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.
SOLD

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.
SOLD

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..."
$4,500

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

The Dog on the Kennel
JAMES A. MCNEILL WHISTLER
American, (1834-1903)
Etching, 1858, Glasgow 19 (ii/I), Kennedy 18 (only state); 2 3/4 x 3 9/16 in. Signed in the plate, upper left. This is a fine impression printed on thin Japanese paper. The margins are wide. The condition is fine apart from slight light toning within an earlier mat opening. This rare print is in the following collections: The Victoria & Albert Museum, the New York Public Library, the Library of Congress and the Art Institute of Chicago. The plate is now in the Freer collection in Washington, DC. We sold this impression many years ago and are pleased to have it back.
$1,650

Unemployed
GEORGE WIGGINS
American, (1907-1982)
Lithograph, circa 1935, edition 15. 8 1/2 x 12 1/2 in. Signed on the stone. Signed, titled and numbered in pencil. This is a very fine impression with wide and probably the full margins. The condition is excellent. Wiggins was active in the 1930s-1940s and specialized in lithography. There are four of his prints in the collection of the National Gallery including this one.
SOLD

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

Portrait of Stow Wengenroth
KEITH SHAW WILLIAMS
American, (1905-1951)
Etching, circa 1940, edition unknown. 7 7/8 x 11 7/8 in. Signed and titled in pencil. This is a fine impression printed on cream-colored paper. The margins are full. The condition is quite good other than a suggestion of toning within an earlier mat opening. This is an uncommon print.
SOLD

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

Boy Lighting a Pipe
THOMAS WATERMAN WOOD
American, (1823-1903)
Etching, 1888, edition unknown. 17 5/8 x 13 3/4 in. Signed in the plate and signed in pencil, lower right. This work was published by J. D. Waring, New York and by the Society of American Etchers (with their blindstamp). This is a fine, luminous impression on Japanese paper. The margins are substantial and the condition is fine. There is an etched remarque below the image of the same boy not feeling well from having smoked the pipe. This is a typical, late 19th century genre image by Wood and it probably relates to a painting.
SOLD

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

Fertility
GRANT WOOD
American, (1891-1942)
Lithograph, 1939, Johnson 14, Cole 15; edition 250. 9 x 11 3/4 in. Signed in pencil. This is a superb impression printed on a soft white wove paper.The margins are full with a deckle edge showing on all sides. The condition is excellent. As described by Johnson, "Of all nineteen of Grant Wood's lithographs, Fertility stands out as the most optimistic, literally swelling with symbols of Midwestern abundance, hope, and reassurance that the land will respond, providing sustenance for the American people still reeling from the devastating effects of the Great Depression." See Grant Wood: The 19 Lithographs; a Catalogue Raisonné by Bruce E. Johnson (2016), pg. 110.
SOLD

March
GRANT WOOD
American, (1891-1942)
Lithograph, 1941, Johnson 17, Cole 14, edition 250. 9 x 11 7/8 in. Signed in pencil. This is a superb impression in fine condition. The margins are somewhat trimmed measuring one inch on all sides. At least two preparatory drawings exist for this print and the edition was printed by George Miller and published by AAA in New York. The great design for this print gives it a strikingly modernist look. "March" expouses Wood's compositional practice of dynamic symmetry. (See Johnson, pg. 129-130)
SOLD

July Fifteenth
GRANT WOOD
American, (1891-1942)
Lithograph, 1938, Johnson 6, Cole 5; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine impression printed on RIVES paper with full margins. The condition is very good apart from slight thinness to the paper on the outer edges, verso. The print was attached at the edges at some point and this minor issue does not show in the front at all.
SOLD

Wild Flowers
GRANT WOOD
American, (1891-1942)
Lithograph with hand coloring by the artist's sister, 1939, Johnson 12, Cole 9; edition 250. 7 x 10 in. Signed in pencil, lower right. This is a fine impression with fresh colors. The margins are full and the condition is fine.
SOLD

In the Spring
GRANT WOOD
American, (1891-1942)
Lithograph, 1939, Johnson 13, Cole 13; edition 250. 8 7/8 x 11 3/4 in. Signed in pencil. This is a very fine impression with full margins. The condition is outstanding. In his excellent 2016 catalog of Grant Wood's lithographs, Bruce Johnson writes the following about this print: "...the lithograph transcends from being a portrait of one individual to a symbol of all farmers and their relationship to their land." (pg. 105). The paper bears a RIVES watermark and was printed by George Miller in New York.
SOLD

Approaching Storm
GRANT WOOD
American, (1891-1942)
Lithograph, 1940, Johnson 16, Cole 19; edition 250. 11 3/4 x 8 7/8 in. Signed in pencil. This is a superb impression with full margins. The paper shows the watermark POYPE and there's a deckle edge on all sides. The condition is fine apart from a very faint trace of an old adhesive along the extreme top edge of the sheet. According to Associated American Artists records, this print was sold out within five months of being issued. (See Johnson, page 124.)
SOLD

December Afternoon
GRANT WOOD
American, (1891-1942)
Lithograph, 1941, Johnson 18, Cole 16; edition 250. 9 x 11 7/8 in. Signed in pencil. This is a fine, rich impression with wide margins. The condition is fine. This charming, beautifully crafted winter scene is a nice example of Wood's work. There's a related drawing for this print at the University of Iowa Museum of Art.
SOLD