Venus and Adonis
STANLEY ANDERSON
British, (1884-1966)
Etching, 1924, Meyrick & Heuser 158; intended edition of 50. 7 7/8 x 10 in. Signed in ink. Titled and numbered "edition 50 proofs" below in ink. Here we have a fine impression in fine condition. The margins are full. The plate was published by Colnaghi, however, according to the catalogue, "The plate itself would become a casualty of the Blitz, during which Anderson's London studio was destroyed. Only a few prints had been pulled."
$750

La Plaza Mayor, Segovia
STANLEY ANDERSON
British, (1884-1966)
Drypoint, 1927, Meyrick & Heuser 178 (iv/IV); edition 80. 9 1/2 x 7 9/16 in. Signed in the plate, lower left. Signed, titled and numbered in pencil. This is a fine impression with full margins. The condition is fine other than for a subtle suggestion of toning within an early mat opening.
$550

Blue Poppies
JEAN ARMITAGE
British, (exhibited 1919-1938)
Woodcut printed in colors, circa 1930, edition 50. 12 7/8 x 7 3/4 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine other than for a soft wrinkle here and there, primarily in the margins. The influence of Japanese printmaking is here in evidence. Her work is executed with great skill, especially as seen here. She studied with the illustrator J.D. Batten at the Byam Shaw School of Art and exhibited with the Royal Institute of Painters in Water Colours. This information was provided by the British Museum and they own two example of her woodcuts.
SOLD

I Want Powder and Bullets (Je Veux de la Poudre et des Balles)
GEORGE AURIOL
French, (1863-1938)
Lithograph printed in colors, 1897, Fields 12, edition 100. 18 3/4 x 10 1/4 in. Signed on the stone with the artist's monogram, upper left. Titled on the stone, lower right. Signed and numbered in pencil, lower right. This is a fine impression with fresh colors. The margins are full and the condition is fine. (There's an occasional small speck of foxing.) This large, impressive print was published in Vollard's, "l'Album d'Estampes Originales de la Galerie Vollard." The print was inspired by a poem by Victor Hugo, "L'Enfant" ('The Child')," from Orientales; a collection of forty-one poems inspired by the Greek War of Independence and their fight for liberty against the Turks.
$1,850

Ponte Pietra, Verona
ROBERT S. AUSTIN
British, (1895-1973)
Etching, 1925, Dodgson 56, edition 76. 5 1/8 x 4 3/4 in. Signed in the plate and signed in pencil. This is a fine, rich impression printed on cream laid paper. The margins are full and the condition is fine other than for a faint suggestion of toning within an earlier mat opening. Austin studied with Frank Short and is rightfully considered one of the preeminent printmakers working in England between the wars. He was a master craftsman with the copper plate and was gifted as a figurative artist as well as an etcher of architectural subjects. Austin was the recipient of many rewards throughout his career and his fine work clearly stands the test of time.
$750

Merry-go-Round (Das Karussell)
MAX BECKMANN
German, (1884-1950)
Drypoint, 1921, Hofmaier 197IIb, Glaser 172, Gallwitz 169; edition 125. 10 3/8 x 10 in. Signed in pencil, lower right. This is a superb impression with full margins. The condition is excellent. The embossed stamp of the publisher, Verlag der Marées Gesellschaft, R. Piper & Co., Munich, is in the lower right margin. This stellar work is plate 7 from Der Jahrmarkt (The Annual Fair) series. According to Hofmaier, the upper of the couples at left is probably a self-portrait with Minna Beckmann-Tube, the first wife of the artist.
SOLD

The Draftsman in Society (Der Zeichner in Gesellschaft)
MAX BECKMANN
German, (1884-1950)
Drypoint, 1922, Hofmaier 230 (IIIb/III), Glaser 204, Gallwitz 200; edition of 50 unnumbered on Japan paper. 12 7/8 x 9 3/8 in. Signed in pencil lower right. This is a superb, rich impression printed on cream-colored Japan paper. The margins are full with a deckle edge on all sides. The condition is fine. This work was published by Verlag R. Piper & Co., Munich, 1922. The man drawing is the painter and printmaker Rudolph Grossmann (1882-1941) who Beckmann probably met at the Berlin home of Karl and Johanna Loeb.
$7,500

Les Eglantines (Sweet Briar Roses)
PAUL BERTHON
French, (1872-1909)
Lithograph printed in colors, 1900, Arwas 54 (IIA), edition 100. 15 1/4 x 21 in. Signed on the stone, upper left corner. Signed and numbered in pencil, lower right. This is a fine impression printed on light tan paper. The margins are wide and the condition is fine. This stellar French art nouveau image is from the early signed edition, before the printed text on the bottom. This is one of several "decorative panels" as they are described by Arwas, which employ the common theme of flowers throughout the imagery. Berthon was one of the outstanding decorative designers working in lithography in the 1890s. Signed impressions of his work are uncommon.
SOLD

Model with Bare arms Raised (Le Modèle nu les Bras Levés)
ALBERT BESNARD
French, (1849-1934)
Etching with traces of drypoint, 1925, Godefroy 128 (iii/IV); five impressions in this state, total unknown. 10 5/8 x 7 3/4 in. Signed in pencil. Also, inscribed "3et...4/5." This is a superb, luminous impression with full margins. The condition is fine apart from a minor paper flaw in the left margin near the image. This late work by the artist shows him still in great command of the medium with the skills of a master draftsman. The plate is known to have been destroyed but we don't have a precise edition.
$900

There Were Not Found Women Fair as the Daughters of Job
WILLIAM BLAKE
British, (1757-1827)
Engraving, 1825, Bindman 645; edition 215. 8 5/8 x 6 3/4 in. Signed in the plate, lower right. This is a fine impression printed on chine appliqué. The margins are apparently full and the condition is good. (There are some extremely subtle spots of foxing and two soft fold marks in the upper and right outside margins. The chine is wrinkled a bit primarily on two edges of the sheet.) This is plate 20 from Blake's celebrated Book of Job published by the artist and John Linnell in London. This set of engravings was originally published in 3 versions; 150 copies on white india chine appliqué with the word "proof" (as here), 65 copies on French paper also with "proof," and 100 on Whatman watermarked paper with the word "proof" erased. John Linnell retained the plates and a second edition of 100 was printed in 1874 after the death of the artist in 1827. Blake's engravings were based on a series of watercolors done between 1805 and 1806 for his patron, Thomas Butts.
$3,800

Magpie Park
LARS BO
Danish, (1924-1999)
Etching with aquatint printed in colors, 1961, edition 90. 11 3/4 x 17 1/2 in. Signed and numbered in pencil. This is a fine impression with full margins. The condition is excellent. From 1948-1950, Bo studied with Johnny Friedlaender in Paris. He eventually went to work with Stanley W. Hayter in Paris at his Atelier 17. Technically refined, his work often has a charming, whimsical quality as we see here with Magpie Park.
$500

Windy Night, Stockholm
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1935, Dodgson 457 (x/X); edition 93. 11 3/4 x 7 5/8 in. Signed in the plate, lower left. Signed in pencil. This is a fine impression printed on a sturdy Japanese paper. The margins are full and the condition is quite good. The Royal Opera House is depicted in the background of this dynamic and somewhat haunting scene. In this, the final state, eighty impressions were printed.
ON HOLD

The Apse, Leon Cathedral, Spain (2nd plate)
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1932, Dodgson 441 (x/X); 93 impressions this state, total edition 131. 14 x 9 5/8 in. Signed in the plate and in pencil. A superb impression with full margins. Fine condition. One of two prints published in the portfolio "Old Spain", 1936.
$1,400

The Convent of San Payo, Santiago de Compostela
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1929, Dodgson 434( xviii/XVIII); total edition of 102. 12 1/4 x 7 1/4 in. Signed in the plate, lower right, and signed in pencil. A fine impression printed on a sturdy cream wove paper. The margins are substantial and the condition is very good. (There's a horizontal crease in the lower margin, well away from the image.) Bone's amazing skills are on full display here with this mesmerizing study in foreshortening.
$1,300

Leeds
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1905-07, Dodgson 181 (ii/II), edition 34. 8 x 10 15/16 in. Signed in pencil. This is a superb, rich impression printed on japan paper. The margins are full and the condition is fine. (There's just a very slight suggestion of toning within an earlier mat opening, mainly on the right side.) This rare print is a stunning exercise in the drypoint medium. There were only 2 impressions printed in 1905. In 1907, the remaining impressions of state one and state two were printed. Ex-collection: Morris Schapiro, Lugt 1918bis.)
$1,000

The Trevi Fountain, Rome
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1913, Dodgson 304, edition 87 comprising 19 states. 15 7/8 x 10 1/4 in. Signed in the plate, lower left. Signed in pencil. This is a superb impression with full margins. The condition is excellent. The first state dates from 1913 and the subsequent work was done in 1928. The Trevi Fountain was designed by Nicola Salvi and it was constructed between 1732 and 1762. Salvi died in 1751 and four different sculptors where hired to complete the decorations.
$1,650

Stockholm
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1923, Dodgson 405 (v/V), edition 122. 9 x 11 1/2 in. Signed in the plate, lower right. Signed in pencil. This is a superb impression of this outstanding print. The paper is a cream wove and the sky is beautifully inked. The margins are full and the condition is fine. (There are old hinges at the top corners, recto.) This is a view of the old town (Staden) from across the harbor on the south side (Söder Malm). There were 122 impressions in this state and a total of 142 total.
$1,650

Canal and Bridge of S.S. Apostoli, Venice
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1916, Dodgson 351 (xxi/XXVI); edition 129. 12 7/8 x 8 7/8 in. Signed in the plate, lower left. Signed in pencil. This is a superb, luminous impression printed on Japanese paper. The margins are full and the condition is excellent. This tour de force of drypoint displays a refined composition, great detail and perspective, and the figurative and architectural elements are bathed in dramatic light. The Chiesa dei Santi Apostoli di Christo, commonly called San Apostoli, is a 7th century Roman Catholic Church and one of the oldest churches in Venice.
$2,000

Strandvägen, Stockholm
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1923, Dodgson 407 (v/V); edition 34. 7 7/8 x 9 3/4 in. Signed in the plate, lower left. Signed in pencil. This is a superb impression printed with plate tone. The paper is an antique laid and the margins are full. The condition is very good. (There's a tiny speck of printer's ink in the sky at the right. and two small repaired tears in the upper right margin.) Strandvägen, as pictured in the distance, is one of the most elegant boulevards in Stockholm. This is a rare print.
$1,200

Leyden (Leiden)
MUIRHEAD BONE
Scottish, (1876-1953)
Drypoint, 1913, Dodgson 314; 1 trial proof and 25 published impressions. 8 7/8 x 11 1/2 in. Signed in pencil. This is a superb, luminous impression with full margins. The condition is excellent. This masterfully drawn subject depicts the Marekerk Church located at the Lange Mare and the Oude Vest canal.
$1,200