Joseph Pennell

The Biggest of All; Telephone and Telegraph Building.

1925

Wall Street. 1904. Etching. Wuerth 344. 11 3/4 x 7 7/16 (sheet 15 1/2 x 10 1/4). Edition about 75. A rich, tonal impression printed on Japanese mulberry paper. Signed in pencil. Hous...

Wren's City. 1909. Mezzotint. Wuerth 504. 10 x 11 7/8 (sheet 12 3/8 x 14 3/8). Printed on laid wove paper. A rich impression printed by the artist. Signed and annotated 'imp' in penc...

The Levee. St. Louis. 1919. Lithograph. Wuerth 592. 19 5/8 x 17 1/8 (sheet approximately 24 1/2 x 18 3/8). Edition 20. Series: St. Louis set. A fine impression on MBM laid paper with full margins. Mounted on a backing board, with some buckling in the lower right-hand margin sheet, just outside the image. Blindstamp of the Kamp Gallery, (St. Louis Missouri) in the lower right-hand margin. Signed in the stone and in pencil. Housed in a stunning 31 3/4 x 21 1/8 x 1 3/8-inch wood frame with a gold fillet. A dramatic presentation of this exceptionally scarce lithograph. Pennell made 6 large lithographs of St. Louis. Eads Bridge...

Eads Bridge. St. Louis. 1919. Lithograph. Wuerth 596. 19 5/8 x 16 1/4 (sheet approximately 24 1/2 x 18 3/8). Series: St. Louis set. Edition 20. A fine i...

Standard Oil Building. 1923. Etching. Wuerth 817. 12 1/4 x 9 1/4 (sheet 13 1/2 x 10 1/16). Edition probably 50. A glowing impression, printed by the artist on antique cream wove paper. Signed and annotated 'imp' in pencil. Housed in a 20 x 16-inch archival mat proof printed by the artist. $875. 26 Broadway" is the home of the Standard Oil...

Charing Cross at Night. 1909. Mezzotint. Wuerth 510. 11 7/8 x 10 (sheet 15 x 10 3/4). Edition probably 30. Printed on 'Rome'cream laid paper, probably...

Marc Chagall Banquet at the Palace of Menelaus Artist: Marc Chagall Medium: Lithograph on Arches wove Title: Banquet at the Palace of Menelaus Portfolio: The Odyssey, Volume I Year:...

A fine impressionist woodland scene with bather by American artist Emile Albert Gruppé (1896-1978). Gruppé was born in Rochester, NY, and is renowned for his New England landscapes a...

76946 Distressed Antique Persian Kerman Rug with All-Over Boteh Pattern 04’01 x 08’11. Modest yet full of character, this antique Kerman (Kirman) rug with traditional modern design d...

Fine quality American magazine rack (also known as a canterbury) exhibited at the Centennial Exhibition held in Philadelphia in 1876. Unusual to find an American example, as most are of English manufacture and quite ubiquitous. Of Charles Eastlake...

Original 1930s Catalin, cream colored, telephone marked Mono-phone. Wonderful Classic Art Deco style phone with chrome-plated accents. All original parts in perfect working order; th...

Vintage white bakelite 1930s glamor telephone made by Bell Systems for the Western Electric company. This phone is present in many Hollywood Glamor...

Believed by our experts to date from around 1860, this antique Victorian Bonheur Du Jour is an imposing and functional item of furniture that is so typical of the Victorian era. We ...

This is a rare handblown crystal vase made by Stevens and Williams, England, circa 1910. The 12.25" tall and elegant proportion makes this a stand alone piece of art as well as a fun...

Pottery and porcelain of All Times and Nations by Wm. Prime. NY: Harper and Bro., 1878. First edition hardcover. One of the first references on pottery and porcelain collecting. What...

We are very pleased to be able to offer this rare antique French walnut and marquetry inlaid Bonheur du Jour, or Ladies Writing Desk, for sale. Our experts have dated it to around 1...

Guardians of the Spire; Amiens Cathedral Number 2 New York: 1937. Etching and drypoint on watermarked F.J. Head cream-colored, antique laid paper, 6 3...

Palazzo dell'Angelo 1931 Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233] Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on Gothic cathedrals and churches he visited in France and Italy. He used what was available to him, namely sewing needles and a magnifying glass, to create the incredibly rich and fine detail that his etchings are known for. Upon his return to New York after the war, Arms enjoyed a successful career as a graphic artist, created a series of etchings of American cities, and published Handbook of Print Making and Print Makers (Macmillan, 1934). He served as President of the Society of American Graphic Artists, and in 1933, was made a full member of the National Academy of Design. In its most modern incarnation, Palazzo dell'Angelo was constructed in or around 1570. The building, which has a rich and storied history, was erected upon the ruins of an earlier structure which predates the Gothic period. Some remnants of the earliest features of the residence were most certainly still visible when Arms visited, as they are today. Having a background in architecture, there's no question that Arms was moved by the beauty, history and ingenuity represented in the physical structure. One thing specifically gives away Arms's passion for the architecture, and that is the fact that he focused on the building's Moorish entranceway, balustrade, and two mullioned windows, and not on the curious Gothic era bas-relief of an angel nestled into the facade of the building, after which the structure is named. The sculpture itself doesn't appear in Arms's composition at all, despite the fact that it is the feature of the building that is most famous in its folklore. Arms instead focuses on the oldest portion of the architecture, even documenting some of the remnants of a fresco, and a funerary stele for the freedman Tito Mestrio Logismo, and his wife Mestria Sperata (visible above the water level, to the left of the door, behind the gondola), which was first described in 1436. Among the many notable bits of history regarding the Palazzo, it has been documented that Tintoretto painted frescos of battle scenes on the facade of the building. The paintings have been lost to time and the elements, but not entirely to history. The empty frame...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City rive...

Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and title...

Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's ...

The reference number on this work is Kraeft 88. It's from an edition of 100 and is signed, dated, and numbered, in pencil. Always an intaglio printmaker, Landeck switched from a mor...