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Auction Description for Swann: 19TH & 20TH CENTURY PRINTS & DRAWINGS
Viewing Notes:
Exhibition & Sale Schedule: Sale 2341 - 19th & 20th Century Prints & Drawings - begins at 10:30am in New York on Thursday, March 6. All material in Sale 2341 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, March 1: Noon to 5pm - Mon, March 3: 10am to 6pm - Tues, March 4: 10am to 6pm - Wed, March 5: 10am to 6pm - No exhibition on day of sale.

19TH & 20TH CENTURY PRINTS & DRAWINGS

by Swann Auction Galleries

Platinum House

658 lots with images

March 6, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

658 Lots
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THOMAS ROWLANDSON Nude with a Mirror.

Lot 1: THOMAS ROWLANDSON Nude with a Mirror.

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Description: THOMAS ROWLANDSON Nude with a Mirror. Pen and ink and watcolor on paper mounted to cardstock. 277x223 mm; 11x8 3/4 inches. Signed in ink, lower right recto. Ex-collection James Graham & Sons, New York, with the label on the frame back.

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HONORÉ DAUMIER Group of 10 lithographs.

Lot 2: HONORÉ DAUMIER Group of 10 lithographs.

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Description: HONORÉ DAUMIER Group of 10 lithographs. D'Arg, with hand coloring in watercolor, 1832 * 1830 et 1833, 1833 * Soyez donc poli i...impertinent!, 1839 * Les Crèpres, 1843 * Une Loterie Philantropique, 1843 * Probité Chinoise, 1845 * Nouveau Divertissement des Soirées Parisiennes, 1857 * Ce Monsieur Courbet, 1855 * Voyageurs appréciant de moins et moins les Wagons de Troisième Classe, pendant l'Hiver, 1856 * Le Cid se mettant aussi en Campagne pour aller combattre les Maures, 1859. Each except for one sur blanc. Various sizes and conditions. Delteil 48, 66, 729, 1165, 1168, 1198, 2656, 2675, 2824 and 3233.

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HENRI FANTIN-LATOUR Group of 4 lithographs.

Lot 3: HENRI FANTIN-LATOUR Group of 4 lithographs.

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Description: HENRI FANTIN-LATOUR Group of 4 lithographs. Vision, 1895. Fourth state (of 4). Printed by Lemercier, Paris. From Gazette des Beaux-Arts * Baigneuse debout, 1899. Second state (of 4). Edition of 50 * Vérité, 1900. Second state (of 4). Edition of 145 * Semant des fleurs. Various sizes and conditions. Very good impressions. Hédiard 122, 152, 156 and 181.

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EUGÈNE DELACROIX Tigre en arrêt.

Lot 4: EUGÈNE DELACROIX Tigre en arrêt.

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Description: EUGÈNE DELACROIX Tigre en arrêt. Cliché-verre in dark brownish black on smooth, cream wove paper, 1854. 180x218 mm; 7 1/8x8 5/8 inches. Second state (of 2), with the artist's name lower left. Delteil 131.

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EUGÈNE DELACROIX Un Forgeron.

Lot 5: EUGÈNE DELACROIX Un Forgeron.

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Description: EUGÈNE DELACROIX Un Forgeron. Aquatint on cream laid paper, 1833. 227x160 mm; 9x6 3/8 inches, full margins. Fifth state (of 6). Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes, Paris, with the blind stamp lower center recto. A superb, richly-inked impression. Delteil 19.

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THÉODORE CHASSÉRIAU Arabe montant en Selle.

Lot 6: THÉODORE CHASSÉRIAU Arabe montant en Selle.

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Description: THÉODORE CHASSÉRIAU Arabe montant en Selle. Soft-ground etching and roulette on Chine collé, 1849. 277x226 mm; 11x9 inches, wide margins. Second state of (4), before publication in L'Artiste. A superb impression of this very scarce, early state. Fisher 27.

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JEAN-FRANÇOIS MILLET Baratteuse.

Lot 7: JEAN-FRANÇOIS MILLET Baratteuse.

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Description: JEAN-FRANÇOIS MILLET Baratteuse. Etching printed in dark brownish black on cream laid paper, 1855. 180x120 mm; 7 1/8x4 3/4 inches, full margins. Third state (of 3), with the address of the printer Delâtre, Paris, lower margin. A very good, well-inked impression with strong contrasts. Delteil 10; Melot 10.

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JEAN-FRANÇOIS MILLET La Cardeuse.

Lot 8: JEAN-FRANÇOIS MILLET La Cardeuse.

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Description: JEAN-FRANÇOIS MILLET La Cardeuse. Etching printed in brownish black on off-white laid Japan paper, 1855-56. 256x177 mm; 10 1/4x7 inches, full margins. A superb, richly-inked impression with warm plate tone. Delteil 15; Melot 15.

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JEAN-FRANÇOIS MILLET La Bouillie.

Lot 9: JEAN-FRANÇOIS MILLET La Bouillie.

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Description: JEAN-FRANÇOIS MILLET La Bouillie. Etching printed in black on cream laid paper, 1861. 212x160 mm; 8 3/8x6 1/4 inches, full margins. Third state (of 6). A very good, early and evenly-printed impression with strong contrasts. Delteil 17; Melot 17.

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JEAN-FRANÇOIS MILLET Le Paysan rentrant du Fumier.

Lot 10: JEAN-FRANÇOIS MILLET Le Paysan rentrant du Fumier.

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Description: JEAN-FRANÇOIS MILLET Le Paysan rentrant du Fumier. Etching printed in dark brown on tissue-thin Japan paper, 1855. 163x133 mm; 6 1/2x5 1/4 inches, full margins. Fourth state (of 4). A superb, richly-inked impression. Delteil 11; Melot 11.

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JEAN-FRANÇOIS MILLET Le Départ pour le Travail.

Lot 11: JEAN-FRANÇOIS MILLET Le Départ pour le Travail.

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Description: JEAN-FRANÇOIS MILLET Le Départ pour le Travail. Etching on cream laid paper, 1863. 385x310 mm; 15 1/4x12 1/4 inches, full margins. Fourth state (of 7), with the adresses removed but before the three points lower right. Partial Hudelist watermark. A superb, richly-inked impression. Delteil 19; Melot 19.

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JEAN-FRANÇOIS MILLET Les Becheurs.

Lot 12: JEAN-FRANÇOIS MILLET Les Becheurs.

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Description: JEAN-FRANÇOIS MILLET Les Becheurs. Etching on warm, cream laid Japan paper, 1855-56. 237x337 mm; 9 3/8x13 3/8 inches, full margins. Fourth state (of 4), though with part of the printer's address still showing. A superb, richly-inked impression. Delteil 13; Melot 13.

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JEAN-FRANÇOIS MILLET Les Glaneuses.

Lot 13: JEAN-FRANÇOIS MILLET Les Glaneuses.

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Description: JEAN-FRANÇOIS MILLET Les Glaneuses. Etching on thin, cream laid paper, 1855-56. 190x252 mm; 7 1/2x10 inches, wide margins. Second state (of 3), or an intermediate state between the second and third states (of 3), with the address lower right partially burnished (removing Delâtre's name but not the address). A very good, well-inked impression of this important print. Delteil 12; Melot 12.

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JEAN-FRANÇOIS MILLET Le Semeur.

Lot 14: JEAN-FRANÇOIS MILLET Le Semeur.

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Description: JEAN-FRANÇOIS MILLET Le Semeur. Lithograph on antique cream laid paper, 1851. 192x156 mm; 7 5/8x6 1/8 inches, full margins. Third state (of 3). A superb, dark impression with strong contrasts and with all the subtle tonal variations distinct. Delteil 22; Melot 22.

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CHARLES-FRANÇOIS DAUBIGNY Vâches à l'Abreuvoir.

Lot 15: CHARLES-FRANÇOIS DAUBIGNY Vâches à l'Abreuvoir.

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Description: CHARLES-FRANÇOIS DAUBIGNY Vâches à l'Abreuvoir. Cliché-verre, 1862. 187x212 mm; 7 1/2x8 1/4 inches (sheet), full margins. A very good, early printing in dark brownish black. With--Le Bateau Atelier, etching, 1861. 195x335 mm; 7 5/8x13 1/8 inches, full margins. Third state (of 3). A very good, dark impression. A self portrait of the artist painting aboard his specially-outfitted riverboat studio. Delteil 146 and 111; Melot 146 and 111.

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CHARLES-FRANÇOIS DAUBIGNY Les Ruines du Chateau de Crémieux.

Lot 16: CHARLES-FRANÇOIS DAUBIGNY Les Ruines du Chateau de Crémieux.

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Description: CHARLES-FRANÇOIS DAUBIGNY Les Ruines du Chateau de Crémieux. Black and brown charcoal on heavy wove paper, circa 1850. 380x620 mm; 15x24 1/2 inches, full margins. Ex-collection unknown collector, ink stamp lower right recto (not in Lugt); and Mr. and Mrs. Atherton Curtis, Paris, ink stamp verso (see Lugt 94). A study for the same-titled etching (see Delteil 77).

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CHARLES JACQUES Study of a Seated Peasant.

Lot 17: CHARLES JACQUES Study of a Seated Peasant.

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Description: CHARLES JACQUES Study of a Seated Peasant. Black chalk on cream wove paper. Signed in black chalk, lower left recto. Ex-collection the American artist George Innes (1825-1894), according to a note on the frame back.

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ROSA BONHEUR Taureau.

Lot 18: ROSA BONHEUR Taureau.

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Description: ROSA BONHEUR Taureau. Bronze with brown patina, circa 1860. 150x215 mm; 6x8 1/2 inches. Incised signature, upper part of the base.

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JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

Lot 19: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie.

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Description: JEAN-BAPTISTE-CAMILLE COROT Souvenir d'Italie. Etching and drypoint printed in black on cream laid paper, 1863. 294x220 mm; 11 5/8x8 3/4 inches, full margins. Second state (of 4), with the address of Cadart and Chevalier, lower center, the address of the printer, Delâtre, lower right, and the number upper right. A brilliant, richly-inked impression. Property sold by order of the Trustees of the Philadelphia Museum of Art to benefit acquisition funds. Delteil 5; Melot 5.

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JEAN-BAPTISTE-CAMILLE COROT Cinq Sujets réunis.

Lot 20: JEAN-BAPTISTE-CAMILLE COROT Cinq Sujets réunis.

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Description: JEAN-BAPTISTE-CAMILLE COROT Cinq Sujets réunis. Cliché-verre, 1856. 307x400 mm; 12 1/4x15 3/4 inches (sheet), full margins. A superb, early printing of this very scarce print. Delteil 52-56; Melot 52-56.

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RODOLPHE BRESDIN Le Bon Samaritaine.

Lot 21: RODOLPHE BRESDIN Le Bon Samaritaine.

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Description: RODOLPHE BRESDIN Le Bon Samaritaine. Lithograph on Chine appliqué, 1861. 650x498 mm; 25 5/8x19 5/8 inches (mount sheet), full margins. Préaud's first state B (of 2), with the "white bird" lower left and before the transfer to another stone in 1868. Edition of approximately 200 lieftime impressions. Printed by Lemercier, Paris, with the address"Imp Lemercier Paris" lower center. A brilliant, early and richly-inked impression of this very important lithograph. Lifetime impressions, such as the current work, are extremely scarce; we locate only 6 other such impressions at auction in the past 25 years. There is also a more common, posthumous edition of approximately 800 impressions. Van Gelder 100; Prélaud 29.

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RODOLPHE BRESDIN Femme pendue et la Mort jouant du Violin.

Lot 22: RODOLPHE BRESDIN Femme pendue et la Mort jouant du Violin.

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Description: RODOLPHE BRESDIN Femme pendue et la Mort jouant du Violin. Pen and black ink on off-white tracing paper mounted on cream wove paper, 1857. 130x90 mm; 5 1/4x3 1/2 inches. Signed in ink, lower center. Ex-collection P. Lafargue, Bordeaux. There is a drawing of this subject in pen and lavis d'encre de Chine from which the artist has made this tracing and completed drawing (see Van Gelder, volume I, page 67).

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RODOLPHE BRESDIN Mon Rêve, 2e planche.

Lot 23: RODOLPHE BRESDIN Mon Rêve, 2e planche.

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Description: RODOLPHE BRESDIN Mon Rêve, 2e planche. Etching on cream laid paper, 1883. 220x138 mm; 8 5/8x5 1/2 inches, full margins. Printed by Bizolier, Paris. Published by L'Arte Moderne, Paris. A very good, dark impression. Van Gelder 150.

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CHARLES MERYON La Pompe Notre-Dame.

Lot 24: CHARLES MERYON La Pompe Notre-Dame.

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Description: CHARLES MERYON La Pompe Notre-Dame. Etching on Chine collé on cream wove paper, 1852. 172x252 mm; 6 3/4x10 inches, wide (full ?) margins. Eighth state (of 10), with the title lower center. A very good impression with all the fine lines distinct. Schneiderman 26.

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FRANCIS SEYMOUR HADEN Three etchings.

Lot 25: FRANCIS SEYMOUR HADEN Three etchings.

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Description: FRANCIS SEYMOUR HADEN Three etchings. Egham, 1859-60. Signed in pencil, lower right * Railway Encroachment, 1864. Signed in pencil, lower right. Second state (of 3) * A Lancashire River, with drypoint, 1881. Eighth state (of 9). Signed in pencil, lower left. Various sizes and conditions. Very good, richly-inked impressions. Schneiderman 20, 69 and 203.

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JAMES A. M. WHISTLER The Rag Gatherers.

Lot 26: JAMES A. M. WHISTLER The Rag Gatherers.

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Description: JAMES A. M. WHISTLER The Rag Gatherers. Etching on cream laid paper, 1857. 155x90 mm; 6x3 1/2 inches, full margins. MacDonald's fifth state (of 5). A very good impression. Kennedy 23; Glasgow 29.

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JAMES A. M. WHISTLER Two etchings.

Lot 27: JAMES A. M. WHISTLER Two etchings.

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Description: JAMES A. M. WHISTLER Two etchings. Billingsgate, printed in dark brownish black, 1859. 152x226 mm; 6x8 7/8 inches, small margins. MacDonald's ninth state (of 9), before cancellation and with a dot in the sky to the right of the clock tower and above the lines indicating clouds * The Rag Gatherers, 1857. 155x90 mm; 6x3 1/2 inches, wide margins. MacDonald's fifth state (of 5). Very good impressions. Kennedy 23 and 47; Glasgow 29 and 51.

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JAMES A. M. WHISTLER La Mère Gérard.

Lot 28: JAMES A. M. WHISTLER La Mère Gérard.

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Description: JAMES A. M. WHISTLER La Mère Gérard. Etching on thin laid Japan paper, 1858. 127x90 mm; 5x3 1/2 inches, wide margins. MacDonald's fourth state (of 4). A very good impression. Kennedy 11; Glasgow 24.

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JAMES A. M. WHISTLER Little Arthur.

Lot 29: JAMES A. M. WHISTLER Little Arthur.

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Description: JAMES A. M. WHISTLER Little Arthur. Etching printed in brown on cream laid paper, 1857-58. 58x48 mm; 2 1/4x1 inches, full margins. MacDonald's fourth state (of 4). From Twelve Etchings from Nature. A very good impression. This etching shows Arthur Haden, Whistler's nephew, the son of his half-sister Deborah and Francis Seymour Haden. It was likely made during the summer of 1857 while Whistler was staying with the Haden's in London, though it was published over a year later in November 1858 as one of the 12 etchings of the "French Set." This portrait and the etching of Annie (Kennedy 10) are the only non-French subjects in the set. Kennedy 9; Glasgow 8.

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JAMES A. M. WHISTLER Annie, Seated.

Lot 30: JAMES A. M. WHISTLER Annie, Seated.

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Description: JAMES A. M. WHISTLER Annie, Seated. Etching printed in black on cream laid paper, 1858. 129x96 mm; 5 1/8x3 3/4 inches, wide margins. MacDonald's third state (of 3). A very good impression. Kennedy 30; Glasgow 32.

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JAMES A. M. WHISTLER Bibi Valentin.

Lot 31: JAMES A. M. WHISTLER Bibi Valentin.

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Description: JAMES A. M. WHISTLER Bibi Valentin. Etching and drypoint printed in black on light tan Chine collé on cream laid Japan paper, 1859. 152x227 mm; 6x9 inches, full margins. MacDonald's second state (of 2), with the left hand defined and all the additional work completed. A brilliant, early impression with warm plate tone and all the details distinct. Kennedy 50; Glasgow 34.

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JAMES A. M. WHISTLER Drouet.

Lot 32: JAMES A. M. WHISTLER Drouet.

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Description: JAMES A. M. WHISTLER Drouet. Etching and drypoint printed in black on cream laid paper, 1859. 227x153 mm; 8 7/8x6 inches, wide (full ?) margins. MacDonald's second state (of 2). A richly-inked impression with warm plate tone and all the delicate details distinct. Kennedy 55; Glasgow 35.

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JAMES A. M. WHISTLER Soupe à Trois Sous.

Lot 33: JAMES A. M. WHISTLER Soupe à Trois Sous.

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Description: JAMES A. M. WHISTLER Soupe à Trois Sous. Etching and drypoint on cream laid Japan paper, 1859. 154x230 mm; 6 1/8x9 1/8 inches, full margins. A superb, richly-inked impression with crisp plate edges. Kennedy 49; Glasgow 64.

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JAMES A. M. WHISTLER The Forge.

Lot 34: JAMES A. M. WHISTLER The Forge.

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Description: JAMES A. M. WHISTLER The Forge. Drypoint on tissue-thin, cream laid Japan paper, 1861. 185x315 mm; 7 3/8x12 3/8 inches, wide margins. MacDonald's sixth state (of 6). A superb impression with richly-inked burr. Kennedy 68; Glasgow 86.

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JAMES A. M. WHISTLER The

Lot 35: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea.

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Description: JAMES A. M. WHISTLER The "Adam and Eve," Old Chelsea. Etching and drypoint on antique, cream laid paper, 1878. 176x303 mm; 7x12 inches, full margins. MacDonald's third state (of 3), with the artist's butterfly signature in the sky above the tower and with the drypoint shading on the hull of the second boat in from the left. A very good, well-inked impression with strong contrasts. Kennedy 175; Glasgow 182.

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JAMES A. M. WHISTLER The Pool.

Lot 36: JAMES A. M. WHISTLER The Pool.

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Description: JAMES A. M. WHISTLER The Pool. Etching and drypoint on cream laid paper, 1859. 138x212 mm; 5 1/2x8 3/8 inches, wide margins. MacDonald's fourth state (of 6). A very good, richly-inked impression. Kennedy 43; Glasgow 49.

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JAMES A. M. WHISTLER Billingsgate.

Lot 37: JAMES A. M. WHISTLER Billingsgate.

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Description: JAMES A. M. WHISTLER Billingsgate. Etching printed in black on Japan paper, 1859. 152x226 mm; 6x8 7/8 inches, full margins. MacDonald's ninth state (of 9), before cancellation. A superb, well-inked impression with all the fine lines distinct. Kennedy 47; Glasgow 51.

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JAMES A. M. WHISTLER Hurlingham.

Lot 38: JAMES A. M. WHISTLER Hurlingham.

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Description: JAMES A. M. WHISTLER Hurlingham. Etching and drypoint on cream laid paper, 1879. 135x199 mm; 5 1/4x7 7/8 inches, wide margins. MacDonald's fourth state (of 4), with the delicate horizontal shading on the second house from the left. A very good impression. Kennedy 181; Glasgow 184.

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JAMES A. M. WHISTLER Free Trade Wharf.

Lot 39: JAMES A. M. WHISTLER Free Trade Wharf.

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Description: JAMES A. M. WHISTLER Free Trade Wharf. Etching and drypoint on antique cream laid paper, 1877. 99x186 mm; 3x7 3/8 inches, full margins. MacDonald's fourth state (of 8), before the horizontal drypoint shading above the ships and before the addition of the clouds above the warehouses to the right. A superb, dark and evenly-printed impression with warm plate tone. Kennedy 163; Glasgow 171.

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JAMES A. M. WHISTLER Old Hungerford Bridge.

Lot 40: JAMES A. M. WHISTLER Old Hungerford Bridge.

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Description: JAMES A. M. WHISTLER Old Hungerford Bridge. Etching on cream laid paper, 1861. 139x208 mm; 5 1/2x8 1/4 inches, small margins. MacDonald's fourth state (of 4). A very good impression. Kennedy 76; Glasgow 76.

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JAMES A. M. WHISTLER Fulham.

Lot 41: JAMES A. M. WHISTLER Fulham.

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Description: JAMES A. M. WHISTLER Fulham. Etching on imitation Japan paper, 1879. 135x205 mm; 5 1/4x8 inches, full margins. MacDonald's fifth state (of 5), with the drypoint lines in the trees at right still distinct. A very good, dark impression with crisp plate edges; scarce in this quality. Kennedy 182; Glasgow 181.

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JAMES A. M. WHISTLER Little Putney Bridge.

Lot 42: JAMES A. M. WHISTLER Little Putney Bridge.

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Description: JAMES A. M. WHISTLER Little Putney Bridge. Etching printed in black on cream laid paper, 1879. 131x205 mm; 5 1/8x8 inches, full margins. MacDonald's fourth state (of 5), with the shaded butterfly lower right, and with the delicate lines in the water and some indication of the clouds above the bridge. A very good, richly-inked impression. Kennedy 179; Glasgow 186.

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JAMES A. M. WHISTLER Sketch after Cecil Lawson's

Lot 43: JAMES A. M. WHISTLER Sketch after Cecil Lawson's "Swan and Iris."

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Description: JAMES A. M. WHISTLER Sketch after Cecil Lawson's "Swan and Iris." Etching and drypoint, 1882. 135x83 mm; 5 1/4x3 1/4 inches, wide margins. MacDonald's sixth state (of 6), with the horizontal drypoint lines extending on the bevel at the plate edge upper left. Strasburg Lily watermark. A superb, richly-inked impression of this scarce etching, with abundant drypoint and burr, notably on the sailboats upper center. The subject was inspired by an unfinished painting by the artist Cecil Lawson (1851-1882), whose widow Constance Lawson was the elder sister of Whistler's wife-to-be, Beatrice. According to MacDonald, this was the only illustration etching Whistler made after the three he produced for the Junior Etching Club in 1861. It was used in Gosse's Cecil Lawson: A Memoir published by the Fine Art Society, London, in 1883. Kennedy 241; Glasgow 247.

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JAMES A. M. WHISTLER The Little Pool.

Lot 44: JAMES A. M. WHISTLER The Little Pool.

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Description: JAMES A. M. WHISTLER The Little Pool. Etching and drypoint on antique, cream laid paper, 1861. 103x125 mm; 4 1/8x5 inches, full margins. MacDonald's ninth state (of 9), with the inscription at the lower edge of the plate removed and before cancellation. Signed with the butterfly in pencil, lower right. Partial coat-of-arms watermark. A brilliant, early, proof-like impression, with abundant burr around the two figures at the left and with all the details distinct. The seated figure sketching to the left is likely a self portrait by Whistler. We have not found another signed impression previously offered at auction. Kennedy 74; Glasgow 79.

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JAMES A. M. WHISTLER Early Morning.

Lot 45: JAMES A. M. WHISTLER Early Morning.

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Description: JAMES A. M. WHISTLER Early Morning. Lithotint on cream wove paper, 1878. 165x259 mm; 6 1/2x10 1/4 inches, wide margins. Fourth state (of 4), with the lightening of "the overall tonality of the image," according to Spink. A very good impression. Way 7; Levy 17; Spink 9.

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JAMES A. M. WHISTLER Amsterdam, from the Tolhuis.

Lot 46: JAMES A. M. WHISTLER Amsterdam, from the Tolhuis.

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Description: JAMES A. M. WHISTLER Amsterdam, from the Tolhuis. Etching and drypoint on thin, laid Japan paper, 1863. 135x207 mm; 5 3/8x8 1/4 inches, small (full ?) margins. Edition of approximately only 26. MacDonald's fourth state (of 8), with the rope at the upper left removed but before the tops of the masts in the foreground and most of the lines in the sky are burnished out and before the addition of the butterfly lower right. A superb, richly-inked and early impression of this extremely scarce etching. We have found only 5 other impressions at auction in the past 25 years. Kennedy 91; Glasgow 99.

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JAMES A. M. WHISTLER Quiet Canal.

Lot 47: JAMES A. M. WHISTLER Quiet Canal.

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Description: JAMES A. M. WHISTLER Quiet Canal. Etching and drypoint printed in dark brownish black on antique, cream laid paper, 1879-80. 229x150 mm; 9x6 inches. MacDonald's fourth state (of 4). Edition of 35. Signed with the butterfly and inscribed "imp." in pencil, on the tab lower left. From Twenty-Six Etchings. A superb impression of this very scarce etching with warm plate tone and all the details distinct. Kennedy 214; Glasgow 224.

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JAMES A. M. WHISTLER The Bridge, Santa Marta.

Lot 48: JAMES A. M. WHISTLER The Bridge, Santa Marta.

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Description: JAMES A. M. WHISTLER The Bridge, Santa Marta. Etching and drypoint printed in dark brownish black on cream laid paper, 1879-80. 296x202 mm; 11 3/4x8 inches. MacDonald's ninth state (of 9), with the butterfly lower right and all of the delicate shading distinct, notably the fine diagonal lines on the stern of the boat lower center. Edition of approximately only 30. Signed with the butterfly and inscribed "imp." in pencil on the tab, lower left. From Twenty-Six Etchings. A superb, well-inked impression of this scarce etching, with selective wiping most visible in the foreground water and the left side of the plate. Kennedy 204; Glasgow 201.

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JAMES A. M. WHISTLER The Balcony.

Lot 49: JAMES A. M. WHISTLER The Balcony.

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Description: JAMES A. M. WHISTLER The Balcony. Etching and drypoint printed in dark, brownish black on cream laid paper, 1879-80. 293x198 mm; 11 1/2x7 3/4 inches, full margins. MacDonald's sixth state (of 19), with the woman on the steps reworked but before the redrawing of the upper steps. Edition of approximately only 30. From Twenty-Six Etchings. A very good impression with warm plate tone. Kennedy 207; Glasgow 202.

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OTTO HENRY BACHER Laguna Veneta.

Lot 50: OTTO HENRY BACHER Laguna Veneta.

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Description: OTTO HENRY BACHER Laguna Veneta. Etching on Chine collé on cream wove paper, 1880. 115x182 mm; 4 1/2x7 1/8 inches, full margins. A very good impression.

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