.” Inscribed “T. Cole, Jan. 1899” and signed in pencil by Cole in the lower margin. A small diagonal crease in the upper left corner well away from the sight area, else fine. Smith 324.

$250

Wood engraving on wove paper after an oil by John Sell Cotmanl The engraving was published in the September, 1899 issue of The Century Magazine. Image size 6¼” x 5-1/16;” sheet size 12” x 9½.” Cole’s monogram engraved in the block; signed “Timothy Cole” in pencil in the lower margin. Fine. Smith 324.

$375

Wood engraving on wove paper after an oil painting ca. 1820 by John Crome in the collection of The Tate Gallery, London. The engraving was published in the November, 1899 issue of The Century Magazine. Image size 8” x 4-7/8;” sheet size 12” x 9½.” Cole’s monogram and “June, 1899” engraved in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 329.

$225

Wood engraving on wove paper after an oil painting by John Crome, in the collection of the Tate Gallery, London. The engraving was published in the November, 1899 issue of The Century Magazine. Image size 5-3/16” x 6-5/16;” sheet size 9½” x 12.” Cole’s monogram and “October, 1898” engraved in the block; signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 330.

$275

Wood engraving on calendared paper after an 1801 portrait by Sir Thomas Lawrence, in the collection of the Cleveland Museum of Art. the engraving was first published in the January, 1900 issue of The Century Magazine. Image size 5¼” x 6-9/16;” sheet size 9½” x 12.” Cole’s monogram and “1899” engraved in the block. Fine overall condition. Smith 332.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil by George Morland in the collection of The Louvre, Paris. Published in the February, 1900 issue of The Century Magazine. Image size 11¼” x 9;” sheet size 12” x 9½.” Cole monogram engraved in the block. A fine impression in good condition, with light rippling in upper left corner of the sheet, well away from the image, and a 1/16” long stain about ¼” from the left edge of the image. Smith 333.

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after an 1815 oil painting by J. M. W. Turner in the collection of The National Gallery, London. The engraving was published in the March, 1900 issue of The Century Magazine. Image size 7¾” x 5-1/16;” sheet size 11-3/8” x 9¼.” Cole’s monogram and “AUG. 1899” engraved in the block. A fine impression in very good overall condition. Smith 334.

$250

Wood engraving on wove paper, after a ca. 1820 painting by John Constable in the museum of the Royal Academy, London. The engraving was published in the April, 1900 issue of The Century Magazine. Image size 7-13/16” x 5-1/16;” sheet size 12” x 9½.” Engraved “Timothy Cole Nov. 1899” in the block and signed in pencil by Cole in the lower margin. Fine. Smith 335.

$225

Wood engraving on wove paper, from an 1829 oil painting by J. M. W. Turner in the collection of The National Gallery, London. The engraving was published in the June, 1900 issue of The Century Magazine. Image size 7-15/16” x 5-1/8;” sheet size 12-1/8” x 9½.” Signed “Timothy Cole” in the block. A fine impression in overall fine condition. Smith 336.

$250

Wood engraving on wove paper, from an 1821 painting by John Constable in The National Gallery, London. The engraving was published in the July, 1900 issue of The Century Magazine. Image size 7¾” x 5-3/16;” sheet size 12” x 9½.” Signed “Tim Cole, Dec. 1899” in the block, and signed in pencil by Cole in the lower margin. Overall fine condition except for a tapered band of darkening along the bottom edge of the sheet, well away from the sight area. Smith 337.

$250

Wood engraving on wove paper, after an 1826 painting by John Constable in The National Gallery, London. The engraving was published in the August, 1900 issue of The Century Magazine. Image size 5¼” x 6-1/8;” sheet size 12” x 9½.” Signed “Timothy Cole Dec. 1899” in the block. A beautiful image in overall fine condition. Smith 338.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after an 1814 painting by Sir David Wilkie in the collection of The Victoria & Albert Museum, London. The engraving was published in the November, 1900 issue of The Century Magazine. Image size 5-3/16” x 6-7/16;” sheet size 9” x 11-5/16.” Signed “Timothy Cole April 1900” in the block, and signed by Cole in pencil in the lower margin. Minor tears and losses in the corners. Archival mounting tape has been used at one corner to secure the etching to its mount. A fine impression with three minor spots outside the image area .Smith 339.

$275

Another copy on tan wove paper in overall fine condition.

$250

Wood engraving on wove paper, after an 1837 painting by Sir Edwin Landseer in the collection of The Victoria & Albert Museum in London. The engraving was published in the January, 1901 issue of The Century Magazine. Image size 7¼” x 5¼;” sheet size 12” x 9½.” Signed “Timothy Cole May 1900” in the block. Fine overall condition. Smith 341.

$375

Wood engraving on wove paper, after an 1836 oil on board by Edwin Henry Landseer in the collection of the National Portrait Gallery, Washington, D. C. The engraving was published in the February, 1901 issue of The Century Magazine. Image size 5¼” x 7-1/16;” sheet size 9½” x 12.” Signed “Timothy Cole May 1900” in the block. A fine impression in fine overall condition. Smith 342.

$225

Wood engraving on wove paper, after an 1812 oil painting by Sir David Wilkie in the collection of The Royal Academy, London. The engraving was published in the June, 1901 issue of The Century Magazine. Image size 5-3/16” x 6-5/16;” sheet size 9½” x 12.” Signed “Tiimothy Cole Sc. Feb 1900” in the block and signed in pencil by Cole in the lower margin. Fine overall condition. Smith 343.

$325

Wood engraving on wove paper, after a ca. 1830 oil sketch by John Constable. The engraving was published in the July, 1901 issue of The Century Magazine. Image size 7-5/16” x 5-1/8;” sheet size 12” x 9½.” “Timothy Cole Feb. 1900” engraved in the block; signed “Timothy
Cole” in pencil in the lower margin. Fine overall condition. Smith 344.

$175

Wood Engraving on wove paper after an oil painting by Zurbaran then in the Smith-Barry collection at the time that Cole created this engraving, which was published in the November, 1901 issue of The Century Magazine. This was the first in a series of paintings by old Spanish masters engraved by Cole and subsequently published in book form by The Century Company. Image size 5¼” x 6-7/16;” sheet size 9½” x 12.” Signed in pencil by Cole in the lower margin. Fine overall condition. Smith 346.

$225

Wood engraving on wove paper after a painting by El Greco (Domenico Theotocopuli) in the collection of The Kelvingrove Art Gallery and Museum, Glasgow. The engraving was published in the February, 1902 issue of The Century Magazine. Image size 5¼” x 6-7/8;” sheet size 9½” x 12.” Signed by the artist in pencil in the lower margin. Fine overall condition. Smith 347.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil painting ca. 1598 by El Greco in the collection of the National Gallery of Art, Washington, D.C. Image size 4-1/8” x 7¾;” sheet size 9-3/16” x 11½.” “Timothy Cole 1904” engraved in the block, and signed “Timothy Cole” in pencil in the lower margin. Small losses at the corners with archival tape anchoring the Japan paper to the mount. A fine impression with minor ripples and faint creases in the lower portion of the sheet extending about 1” into the image. This engraving was also included in Old Spanish Masters, annotated by Cole and published in 1907 by The Century Company. Smith 355.

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil painting ca. 1665 by Bartolomé Esteban Murillo in the collection of The Museum of Fine Arts, Seville. The engraving was published in the January, 1904 issue of The Century Magazine. Engraved “Cole 1903” in the block and signed “Timothy Cole” in pencil in the lower margin. Slight rippling in the lower portion of the sheet, away from the sight area. fine, rich impression in overall very good condition. Smith 357.

$250

Wood engraving on wove paper, after a ca. 1634 oil painting by Velazquez in the collection of the Museo Nacional del Prado, Madrid. The engraving was published in the February, 1904 issue of The Century Magazine. “COLE” engraved in the block; signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 358.

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil painting, ca. 1635, by Velazquez in the collection of the Prado in Madrid. The engraving was published in the September, 1904 issue of The Century Magazine. Image size 5” x 6-7/8;” sheet size 8¼” x 11-1/8.” “Cole 1903” engraved in the block, and signed “Timothy Cole” in pencil by the artist in the lower margin. Fine overall condition.

This is one of a group of five equestrian portraits of the Spanish royal family by Velazquez and his assistants commissioned in 1634 in a less than subtle expression of dynastic continuity. The young prince is the embodiment of confident arrogance. This is one of the finest examples of Timothy Cole’s ability to capture the inherent character of the original work in his wood engravings. Smith 361

$500

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1780 oil painting by Francisco de Goya y Lucientes in the collection of the Prado in Madrid. The engraving was published in the November, 1904 issue of The Century Magazine. Image size 5-1/16” x 7-15/16;” sheet size 8-1/8” x 11-1/8.” Signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 362.

The original oil was created by Goya as one of a series of cartoons for tapestries intended to be hung in the antechamber to the bedroom of the Prince and Princess of Asturias at the El Pardo Palace. Cole seems to have reached the pinnacle of his gifts during his work at The Prado in 1903.

$525

another copy on wove paper; sheet size 9½” x 12.” Signed by the artist in pencil in the lower margin. Fine.

$475

Wood engraving on wove paper after a ca. 1635 oil painting by Alonso Cano in the Chapel of Our Lady of Belén in the Cathedral of Seville. The engraving was first published in the December, 1904 issue of The Century Magazine. Image size 5-1/16” x 7-1/8;” sheet size 9½” x 12.” “COLE” engraved in the block, and signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 363.

$225

Wood engraving on wove paper after a painting ca. 1650 by Bartolomé Esteban Murillo, in the collection of The Prado, Madrid; the engraving was published in the January, 1905 issue of The Century Magazine. Image size 5-1/8” x 6-5/8;” sheet size 12” x 9½.” Signed “T Cole Sc. 1904” in the block. A fine impression in overall fine condition. Smith 364.

$275

Wood engraving on India proof paper affixed at its corners to a protective mount, after a painting ca. 1650 by Bartolomé Esteban Murillo, in the collection of The Prado, Madrid. Image size 5-1/8” x 6-5/8;” sheet size 12” x 9½.” Signed “COLE” in the block. Inscribed “Engraved by Walter Cole, son of / Timothy Cole” in pencil in Tiimothy Cole’s hand in the lower margin. A fine impression in very good condition. Smith 364a.

$325

another copy on wove paper in overall fine condition.

$275

Wood engraving on India proof paper affixed at its corners to a protective mount, after a painting by Francisco Zurbaran in the collection of the Musee de Picardie, Amiens, France. The engraving was published in the December, 1905 issue of The Century Magazine. Image size 5” x 6¾;” sheet size 8¼” x 11-1/8.” Signed “COLE / 1904” in the block. Fine overall condition. Smith 365.

$525

another copy in fine condition on wove paper; Image size 5” x 6¾;” sheet size 9½” x 12.”

$450

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil painting by Alonso Cano. St. Agnes is one of more than 400 works of art from the Kaiser Friedrich Museum removed and stored in a flak tower for safekeeping during the Second World War and presumed destroyed when the tower was engulfed in a series of fires during May, 1945.

The engraving was published in the February, 1906 issue of The Century Magazine. Image size 5” x 6¾;” sheet size 9-1/8” x 11¼.” “T Cole Sc. 1905” engraved in the block’ Signed “Timothy Cole” in the lower margin. Fine overall condition, with minor losses at the four corners of the proof; the sheet has been secured to the mount with archival mounting tape. Smith 367.

$425

another signed copy on wove paper in fine overall condition.

$375

Wood engraving on India proof paper affixed at its corners to a protective mount, after the ca. 1660s painting by Bartolomé Estaban Murillo in the collection of The National Gallery of Ireland. The engraving was originally published in the May, 1906 issue of The Century Magazine. Image size 6-7/16” x 5-1/16;” sheet size 11½” x 9.” Signed “Cole Sc 1904” in the block and signed “Timothy Cole” inpencil in the lower margin. A fine impression, with minor tears and losses in both left-hand corners, reattached using archival mounting tape. Smith 368.

$375

another pencil-signed copy on wove paper in fine condition.

$350

Wood engraving on wove paper, after the ca. 1805 portrait by Francisco José de Goya y Lucientes in the collection of The National Gallery, London. Image size 5-3/16” x 7-7/8;” sheet size 9½” x 12.” Engraving published in the June, 1906 issue of The Century Magazine. “T Cole Sc. 1905” engraved in the block, and signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 369.

$550

Wood engraving on wove paper, after a ca. 1636 painting by Diego Rodríguez de Silva y Velázquez in the collection of the Prado Museum, Madrid. The engraving was published in the July, 1906 issue of The Century Magazine. Image size 4-15/16” x 6-5/16;” sheet size 9½” x 12.” “T Cole Sc. April 1904” engraved in the block; signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 370.

$275

Smith 370.

Wood engraving on wove paper, after a painting, ca. 1665, by Bartolomé Esteban Murillo, possibly modeled by his daughter Francesca, in the collection of The Dulwich Picture Gallery, London. The engraving was published in the August, 1906 issue of The Century Magazine. Image size 5-1/8” x 7¼;” sheet size 9½” x 12.” Engraved “T. Cole Sc. 1905” in the block. Signed “Timothy Cole” in pencil in the lower margin with the title inscription “The Flower Girl, Murillo / Dulwich gal, England” in pencil in the artist’s hand. A fine impression in overall fine condition. Smith 371.

$450

Wood engraving on wove paper after a 1657 oil painting by Diego Velazquez in the collection of the Museo del Prado, Madrid. The engraving was published in the September, 1906 issue of The Century Magazine. Image size 6¾” x 5-1/16;” sheet size 12-1/8” x 9½.” Signed “T. Cole Sc. / June 1905” in the block, and “Timothy Cole” in pencil in the lower margin. A beautiful impression in overall fine condition. Smith 372.

$450

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1655 oil painting by Bartolomé Esteban Murillo, in the collection of the Museo del Prado, Madrid. The engraving is signed “T. Cole, Sc. / April, 1905” in the block, and signed “Timothy Cole” in pencil in the lower margin. Image size 5-1/16” x 6¾;” sheet size 8-7/8” x 11¼.” There are small losses at the lower corners; archival mounting tape has been used to affix the sheet to the mount in these locations, otherwise a fine image in overall fine condition. Smith 374.

$350

another copy on wove paper lacking the pencil signature in overall fine condition.

$250

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1665 oil painting by Bartolomé Esteban Murillo in the collection of the Museo del Prado, Madrid. Engraving published in the January, 1907 issue of The Century Magazine. Image size 5-1/8” x 6¼;” sheet size 9-1/8” x 10-7/16.” Signed “Timothy Cole” in pencil in the lower margin. Diagonal creases from lower left through upper right corners of the image. A rich impression in both detail and tonal range. Smith 376.

$275

Wood engraving on India proof paper affixed at its corners to a protective mount, after The Disrobing of Christ, a ca. 1577 painting by El Greco (Doménikos Theotokópoulos), in the collection of the Santa Iglesia Catedral Primada de Toledo, Spain. The engraving was published in the February, 1907 issue of The Century Magazine. Image size 4-13/16” x 7-15/16;” sheet size 9-3/16” x 11½.” Light soiling and small losses at the lower corners, reattached to the mount using archival mounting tape, with two small voids in the image. Signed “T. Cole - 1904” in the block, and signed “Timothy Cole” in pencil in the lower margin. Smith 377.

$450

another copy, unsigned, on wove paper. A brilliant impression in fine overall condition.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1636 oil painting by Jusepe de Ribera in the collection of Real Academia de Bellas Artes de San Fernando, Madrid. Image size 5¼” x 7;” sheet size 8-7/16” x 11.” Published in the March, 1907 issue of The Century Magazine. Signed by Cole in pencil in the lower margin. Discoloration from adhesive in the corners; small losses in the upper corners, with archival mounting tape used to secure the Japan to the mount. A fine impression in otherwise fine condition. Smith 378.

$350

Wood engraving on wove paper, after a 1798 oil painting on wood by François Gerard in the collection of The Louvre, Paris. The engraving was published in the June, 1907 issue of The Century Magazine. Image size 5-1/16” x 7-1/8;” sheet size 9½” x 12.” Signed “T Cole 1906” in the block, and signed “Timothy Cole” in pencil in the lower margin. A triangular loss in the left margin ending in a ¼” tear, and a crease about ¼” above - and parallel to - the lower edge of the sheet. A fine impression on an acidic sheet in need of conservation. Smith 380.

$275

Wood Engraving on coated paper, 1907, after an 1800 portrait by Jacques-Louis David of the Parisian socialite Juliette Récamier in the collection of The Louvre, Paris. The engraving was published in the September, 1907 issue of The Century Magazine. Image size 7¼” x 5-1/8;” sheet size 12” x 9½.” Engraved “T. Cole - 1906” in the block and signed “Timothy Cole” in pencil in the lower margin. A fine impression with a 1/32” diameter spot about 1” from the left edge of the image. Smith 381.

$275

Wood engraving on wove paper, after a 1789 oil on wood self-portrait by the artist, Vigée Le Brun and her daughter, Julie, in the collection of The Louvre, Paris. The engraving was published in the November, 1907 issue of The Century Magazine. Image size 5-1/8” x 7;” sheet size 9½” x 12.” Engraved “T. Cole, 1907” in the block and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 383.

$425

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1748 portrait by Jean-Marc Nattier of the daughter of Louix XV in the collection of The Palace of Versailles. The engraving was published in the December, 1907 issue of The Century Magazine. Image size 5” x 6-7/16;” sheet size 9-3/8” x 11-5/8.” Engraved “T. Cole - 1905” in the block, and signed “Timothy Cole” in pencil in the lower margin. An overall fine impression in fine condition, except for adhesive darkening in upper corners, wrinkling and small losses in the lower corners. The Japan paper has been attached to the mount where necessary using archival mounting tape. Smith 384.

$375

another copy, unsigned, on wove paper with overall dimensions of 9½” x 12” and in fine overall condition.

$225

Wood engraving on wove paper, after an 1822 oil painting by Eugène Delacroix in the collection of The Louvre, Paris. This is widely held to be Delacroix’s first major painting; it signifies both the artist’s embrace of romanticism and abandonment of his classical roots.

The engraving was published in the January, 1908 issue of The Century Magazine and is arguably one of Cole’s finest efforts. Image size 6-15/16” x 5-1/16;” sheet size 12” x 9½.” Engraved “T. Cole - 1906” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in black and white worthy of the original in color for its control of light and shadow, character, and nuance. Fine overall condition. Smith 386.

SOLD

Wood engraving on wove paper, after a ca. 1637 - 1638 painting by Nicolas Poussin in the collection of The Louvre, Paris. The engraving was published in the July, 1908 issue of The Century Magazine. Image size 7-1/16” x 5-1/16;” sheet size 12” x 9½.” Signed “T. Cole - 1906” in the block; signed “Timothy Cole” in pencil in the lower margin, with the accompanying notation “I shall never see such fine printing again. T.C.” Smith 387.

SOLD

Wood engraving on wove paper, after a 1769 oil on canvas by Jean-Honoré Fragonard in the collection of The Louvre, Paris. The engraving was published in the December, 1908 issue of The Century Magazine. Image size 5-1/8” x 6-11/16;” sheet size 9½” x 12.”
Engraved “T. Cole - 1907” in the block and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 388.

$300

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1747 portrait by Charles-André van Loo in the collection of The Palace of Versailles. The matrix is signed “T. Cole - 1909” in the block, and signed “Timothy Cole” in pencil in the lower margin. Image size 5-1/16” x 7-7/16;” sheet size 9¼” x 11¾.” Wrinkling and small losses in the corners of the sheet have been re-affixed to the mount using archival mounting tape. A fine impression. Smith 389.

$325

another copy on wove paper, signed “Timothy Cole” in pencil in the lower margin, in fine condition.

$275

Wood engraving on wove paper, after a 1771 oil painting by Jean-Baptiste Greuze in the collection of The Louvre, Paris. The engraving was published in the March, 1909 issue of The Century Magazine. Image size 5-3/16” x 6½;” sheet size 9½” x 12.” Signed “T. Cole - 1907” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in fine overall condition. Smith 392.

$275

another copy on wove paper in fine overall condition trimmed to an overall size of 8” x 10¾”.

$150

Wood engraving on wove paper, after a 1785 portrait by Elisabeth Louise Vigée Le Brun in the collection of The Metropolitan Museum of Art, New York. The etching was published in the June, 1909 issue of The Century Magazine. Signed “T. Cole - 1908” in the matrix. A diagonal crease at the lower right-hand corner of the sheet, otherwise a fine impression in overall fine condition. Smith 393.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1681-82 painting by Pierre Mignard in The Palace of Versailles. The engraving was published in the July, 1909 issue of The Century Magazine. Image size 5-1/16” x 7-1/16;” sheet size 8-15/16” x 11½.” Signed “Timothy Cole, Sc - 1908” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in near-fine overall condition, with mild rippling and losses at the corners, secured where necessary to the mount using archival mounting tape. Smith 394.

$ 300

another copy, unsigned, on wove paper in overall fine condition.

$250

Wood engraving on India proof paper affixed at its corners to a protective mount,after an 1854 painting by Jean-August-Dominique Ingres in the collection of The Louvre, Paris. The engraving was published in the October, 1909 issue of The Century Magazine. Signed “T Cole - 1908” in the matrix. A fine impression in fine condition. Smith 395.

$350

another copy, unsigned, on wove paper in fine overall condition. Annotated “2nd plate.”

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after an oil painting ca. 1810, by Pierre Paul Prud'hon. Image size 5-1/8” x 6-5/8;” sheet size 9-1/16” x 11-3/8.” Published in the November, 1909 issue of The Century Magazine. Engraved “T. Cole, 1908” in the matrix, and signed “Timothy Cole” in pencil in the lower margin. Secured to the mount at three corners using archival mounting tape, otherwise a fine impression in overall very good condition. Smith 396.

$325

another copy on wove paper, signed in pencil by Cole, and in overall fine condition.

$300

Wood engraving on India proof paper affixed at its corners to a protective mount, after an 1882 painting by Jules-Élie Delaunay in the collection of the Musée des Beaux-Arts de Bordeaux. The engraving was published in the January, 1910 issue of The Century Magazine. Image size 5-1/8” x 6½;” sheet size 8-15/16” x 11-5/16.” Signed “T. Cole - 1909” in the matrix, and signed “Timothy Cole” in pencil in the lower margin. Fine overall condition; small losses at three of the four corners of the proof have been re-secured to the mount using archival mounting tape. Smith 398.

$525

another copy, this on wove paper in overall fine condition and signed in pencil by Cole in the lower margin.

$475

Wood engraving on wove paper, after an 1805 portrait in oils by François Gerard. The etching was published in the February, 1910 issue of The Century Magazine. Image size 5-1/16” x 7¾;” sheet size 9½” x 12.” Signed “Tim Cole, Sc. - 1909 in the matrix, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 399.

$350

Wood engraving on wove paper, after a painting by Claude Joseph Bail presently in a private collection. The engraving was published in the March, 1910 issue of The Century Magazine. Image size 5-1/8” x 6-5/8;” sheet size 9½” x 12.” Signed “T. Cole, Sc. - 1909” in the matrix and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 400.

$375

Wood engraving on wove paper, after a ca. 1819 painting by Théodore Géricault in the collection of The Louvre, Paris. The engraving was published in the April, 1910 issue of The Century Magazine. Signed “T. Cole, Sc. - 1907” in the matrix. A fine impression in fine overall condition. Smith 401.

$450

Wood engraving on India proof paper affixed to a protective mount, after a painting by Eugene Carrière in the collection of The Musée D’Orsay, Paris. The engraving was published in the December, 1910 issue of The Century Magazine. Image size 5¼” x 7½;” sheet size 8-7/8” x 11-3/16” Signed “T.Cole Sc. 1910” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 404.

$500

another copy on wove paper, sheet size 9½” x 12”, also signed in pencil by Cole in the lower margin. Adhesive residue across the bottom of the sheet from a previous matting, well away from the sight area; slightly light struck in the sight area.

$275

Wood engraving on wove paper, after an 1815 oil painting by Martin Drolling in the collection of The Louvre, Paris. The engraving was published in the January, 1911 issue of The Century Magazine. Image size 6½” x 5-1/16;” sheet size 12” x 9½.” Signed “T. Cole - 1907” in the block. A fine impression in overall fine condition. Smith 406.

$225

Wood engraving on wove paper, after a ca. 1715 - 20 oil painting by Antoine Watteau in the collection of Musée Condé, Chantilly. The engraving was published in the May, 1911 issue of The Century Magazine. Image size 5-1/8" x 7-3/8;" sheet size 9½” x 12.” Signed “T. Cole Sc - 1909” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 410.

$175

Wood engraving on wove paper, after a ca. 1887 -89 painting by George Romney in the collection of The National Gallery of Art, Washington, D.C. The engraving was published in the June, 1911 issue of The Century Magazine. Image size 5-1/8” x 7-5/16;” sheet size 9½” x 12.” A fine impression in overall fine condition. Smith 411.

$275

Wood engraving on India proof paper affixed at its corners to a protective mount, after an 1892 oil painting by Edmond Aman-Jean in the collection of the Musée D’Orsay, Paris. The engraving was published in the July, 1911 issue of The Century Magazine. Image size 5-1/8” x 6-5/8;” sheet size 8-7/8” x 11¼.” Signed “T. Cole Sc. - 1910” in the block, and “Timothy Cole” in pencil in the lower margin. A beautiful impression in overall fine condition. Smith 412.

$300

another pencil-signed copy on wove paper; overall size 9½” x 12”.

$275

Wood engraving on wove paper, after a 1782 portrait by George Romney in the Frick Collection, New York. The engraving was published in the December, 1911 issue of The Century Magazine. Image size 5-5/16” x 6-5/8;” sheet size 9½” x 12.” Signed “T. Cole - 1911” in the block, and signed “Timothy Cole” in pencil in the lower margin. Fine overall condition. Smith 414.

$350

Wood engraving on wove paper, after an 1827 portrait by Thomas Lawrence in the Frick Collection, New York. The engraving was published in the January, 1912 issue of The Century Magazine. Image size 5-5/16 x 6-7/8;” sheet size 9½” x 12.” Signed “T. Cole - 1911” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 415.

$350

Wood engraving on wove paper, after a ca. 1645-48 painting by Rembrandt in the collection of The National Gallery Of Art, Washington, D. C. The engraving was published in the March, 1912 issue of The Century Magazine. Image size 6-3/16” x 5-3/16;” sheet size 12” x 9½.” Signed “T. Cole Sc. - 1911” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in fine condition. Smith 417.

$275

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1787 portrait by Joshua Reynolds in The Frick Collection, New York. The engraving was published in the April, 1912 issue of The Century Magazine. Image size 5-3/16” x 6½;” sheet size 9-1/16” x 11½.” Signed “T. Cole Sc. - 1911” in the block, and signed “Timothy Cole” in pencil in the lower margin. Moderate darkening and rippling at the corners of the sheet, else fine. Smith 418.

$300

another copy on wove paper, signed by the artist in pencil in the lower margin; sheet size 9½” x 12”. Fine overall condition.

$325

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1906 portrait by John Singer Sargent in the collection of Old Westbury Gardens, Old Westbury, NY. The engraving was published in the July, 1912 issue of The Century Magazine. Signed “T. Cole - 1912” in the block and signed “Timothy Cole” in pencil in the lower margin. Image size 5-3/16” x 7¾;” sheet size 9” x 11½.” Fine impression in very good overall condition, with minor losses at three corners, which have been reaffixed to the mount using archival mounting tape. Smith 419.

$250

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1644 painting by Diego Velazquez In the Frick Collection, New York. The engraving was published in the October, 1912 issue of The Century Magazine. Image size 5-1/16” x 6-11/16;” sheet size 8-7/8” x 11½.” Signed “T. Cole - 1912” in the block, and signed “Timothy Cole” in pencil in the lower margin. Minor discoloration and losses at the corners of the sheet, else fine. Smith 420.

$300

another copy, unsigned, on wove paper, overall size 9½” x 12;” fine condition.

$175

Wood engraving on wove paper, after a ca. 1872 painting by Jean-Francois Millet in The Frick Collection, New York. The engraving was published in the November, 1912 issue of The Century Magazine. Image size 5-3/16” x 6¾;” sheet size 9½” x 12.” Signed “T. Cole Sc. - 1911” in the block and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 421.

$375

Wood engraving on India proof paper affixed at its corners to a protective mount,after a painting ca. 1800 by John Hoppner. The engraving was published in the December, 1912 issue of The Century Magazine. Image size 5-1/8” x 7-5/16;” sheet size 9-1/16” x 11-7/16.” Signed “T.Cole - 1912” in the block, and signed “Timothy Cole” in the lower margin. Small losses and wrinkling at two corners, otherwise a fine impression in overall fine condition. Smith 422.

$375

another copy, unsigned, on wove paper in overall fine condition.Sheet size 9½” x 12”

$150

Wood engraving on India proof paper affixed at its corners to a protective mount,after an 1865 portrait by Mariano Fortuny Marsal in the collection of The Metropolitan Museum, New York. the engraving was published in the May, 1913 issue of The Century Magazine. Image size 5” x 7;” sheet size 9” x 11½.” Signed “T. Cole - 1912” in the block, and signed “Timothy Cole” in pencilin the lower margin. Small losses at the corners o the proof, secured with archival mounting tape; otherwise a fine impression in fine condition. Smith 427.

$225

another copy, unsigned, on wove paper in overall fine condition.

$125

Wood engraving on India paper affixed to mount along its upper edge, after a painting ca. 1630-35 by Francisco de Zurbaran in the collection of the Thyssen-Bornemisza Museum in Madrid. Image size 5” x 7;” sheet size 9” x 11-5/8.” Published as St. Elizabeth of Hungary in the July, 1913 issue of The Century Magazine. Signed “T. Cole, Sc. - 1913” in the block, and Signed “Timothy Colel”in pencil in the lower margin, accompanied by the notation “Zurbarran (sic) St. Elizabeth / Sir Wm Van Horne’s gal(lery). / Montreal.” Van Horne, a noted industrialist and art collector of the era, owned the painting, then mis-identified, when Cole had it photographed for subsequent engraving and publication.

Fine overall condition; Smith 428.

$375

Wood engraving on India proofing paper affixed at its corners to a mount, after a ca. 1780 painting by Jean-Baptiste Greuze in the collection of the Musée des beaux-arts de Montréal. Image size 5-3/16” x 6-5/16;” sheet size 9” x 11¼.” Signed “T. Cole 1913” in the block and signed “Timothy Cole” in pencil in the lower margin. Published in the December, 1913 issue of The Century Magazine. Small adhesive darkening at the corners, else fine. Smith 430.

$375

another unsigned copy on wove paper in fine condition.

$225

Wood engraving on India proofing paper affixed at its corners to a mount, after an 1879 painting by Dante Gabriel Rossetti in the collection of the Lady Lever Art Gallery, Liverpool. Signed “T. Cole Sc. - 1914” in the block and signed “Timothy Cole” in pencil in the lower margin. Faint glue discoloration and minor losses at the corners, well away from the sight area, which have been re-secured to the mount using archival mounting tape. An otherwise superb impression in fine condition and a masterpiece of the engraver’s art. Smith 432.

$750

Wood engraving on India proof paper, after a work by Mary Lizzie Macomber. Image size 5” x 7;” sheet size 9½” x 11½.” Signed “T. C. 1914” in the block, signed “Timothy Cole” in pencil in the lower margin, and annotated “By Miss Macomber, Boston” in Cole’s hand. Wrinkling and losses at the corners of the proof, well away from the sight area. Proof reattached to its mount using archival mounting tape. Otherwise, a fine impression in overall fine condition. Smith 433.

$225

Wood engraving on India proof paper after an 1876 painting by Ludwig Knaus, its present whereabouts unknown. Image size 5” x 6-15/16;” sheet size 9” x 11-9/16.” Signed “T. Cole 1914” in the block, and signed “Timothy Cole” in pencil in the lower margin. Published in the February, 1915 issue of The Century Magazine. Wrinkling and small losses in the corners of the proof, reattached as needed with archival mounting tape. A fine impression in very good overall condition. Smith 442.

$300

Another copy, unsigned, on wove paper in overall fine condition. Sheet size 9½” x 12.”

$175

Wood engraving on India proof paper affixed at its corners to a mount, after a 17th Century painting attributed to Diego Vazquez. Image size 5-1/16” x 5-5/8;” sheet size 9” x 11-3/8.” Published in the March, 1915 issue of The Century Magazine. Signed “T. Cole, 1913” in the block, and signed “Timothy Cole” in pencil in the lower margin. Small losses at three corners of the proof, re-attached using archival mounting tape. Otherwise, a fine impression in fine condition. Smith 443.

$275

another copy, unsigned, on wove paper in overall fine condition. Sheet size 9½” x 12.”

$175

Wood engraving on India proof paper affixed at its corners to a mount, after an 1858 painting by Edmond Aman-Jean in the collection of Le Petit Palais, Paris. The engraving was published in the April, 1915 issue of The Century Magazine. Image size 5-1/8” x 6-9/16;” sheet size 8-7/8” x 11-7/16.” Signed “T. Cole Sc. 1910” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 445.

$325

another signed copy on wove paper in overall fine condition. Sheet size 9½” x 12.”

$300

Wood engraving on India proof paper attached at its corners to a mount, after a portrait identified as Mrs. Carnac and attributed to Joshua Reynolds. Image size 5-1/8” x 6-3/16;” sheet size 9-1/8” x 11-5/16.” Published in the June, 1915 issue of The Century Magazine. Signed “T. Cole 1914” in the block, and signed “Timothy Cole” in pencil in the lower margin. Small losses in the lower corners; the sheet reattached to the mount using archival mounting tape. Otherwise, a fine impression in overall fine condition. Smith 446.

The only portrait by Reynolds of Mrs. Carnac that I have located on line is quite unlike the present image, and I have been unable to find the original painting that Cole used as his model.

$375

another copy, unsigned, on wove paper in fine condition. Sheet size is 9½” x 12.”

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1778 portrait by George Romney in the collection of the National Gallery of Scotland. The engraving was published in the June, 1916 issue of The Century Magazine. Image size 5-3/16” x 6-1/16;” sheet size 9-1/8” x 11¼.” Signed “T. Cole 1913” in the block. A fine impression in overall fine condition. Smith 451.

$275

another copy on wove paper in fine condition; overall size 9½” x 12”.

$225

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1717 oil on panel by Jean-Antoine Watteau in the collection of The Louvre, Paris. Image size 5-1/8” x 7-7/8;” sheet size 8-1/8” x 11-7/8.” The engraving was published in the September, 1916 issue of The Century Magazine. Signed “T. Cole, Sc - 1909” in the block, and signed “Timothy Cole” in pencil in the lower margin. Small losses in the lower corners; the sheet re-attached to the mount using archival mounting tape. Otherwise, a fine impression in overall fine condition. Smith 452.

$250

another copy on wove paper in fine condition. Sheet size 9½” x 12”

$175

Wood engraving on coated paper, after a bronze sculpture by Augustus Saint Gaudens modeled on several occasions beginning 1880 and held in the collections of numerous museums including The Metropolitan Museum of Art, New York. Image size 5-15/16” x 9-5/8;” sheet size 6-7.8” x 10-9/16.” Signed “T. Cole Sc. 1917” in the block, and signed “Timothy Cole” in pencil in the lower margin. Published in February, 1917 issue of The Art World. Toned within the aperture of a former mat, but in otherwise very good condition. Smith 458.

$125

Wood engraving on coated paper, after a ca. 1916 painting by John Hemming Fry. Image size 6” x 8’” sheet size 6-5/16” x 8-5/8”, trimmed from its original size of 9½” x 14¼,” published as the frontispiece of the March, 1917 issue of The Art World. Signed “T. Cole Sc. - 1917” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in fair to good condition due to toning and soiling. Smith 459.

$175

Wood engraving on India proof paper affixed at its corners to a protective mount, after a ca. 1915 painting by William Sartain. Image size 7” x 8-7/16;” sheet size 9-1/16” x 11-7/8.” Signed “T. Cole, Sc. 1916” in the block; titled, attibuted, and signed “Timothy Cole” in pencil in the lower margin. The engraving was published as the frontispiece of the May, 1917 issue of The Art World magazine. A fine impression in overall fine condition. Smith 461.

$750

Wood engraving on coated paper, after a painting by John La Farge installed at The Church of the Ascension, at the corner of Fifth Avenue and Tenth Street in New York. The engraving was published as the frontispiece of the June 1917 issue of The Art World. Image size 7-1/8” x 6-3/8;” sheet size 8-13/16” x 7½.” The sheet was cut down for framing and is slightly toned in the sight area. Signed “Timothy Cole” in pencil in the lower margin. A very good impression in overall good+ condition. Smith 462.

$150

Wood engraving on coated paper, after a ca. 1883-88 painting by Harry Watrous. Image size 6½” x 9;” sheet size 8” x 12.” The engraving, signed in the matrix, was published as the frontispiece of the August, 1917 issue of The Art World. This copy was trimmed for framing and is lightly toned in the sight area. Smith 464.

$50

Wood engraving on coated paper after an 1891 bronze sculpture by Daniel Chester French, located in Forest Hills Cemetery, Boston. The engraving was published in the November, 1917 issue of The Art World. Image size 7-15/16” x 6¼;” sheet size 12” x 8.” Signed “T. Cole Sc.” in the block. The sheet was previously trimmed for framing, and the sight area is toned. Overall very good condition.

$75

Wood engraving on coated paper after a ca. 1916 painting by Douglas Volk. Image size 6-3/16” x 8½;” sheet size 8-1/8” x 12.” The engraving was published as the frontispiece of the January, 1918 issue of The Art World. Signed T. Cole 1917 in the block. Trimmed for framing and lightly toned in the sight area. A very good impression in very good condition. Smith 472.

$100

Wood engraving on India proof paper affixed at its corners to a protective mount, after a painting by Sir Henry Raeburn. The engraving was published in the February, 1919 issue of The Century Magazine. Image size 5-1/8” x 6-3/8;” sheet size 9-1/8” x 11-3/8.” Signed “T. Cole 1918” in the block, and signed “Timothy Cole” in pencil in the lower margin. A fine impression in overall fine condition. Smith 474.

$325

another copy, unsigned, on wove paper in overall fine condition. Sheet size 9½” x 12”

$175

Wood engraving on India proof paper affixed at its corners to a protective mount, after a 1903 painting by Eugène Carriere, published in 1919 for the benefit of the International Conciliation Society. Image size 2-7/16” x 2-13/16;” sheet size 9¼” x 11-5/8.” Signed “T. Cole Sc 1909” in the block, and signed “Timothy Cole” in the lower margin. Rippling and toning present, well away from the sight area. Good+ condition.

$150

Another copy, unsigned, on wove paper in overall fine condition.

$75

Wood engraving on India proof paper affixed at its corners to a protective mount, after a pastel drawing by Jean-Francois Millet. Image size 5-1/8” x 6¼;” sheet size 9-1/8” x 11½.” Engraving published in the November, 1919 issue of The Century Magazine. Small losses at three corners, re-attached to the mount using archival mending tape, otherwise a fine impression in fine condition. Smith 477.

$250

Wood engraving on wove paper after a silver gelatin photograph. Image size 3-3/8” x 5-1/8;” sheet size 9½” x 12½.” Signed “T. Cole Sc. 1921” in the block, and signed “Timothy Cole” in pencil in the lower margin. Slightly toned in the sight area from a previous framing, otherwise a fine impression in near-fine condition. Smith 487.

$275

another copy on wove paper, trimmed to 6” x 9½,” and signed “Timothy Cole” in pencil in the lower margin. Explanatory note from Cole at the bottom of the sheet. Fine overall condition.

$250

Wood engraving after a ca. 1623 painting by Anthony Van Dyck, in the National Gallery of Art, Washington, D.C.. Signed “Timothy Cole 1930” in the block, and signed “Timothy Cole” in pencil in the lower margin. Image size 7” x 9½;” sheet size 12½” x 15½.” A very late work in overall fine condition.

In the amended chronological listing by Ralph Clifton Smith, Alphaeus P. Cole lists just two engravings for 1930, both on large blocks, and only two additional life works published in 1931, the year of Timothy Cole’s death.

We have assigned this work Smith 525a for chronological consistency.

An earlier version of this engraving measuring approximately 5¼” x 7-7/16” was published by The Century Magazine in its March, 1911 issue and is listed in the Smith checklist as number 408.

$500

Etching and watercolor, 1974; edition of 150. Image size 7-3/4” x 4-7/8”; sheet size 14-7/8” x 11-1/8”. Printed on BFK Rives paper. Numbered 130/150m, titled, and signed in pencil by the artist in the lower margin. Fine overall condition

$275

Etching on laid paper, 1880; edition not stated. Image size 7¾” x 4½”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Initialed monogram in plate. Fine overall condition.

$175

Drypoint on unmounted Japan paper, 1885; number 1 of an edition of 25. Image size 7-5/8” x 4½”; sheet size 10-7/8” x 7-7/16”. Artist's monogram in plate; signed in pencil by Colman in the lower margin. A beautiful impression with gentle toning beyond the sight area and a 1" tear in the upper right corner of the sheet that has been repaired.

$225

Etching and aquatint, 1887; edition not stated. Image size 5-5/16” x 4”; sheet size 9-7/8” x 8¼”. A 1" x 1" loss in upper right corner of the sheet, otherwise in very good condition.

$125

Lithograph on Rives Paper, ca. 1940. Signed in pencil lower RH corner and inscribed lower LH corner by artist to Harold Hugo, then President of Meriden Gravure Company.  Image size 9¼" x 13¼"; sheet size 11-3/4" x 16". Fine overall condition, ex collection of Harold Hugo.

$1,100

Lithograph on Rives Paper, ca. 1940. Signed in pencil lower RH corner and inscribed lower LH corner by artist to Harold Hugo, then President of Meriden Gravure Company.  Image size 9¼" x 13¼"; sheet size 11-3/4" x 16". Fine overall condition, ex collection of Harold Hugo.

$1,050

Etching, 1950; edition not stated. Image size 3-1/16" x 2½"; sheet size 5-1/16" x 4¾". Published by The Miniature Print Society, Hicksville, New York. Fine condition in original mount with the society's member letter.

SOLD

Silver gelatin print, ca. 1995; edition not stated. Image size 12-3/8” x 16¾”; sheet size 14½” x 18¾”. Signed in ink by the artist in the lower margin; annotated artist’s stamp on reverse with subject information. Fine overall condition. An early work in fine condition.

$875

Silver gelatin print, ca. 1995; edition of 35. Image size 13” x 17”; sheet size 15½” x 19½”. Signed in ink by the artist in the lower margin; annotated artist’s stamp on reverse with subject information. Fine overall condition.

$900

Silver gelatin print, ca. 1985; edition not stated. Image size 13½” x 17-3/8”; sheet size15-5/8” x 19-3/8”. Signed in ink by the artist in the lower margin; annotated artist’s stamp on reverse with subject information. Fine.

$700

Silver gelatin print, ca. 1995; sheet size 12-1/8” x 17¼; overall size 14¼” x 19¼”. Signed in ink by the artist in the lower margin; annotated artist’s stamp on reverse with subject information. Fine overall condition.

$675

Linoleum block in 2 colors, 1930. Image size 4" x 5-5/8" with full margins. Published as the frontispiece of The Print Connoisseur, Volume X, Number 3; unsigned. Fine overall condition.

SOLD

Wood engraving, 1985. Printed by Hampshire Typothetae on Mohawk Superfine High Finish Cover, numbered/200, for the portfolio Face To Face, a gathering of self-portraits by leading contemporary wood engravers. Signed by Coughlin in pencil at lower RH corner. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$75

Lithograph, numbered 65/65. Image 10¼" x 8", sheet size 14-3/4" x 11". Titled and signed by Coughlin in pencil below image. Fine condition.

$300

Color Woodcut, numbered 15/100. Image size 7-3/4" x 10-1/8", sheet size 11-1/8" x 15". Numbered, titled, and signed by Coughlin in lower margin. Fine Condition.

$275

Etching, artist's proof, edition not stated. Plate size 5¼" x 6-5/8", sheet size 10" x 11-1/8". Titled and signed in pencil by Coughlin in lower margin. Fine condition.

$250

Woodcut, 118/250, published by Associated American Artists, New York. Numbered, named, and signed in pencil by Coughlin lower margin. Image size 8" x 12", sheet size 12¼" x 19". Extremely faint toning in image area, remnants of mounting tape behind RH edge, otherwise fine.

$180

Etching on wove paper, 1835; edition not stated. Image size 13-15/16” x 9-7/8”; sheet size 14-9/16” x 10-3/8”. Published by Thomas McLean. A well-inked, detailed impression with full margins. This is a reprint originally published by George Humphrey in 1818. A small closed tear from the right hand edge of the sheet to the plate mark, and an unobtrusive diagonal crease at the upper right-hand corner passing through the image border, otherwise an exceptionally clean, bright image in near fine condition.

$250

The British Museum online catalogue describes this complex image as follows:

"A disorderly mass of pedestrians fills the pavement outside the White Horse in Piccadilly, the street slanting in perspective from left to right. The pillared porch of the hotel is flanked by large curved windows, above which is the inscription 'Coffee House & Hotel'. The porch is inscribed 'Hatchetts', above it, against the wall, is the (pictorial) sign of a white horse, inscribed: 'Coaches & waggons to all parts of the kingdom'. Above the area railings, which are hidden by the crowd, is a placard (over the entrance to the basement): 'White Horse cellar coaches to all part[s]'. In the foreground (right) a coach and pair with outside passengers is driven recklessly (right to left) by a driver in a many-caped coat; an angry man sprawls by the horses' hoofs, another escapes to the right. A box-like coach or wagon facing in the opposite direction is on the off-side of the first; a man pushes a fat woman in at the back, while two outside passengers are about to fall from the roof, which is open. It is inscribed 'T[O] . . . MERS . . . TURNHAM' [? To Amersham by Turnham Green]. At the edge of the pavement stands a tough-looking coach-tout pointing out the Amersham wagon to an oafish-looking and would-be fashionable countryman whose pocket is being picked by a little Jewish boy; a Jewish woman with a basket of fruit slung from her neck deftly screens him. A raffish tout dressed as a coachman assails alarmed pedestrians with violent gestures. A stout John Bull pushes violently past a Jewish fruit-seller, spilling the fruit, while the Jew takes a watch from his fob. A boy diving for the falling fruit upsets a man carrying on his head and porter's knot a large corded chest. A little chimney-sweep with twisted shin-bones quizzes an amused negro servant, who holds a band-box, and is smartly dressed, but wears an apron. Facing the coaches stands a newsboy, holding up his papers to the passengers. He holds his horn; in his hat is a placard: 'Great News from St Hel[ena]'. Below, where the crowd is thickest in front of the hotel porch, men fight with fists. Two dandies stand under the porch, above the mêlée."

Etching on laid paper, ca. 1945; edition not stated. Image size 10-7/8" x 8-3/8"; sheet size 14-3/8" x 11-7/8". Titled and signed in pencil by the artist in the lower margin. Fine overall condition, with two small tape remnants on the upper reverse edge.

$275

Etching, 1946. Edition of 250, published by Associated American Artists, New York. Image size 8-7/8" x 10-7/8" with full margins. Titled and signed in pencil by artist in lower margin. A fine impression with faint toning. Mounted and matted using archival materials.

$275

Etching on laid paper, 1944; edition not stated. Image size 7-7/8" x 5-7/8"; sheet size 11¾" x 9-7/8". Titled and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition, with slight rippling at top edge and tape remnants on upper edge verso.

$200

Etching, ca. 1945; edition not stated. Image size 7¾" x 5¾"; sheet size 11" x 8¾". Titled and signed in pencil by the artist in the lower margin. A fine impression with small tape remnants on upper side edges recto.

$225

Lithograph, 1834; edition unknown. Image size 10¼” x 9½”; sheet size 14-3/8” x 10-5/8”. Published as Plate 433 in La Caricature, No. 207. The sheet has a crease formed during the printing process, extending 13/16” into the image area. This deformation created ripples in the same area. There is minor spotting in the right margin. A powerful early image.

$425

Lithograph, 1846; edition not known. Image size 8½” x 11¼”; sheet size 9¾” x 13-1/8”. Plate 12 from Les Bons Bourgeois. Initialed by Daumier on the stone. Folded, probably for mailing, but otherwise sound; reddish stain from handwritten text in lower LH corner of sheet, and uniformly heavy embossing from lettering printed on reverse.

$225

Etching & aquatint on wove paper, ca. 1925; edition not stated. Image size 5-7/8” x 7-7/8”; sheet size 11-3/8” X 14¾”. A fine impression in very good overall condition, with faint toning in the sight area and tape staining clear of the sight area.

SOLD

Etching, 1936; edition not stated. Image size 8¼” x 6-7/8”; sheet size 11¾” x 10½”. Initialed and dated "NCD '36" in the plate and titled and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition.

$125

Etchingon cream laid paper, 1936; edition not stated. Image size 8¼” x 6-7/8”; sheet size 11¾” x 10½”. Initialed and dated "NCD '36" in the plate; titled and signed in pencil by the artist in the lower margin. A fine impression in overall very good condition. Tape residue and adhesive stains on the reverse well away from the sight area.

$125

Lithograph, Chine-collé on Japan paper mounted to cream wove paper, 1927; trial proof outside stated edition of 30. Printed by Edmond Desjobert, Paris. Image size 10-7/8" x 14-3/8"; sheet size 13-5/8" x 18-7/8". A wry portrayal of the streetwalkers of Montmartre.

In 1927, Dehn was experimenting with lithographic techniques, and a singular breakthrough occurred when he effaced an unsatisfactory image from the stone, leaving a somewhat dark, uniform tone behind. As he recalled, "...I worked into it somewhat with a razor blade, scraping out to lighten and even to get whites, and then I used black crayon over this. I think I learned more in lithography from that stone than [from] anything I ever did." Though skeptical of a favorable result, Edmond Desjobert printed the stone and to everyone's delight the result was highly successful, and the technique became a mainstay of Dehn's work.

A group of thirty-four of Dehn's Paris lithographs, including We Speak English, was exhibited at the Weyhe Gallery in New York beginning on February 25, 1929 and received uniformly high acclaim from the critics. The exhibition is credited with marking his turning point from struggling to highly successful artist.

Annotated "Trial Proof", titled, signed and dated 1927 by the artist. On the reverse a pencil notation in the artist's hand "weyhe 2/6/29" suggests that this proof is likely to have been the impression displayed at the Weyhe exhibition. Fine overall condition. A closed tear previously mended with tape on the reverse side extends about 1" from the edge of the mount, well away from the image. Lumsdaine and O’Sullivan 47.

$900

Lithograph on BFK Rives, 1928; edition of 50. Image size 10-1/2” x 13-5/8”; sheet size 14-3/4” x 22-1/8”. Artist’s proof, titled, signed, and dated in pencil by the Dehn in the lower margin. Published by Edmond Desjobert, Paris. from the portfolio “Paris Lithographs”. Lumsdaine and O’Sullivan 99. Fine

$750.00

Lithograph on BFK Rives paper, 1928; edition of 50. Image size 14½” x 11-1/8”; from the portfolio Paris Lithographs, published by Edmond Desjobert, Paris. Artist’s proof, signed and dated in pencil by the artist in the lower margin. Fine overall condition. Lumsdaine & O’Sullivan 105.

$750

Lithograph on cream wove paper, 1934; edition not stated, but probably ca. 100. Image size 13” x 9-3/4”; sheet size 17½” x 12-3/4”. Printed by George Miller, New York. Signed and dated on the stone and titled and signed in pencil by the artist in the lower margin. Fine. Lumsdaine and O’Sullivan 284.

$275

Lithograph, 1942. Edition of 250, published by Associated American Artists, New York. Image size 13" x 8-7/8" with full margins, signed by the artist in lower RH corner. A fine impression with faint, uniform toning. Mounted and matted using archival materials. Lumsdaine and O’Sullivan 339

$275

Lithograph, 1946. Edition of 250 published by Associated American Artists, New York. Image size 13" x 8-7/8" with full margins.Signed by the artist in lower RH corner. A fine impression, mounted and matted using archival materials. Lumsdaine and O’Sullivan 410.

SOLD

Lithograph, 1952; edition of 250. Image size 13-1/2” x 9-9/16”; sheet size 16-1/8” x 12”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower right corner of the margin. Fine. Lumsdaine and O’Sullivan 487.

$325

Lithograph, 1954; edition of 250. Image size 13-5/8” x 9½”; sheet size 15-7/16” x 11½”. Published by Associated American Artists, New York. Signed in pencil by the artist in the lower right-hand margin. Fine. Lumsdaine and O’Sullivan 501.

$300

Etching, 1924. Published in The Print Connoisseur, Volume IV Number 2 , April, 1924. Image size 3" x 4" with full margins, signed in the plate. Fine condition.

$125

Gouache opaque watercolor 1991. This illustration, boldly signed by de Michiell, was commissioned by The New Yorker to accompany an announcement of a Rodgers and Hart revue at the now departed Rainbow And Stars nightclub at Rockefeller Center in New York City. It depicts the legendary lyricist Florenz Hart and composer Richard Rodgers dancing with vocalists Elaine Stritch and Margaret Whiting. A charming caricature in near-fine condition, in archival mat and frame.

$775

Woodcut in two colors, not dated. Artist's proof, edition size not known. Signed by the artist lower RH corner. Image size 18" x 25¼" on 22¼" x 30" sheet. Fine.

$325

Woodcut in two colors, not dated. Artist's proof, edition size not known. Signed by the artist lower RH corner. Image size 18" x 25¼" on 22¼" x 30" sheet. Fine.

$325

Woodcut in two colors, not dated. Artist's proof, edition size not known. Signed by the artist lower RH corner. Image size 18" x 25¼" on 22¼" x 30" sheet. Fine.

$325

Two color wood engraving from "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings, each signed in the block by De Pol with printed caption below. Sheet size is 8-3/8" x 10-7/8; image sizes vary. The portfolio is offered as a complete set only. Edition of 300, printed in 1962. Fine condition. The next five images are also included in the complete portfolio.

$175 the set

From "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings by John De Pol. See descriptive information at "Bell and Flag Court, Lycoming College" above.

From "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings by John De Pol. See descriptive information at "Bell and Flag Court, Lycoming College" above.

From "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings by John De Pol. See descriptive information at "Bell and Flag Court, Lycoming College" above.

From "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings by John De Pol. See descriptive information at "Bell and Flag Court, Lycoming College" above.

From "Sesquicentennial / Lycoming College / in Williamsport, Pennsylvania", a portfolio of six two-color wood engravings by John De Pol. See descriptive information at "Bell and Flag Court, Lycoming College" above.

Letterpress broadside with wood engraving by John De Pol for an exhibit and workshop held at the University of Nebraska, Omaha, in 1985. Edition of 100. Engraving size 3-1/8" x 2½; overall size of sheet 6-5/8" x 12-7/8". Fine.

$45

Wood engraving, 1987. Artist's proof, outside edition of 100. Image size 4-1/8" x 3-3/4"; sheet size 8-3/4” x 11½”. Titled and signed by De Pol in lower margin. Fine condition.

$75

Wood engraving, 1984. One of 26 proofs; created by John De Pol for a tribute to Charles V Morris, creator/editor of The Printing Week Library of Benjamin Franklin Keepsakes. Image size 3¼" x 3-3/4" on 5-3/4” x 8-3/4” sheet. Fine condition.

$50

Wood engraving in two colors, 1960. Edition of approximately 100, signed in the block. Commissioned by Monroe F. Dreher. Image size 7" x 4-5/8"; sheet size 11" x 8½". Fine condition.

$250

Wood engraving 1989. Edition of 40, initialed "D" in the block and labeled and signed in pencil by De Pol in the lower margin. Image size 4¼" x 5-1/8" on 8-3/4" x 11½" sheet. Fine condition.

$250

Wood engraving in two colors, 1977. Edition of 500, signed in the block. Image size 4-3/8" x 6-5/8" on 8-3/8" x 11". A keepsake printed by and for Pandick Press, New York. Fine condition.

$75

Wood engraving, 1989. Edition of 30, signed in pencil by De Pol at lower right corner. Image size 4¼" x 3-3/8" on 8-3/4" x 11½" sheet. Fine condition.

$225

Wood engraving in two colors, signed in the block. Image size 2¼" x 3-3/4"; panel size 5¼" x 7¼. This engraving was created in 1956 but not used until this keepsake was issued for the 1982 Printing Week Dinner given by the New York Club of Printing House Craftsmen. Fine condition.

$50

Wood engraving in two colors, 1978. Edition of 500. Image size 9¼" x 4-7/8"; sheet size 13" x 9". A keepsake printed and issued by Pandick Press, Inc. of New York. A fine copy.

$175

Wood engraving printed in red ink. Image size 2½" x 1-5/8" on 5½" x 8½" sheet. Date and size of edition unknown. John DePol created six wood engravings for the Press of the Iron Horse in 1953.

$20

Wood engraving, 1988. Edition not stated. Titled and signed by De Pol in lower margin. Image size 3-5/8" x 5-3/4" on 8-3/4" x 11½" sheet. Fine condition. Commissioned by Yellow Barn Press.

$275

Wood engraving in blue ink, 1996; initialed in block. Image size 2-3/4" x 3-1/8"; panel size 5" x 6-3/8". John De Pol produced this engraving for a relocation announcement by his good friend, Morris A. Gelfand, proprietor of the Stone House Press in New York. From 1982 to 1994, De Pol created more than one hundred engravings for the Stone House Press, in addition to numerous broadsides, keepsakes, and the like. In 1988, Stone House Press published From Dark To Light. Wood Engravings for The Stone House Press a compendium of De Pol's work for the press from 1982 to 1988. Fine condition, with original mailing envelope.

$25

Wood engraving 1985. Edition of 25, initialed "D" in the block. Image size 5" x 3-3/4" on 8-3/4" x 11½" sheet. A fine impression; there are ink marks on both the front and back of the sheet that do not affect the print.

$125

Wood Engraving in two colors, edition of 350, 1974. Image 3-1/8" x 3-3/4", sheet size 8-1/8" x 10-7/8". Signed by De Pol in the block and titled and signed by De Pol in pen in the lower margin. First published in 1958 as a collaboration between De Pol and Ben Grauer, and reprinted here as a keepsake by the U. S. Banknote Corporation, New York. Tipped in to presentation folder. Fine condition, excepting for a printing blemish at right side of portrait border.

$120

Wood engraving, 1985. Edition of 20, initialed "D" in the block. Image size 5-7/8" x 3¼" on 8-3/4" x 11½" sheet. Annotated and dated by De Pol in pencil at bottom of sheet. Fine condition.

$175

Wood engraving, 1985. Edition of 20, initialed "D" in the block. Image size 6" x 4-1/8" on 8-3/4" x 11½" sheet. Annotated and dated by De Pol in pencil at bottom of sheet. Fine condition.

$175

Wood engraving in two colors, 1977, Edition of 500. Image size 8" x 5-1/8"; sheet size 12" x 9". Signed in the block; typeset title and name below image. Keepsake printed and issued by Pandick Press, New York. Fine condition

$300

Wood engraving, 1989; edition of 30. Image size 3½" x 5"; sheet size 8-3/4" x 11½". Initial "D" in block, signed by De Pol in pencil lower RH corner. An illustration for The Ascent of Mount Ventoux – A Letter From Petrarch. A very handsome image in fine condition.

$150

Wood engraving in two colors, 1977, edition of 500, signed in the block. Image size 4¼" x 6½"; sheet size 8-3/8" x 11". Keepsake printed and distributed by Pandick Press, New York. Fine condition

$250

Wood engraving, 1987. Edition of 100, labeled and signed in pencil by De Pol in the lower margin. Image size 4-3/8" x 3¼" on 8½" x 11½" sheet. A wonderful engraving in fine overall condition, and the perfect gift for hearts aficionados.

$300

Wood engraving, edition of 310, 1989. Image size 5¼" x 3½"; sheet size 10" x 8". Initialed "D" in the block. A keepsake created by De Pol and printed by Neil Shaver at The Yellow Barn Press in commemoration of De Pol's lecture on the making of wood engravings at the Rowfant Club, Cleveland Ohio. Fine condition.

$250

Wood engraving in two colors, 1955. This print from an edition of 30, printed by the artist in 1993. Image size 3½" x 4½"; sheet size 8½" x 11". The block was commissioned by The World Publishing Company, Cleveland and New York, for a book of the same name published in 1955. De Pol illustrated the edition, but this image was not used. Inscribed in pencil to his friend Whitney McDermut: "For whit... done for World Publishing Company - "Sermon On The Mount" - not used. J." Fine condition

$300
 

Wood engraving in two colors, 1981. Edition of 200 printed directly from the blocks by Pandick Press, Inc. Image size 7-3/8" x 4½"; sheet size 11-3/4" x 8¼". Signed in the block; labeled and signed by John De Pol in lower margin. A keepsake issued in support of the restoration of the church following a serious fire. Fine condition.

$250

An edition of 1000 was printed by offset and is also available. Fine condition.

$25

Wood engraving, signed in the block, 1957. Image size 5-3/8" x 4" on a 10-7/8" x 8-3/8" sheet. This print from an edition of 350 with printed title was issued in 1975. An additional edition of 100, signed by De Pol, was donated by the artist to the Society of American Graphic Artists. Fine condition.

SOLD

Wood engraving, 1987. Edition of 100, titled and signed in pencil by De Pol in lower margin, initialed "D" in block. Image size 4¼" x 3¼" on 8-3/4" x 11½" sheet. Fine condition.

$175

Wood engraving 1989, edition unknown. Labeled and signed in pencil by De Pol in lower margin. Image size 4" x 5"; sheet size 8½" x 11-1/8". Commissioned by the Yellow Barn Press for The Kelmscott Press Golden Legend, published in 1990. A fine copy.

$275

Wood engraving in two colors, 1984; edition of 85. Labeled and signed by De Pol lower margin. Image size 3½" x 4-7/8"; sheet size 8-3/4" x 11½". A fine copy.

$275

Wood engraving in two colors, 1977. This print from an edition of 120, printed by the artist in 1995, labeled and signed by John De Pol in the lower margin. Image size 3-3/4" x 5-3/8"; sheet size 8½" x 11". Originally commissioned by The Easton Press as the frontispiece for their edition of Jude The Obscure. Fine condition.

$275

Wood engraving, 1987; edition of 100. Titled and signed in pencil by De Pol in lower margin and initialed "D" in block. Image size 4¼" x 3-3/8" on 8-3/4" x 11½" sheet. Fine condition.

$150

Wood engraving, 1988. Edition of 200, initialed in the block. Image size 5" x 3-3/8" on 11" x 15" sheet of Fabriano Artistico pape. This engraving is the frontispiece for The Wood Engraving Portfolio, published by Bowne & Co., New York. Fine overall condition

$75

The same block was used to print the prospectus for the portfolio, using a different paper than the portfolio leaves. The sheet size is 7½" x 11". Fine overall condition.

$40

Wood engraving, edition of 200. Numbered (142/200), titled, and signed in pencil by De Pol in lower margin. Image size 3½" x 2¼" on 11" x 15" sheet of Fabriano Artistico paper. This print was commissioned by Bowne & Co. Stationers and Printers of New York and publishers of The Wood Engraving Portfolio. Fine overall condition.

$100

Letterpress broadside with linoleum cut in three colors and text in Romulus. Artist's proof printed on Lana Laid paper, outside of an edition of 26 (A/Z - Z/Z) plus 55 additional copies on Mohawk Superfine paper. The poem, Colibri (Hummingbird), by Martin Espada, is printed in both English and Spanish. Overall size 12" x 16". Fine overall condition.

$325

Original silver gelatin photograph, 1933. Overall dimensions 6-1/16” x 8-5/8”. Photographer’s stamp, typed description, and handwritten title signed by designer Edward Molyneux (1891 - 1974) in ink on reverse. Faint paint lines in white, black, and gray emphasizing selected features of the image. A stunning period fashion photograph. Minor losses at corners.

$1,250

Lithograph, 1950; edition of 250. Image size 9-11/16” x 13”; sheet size 12” x 16”. Signed in pencil by the artist in the lower margin. Published by Associated American Artists, New York. Fine overall condition.

$375

Etching, 1932; edition not stated. Image size 7¼” x 9-3/8”; sheet size 1” x 15-1/8”. Signed in pencil in the lower margin. Published by Dolice Graphics, New York from the series Old New York. Fine.

$575

Etching, 1951; edition not stated. Image size 8-1/8” x 9-7/8”; sheet size 11” x 14-5/8”. Published by Dolice Graphics, New York, from the series Old New York. Signed in pencil in the lower margin. Fine.

$450

Silver gelatin print, 1972; edition not stated. Image size 10-3/16” x 12-13/16”; overall size 16” x 20”. Signed in pencil by the artist in the lower margin. A fine impression, laid into mount and mat.

$ 900

Lithograph, 1946; edition not stated. Image size 9” x 13”; sheet size 11-3/8” x 15-7/8”. Signed and dated by the artist in the lower margin. A fine impression in fine overall condition.

$1,200

Lithograph, 1950; edition of 250. Image size 9¼" x 12¾"; sheet size 11-3/8" x 16¾". Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. A fine impression in overall fine condition.

$575

Lithograph, 1947; edition of 250. Image size 8¼" x 13¼" sheet size 12¾" x 17". Published by Associated American Artists, New York. Signed in pencil by the artist in the lower margin. A fine impression in fine condition.

$650

Etching, 1928, edition of 75, signed in pencil lower margin. Image size 5-3/8" x 6-3/4 on 7¼" x 8-7/8" sheet. A superbly inked impression in very good condition.

$275

Lithograph, 1928; edition of 30. Image size 8-3/16” x 9-5/8”; sheet size 11½” x 15¾”. Printed by George Miller, New York. During the period of her separation from her husband her friend and gallery proprietor Carl Zigrosser introduced Dwight to Roderick Seidenberg, then an architectural draftsman and ardent socialist who was fourteen years her junior. They lived together for a number of years but became estranged when Seidenberg met, fell in love with, and married another woman. In her later years, Dwight and Seidenberg reconciled and the architect and his wife took Dwight into their household and cared for her as her health failed. A scarce, subtly detailed image in fine condition. The edges of the sheet are slightly darkened, but well away from the image.

$2,400

Broadside, 1972; edition of 250. Overall size 13" x 19-7/8". Published by The Pomegranate Press. Signed by Richard Eberhart. Very good overall condition.

$30

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 4-7/8" x 6-7/8"; sheet size 9-3/8" x 13". Very light spotting in the margins, well away from the sight area. An excellent example of Eggimann's mastery of the medium and of his biting satirical style. Rare.

$275

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 5" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style. Fine condition, with faint spotting in the lower margin, well away from the sight area. Rare.

$275

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the lower left plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 5" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style in fine overall condition, with faint spotting at the upper and right edges of the sheet. Rare.

$275

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the lower left plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 5" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style in fine conditiion, with very faint spotting at the right edge of the sheet. Rare.

$275

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the lower left plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 4-7/8" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style in fine conditiion, with very faint spotting along the upper edge of the sheet. Rare.

$275

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 5" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style. A superb impression with very small ink spots outside of the plate area and faint spotting alog the upper edge of the sheet. Rare.

$300

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the lower left plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 4-7/8" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style in fine condition. Rare.

$300

Etching, 1923. Number 6 of an unknown edition size. Signed in the plate, numbered in pencil in the plate margin, and titled and signed by Eggimann in pencil beneath the plate mark. Plate size 5" x 6-7/8"; sheet size 9-3/8" x 13". An excellent example of Eggimann's mastery of the medium and of his biting satirical style in fine condition. Rare.

$275

This portfolio of ten wood engravings by Fritz Eichenberg, based on Desiderius Erasmus' famous Humanist tract, was published by the Aquarius Press of New York and Baltimore in 1972 in two editions. The principal edition consisted of 150 sets of the engravings, in a custom clamshell box.

This copy is one of ten Collaborator's sets, each of which includes one of the cancelled blocks created by Eichenberg for the project. The block, housed in a well in the portfolio, was engraved for plate 5, "The Follies of Teaching"; the ten engravings are numbered V/X

Almost all of the Collaborator's portfolios are in institutional collections. This edition is rarely available for sale.

$4,500

A number of individual engravings from In Praise Of Folly are also available below.

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$600

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood Engraving from In Praise Of Folly, edition of 150 + X, 1972. Image size 11-7/8" x 18"; sheet size 13-7/8" x 19-7/8". Signed by Eichenberg at the lower right-hand corner. A fine impression printed by James Lanier on hand made Japanese mulberry paper.

$500

Wood engraving, edition of 500. Image size 7" x 9"; sheet size 8¼" x 11". Printed by Harold McGrath on 80 lb. Mohawk Superfine cover. Fine overall condition.

$550

Wood engraving, artist's proof ca. 1924. Image size 3½" x 2½"; sheet size 4-3/8" x 3". Signed by Fritz Eichenberg in pencil lower right hand corner. Illustration for page 19 of Till Eulenspiegel, published by Lothar Joachim Verlag, Leipzig in 1925. This is Eichenberg's second book illustration commission, preceded only by Lemuel Gullivers Reisen (Gulliver's Travels). In The Wood And The Graver, Eichenberg erroneously dates Till Eulenspiegel to 1922. Very good condition.

$325

Wood engraving, artist's proof ca. 1924. Image size 3½" x 2½"; sheet size 4-3/8" x 3". Signed by Fritz Eichenberg in pencil lower right hand corner. Illustration for page 27 of Till Eulenspiegel, published by Lothar Joachim Verlag, Leipzig in 1925. This is Eichenberg's second book illustration commission, preceded only by Lemuel Gullivers Reisen (Gulliver's Travels). In The Wood And The Graver, Eichenberg erroneously dates Till Eulenspiegel to 1922. Very good condition.

$325

Wood engraving, artist's proof ca. 1924. Image size 3½" x 2½"; sheet size 4-3/8" x 3". Signed by Fritz Eichenberg in pencil lower right hand corner. Illustration for page 134 of Till Eulenspiegel, published by Lothar Joachim Verlag, Leipzig in 1925. This is Eichenberg's second book illustration commission, preceded only by Lemuel Gullivers Reisen (Gulliver's Travels). In The Wood And The Graver, Eichenberg erroneously dates Till Eulenspiegel to 1922. Very good condition.

$325

Wood engraving, artist's proof ca. 1924. Image size 3½" x 2½"; sheet size 4-3/8" x 3". Signed by Fritz Eichenberg in pencil lower right hand corner. Illustration for page 183 of Till Eulenspiegel, published by Lothar Joachim Verlag, Leipzig in 1925. This is Eichenberg's second book illustration commission, preceded only by Lemuel Gullivers Reisen (Gulliver's Travels). In The Wood And The Graver, Eichenberg erroneously dates Till Eulenspiegel to 1922. Very good condition.

$325

Wood engraving, artist's proof ca. 1924. Image size 3½" x 2½"; sheet size 4-3/8" x 3". Signed by Fritz Eichenberg in pencil lower right hand corner. Illustration for page 201 of Till Eulenspiegel, published by Lothar Joachim Verlag, Leipzig in 1925. This is Eichenberg's second book illustration commission, preceded only by Lemuel Gullivers Reisen (Gulliver's Travels). In The Wood And The Graver, Eichenberg erroneously dates Till Eulenspiegel to 1922. Good condition.

SOLD

Wood engraving, 1943, edition of 100. Image size 7" x 10¼"; sheet size 10" x 13". Signed by Fritz Eichenberg lower right hand corner. This image was used to illustrate the cover of the Random House edition of Wuthering Heights, published in 1943. It is one of Eichenberg's most famous and sought-after prints. Fine condition.

SOLD

Wood engraving 1978, edition of 150. Image size 6-3/4" x 9"; sheet size 8¼" x 11". Signed in the block; titled and signed in pencil by Fritz Eichenberg in lower margin. Fine overall condition.

$625

Published by Random House in 1944, Tales of Edgar Allan Poe included wood engravings created by Fritz Eichenberg for each of the twenty-seven stories, together with an intricate vignette for each of the six sections into which the stories were grouped.

Eichenberg is known to have printed between four and ten proofs for each of the engravings he made for Tales Of Edgar Allan Poe. The sole exception is the engraving for "The Unparalleled Adventure of One Hans Pfall,” printed in an edition of fifty proofs. As a distinct body of work these engravings show this 20th century master at the height of his interpretive and artistic powers.

The proofs are in near-fine or fine overall condition unless otherwise noted and are offered complete. The portfolio includes two proofs for the engraving for “Scheherazade:” one of them in black, and the other in sanguine, a total of thirty-four in all.

All but seven of the images are pictured below. The missing ones were custom framed some years ago, and will be removed from their comfortable homes when and if I find a happy buyer for the lot or, more likely, the happy buyer finds me. The titles not shown are “MS Found in a Bottle;” “Mellonta Tauta;” “The System of Doctor Tarr and Professor Fether;” “William Wilson;” “The Cask of Amontillado;” “Hop-Frog;” and “The Black Cat.”

$14,000

Wood engraving, artist's proof. Image size 3-5/8” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 7-3/8" x 10¼”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-3/8” x 3-7/8”; sheet size 7-3/8” x 10-3/4”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Edition of fifty proofs. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 5-1/8”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 5½” x 7¼”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 7-3/8” x 10-3/4”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 7-3/8” x 10-3/4”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 4-1/8”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 5-1/8”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 5-1/8”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 5½” x 7¼”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 5-1/8”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 4-3/4”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9” x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 9" x 12”. Fine overall condition.

Wood engraving, artist's proof. Image size 3½” x 3-3/4”; sheet size 5½” x 8-3/8”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 7-3/8” x 10-3/4”. Fine overall condition.

Wood engraving, artist's proof. Image size 3-9/16” x 5½”; sheet size 7-3/8” x 10-3/4”. Fine overall condition.

Wood engraving, artist's proof outside of edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This powerful image is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$1,800

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$550

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, edition of 50. Image size 9-3/4" x 12"; sheet size 14" x 17". Signed and dated 1980 in the block; titled and signed in pencil by Fritz Eichenberg in the lower margin. This engraving is one of seventeen in the portfolio Dance Of Death, published in 1983 by Abbeville Press, New York. Printed by Harold McGrath, the renowned master pressman who collaborated with Eichenberg on numerous projects, at Hampshire Typothetae in West Hatfield, Massachusetts.

$750

Wood engraving, 1985. Printed by Hampshire Typothetae on Mohawk Superfine High Finish Cover, number 200/200, for the portfolio Face To Face, a gathering of self-portraits by leading contemporary wood engravers. Numbered and signed in pencil by Eichenberg in lower margin. Image size 6" x 8", sheet size 10-3/4” x 14-3/4”

$300

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed by Harold McGrath at The Gehenna Press, Northampton, Massachusetts. The portfolio colophon states that the engravings were printed on Basingwerk paper, while the catalog raisonné published by Editions Curt Visel states that the paper is Mohawk Superfine smooth finish soft white. Visel happens to be right.There's an unsolvable riddle in this since all of the protagonists have long since joined the Choir Invisible.

$500

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$550

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$600

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

SOLD

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

SOLD

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$600

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$750

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$600

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$1500

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$475

Wood engraving, 1976; edition of 100. Image size 12" x 14"; sheet size 14" x 16½". From the portfolio Fables With A Twist, self-published by Eichenberg and printed on Mohawk Superfine smooth finish paper by Harold McGrath at The Gehenna Press, Northampton, Massachusetts.

$600

Wood Engraving, 1934, edition of 200. Image size 4-3/4" x 6-3/16"; sheet size 9" x 12". Privately published. A fine copy on Rives paper, printed by Ernest Roth. In The Wood And The Graver, Eichenberg recounts that this engraving, one of four iconic studies (also including "The Aquarium", "City Lights", and "The Steps") of New York life that arose from his first impressions as a newly-arrived immigrant, was inspired by friends who urged him to create such images while the freshness of the American experience still remained strong. Archivally matted and framed.

$2,250

Wood Engraving, 1934, edition of 200. Image size 4-3/4" x 6-3/16"; sheet size 9" x 12". Privately published. A fine copy on Rives paper, printed by Ernest Roth. In The Wood And The Graver, Eichenberg recounts that this engraving, one of four iconic studies (also including "The Aquarium", "City Lights", and "The Steps") of New York life that arose from his first impressions as a newly-arrived immigrant, was inspired by friends who urged him to create such images while the freshness of the American experience still remained strong. Archivally matted and framed.

$2,250

Wood Engraving, 1934, edition of 200. Image size 4-3/4" x 6-3/16"; sheet size 9" x 12". Privately published. A fine copy on Rives paper, printed by Ernest Roth. In The Wood And The Graver, Eichenberg recounts that this engraving, one of four iconic studies (also including "The Aquarium", "City Lights", and "The Steps") of New York life that arose from his first impressions as a newly-arrived immigrant, was inspired by friends who urged him to create such images while the freshness of the American experience still remained strong. Archivally matted and framed.

$2,250

Wood engraving, 1972; edition of 100. Image size 4-1/8" x 6-3/8; sheet size 8-3/8" x 11-3/8". Titled, numbered (53/100) and signed by Fritz Eichenberg in lower margin. Fine condition.

SOLD

Wood engraving, 1954, edition not known. Image size 4" x 6-3/8"; sheet size 5-3/8" x 8-3/8". Signed in pencil by Fritz Eichenberg lower RH corner. This print was used as a keepsake for the members of The Typophiles honoring the illustrious illustrator and type designer Will Bradley (1868 - 1962) on the occasion of his eighty-sixth birthday. Fine condition.

$125

Wood engraving, 1986; edition of 350. Image size 7-7/8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition, matted and framed using archival quality materials.

SOLD

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10¼"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

SOLD

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10-1/8"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1986; edition of 350. Image size 8" x 10-1/8"; sheet size 10" x 12". Signed in the block and in pencil by Fritz Eichenberg in the lower right corner. Printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. One of twelve portraits created by Eichenberg to honor individuals who had the most profound influence on his life and work. Fine Condition.

$300

Wood engraving, 1979; edition not stated. Image size 6" x 8"; sheet size 9-3/8” x 11-3/4”. Titled and signed in pencil by Fritz Eichenberg in lower margin. Fine condition.

$250

Booklet and wood engraving, 1978; edition of 500. The booklet measures 8½" x 12" overall; the text was printed by the Thistle Hill Press of North Brookfield, Massachusetts using French Colson laid paper produced around 1900. The engraving appears twice - as the frontispiece to the booklet, and, titled, numbered, and signed by Fritz Eichenberg in the lower margin, printed on Mohawk Superfine smooth finish paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts and laid into its own folder. Image size 6" x 8-3/8"; sheet size 7-3/4" x 11". Both folder and booklet are housed in a slipcase. The slipcase spine is sunned; otherwise the contents are fine. A beautifully designed and produced work.

$325

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

$375

Wood Engraving, 1981; edition of 50. Image size ca. 12" x 14"; sheet size 16" x 21-5/8". Signed in the block; titled, numbered 47/50 and signed in pencil by Fritz Eichenberg in the lower margin. One of eighteen engravings from the portfolio The Adventures Of Simplicissimus published by The Limited Editions Club in tandem with the publication of the book in which these images were used as illustrations. Printed on handmade Torinoko paper by Harold McGrath at the Hampshire Typothetae, West Hatfield, Massachusetts. Fine condition.

SOLD

Wood engraving, 1981; edition of 250. Image size 3½” x 5½”; sheet size 8½” x 11-3/16”. Printed by Penmaen Press for The Print Club of Cleveland, publication No. 59 and signed by Eichenberg in pencil in the lower margin. Print Club of Cleveland stamp on reverse. Fine.

SOLD

Etching, ca. 1935; edition not stated. Image size 8-15/16” x 5-13/16”; sheet size 11½” x 8-7/8”. Signed "J. Eisenberg, Jerusalem" in pencil in the lower margin. A fine, richly inked impression.

$325

Etching and aquatint, ca. 1935; edition not stated. Image size 8-1/8” x 5½”; sheet size 11” x 8¾”. Titled and signed in the plate, and signed "J. Eisenberg, Jerusalem" in pencil in the lower margin. A fine impression in overall fine condition.

$350

Silver gelatin print; edition of 250. Image size 12-3/8" x 9½"; sheet size 14" x 11". Numbered 56/250 and signed in ink by Eisenstaedt in the lower margin. A later printing from the original negative by the great photojournalist captured at a concert intermission in Berlin, following their performance of a Beethoven trio.

All three of these musicians were coincidentally born in Russia in 1903 and emigrated to the west at various times. Each ranks among the greatest performers (violin, piano, and cello, respectively) of the twentieth century, captured in full dress sophisticated elegance by Eisenstaedt early in his career. Fine condition, in a museum-quality mat and mount in a matte black aluminum gallery frame with UV resistant Plexiglas glazing.

On Reserve

Etching, 1880; edition not stated. Image size 5¾” x 3¾”; sheet size 11-7/8” x 8¾”. Signed in the plate. A very good impression on laid paper in very good overall condition.

$ 425

Silver gelatin print, 1904; edition not stated. Image size 9-5/8" x 13". Framed size overall 16-1/8" x 22¼". Fine overall condition, with small image flaws uncorrected at time of original printing. The photograph was made at Falk's studio then located at 14 & 16 West 33rd Street in Manhattan.

Helen Louise Leonard (1861-1922) was born in Clinton, Iowa, the fifth daughter of a newspaper publisher. She grew up in Chicago, studied voice, violin, and opera in New York, and made her first stage appearance in Brooklyn in 1879, in a performance of H.M.S. Pinafore. In 1880, she made her Manhattan debut at Tony Pastor’s Variety Theater on 14th Street under the stage name Lillian Russell. She subsequently starred in light operas and operettas in New York and London. She was held to be the ideal of feminine beauty in her day and age, a splendidly well-upholstered and dazzlingly bejeweled exemplar of her sex. She was married four times, and for four decades was the frequent companion of James Buchanan “Diamond Jim” Brady.

The print was cleaned and carefully removed from its brittle and acidic cardboard mount, dried, mounted, matted, and framed using archival quality materials. A beautiful Belle Epoque portrait of this illustrious singer and actress.

$375

Etching on laid paper, 1877; edition not stated. Sheet size 3-7/16” x 4-5/16”; sheet size 8¾” x 12”. Published by Estes & Lauriat, Boston. Signed in the plate. A beautiful impression in fine condition.

$300

Etching, 1877; edition not stated. Signed and dated in plate. Image size 7-1/8” x 4-7/8”; sheet size 10” x 7-5/8". A fine impression in fine overall condition.

$ 375

Etching and aquatint, 1880; edition not stated. Signed and dated in plate. Image size 9¼” x 6-3/8”; sheet size 13-3/8” x 10”. Published in American Art Review. Dutch farmers first settled at this site in Brooklyn In 1636. A beautifully nuanced impression in fine condition.

$ 250

Etching, 1886; edition not stated. Image size 8-3/16” x 6”; sheet size 15¾” x 10¼”. Signed and dated in the plate. A fine impression, with slight rippling in the upper portion of the sheet.

SOLD

Chine-collé lithograph mounted to heavy wove paper, ca. 1935. Image size 16-1/8” x 8-7/16”; sheet size 25” x 17¾”. The impression and chine-collé are in fine overall condition, but the wove paper mount is marred by several oily spots and lightly soiled at the edges. These problems can easily be remedied by a paper conservator or a tight mat aperture.

$225

Lithograph, unsigned; edition not stated; image size 17-5/8" x 24½"; sheet size 22¼" x 30". Printed by Edmond Desjobert, Paris, on thin gray chine collé, affixed to heavy Arches paper. A very good impression, stylistically bearing a remarkable resemblance to the work of George Bellows. At present there are two water stains at bottom of sheet, one extending into the chine collé, and another in the upper right-hand corner of the sheet, also extending into the chine collé, with minor foxing in the right-hand margin well away from the print. Notations in pencil at bottom of sheet, presumably by a former owner. This copy sold at Doyle New York in 1996 and again at Skinner Boston in 2011

SOLD

woodcut, 1926; edition of 70. Image size 15-3/4" x 19-5/8"; sheet size 17-3/4” x 22-3/8”. Titled and signed in pencil, lower margin. Very fine dark impression, minor spots & dampstain outside of image.

$2,600

Etching, ca. 1960; edition of 250. Image size 9” x 11-3/4”; sheet size 13-3/8” x 17½”. Published by Associated American Artists, New York. Titled, numbered, and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition, with minor rippling at the left edge of the sheet not affecting the sight area.

$350

Etching on laid paper, 1879; edition not stated. Image size 5-7/8” x 8-3/8”; sheet size 8¾” x 12”. Signed and dated in the plate. Published by Estes & Lauriat, Boston. A beautifully inked impression in fine condition.

$300

Lithograph, 1928; edition of 50, printed by George Miller, New York. Image size 15¼" x 12¼"; full margins presumed. Archivally matted and beautifully framed with an overall size of 22¼" x 19¾. A fine example of this early lithograph from the corporate collection of the Richard E. Jacobs Group, Cleveland, Ohio.

The print depicts one of many passenger ferries that plied the Hudson River in the early 20th century. The two-lane Bear Mountain Bridge, opened in November, 1924, was the first automobile crossing spanning the Hudson River between New York City and Albany. It is located just south of Fort Montgomery, New York, and about 5 miles north of Peekskill.

$1,200

Lithograph, 1953, edition of 250. Image size 13" x 9¼" with full margins. Published by Associated American Artists, New York, and signed in pencil by the artist in lower margin. Fine condition.

SOLD

Lithograph, ca. 1945, edition of 250. Image size 13" x 10-1/8" with full margins. Published by Associated American Artists, New York, and signed in pencil by the artist in lower margin. Fine condition.

$325

Lithograph, 1964; edition not stated. Image size 22½” x 17”; sheet size 25¾” x 19¾”. Signed and dated in the stone. Artist's proof, titled and signed in pencil by the artist in the lower margin. A nicely inked impression on heavy wove paper in overall fine condition. There is a small stain at the lower edge of the sheet well away from the sight area.

$275

Lithograph, ca. 1965; edition of 100. Image size 16” x 19”; sheet size 20½” x 25½”. A fine impression on heavy wove paper. Numbered 31/100, titled, and signed in pencil by the artist in the lower margin.

$325

Etching, ca. 1874; edition not stated. Sheet Size 10-3/8” x 5-7/8”; sheet size 13¾” x 9½”. Signed in the plate. Very good overall condition

$125

Etching, 1937; edition not stated. Image size 8” x 5-7/8”; sheet size 12” x 10”. Published by The Cleveland Print Club. Titled and signed in pencil by the artist in the lower margin. Numbered by hand-held mechanical device in the lower right-hand corner. Faint staining at lower edge of sheet, else fine. A chilling reminder of the brutal tactics employed by management to thwart the rise of industrial trade unions in the 1930s.

$250

Color lithograph, 1970; edition of 100. Image size 14” x 18”; sheet size 15-7/8” x 20”. Published by Associated American Artists, New York. Titled, numbered 56/100, and signed in pencil by the artist in the lower margin. A fine impression with unobtrusive toning from an earlier mat.

$350

Color lithograph, 1970; edition of 100. Image size 18” x 13½”; sheet size 20¼” x 16”. Published by Associated American Artists, New York. Titled, numbered 56/100, and signed in pencil by the artist in the lower margin. A fine impression

$275

Lithograph, 1958; edition of 250. Image size 9-13/16” x 13-7/8”; sheet size 13-1/8” x 16-7/8”. Published by Associated American Artists, New York. Numbered 30/250 and signed in pencil by the artist in the lower margin. Fine.

$250

Silver gelatin photograph reproduced in Figments #1, 1973. Image size 8¼” x 12½;” sheet size 11” x 14.” Figments was a series of ten books of photographs, the early numbers edited and sequenced by Minor White and later numbers by Abe Frajndlich. Very good overall condition.

$375

Silver gelatin print, 2001; edition not stated. Image size 12-3/8” x 18-3/8”; sheet size 16” x 19-7/8”. Titled, signed, and dated by the artist in ink on reverse. Fine.

$1,500

Silver gelatin print from infra red photographic negative, 1981; edition not stated. Image size 8¼” x 12-3/8” in archival mount. Framed. Titled and signed in ink in the lower margin. Plate 26 from the cycle Cleveland Infra Red. Fine.

$1100

Chromogenic color print, 16” x 20” in archival mount with matte black wooden gallery frame measuring 30-1/8” x 29-1/8.”

A portrait of the avant garde theater director and educator. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$1,200

Silver gelatin print, 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.” This photograph is one of several taken by Frajndlich of the eighty year old actor and artist for an interview by Alex Witchel published in The New York Times on July 6, 1995, at the time that Quinn’s autobiography, One Man Tango, was published. This image was not used in the article, but is a striking character portrait of the iconic actor. Fine overall condition. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$1,500

Chromogenic color print, 16” X 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.” Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio. Fine.

Art Blakey (1919 - 1990), the noted drummer and bandleader, developed an aggressive playing style called Hard Bop. He founded his legendary band Art Blakey and the Jazz Messengers in 1954 and performed worldwide during his long and successful career. In 1985, he recorded five albums with the band at Sweet Basil, the famous jazz club at 88 7th Avenue South in New York City (1974 - 2001), where he often appeared. Frajndlich photographed Blakey at Sweet Basil four years before the great jazzman’s death.

$1,500

Chromogenic color print, 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.” Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

The famous mime, clown, and dancer photographed at her home in Kent Connecticut.

$1,200

Chromogenic color print 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.”

A portrait of the aerialist who, on August 7, 1974, walked between the twin towers of the World Trade Center in New York. Petit is shown here in his New York City storeroom some eighteen years later. The print is somewhat faded but a compelling portrait of the audacious Frenchman nonetheless. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$750

Chromogenic color print 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.”

A portrait of the renowned Latin music virtuoso Victor Guillermo “Yomo” Toro (1933-2012), who toured and performed for many years with the Fania All Stars salsa group. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$1,200

Chromogenic color print 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.”

A portrait of Austrian born, Bulgarian-American Carl Djerassi (1923 - 2015) novelist, playwright, chemist and noted art collector, whose work contributed to the development of the birth control pill. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$1,500

Chromogenic color print 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.”

A portrait of the noted teacher, coach, and ballet mistress Elene Chernochova (1939 - 2015). Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$1,200

Chromogenic color print 16” x 20” in archival mount with matte black wooden gallery frame having an overall size of 30-1/8” x 29-1/8.”

Fritz Grasshoff (1913 - 1997), German painter, poet, and songwriter. For the last fourteen years of his life, Grasshoff lived in Canada, where Frajndlich made this imaginative portrait. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$750

Chromogenic color print, 16” x 20 in archival mount with matte black wooden gallery frame with overall dimensions of 30-1/8” x 29-1/8.”

A portrait of the noted concert violinist and musical educator. Ex corporate collection of McKinsey and Company, Incorporated, Cleveland, Ohio.

$750

Silver gelatin print, 1981. Image size 17¾” x 12”; sheet size 19¾” x 15¾” on 24” x 20 mount. Signed and dated in pencil on the lower RH corner of the mat aperture; Titled, signed, dated, and warmly inscribed in ink on the print. Plate 12 from the series Cleveland Infra Red. Fine.

$425

Silver gelatin photograph, 1998; edition not stated. Image size 12¼” x 8¼” overall size 14” x 11”. Signed and dated on the mat. Very good overall condition.

$225

Etching and aquatint, ca. 1980; edition of 100. Image size 22½" x 15¼;" sheet size 27¼" x 20¼". Printed by the artist; titled and signed in pencil by the artist in the lower margin. Overall fine condition.

SOLD

Etching on heavy watercolor paper, ca. 1965; edition not stated. Image size 18-1/8” x 13-5/8”; sheet size 22-1/8” x 17-3/8”. Not signed or annotated. Fine condition. The original pen-and-ink drawing bears the above title, though this etching was referred to as Bureaucratic Landscape when we acquired it.

$350

Hand-colored etching on heavy watercolor paper, ND; edition not stated. Image size 18-1/8” x 13-5/8”; sheet size 22-1/8” x 17-3/8”. Signed in the plate. Fine.

$475

Lithograph, 1934; edition of 184. Image size 12” x 9-7/8”; sheet size 16” x 14-3/8”. Published by Associated American Artists, New York. Titled and signed in pencil by the artist in the lower margin.

From an article in The Stage for October, 1934: “When the days begin to lengthen, the hall bedrooms of the Forties and Fifties empty. The old character man emerges to hunt for a job. There are scores of him…. The casting director pretends to be interested. The stagehand has seen him many times before.” A wonderful snapshot of 1930s Broadway behind the scenes by this avid chronicler of Depression-era New York. Faint toning in the mat aperture and adhesive residue at the top edge of the sheet well away from the sight area. McCulloch 87.

$1,200

Lithograph, 1932; edition fewer than 25. Image size 12¼” x 9-5/8”; sheet size 16¼” x 11¼. Titled and signed in pencil by the artist in the lower margin and signed in the stone.

The lithograph depicts The Central Ticket Agency, in the basement of Gray’s Drugstore at Broadway and 42nd Street in Manhattan. The McCulloch catalog description further notes that the agency …”operated by Joe Leblang, who saved many shows with his cut-rate ticket business.” Fine overall condition. Mcculloch 47.

$1,150

Lithograph, 1931; edition of about three proofs. Image size 7½” x 10½”; sheet size 9¾” x 12”. A bold, well-inked impression in overall very good condition, with ink smudges in the margins. Titled and signed in pencil by the artist in the lower margin. McCulloch 30.

This charming image, typical of Freeman’s treatment of theatrical subjects, was an experiment by the artist in the use of razor or knife blades on the stone to enhance the tonal values of the image.

$1,100

Hand colored lithograph, ca. 1936; edition size not known, but probably fewer than five proofs. Image size 9” x 11¼”; sheet size 9” x 12¼”. Very good overall condition; There is a 5/8” unobtrusive closed tear on the upper edge of the sheet extending into the image. Not in the McCulloch catalog raisonné (see below).

There is a distinct similarity between this print and the piece titled "Snow Shovelers on 14th Street" (McCulloch 110), published in an edition of ten in 1936. My guess is that Freeman took a shine to the pair of men with snow shovels slung over their soldiers, and decided to draw them separately without the distraction of the other people included in the original street scene. The result is an intimate snapshot of two chums enjoying each other's company as they walk the street in search of a chance to make enough for a cafeteria meal and a hot cup of coffee.

Freeman managed to project a jaunty dignity in his portrayals of ordinary people living through hard times. His work is entirely free of the slightest trace of condescension or pity, betraying the artist's admiration and respect for his subjects.

$750

Lithograph, 1934; edition of 50. Image size 8¼” x 7¼”; sheet size 15” x 11¼” Published by The Public Works Art Project, Civil Works Administration. Fine impression in overall very good condition, with faint toning in the sight area and adhesive residue on the top edge of the sheet, well away from the image area. McCulloch 85.

$1600

Lithograph, 1941; edition of 250. Image size 10-5/8” x 9¼”; sheet size 16-1/8” x 12-5/8”. Published by Associated American Artists, New York. Signed in the stone and in pencil by the artist in the lower margin. Fine.

$525

Offset lithograph in the manner of Marc Chagall, 1973; edition unknown. Printed by Lynton Kistler, Los Angeles, California. Overall size 20-1/8” x 26”. Signed by Freeman in the original matrix. A vibrant homage to the great painter, illustrator, and muralist. Near fine condition with an inconspicuous crease in the upper right corner of the sheet. The matrix for this image is the original gouache in our possession.

$120

Lithograph, 1932; edition fewer than 35. Image size 12” x 10-3/8”; sheet size 15-5/8” x 11¼”. Titled Quick Change and signed by the artist in pencil in the lower margin. A fine impression in overall fine condition, excepting a small spot at the left edge of the sheet, well away from the sight area. McCulloch 55.

$1,200

Lithograph, 1935; edition less than 25. Image size 13” x 9-1/8”; sheet size 15½” x 11½”. Titled “Filming The Tale of Two Cities” (sic) and signed in pencil by the artist in the lower margin; also signed in the stone.

The McCulloch catalog states “A Tale of Two Cities, adapted from Charles Dickens’s novel, a David Selznick, Metro Goldwyn Mayer production, directed by Jack Conway, was released in 1935. In the cast were Ronald Colman, Elizabeth Allan, Edna May Oliver, Blanche Yurka, and Basil Rathbone.”

A fine impression, printed by Lynton Kistler in Los Angeles, in overall fine condition. McCulloch 104.

$1,100

Lithograph, 1932; edition less than 25. Image size 7½” x 9¾”; sheet size 10½” x 12¾”. Titled and signed in pencil by the artist in the lower margin; signed in the stone.

The McCulloch catalog states “Ed Wynn is seen performing in The Laugh Parade, a revue in two acts by Ed Wynn and Ed Preble with music by Harry Warren. The show opened in November 1931 at the Imperial Theatre and ran for 231 performances.”

A fine impression with a trace of mat burn. The sheet bears marks of printer’s ink along its left edge and a small spot on the right edge, both of which are well away from the sight area. McCulloch 42.

$ 575

Lithograph, 1939; edition less than 25. Image size 13” x 7¾”; sheet size 16” x 11¾”. Titled and signed by the artist in the lower margin and signed in the stone.

The three-act play adapted by Howard Lindsay and Russel Crous from Clarence Day’s reminiscences opened in 1939 at the Empire Theater and ran for 3,224 performances.

A fine impression in overall fine condition, with small stains in the upper corners from an earlier mounting. McCulloch 123.

$750

Lithograph, 1933; edition fewer than 35. Image size 9” x 6½”; sheet size 11½” x 8½”. Titled and signed in pencil by the artist in the lower margin and signed in the stone.

From the McCulloch catalog: “Mary of Scotland, a historical drama by Maxwell Anderson, opened at the Alvin Theatre in November 1933 and ran for 248 performances. In the cast were Helen Hayes, Helen Mencken, Moroni Olsen, Philip Merivale, and Leonard Willley.” A fine impression in overall fine condition. McCulloch 76.

$750

Lithograph, ca. 1945; edition of 10. Image size 7¾” x 11”; sheet size 11-5/8” x 15-5/8”. Printed by Lynton Kistler in Los Angeles. Numbered 9/10 and signed in pencil by the artist. Titled and Initialed in the stone. This print is accompanied by a preliminary pencil sketch by the artist. Fine overall condition. McCulloch 130.

$750

Lithograph, 1936; image size 12-1/8” x 9½”; sheet size 16” x 11½”. Published by American Artists Group, New York in a non-limited unsigned edition. Faint stains from mount hinges in upper corners, else fine.

$850

Lithograph, 1937; image size 12-1/8” x 9½”; sheet size 16” x 11½”. Published by American Artists Group, New York in a non-limited unsigned edition. Faint stains from mount hinges in upper corners, else fine.

$775

Lithograph, 1934; edition of 50. Image size 6-7/8” x 9-7/8”; sheet size 10½” x 12¾”. Signed in the stone, and signed and titled in pencil by the artist in the lower margin. Published by the WPA Federal Arts Project. Very good condition.

$1,200

Etching on cream wove paper, 1934; edition of 30. Plate mark 14¼” x 9-3/8”; sheet size 17-1/8” x 12-3/8”. Annotated New York, 1934; titled In The Dark; numbered 9 and signed by the artist in pencil in the lower margin. A fine impression in overall very good condition. There is discoloration in the lower corners of the sheet, well away from the sight area.

$1,400

Etching on wove paper, 1944; Trial proof No. 5 before edition of 50. Image size 9-3/8” x 13-7/8”; sheet size 12” x 18”. Trial proof No. 5, titled, signed, and dated by the artist in pencil in the lower margin. Traces of ink in the upper margin, otherwise fine.

$1,200

Woodcut, 1935; edition of 50. Image size 8-7/8” x 12¾”; sheet size 12-5/8” x 15-7/8”. Titled and signed in pencil by the artist in the lower margin. A powerful image, masterfully printed, in fine condition. There are two small losses at the upper edge of the sheet, and traces of printer’s ink in the upper margin, well away from the image area.

$800

Etching, 1948; edition of 14. Image size 14” x 10-3/8”; sheet size 17¼” x 12½. Titled, numbered 1/14, and signed in pencil by the artist in the lower margin. A fine impression in overall fine condition. Scarce.

$900

Woodcut, ca. 1931; edition not stated. Image size 5½” x 7½”; sheet size 8¾” x 11”. Titled and signed in pencil by the artist in the lower margin. A woodcut created for a portfolio presenting and illustrating twelve Shakespearean sonnets. Fine overall condition.

$375

Etching, 1926, edition not stated. Image size 4-7/8" x 7"; sheet size 5-5/8” x 9”, Initialed in the plate and published in The Print Connoisseur, Volume VI Number 3, July, 1926. Fine condition.

$150

Drypoint, softground etching, and aquatint, 1981; edition of 100. Numbered 61/100 and signed in pencil by the artist in the lower margin. Image size 4¼” x 6-5/8”; sheet size 12-3/8” x 17-7/8”. A beautifully printed image in fine condition.

$950

Etching and aquatint, 1977; edition of 100. Image size 6-5/8” x 7-3/8”; sheet size 9-1/8” x 11”. Numbered 89/100 and signed in pencil by the artist in the lower margin. A rich impression of this classical example of Fantastical Realism in fine condition.

$800

Etching on copper, 1952; edition of 60. Image size 6-9/16" x 9-13/16" with full margins. Numbered 8/60, titled, and signed in pencil by the artist in the lower margin. A fine impression of this scarce etching. Weis 45.

$1,400

Etching, edition of 100, 1969. Image size 11½" x 15¼"; sheet size 16½" x 21½". Numbered 74/100 and signed in pencil by the artist in lower margin. From the portfolio Elf Blätter phantasticher Graphik published by Rembrandt Verlag, Berlin. Fine condition, matted and framed using archival materials.

$1,200

Etching, fifth state, 1976; edition of 3000 (this impression one of 2700 in dark reddish-brown ink. Image size 6-3/8" x 6-3/4"; sheet size 9½" x 11-3/8". Printed by Rull, Vienna, and signed in pencil by the artist below the plate mark. A fine impression, with small areas of adhesive darkening on reverse.

$550

Etching and aquatint on handmade paper, 1976; edition of 3000. Image size 6½” x 7½”; sheet size 9¾” x 11¼”. A highly nuanced impression in fine condition.

$550

Etching and aquatint, ca. 1975; edition of 1700. Image size 12-1/8” x 14-3/8”; sheet size 19” x 24-5/8”. Numbered 479/1700 and signed in pencil by the artist. A nuanced impression, all tones and fine details beautifully printed. Fine.

$825

Linocut, 1945, printed on Japan paper 1967; edition of 60. Image size 11" x 16"; sheet size 21½" x 27½". Printed by Köhler, Karlsruhe and published by W. Ketterer, Munich as plate 2 of the portfolio Kataklysmen. Signed in pencil by the artist in the lower margin. A very early work in near fine condition.

$775

Lithograph on Japan paper, 1903; edition of 3. Image size 9½” x 7¼”; sheet size 11¾” x 10½”. Titled “To Gus” and signed by the artist in pencil in the lower margin.

This venerable saloon, the oldest of its kind still in existence in New York, is located at 15 East 7th Street near the Bowery and Cooper Union. It was thought to have been established in 1854, though there is some uncertainty on this point. Duncan, then a student at the Art Students League, captured the interior of the saloon in 1903 from the vantage point of its rear dining room, looking outward at the bar located in the front of the building. In his separate note accompanying the lithograph, which Duncan wrote on the kraft backing paper of the frame assembly, “McSorley’s Old English (sic) Ale House, a few doors east of the Bowery one block below Cooper Union. Drawn the winter of 1903. 3 proof only from the stone. W. J. Duncan”

A rare and historically important view of old New York in very good overall condition. Further information may be obtained from Joseph Mitchell’s article “McSorley’s Wonderful Saloon”, originally published in The New Yorker and in the author’s collection of essays titled Up In the Old Hotel., published in 1992 by Pantheon Books, New York, which we highly recommend..

$ 1,200.