Foundry Interior
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1934, Stuckey 47, edition only 15. 10 3/8 x 13 1/4 in. Signed in pencil. Here we have a fine impression with substantial margins. The condition is fine apart from a very faint suggestion of a mat line from an early mount and a tiny paper loss in the lower right corner. This is a view near an abandoned quarry in Rockport, MA. This superb industrial image is a very unusual subject for Wengenroth.
$1,800

New York Nocturne
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1945, Stuckey 146, edition 85. 9 7/8 x 16 7/8 in. Signed in pencil. This is a superb impression with probably the full margins. The condition is excellent. This outstanding nocture is one of Wengenroth's finest prints. The view is from Columbia Heights, Brooklyn looking across to lower Manhattan.
SOLD

Lower Fifth Avenue
STOW WENGENROTH
American, (1906-1977)
Lithograph, 1959, Stuckey 256; edition 40. 10 1/8 x 15 7/8 in. Signed and numbered in pencil. Here we have a superb impression with wide margins. The condition is fine apart from some irregularity along the margin edges. According to Stuckey, the view is looking west on Eleventh Street. This is one of the artist's finest prints.
SOLD

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

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

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

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.
$2,400

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

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

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

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

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

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

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

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

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

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

Gloucester Harbor, MA
LAWRENCE NELSON WILBUR
American, (1897-1988)
Drypoint, 1938, edition unknown. 8 x 10 in. Signed in pencil. This is a fine, early impression done before the 1985 reprint. The margins are full. The condition is fine. Born in Boston, Wilbur moved to NYC in 1925 where he worked in engraving shops and studied at the Grand Central Art School with N.C. Weyth and others. He was also a talented painter and watercolorist.
$550

Vernissage at the Academy
MEYER WOLFE
American, (1897-1985)
Lithograph, 1937, edition unknown. 13 x 11 in. Signed, dated and titled in pencil. Here we have a fine impression in fine condition. The margins are full. Wolfe was born in Kentucky and studied at the Academy of Fine Arts in Chicago and later at the Art Students League. He was a student of John Sloan. He excelled in lithography and was also a painter and sculptor.
$900

Honorary Degree
GRANT WOOD
American, (1891-1942)
Lithograph, 1938, Johnson 5, Cole 4; edition 250. 11 7/8 x 6 15/16 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This print was based on Wood receiving an honorary degree from Lawrence College in Appleton, Wisconsin. He used two of his friends at the University as models. "The hood mimics the shape of the Gothic window in the background, recalling the symbolic window in American Gothic, perhaps implying that the public recognition--symbolized by the shower of light cascading down upon the recipient--has come from the fame of his iconic painting. Wood seems to literally be basking in the glory of the Gothic arch, his symbol for Regionalism and American Gothic, while the two professors bear looks of disdain upon their faces, a sharp contrast to Wood's almost cherubic gaze up towards them." (See page 72 of Grant Wood: The 19 Lithographs, A catalogue Raisonné by Bruce Johnson (2016).
$3,500