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Foggy Morning STOW WENGENROTH American, (1906-1977) Lithograph, 1945, Stuckey 148, edition only 37. 7 3/4 x 13 5/8 in. Signed and numbered in pencil. This is a fine, atmospheric impression with full margins. The condition is excellent. The scene depicted here is in Port Clyde, ME. SOLD |
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Her Majesty STOW WENGENROTH American, (1906-1977) Lithograph, 1975, Stuckey 361, edition 60. 9 1/2 x 15 7/8 in. Signed and numbered in pencil and titled below. This is a fine impression with full margins. The condition is excellent. This charming, Victorian home was is/was located in Noank, CT. $1,250 |
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Fisherman's House STOW WENGENROTH American, (1906-1977) Lithograph, 1932, Stuckey 28, edition 50. 7 5/8 x 8 7/8 in. Signed in pencil. This is a fine impression with full margins. The condition is good apart from slight toning around the image from an earlier mat opening. There are traces of two paper hinges on the front at the top corners and two old cloth hinges on the verso also at the corners. This uncommon print was done in Eastport, ME. $1,600 |
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Grand Central, New York STOW WENGENROTH American, (1906-1977) Lithograph, 1949, Stuckey 183, edition 40. 8 11/16 x 16 in. Signed in pencil. This is a fine, rich impression of this uncommon print. The margins are full and the condition is excellent. Provenance: Kennedy Galleries, with their price code in pencil, lower right. Grand Central was opened in 1913 after ten years of construction. SOLD |
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From the Weather Bureau (New York) STOW WENGENROTH American, (1906-1977) Lithograph, 1940, Stuckey 106, edition 40. 10 1/4 x 17 in. Signed and numbered in pencil. Titled below in pencil. This is a superb impression with probably the full margins. Fine condition. There was a first edition of 3 impressions, then, the second published state was printed with a tint stone in an edition of 40. This print was based on a drawing done on the roof of the Weather Bureau at the Battery. $7,500 |
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Rainy Day, New York LEVON WEST American, (1900-1968) Etching and drypoint, circa 1933, Subsequent to Torrington, edition unknown. 14 7/8 x 8 3/4 in. Signed in pencil and also inscribed "27." The margins are full. the condition is excellent. West did a few New York scenes which are hard to come by. His work was influenced by his friend, Joseph Pennell, and Kennedy Galleries represented his work for many years. This print is included in the collection of the National Gallery in Washington, DC. $2,000 |
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Chief Eagle Calf LEVON WEST American, (1900-1968) Etching, 1927, Torrington 77 (ii/II), edition 100. 9 x 6 1/2 in. Signed, titled and numbered in pencil. Here we have a fine impression with full margins. The condition is very good other than for a few soft ripples in the image from the printing process. Chief Eagle Calf was a member of the Blackfeet Tribe from Montana.
According to Torrington, the edition was really only seventy as many were destroyed. SOLD |
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Wyoming (On Horseback) LEVON WEST American, (1900-1968) Etching, 1934, subsequent to Torrington, edition probably 100. 9 1/4 x 11 1/2 in. Signed in pencil and inscribed "early trial proof." Signed dated and inscribed in the plate, "Wyoming." This is a superb impression with full margins. The margins are full. This dramatic scene is one of his best images of the American West. SOLD |
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Annie JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching, 1857-58, Kennedy 10, (iv/V), edition unknown. 4 3/4 x 3 1/8 in. Signed in the plate. This is a fine, early impression of the penultimate state printed on gold-toned chine applique. The margins are wide. The condition is very good apart from a very faint suggestion of discoloration from a previous mat opening and tape reside in places, verso, not affecting the image in any way. Fourth state impressions are far more desirable than final state impressions. $1,500 |
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Seymour Standing under a Tree JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching and drypoint, 1858-1959, Glasgow 30 (ii/III), Kennedy 31 (ii/III); edition unknown. 5 1/4 x 3 7/8 in. Signed in the plate. This is a fine, early impression of the second state of three printed on cream laid paper. The margins are wide and probably full. The condition is also fine apart from a suggestion of toning in the mid margin area from an early mat. This early print is described by Katharine Lochnan as, "Whistler's first landscape etching." (See: The Etchings of James McNeill Whistler, Yale University Press, 1984; page 69.) The online Glasgow catalogue cites only 29 known impressions from this plate. (In the third state the legs have been redrawn to be closer together.) $2,600 |
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Old Battersea Bridge JAMES A. MCNEILL WHISTLER American, (1834-1903) Lithograph, 1879 and 1887, Art Institute of Chicago 18 (ii/II), Levy 24,; edition 100. 5 7/8 x 13 in. Signed on the stone with the butterfly signature at left. This is a fine, nicely inked impression printed on greyish chine applique. The margins are wide and the condition is very good apart from faint toning at the extreme edges of the wove support sheet. This impression was published in a portfolio called "Art Notes," printed by Way and published by Boussod, Valadon and Co in 1887. $2,000 |
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La Vieille au Loques (The Old Rag Woman) JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching and drypoint, 1858, Glasgow 27 (iii/IV), Kennedy 21 (ii/III); edition unknown. 8 1/16 x 5 3/4 in. Signed in the plate, lower right, and along the bottom, Imp. Delatre, Rue St. Jacques 171. This is a very fine, lifetime impression printed with plate tone on a thin China paper. The margins are wide and the condition is very good. (There's a skillful and barely noticeable repaired split in the upper left margin which goes to the image but not within.) This early work was published in this state as part of the French Set. This was a popular print during Whistler's lifetime and that interest continues to this day. $1,700 |
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Greenwich Park JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching and drypoint, 1859, Glasgow catalogue 41 (iii/III), Kennedy 35 5 x 7 15/16 in. Signed in the plate, lower left. This is a fine, rich impression printed on thin, cream Japanese paper. The margins are full. This lovely landscape print is known in 38 impressions in the Glasgow catalogue. The sitters have not been indentified. $1,800 |
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Black Lion Wharf JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching, 1859, Glasgow 54 (iv/IV); Kennedy 42 (iii/III), Glasgow cites 104 impressions. 5 7/8 x 8 3/4 in. Signed and dated in the plate, lower right. This is a fine, strong impression printed on light cream laid paper without a watermark. The margins are most likely full with a deckle edge on three sides. The condition is excellent. This print, along with the Limeburner (Glasgow 55), are probably the two best images from the Thames Set. Black Lion Wharf was published with the rest of the set in 1871 by Ellis and Green. This is one of Whistler's most popular early etchings. $5,000 |
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The Little Pool JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching and drypoint, 1861, Glasgow catalogue 79 (ix/IX), Kennedy 74 (viii/IX); 76 impressions cited in Glasgow. 4 x 5 in. Signed and dated in the plate. This is a fine impression with modest margins. There's a trace of old paper tape along the top edge, verso. This plate was included in the Thames Set and was published as such in this, the ninth state. This impression is a duplicate from the Fogg Art Museum, Harvard University, and bears their stamp on the verso. $1,200 |
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The Kitchen JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching, 1858, Glasgow 16 (ii/II); Kennedy 24 (ii/III); Glasgow cites 67 known impressions. 9 x 6 1/4 in. Signed in the plate, lower right. This is a very fine, rich impression printed on a light cream laid paper. The margins are substantial. The condition is excellent. This outstanding, early work was published in the French Set in this state. Auguste Delâtre was the printer and his name and address appear in the plate, lower right. SOLD |
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The Wine Glass JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching, 1859, Glasgow 38 (ii/II); Kennedy 27 (ii/II); Glasgow states forty impressions were taken from the plate. 3 1/4 x 2 1/8 in. Signed in the plate lower left. This is a superb impression printed on thin Japanese paper. The margins are apparently full and the sheet measures 6 1/2 x 4 3/8 in. The condition is fine. This stellar and unique etching is Whistler's only still life. This plate was etched in London at the home of Seymour Haden. Whistler certainly had a chance to view Haden's collection of Rembrandt etchings and it's possible that Rembrandt's "The Shell," was an inspiration for this print. (See Katharine Lochnan, "The Etchings of James McNeill Whistler," (1984), pg. 59.) "The Wine Glass" has always been a highly sought after print and the great collectors of Whistler etchings owned it. Among them are Charles Lang Freer, Philippe Burty, Joshua Hutchinson, Howard Mansfield, Harris G. Whittemore, Lessing J. Rosenwald and Peter Lunder, among others. SOLD |
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Maunder's Fish Shop, Chelsea JAMES A. MCNEILL WHISTLER American, (1834-1903) Lithograph, 1890, Art Institute of Chicago 37 (ii/II) Way 28; edition at least 31 lifetime impressions. 7 1/2 x 7 in. Signed on the stone with the printed butterfly. Signed below with the pencil butterfly. This is a superb lifetime impression with full margins. (There's no apparent watermark.) The condition is excellent. This was a popular image for Whistler and it was later published in the Whirlwind in a large edition with a line of text added. There were an additional thirty-eight posthumous impressions printed by Goulding in 1903. Our impression is printed on an ivory laid paper and bears the red Rosaling Birnie Philip stamp (Lugt 406) indicating a lifetime impression. Whistler depicted this subject at least four times including as an oil painting now in the collection of the Boston Museum of Fine Arts. $3,000 |
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The Unsafe Tenement JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching, 1858, Glasgow 18 (iii/IV), Kennedy 17 (iii/IV); Glasgow lists 74 known impressions. 6 1/4 x 8 3/4 in. Signed in the plate, lower right. Signed in pencil with the butterfly, lower left. This is a fine, luminous impression printed on a light cream wove paper. The margins are full and the condition is also fine. (There's some subtle inking in the lower left corner which looks like a possible fingerprint and then there's a bit of stray printer's ink to the right of the platemark.) This impression is printed with plate tone. Impressions in this third state were published in the French Set also known as "Douze Eaux-fortes d'après Nature." This impression is from the celebrated collection of B.B. MacGeorge (Lugt 394) who was especially well known for his Whistler collection; "Les estampes de Whistler, que MacGeorge possédait aussi en très belles épreuves..."
$5,500 |
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The Lime-Burner JAMES A. MCNEILL WHISTLER American, (1834-1903) Etching and drypoint, 1859, Glasgow 55 (ii/III), Kennedy 46 (ii/II); Glasgow mentions 103 impressions taken from the plate. 9 7/8 x 6 7/8 in. Signed and dated in the plate, lower right. This is an exceptionally fine impression printed with carefully articulated plate tone. The paper is an antique laid with a hard to determine watermark. The margins are full and the condition is fine. This exceptional early work was published in the Thames Set in 1871. The Lime-Burner was quite popular among collectors at the time it was published and continues to be popular today. The plate was acquired by Charles Lang Freer in 1896 and bequeathed to the Freer Gallery of Art. SOLD |
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