James Abbott McNeill Whistler

Nude Model, Reclining

1893

Original lithograph printed in black ink on China paper. Signed on the stone with the artist’s butterfly monogram upper center. A superb, richly printed impression of Spink’s only state From the edition of unknown size printed by Lemercier, Paris (apart from the posthumous edition of 58 printed by Goulding in 1904). Catalog: Spink 169; Levy 129; Way 151 Collections in which impressions from this edition can be found: Art Institute of Chicago (4 impressions); Hunterian Art Gallery, University of Glasgow (1 impression); British Museum, London (1 impression); Freer Art Gallery, Smithsonian Institution, Washington, D.C. (1 impression); National Gallery of Art, Washington, D.C. (1 impression); University of Michigan Museum of Art, Ann Arbor (1 impression); Boston Public Library (1 impression); Museum of Fine Art, Boston (1 impression); Cleveland Museum of Art (1 impression); Metropolitan Museum of Art, New York (2 impressions); Achenbach Foundation for the Graphic Arts, San Francisco (1 impression) . “The Shoemaker” was one of the first lithographs that Whistler made after his acrimonious break with his London printers, the Ways. It was entitled “The Shoemaker, Dieppe” by Rosalind Birnie Philip in her 1903 inventory of the artist’s estate, and indeed it does seem to have been drawn during a period when Whistler was making frequent Channel crossings...

December 1898 Original lithograph printed in colors on wove paper.  Signed and dated on the stone lower right de Feure. A fine impression of the definitive state, from the e...

Original lithograph printed in black ink on Arches wove paper. Signed and dated on the stone lower right Picasso 23 mai 50 A superb trial proof impression...

Original lithograph printed in colors on wove paper. Signed on the stone lower left Steinlen. A superb impression of the definitive state, from the edition on this paper (the...

Original lithograph printed in colors on wove paper. Signed on the stone lower left Steinlen. A superb impression of the definitive state, from the edition on this paper (there was also a small edition printed on Japan paper). Transcribed from Steinlen’s 1899 poster...

Original lithograph printed in colors on wove paper bearing the “ARCHES / FRANCE” watermark. Hand-signed in pencil in the margin lower right Marc Chagall. A superb artist’s proof i...

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

Circa 1890-1920. This Neoclassical, Judaic, Egyptian revival, Orientalist Mizrach sign, was produced in British Mandate Palestine by the chromolithograph process at the beginning of the 20th century. It pictures vignettes of holy places. with a hand written memorial. It was for the Tzedakah charity fund for the century-old institutions in Jerusalem: The great "Torah Center Etz Chaim"; a Free Kitchen for poor children and orphans; the famous Bikur Cholim Hospital with its dispensaries and clinics and the only Home for Incurable Invalids in Eretz Israel. They also worked with Arthur Szyk and Alfred Salzmann.. The A.L. Monsohn Lithographic Press (Monzon Press, Monson Press, דפוס אבן א"ל מאנזאהן, דפוס מונזון) was established in Jerusalem in 1892 by Abraham-Leib (or Avrom-Leyb) Monsohn II (Jerusalem, c.1871-1930) and his brother Moshe-Mordechai (Meyshe-Mordkhe). Sponsored by members of the Hamburger family, the brothers had been sent to Frankfurt, Germany in 1890 to study lithography. Upon returning to Jerusalem in 1892 with a hand press, they established the A.L. Monsohn Lithographic Press in the Old City of Jerusalem. According to the Information Center for Israeli Art A.L. Monsohn "created complex decorations for documents and oriental calendars that combined the tradition of Jewish art with modern printing techniques such as photographic lithography, raised printing and gilding." The founders of the Monsohn press produced Jewish-themed color postcards, greeting cards, Jewish National Fund stamps, and maps documenting the evolution of the Jewish settlement in Eretz Israel in the nineteenth-twentieth centuries; religious material such as decorative plaques for synagogues, portraits of Old Yishuv rabbis such as Shmuel Salant, Mizrah posters indicating the direction of prayer for synagogues, memorial posters, and posters for Sukkot booths; color frontispieces for books such as Pentateuch volumes and the early song collections of Abraham Zvi Idelsohn (e.g., Shire Zion, Jerusalem 1908); artistic wedding invitations; and labels, packaging and advertisements for the pioneering entrepreneurs of Eretz Israel. The texts appearing in the Monsohn products were in several languages: Hebrew, Arabic, Yiddish, English, German (e.g., a c1920 trilingual Hebrew-English-Arabic "Malaria Danger" broadside warning the public of mosquitoes spreading malaria). Many of the brilliantly colored postcards and maps can be seen online as can the artistic invitations to his children's weddings which Monsohn published in the Jerusalem Hebrew press. For years, the Monsohn (later, Monson/Monzon) Press was considered the best and most innovative in the country—pioneering in such techniques as gold-embossing and offset printing, among others. Early items for tourists included collections of Flowers of the Holy Land (c. 1910–1918)—pressed local flowers accompanied by scenes from the Eretz Israel countryside and relevant verses from the Bible, edited by Jsac Chagise (or Itzhak Haggis), an immigrant from Vitebsk, and bound in carved olive wood boards. Shortly after World War I Monsohn (now spelled מונזון) used zincography to produce the prints included in the Hebrew Gannenu educational booklets for young children illustrated by Ze'ev Raban of the Bezalel Academy of Art and Design and printed in Jerusalem by Hayim Refael Hakohen (vol. 1, 1919; vols. 2–3, 1920). In 1934 Monsohn moved into the new, western part of Jerusalem, in a shop with four presses and 30 workers, including Abraham-Leib's sons, David, Yosef, Moshe and Shimon, and his daughter Raytse's husband, Abraham Barmacz. The concern did business with all sectors of the city's population, including Arabs, for whom they printed in Arabic. Among their clients were members of the Ginio, Havilio, and Elite families, and Shemen, Dubek, and other renowned national brands, manufacturing products such as wine, candies, oil, and cigarettes. They also printed movie and travel posters, and government posters, postcards and documents, hotel luggage labels...

This (Street Scene) is undoubtedly O'Callahan's hometown of Rochester, NY, where he lived and spent most of his career. The artist's name appears in pencil at the bottom edge on the ...

This (Backyards with Snow) is monogrammed and dated in the plate at the lower right. The artist's name appears in pencil at the bottom edge on the reverse, in another hand. A Roches...

This (Exotic Temple) is monogrammed in the plate at the lower right. A Rochester, New York native, Kevin O'Callahan studied at the Carnegie Institute and worked on the WPA. He is k...

The title appears in pencil at the left bottom margin, in another hand. The print is monogrammed in the plate at the lower right. A Rochester native, Kevin O'Callahan studied at the...