JOHN TAYLOR ARMS Venetian Filigree. Etching, 1931. 274x278 mm; 10¾x11 inches, full margins.

JOHN TAYLOR ARMS Venetian Filigree. Etching, 1931. 274x278 mm; 10¾x11 inches, full margins. Second state (of 2). Edition of 139. Signed, dated and dedicated in pencil, lower margin. A brilliant,

JOHN TAYLOR ARMS Early Morning, North River. Etching and aquatint, 1921. 240x190 mm; 9½x7½ inches, full margins. Second state (of 2). Edition of 100. Signed in pencil, lower right. Printed b

JOHN TAYLOR ARMS Cobwebs (Brooklyn Bridge). Etching printed in dark brownish black, 1921. 245x192 mm; 9x7½ inches, full margins. One of only 10 artist's proofs, aside from the edition of 75. Sign

JOHN SLOAN Robert Henri, Painter. Etching, 1931. 355x279 mm; 14x11 inches, full margins. Eighth state (of 8). Edition of 60 (from an intended edition of 100). Signed and inscribed "100 proofs" in penc

PABLO PICASSO Deux Femmes nues dans un Arbre. Etching, 1931. 375x297 mm; 14¾x11¾ inches, full margins. Signed and numbered 2/100 in ink, lower margin. A very good impression of this large, e

JOHN SLOAN Night Windows. Etching, 1910. 136x179 mm; 5¼x7 inches, full margins. Fifth state (of 5). Edition of 110 (from an intended edition of 100). Signed in pencil, lower right. A superb, dark

JOHN SLOAN Snowstorm in the Village. Etching, 1925. 177x128 mm; 7x5 inches, full margins. Third state (of 3). Edition of 100. Signed, titled and inscribed "100 proofs" and signed by the printer, Ernes

JOHN SLOAN Reading in the Subway. Etching, 1926. 127x100 mm; 5x4 inches, full margins. Third state (of 3). Edition of 85 (from an intended edition of 100). Signed, titled, inscribed "100 proofs" and a

JOHN SLOAN Barber Shop. Etching and aquatint, 1915. 256x308 mm; 10x12 inches, full margins. Third state (of 3). Edition of only 35 (from an intended edition of 100). Signed, titled and inscribed "100

JOHN SLOAN Turning Out the Light. Etching, 1905. 127x178 mm; 5x7 inches, full margins. Edition of 110 (from an intended edition of 100). Signed, titled and inscribed "100 proofs" in pencil, lower marg

JOHN MARIN Brooklyn Bridge, No. 6 (Swaying). Etching, 1913. 272x222 mm; 11x9 inches, full margins. Edition of approximately only 12. Signed in pencil, lower right. Published by Alfred Stieglitz, 291 F

MARC CHAGALL David montant la Colline des Oliviers. Etching with hand coloring in watercolor, 1931-39. 320x245 mm; 12¾x9¾ inches, full margins. Initialed and numbered 81/100 in pencil, lower

JOHN MARIN Woolworth Building, No. 2. Etching and drypoint, 1913. 330x265 mm; 13x10½ inches, full margins. Second state (of 2). Edition of approximately only 10. Signed in pencil, lower right. Pu

HOWARD COOK New York Night. Lithograph, 1931. 253x305 mm; 9x12 inches, full margins. Edition of 35 (from an intended edition of 75). Signed, dated and dedicated "To George Miller, in deep appreciation

PAUL CADMUS (1904-1999) Arabesque. Etching. 170x170 mm; 6¾x6¾ inches, full margins. Artist's proof, aside from the second edition of 35. Signed, titled, numbered I/X and inscribed "II" in pe

John Taylor Arms (1887-1953), etching, Venetian Mirror, pencil signed and dated lower right: John Taylor Arms 1936, titled lower left: Venetian Mirror, written bottom center: To my Friend A. Eecles wi

EDWARD HOPPER Night Shadows. Etching, 1921. 175x210 mm; 7x8¼ inches, full margins. Edition of approximately 500. Signed in pencil, lower right. Published by The New Republic, New York. A brillian

MARTIN LEWIS Under the Street Lamp. Etching, 1928. 380x240 mm; 14x9 inches, full margins. Edition of approximately 83. Signed in pencil, lower right. A superb, richly-inked impression.Lewis (1881-1962

JOAN MIRÓ Le Prophète Encerclé. Color aquatint and etching, 1965. 680x530 mm; 26¾x20¾ inches, full margins. Signed and numbered 10/75 in pencil, lower margin. Printed and publ

CHILDE HASSAM Washington's Birthday, Fifth Avenue and 23rd Street. Etching, 1916. 323x187 mm; 12¾x7 inches, full margins. Second state (of 2). Signed with the artist's cypher and inscribed "imp"

CHILDE HASSAM The Lion Gardiner House, East Hampton. Etching, 1920. 253x357 mm; 10x14 inches, full margins. Signed with the artist's cypher and inscribed "imp" in pencil, lower right. A superb, richly

RUFINO TAMAYO Hombre Contemplando la Luna. Aquatint and etching, 1947. 200x147 mm; 8x5 inches, full margins. Edition of 80. Signed in pencil, lower right. Published by The Quadrangle Press, New York.

LE CORBUSIER New York. Etching, 1946. 90x140 mm; 3½x5½ inches, full margins. Signed, inscribed "ep. 1" and numbered 16/20 in pencil, lower margin. Dedicated "pour Helena" and initialed in pe

LE CORBUSIER Unité XV. Color aquatint and etching, 1953. 415x315 mm; 16¼x12 inches, full margins. Signed and numbered 74/130 in pencil, lower margin. Published by Alain C. Mazo, Paris. From