Prints and Multiples

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbe...

Robert Cottingham is known for imagery that celebrates the history of communications in America, specifically neon signage on urban storefronts and signs on railroad cars. In 2008, ...

Color offset lithograph. Signed and numbered 2/100 in pencil by Cottingham. This work is based on the same-titled color screenprint by Cottingham.

Created by Robert Cottingham in 2002, Roxy is an original color lithograph on paper. Hand-signed, titled, dated, and numbered in pencil from the edition of 30, the artwork measures 4...

Robert Cottingham Nite, 2009 Screenprint in colors on wove paper 38 1/4 × 37 in 97.2 × 94 cm Edition of 100 From American Signs Series Hand-signed by artist, signed, editioned, titl...

Robert Cottingham Blues, 2009 Screenprint in colors on wove paper 38 1/4 × 37 in 97.2 × 94 cm Edition of 100 From American Signs Series Hand-signed by artist, signed, editioned, tit...

Gants de Suede (Suede Gloves) Lithograph, 1890 Signed in the stone with the butterfly signature (see photo) Published in: The Studio 3, No. 13 (16 April 1894) Printed by Way in an edition of 3000 impressions, with the blind stamp of The Studio, London lower left Stone polished out in 1904 Condition: Excellent Image size: 8 1/2 x 4 inches Sheet size: 11 5/8 x 8 1/4 inches Reference: Spink/Tadeschi 35, published state "Gants de Suede is a portrait of Whistler’s sister-in-law, Ethel Birnie Philip. Whistler was apparently pleased with this lithograph, for after a small number of impressions were printed he agreed that it could be published by The Studio, an art magazine that had recently been launched; it appeared as part of a special issue." Harris Schrank

Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edg...

Medium: original lithograph. Catalogue reference: Way 88. Printed in 1897 and published in London for The Studio. Sheet size: 11 x 7 3/4 inches (282 x 197 mm). This impression on cre...

Signed and dated on plate. Eighth state of 8 (final state), after different works with drypoint, with margins.  Published in 1878/79 on Japan paper in "The Portfolio". Matting includ...

Robert Cottingham Blues, from the American Signs Portfolio (hand signed by Robert Cottingham), 2009 Screenprint in colors on wove paper Pencil signed, numbered 66/100, dated, and tit...

A superb impression of Spink’s only state From the edition of approximately 200 commissioned by Ambroise Vollard, and printed by Auguste Clot, Paris Catalog: Spink 174; Levy 77 Collections in which impressions from this edition can be found: Chicago Art Institute (3 impressions); Hunterian Art Gallery, University of Glasgow (1 impression); National Gallery of Art, Washington, D.C. (1 impression); Cleveland Museum of Art (1 impression); The Metropolitan Museum of Art, New York (1 impression); The Achenbach Foundation for the Graphic Arts, San Francisco (1 impression). “Mother and Daughter...

The Draped Figure, Seated Lithograph on fine japanese paper, 1893 Signed in pencil with the butterfly (see photo) Signed in the stone with the butterfly on the sofa (see photo) Numbered: "No. 20" in pencil Printed by Thomas Way, London A beautiful impression with tonal variations in the stump work (shading) As published in: L'Estampe Originale, Paris, 1893, Album IV Edition: 107 impressions, this No. 20 There were an additonal 24 impressions printed by Way for Whistler and 20 impressions printed for the Fine Art Society, London Lacking the huge support sheet and embossed series stamp by Charpentier With the letterpress lower left: "T. Way. Imp London" The stone erased in 1904 The majority of the lifetime impressions are in public collections Condition: Excellent condition Hinges from original issuance of L'Estampe Originale verso at top as described in Spink Three hinges residue along right edge of the sheet from a later matting of the print Image size: 8 1/4 x 6 3/8 inches Sheet size: 11 3/8 x 9 1/16 inches Reference: Spink/Tadeschi 72, published edition Levy 74 Way 46 A superb Neoclassical lithograph...

20 in x 16 in - image size Etching (Reproduction). Measures 20 x 16 inches and is framed. The piece is in Very Good Condition.

20 in x 16 in - image size Etching (Reproduction). Measures 20 x 16 inches and is framed. The piece is in Very Good Condition.

Two Color Offset Lithograph on Wove Paper Pencil signed, titled and numbered from the edition of 150 on the front This hand signed, titled and numbered lithograph was printed in 197...

Whistler, James A. M. VITRE: THE CANAL, BRITTANY. Levy 65, Spink 63. Lithograph, 1893. One of 32 lifetime impressions, printed by Way, with Whistler's butterfly signature in pencil...

J. Becquet, Sculptor Etching & drypoint, 1859 Unsigned as issued From: The Thames Set Printed on this Japanese tissue Rich impression Condition: Excellent Plate/Image size: 9 7/8 x 7...

Kennedy catalog 36 state ii; Glasgow 45 state ii. Image: 4 7/8 x 7 3/4 (sheet 6 7/8 x 9 5/8).The Glasgow catalog records 32 known impressions. A scarce early etching -- there was no ...

Robert Cottingham Boulevard Drinks, 2009 Screenprint in colors on wove paper 38 1/4 × 37 in 97.2 × 94 cm Edition of 100 From American Signs Series Hand-signed by artist, signed, edi...

"Fulham A.K.A. Chelsea" is an original etching by James Abbott MacNeill Whistler. The artist signed the piece in the plate with his butterfly monogram in the lower right. IT was publ...

Etching and drypoint in black ink on fine ivory laid Japan paper. Second state of two. Signed and dated in plate lower right "Whistler. 1859". Very good condition. Ref. Kennedy 51 i...

A very good impression of this extremely scarce drypoint. MacDonald's eleventh state "b" (of 11b), restored after cancellation.

James Whistler (1834-1903), Old Putney Bridge, 1879, etching and drypoint, signed in pencil with a large, elaborate shaded butterfly, lower right and inscribed imp (also signed with the butterfly in the plate), printed in dark-brown/black ink on laid paper, watermark ProPatria, an impression in Glasgow’s seventh (final) state, published by The Fine Art Society, probably printed in 1881, 8x 11 3/4 inches, sheet 12 1/8 x 16 1/8 inches. Reference: Kennedy 178; Glasgow 185. Provenance: Kraushaar Gallery, New York A fine impression, with wide margins. The Fine Art Societys relationship with Whistler began with the new etchings of the Thames he made in 1879, following a visit from Ernest Brown who had joined the staff of the gallery. The plate is on a large scale and shows the change in the artists approach to the Thames since the etchings he had made in Wapping and the docks in the summer of 1859. The central motif is the old bridge, by this stage somewhat dilapidated. It was shortly to be demolished and replaced by the new bridge of Cornish granite...

Signed and dated on plate. An early state on the 5 issued, with very fresh impression and marked contrasts, Includes passepartout (cm. 53x37). The American artist James Abbott McNei...

James Whistler, The Little Putney, 1879, etching and drypoint, signed with the large butterfly lower right (also with the butterfly in the plate). Glasgow 187, third state (of 3). 12...

A brilliant, richly-inked impression of this etching and drypoint printed in dark brownish black on antique cream laid paper with very strong contrasts....

The Forge Drypoint, 1861 Signed in the plate lower right (see photo) Published as part of the Thames Set, 1871 Printed between 1894 and 1896 when the plate was canceled. This impress...

Barges, Dordrecht Etching, c. 1886 Signed in the plate with the butterfly Edition: One of 10 known impressions of this image. VERY RARE Provenance: Frederick Keppel & Co. with their ...

Robert Cottingham Blues (The Original), 1989 Color aquatint on wove paper Edition 31/45 Pencil signed and numbered by Robert Cottingham on the front Framed This is the original, stri...

Robert Cottingham Don't Walk, 1985 Three color Linoleum Cut on Paper Pencil signed, inscribed to Bryan and annotated TP Published by Chip Elwell Fine Prints Unique - Trial Proof This is a unique Trial Proof that Robert Cottingham inscribed, annotated and gifted to Bryan Konefsky, his longtime studio assistant in both Newtown, CT and Santa Fe New Mexico. Only one other example - a variant - of this early print, exists and is in the collection of the Smithsonian. Due to the untimely death of printer Chip Elwell in October of 1986, only two proofs in the woodcut medium were pulled: the present work, which Cottingham gifted to his longtime studio assistant, and the one at the Smithsonian. Furthermore and in another interesting turn of events, Elwell's studio was burglarized shortly after his death and among the items stolen were the original wood blocks for DON'T WALK. This is an historic work; and the only one available on the market. Measurements: Framed: 15 inches x 13.5 inches x .3 inches Artwork 12 inches x 10.5 inches Robert Cottingham Biography Robert Cottingham (b.1935, Brooklyn, NY) is recognised for his Photorealist paintings of American urban landscapes, particularly his depictions of painted and neon shop signs...

A superb, richly-inked impression of this etching and drypoint, printed in dark brownish black on antique cream laid paper. Second state (of 3). Edition of approximately 30. Signed w...

Robert Cottingham Everybody's Bookshop, Everybody's Books, 1975 Color Lithograph 23 × 18 inches Edition of 200 Signed and numbered from the edition of 200 in pencil (recto); Bears Ar...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37 inches. Image size: 32 x 32 inches. Frame size approx 41 x 40 inches. Edition of 100. From American Signs portfolio. Certificate of Authenticity included. Published by Greg Smith...

Not signed. Edition of the "Gazette des Beaux-Arts" .The American artist James Abbott McNeill Whistler can be considered a forerunner of the Post-Impressionist movement. Very good co...

Whistler, James A. M. THE LITTLE COURT CLOTH FAIR. Spink 22. Lithograph, 1887. A lifetime impression, one of 12 printed by Way and signed in pencil with the Butterfly. Printed on Ivory colored wove paper without watermark. The sheet 11 9/16 x 6 inches. In very good condition with slight discoloration from the mat in the areas outside the mat window. Provenance: Collection of Otto Gerstenberg (see below) with his collectors stamp, Lugt 2785, the Secretary Montag's "M" and the inventory numbers 61248 KO5182 all on the verso; Horizon Gallery, Rockport, MA, with its label and annotations on the frame backing. Framed. Very rare. The following are translations from the entry on Gerstenberg in Lugt: Lugt 1921: O. GERSTENBERG (born 1848), director of the Insurance Company "Victoria", lives in Berlin. Old and modern prints. Otto Gerstenberg, born in Pyritz, studied mathematics and philosophy at the University of Berlin. After having been employed at the Prussian Statistical Office, in 1873 he entered the insurance company "Victoria" in Berlin as a mathematician-calculator, and became its director in 1888. He developed it in the following years and brought it up. to its present importance. Around 1900 he began to collect prints of which he now has a very large cabinet; as elders especially Schongauer, Dürer and Rembrandt, then Lucas de Leyde, Hirschvogel, van Dijck, Ostade and the French portrait painters. As modern it is necessary to point out, among the Germans »Greiner, Klinger, Leibl, Liebermann, Menzel, Stauffer-Bern; among the French, Corot, Daumier, Degas, Forain, Lepère, Manet, Meryon, Toulouse-Lautrec; among the English, Bone, Dodd, Goff, Haden, Strang; then an important work by Whistler and Goya and leaves by Rops and Zorn. Also has beautiful paintings. Lugt 1956: During the 1914-1918 war, the collectort had his collection transported to Switzerland and, when the war was over, he decided, quite reluctantly, to sell it. In the spring of 1922 the sale was concluded in Zurich with the merchants Gust. Mayer, of Colnaghi & C ° of London, and Mr. A. MacDonald, then a partner of Harlow & C ° of New York, who bought the set at a price corresponding roughly to the total prices paid by Gerstenberg. This was a large sum, because he had acquired several of his finest pieces in the big sales between 1900 and 1914 against the big enthusiasts of the time such as Morgan, Gutmann, Rothschild etc. It was Gaiser, of the firm H. G. Gutekunst in Stuttgart, who had generally carried out his orders in the sales. MacDonald believed he had a buyer for the set in America, but when the collection arrived there those hopes were dashed by a change in economic conditions. He then sold the parts separately. We will get an idea of ​​the importance of this collection by the following enumeration of the most beautiful pieces: among the Dürer, the Adam and Eve (from the Buccleuch and Hubert collections), the Saint-Eustache, the Mélancolie (from the collection Behaim, Dumesnil and Scholtz), the Knight of Death (from the Barnard and Hubert collections) and the Life of the Virgin series (from the St. Aubin collection); Dürer's work was almost complete. Quite remarkable was the Rembrandts' series, in which we note the Piece aux cent florins, sur Japon (collection Weber and Hubert), the Three Crosses, 1st state and 2nd state (collection Artaria and Hubert), the Little Tomb ( coll. John Wilson) and another proof on Japan, Death of the Virgin in Irstate (Josi coll.), St. Jerome, B. 103, unstead (Josi, Aylesford, Buccleuch and Hawkins coll.), the St. François (coll. Theobald); the series of portraits by Rembrandt was superb: Rembrandt himself drawing, B. 22, Ir état (from the Worlidge, Brit. Mus., Dighton and Theobald collections) and the same in the second state on Japan (Morrison collection), all the states of Clement de Jonghe, Jan Asselijn, Irtat (Josi, Aylesford, Buccleuch and Hubert coll.), old Haaring, 2nd state (same sources) and the young, 2nd state in Japan (Brodhurst and Lanna collection) , the Lutma in 1st state on japan (Josi, Aylesford, Baccleuch and Hubert collection) and a superb 2nd state (from the Firmin-Didot and Hubert collections), the Six in 3rd state (Ploos van Amstel collection); in landscapes: the three Trees (coll. Theobald), the three Chaumières (coll. Morgan and Lesecq des Tournelles), the Landscape with the tower, Ir état (coll. Aylesford, Holford and Hubert), the Campagne du peseur d ' gold, on Japan (Barnard, Holford and Theobald collection) and a State of Landscape with the drinking cow, on Japan (Theobald collection). Then a series of 51 Schongauer, including several of the first order, 8 of Hirschvogel, the portraits by van Dijck himself in first states (except D. 10 and 15, the most beautiful of the collection Theobald), beautiful series by Claude and van Ostade. The purchase included neither the important modern prints that Gerstenberg owned, nor his beautiful prints by Goya, nor a few drawings by the latter and Rembrandt. Gerstenberg was an enthusiastic collector who passionately loved his collection. When in 1922 the buyers announced their decision to acquire his old prints at the agreed price, he could not contain his tears. He later consoled himself by developing his series of watercolors and drawings of the French school of the nineteenth century, and he managed to own a magnificent set of Delacroix, Daumier, Degas, Monet and, in general, the Impressionists. . We do not know, at the present time, what happened to this part of his collection, but it is feared that part of it was lost or destroyed in the offices of the insurance company "Victoria" in Berlin or in its property in Silesia during the Russian invasion in 1945. The Toulouse-Lautrec which had been evacuated to Denmark were sold out of court after the war from 1939 to 1945. Gertstenberg died ,very old in 1935. The mark reproduced by us in L.2785 has rarely been used, but the origin of the prints is more easily recognized by the initial M, followed by a number (see L.1840c...

Bibi Valentin. 1859. Etching and drypoint. Kennedy catalog 50 state ii; Glasgow catalog 34 state ii. 6 x 8 7/8 (sheet 8 11/16 x 10 11/16). Glasgow records 44 known impressions. A rich impression with burr, printed on watermarked laid paper with full margins. Signed and dated in the plate. Housed in a 20 x 16-inch archival mat A young girl, sits facing the viewer, leaning on her left elbow, legs extended to left. She wears a high-necked smock and buttoned boots...

Rue Furstenberg. 1894. Lithograph. Way 59; Levy 90; Tedeschi, Stratis and Spink catalog 97. Only state. 8 7/8 x 6 1/4 (sheet 14 1/4 x 8 7/8). A fine ...

The Little Wheelwright's. 1886. Etching. Kennedy 245; Glasgow 242. 2 1/2 x 3 3/4 (sheet 5 1/8 x 6 1/8). There was no lifetime edition. Glasgow lists only 13 other known impressions. A fine impression printed in black ink on white laid paper. Monogrammed with the butterfly in the plate. Housed in a 10 X 11 1/2 X 1-inch gold leaf period carved Celtic...

James Abbott McNeill Whistler, 'En Plein Soleil' from the French Set (Douze eau-fortes d'apres Nature), etching, 1858, edition 61, 4th state of 4, Kenn...

The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid paper. Way lists 15-lifetime impressions (Goulding printed...

Victoria Club. 1879 and 1887. Lithograph. Way catalog 11 state ii; Levy catalog 22; Tedeschi, Stratis and Spink catalog number 15 state ii. 8 x 5 3/8 (sheet 16 5/8 x 12 1/16). A ri...

James McNeill Whistler (1834-1903), Bridge, Amsterdam, etching, 1889, printed in brown ink on thin laid paper, signed with the butterfly on the tab and annotated “imp”, also signed with the butterfly on the verso and numbered 11. References: Kennedy 409, Glasgow 447, fifth state (of 5). In very good condition (slight nicks at edges), trimmed by the artist on the plate mark apart from the tab, 6 1/2 x 9 1/2 inches. Provenance: Vivian and Meyer P. Potamkin, Philadelphia; sale, Sotheby’s, New York, May 11, 1989, lot 302 Samuel Josefowitz, Pully, Switzerland A very fine, shimmering impression of this great rarity. This impression is included in the Glasgow inventory, ID number K4090301; only about 11 lifetime impressions in all states are known (three were also printed posthumously by Nathaniel Sparks...

Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...

Not signed. The American artist James Abbott McNeill Whistler can be considered a forerunner of the Post-Impressionist movement. Passepartout included : 53 x 37 cm Image Dimensions ...

James Whistler (1834-1903), J.H. Woods’ Fruit Shop, Chelsea, etching and drypoint, 1887-88. Signed with the butterfly on the tab and annotated “imp,” also signed with the butterfly in pencil verso and numbered “1”. References: Kennedy 265 second state (of 2), Glasgow 327 second state (of 4). Trimmed by the artist around the plate mark except for the tab, in excellent condition. Printed in black ink on ivory laid paper, 3 3/4 x 5 1/8 inches. A fine impression of this great rarity; the print was never published. Glasgow accounts for four impressions. watermark: partial arms of Amsterdam(cf. Spink/Stratis/Tedeschi, watermark nos. 12ff.) This is before the third state in which heavy shading was added around the woman at the center, and the heads of figures at right and left of the figure are defined. In Glasgow’s fourth state the shading and the figure were removed; no impression is known of this state, but the state is inferred from the cancelled plate. According to Glasgow “Joseph Henry Wood had a greengrocer’s shop at 1 Park Walk...

James Whistler (1834-1903), The Traghetto, etching and drypoint, 1879-80, signed with the butterfly on the tab and inscribed “imp”. Reference: Kennedy 19...

Whistler, James A. M. AFTERNOON TEA. Way 147, Levy 114, TS&S 173. Lithograph, 1897. The only State, printed by Clot in an edition of 100, and published b...

JAMES ABBOTT McNEILL WHISTLER (1834 – 1903) THE BEGGARS 1879-80 (Glasgow 190 x/xvii: K.194 ii/ix?: M.191: W.159) Etching and drypoint, from “Venice, a Series ...

Hand signed, titled, numbered and dated, lower margin. Screen print in colors on wove paper with full margins. Sheet size: 38 x 37. Image size: 32 x 32. Certificate of Authenticity included. Published by Greg Smith...

Chelsea Rags. Chelsea Rags. 1888. Lithograph. Way 22, Levy 35, Tedeschi, Stratis and Spink 26. 7 1/8 x 6 5/16 (sheet 12 3/4 x 8). Printed on cream laid paper. Provenance: Miss Rosalind Birnie Philip, Whistler's sister-in-law, her seal verso: (Lugt 405). Michael Parkin Fine Art, Ltd. from whom purchased in 1972. Christie's, King Street.Signed with the butterfly in the image. One of 13 impressions listed by Way, before the image was transferred to supplementary stones for the edition of 500-1,000 printed by Way and issued in the Albemarle, January, 1892. Signed with the butterfly in the stone and in pencil. Housed in an elegant silk mat with a silver liner, and in a 16 3/4 x 14 3/4-inch silver leaf frame decorated with fleur-de-lis decorations. "And his interest in London has not been restricted to the Thames. Seeing the beautiful, where other men might be discouraged by dullness, he has taken his subject, now in the little cheap shop opening a low window upon the street, now in the forgotten church hidden away in a lonely square. And Chelsea Rags, the Shops of Chelsea, the Drury Lane, as well as The Butcher's Dog, are impressions of vague Rembrandtesque interiors where figures, grim or graceful, peer from out deep shadows— shops as lovely in his prints as the halls of a Veronese, or the palaces of a Claude." Elizabeth Robins...

JAMES ABBOTT MCNEILL WHISTLER (1834 – 1903) THE WHITESMITHS, IMPRESSE DES CARMELITES 1894 (03) Way 53, LEVY 84 Transfer lithograph signed with butterfly in stone 8 ½ x 6 1//8". ...

Venus. 1859. Etching and drypoint. Kennedy catalog 59 state ii; Glasgow catalog 60 state ii. 6 x 9 (sheet 8 x 11 3/16). Glasgow records 27 known impressions. A very rich impression p...

James Abbott McNeill Whistler (1834-1903), DRURY LANE, etching, 1880-81, signed with the butterfly and inscribed imp in pencil [also with the butterfly upper right in the plate], on...

James Whistler (1834-1903), The Bridge, Santa Marta, 1879-80, etching with drypoint, printed in sepia on fine laid paper. Signed with the butterfly and inscribed imp on the tab (also with an exceedingly light butterfly lower right in the plate). Kennedy 204, probably eighth (final) state; Glasgow 201, probably state 9 (of 9) (cf. Margaret F. MacDonald, Grischka Petri, Meg Hausberg, and Joanna Meacock, James McNeill Whistler: The Etchings, a catalogue raisonné, University of Glasgow, 2011), Lochnan 199. Trimmed to the platemark by the artist, h: 11.8 x w: 7.9 in / h: 30 x w: 20.1 cm. A fine impression, printed with subtle tone. The bridge theme occurs repeatedly in Whistler’s vistas. It is also the main focus of more than one of the Venetian prints. While some bridges are seen from below, from where one would see it if approaching in a gondola (for example Ponte del Piovan, Kennedy 209), The Bridge depicts the scene from a high perspective, opening up the view into the far distance. The small boat approaching the arch in the foreground is again, as in the earlier Thames prints, a stock motif that is probably ultimately derived from the Japanese woodcuts of Hokusai and Hiroshige. The bridge here is the Ponte de le Terese over the Rio de l’Arzere in the Santa Marta quarter. The early biography of Whistler by Elizabeth and Joseph Pennell is essential for its “immense quantity of information” but also notorious for “the inherent hyperbole and misinformation” (Eric Denker, Annotated Bibliography, in Fine, p. 184). Still, it is worth quoting from the Pennels’ appraisal of The Bridge: “Simplicity of expression has never been carried further. Probably the finest plate, in its simplicity and directness, is The Bridge. Whistler now obtained the quality of richness by suggesting detail, and also by printing. In The Traghetto...