Back Stage 8 P.M. (Grand Opera)
Drypoint, 1932, Czestochowski 29 (iv/IV), edition 30. 11 1/4 x 8 5/8 in. Titled and dated in the plate. Signed, dated and titled in pencil below the image. This is a superb impression with full margins. The condition is excellent. Twenty impressions are listed in museum collections.
SOLD

Black Magic, New York, 1928
Etching and aquatint, 1929, Czestochowski 6 (iv/IV), edition 100. 11 3/4 x 6 1/2 in. Signed, dated and titled in pencil. This is a fine, luminous impression of this exceptional American print. The margins are full and the condition is excellent. As seen in his Civic Insomnia, Jewelled City and here with Black Magic, Geerling's mastery of aquatint ranks him among the best practitioners of this difficult medium.
SOLD

Civic Insomnia
Aquatint, 1932, Czestochowski 28 (v/V), edition 38. 10 7/8 x 14 1/16 in. Signed and titled in pencil. This is a fine impression of this rare, masterful print. The margins are full and the condition is excellent. The paper has a slightly greenish tint which we've seen before in at least two other impressions. The catalogue lists twenty-nine impressions in museum collections which includes trial proofs and early state impressions. Like John Taylor Arms, Louis Rosenberg and Samuel Chamberlain, Geerlings was trained as an architect and later took up printmaking. This remarkable view of New York at night is done in pure aquatint without the assistance of etching to help define forms.
SOLD

Civic Insomnia
Aquatint in color, 1932, Czestochowski 28; edition 38. 10 3/4 x 14 1/8 in. Signed, titled and dated (New York, 1932) in pencil. This is a fine impression of this exceedingly rare color version. The margins are full and the condition is excellent. Geerlings would occasionally use green paper for his prints and in this case, this is the only time we have seen the buildings and some of the water with color; possibly a unique version. Civic Insomnia is a remarkable tour de force of aquatint and it's also become very rare. There are twenty-three impressions cited in museum collections including multiple trial proofs in two institutions. This amounts to twenty-nine impressions. (This is the third impression we have sold.) On page 14 of the catalogue it states, "Geerlings's temperament was intrinsically experimental; he was an avid student of techniques...Even when he worked in black and white, Geerlings would not let a subject go until he exhausted all of its chromatic possibilities."
$9,000

Civic Insomnia (New York)
Aquatint, 1932, Czestochowski 28 (V/V), edition 38. 10 7/8 x 14 1/16 in. Signed in pencil, lower right. Inscribed in the lower left, "1st of 4, 5th trial state, June 4, 1932." This is a superb impression of this tour de force of aquatint. The condition is very good. There's just a faint suggestion of pinpoint foxing marks in the margins, all very inconspicuous. The margins are probably full and untrimmed and the top margin is somewhat narrow. This is a trial proof of the fifth and final state and the printed surface of the image is in superb condition. The catalogue lists twenty-nine impressions in museum collections and consequently this print rarely comes onto the market today. Like his contemporaries; John Taylor Arms, Louis Rosenberg, and Samuel Chamberlain, Geerlings was trained as an architect and later took up printmaking.
SOLD

Grand Canal, America
Drypoint, 1933, Czestochowski 31 (ii/II), edition 100. 11 7/8 x 8 7/8 in. Inscribed in the plate, lower right, Chicago Fair 1933. Signed in pencil. This is a fine impression printed on RIVES watermarked paper. The margins are full and the condition is fine. This print was published by the Chicago Society of Etchers.
$3,500

Olympus (new York)
Drypoint, 1929, Czestochowski 7 (iv/IV), edition 100. 9 x 5 7/8 in. Signed, titled and dated in pencil. This is an especially fine, rich impression with full margins. The condition is excellent. Twenty-six impressions are cited in museum collections in the catalogue raisonné.
$2,500