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1. CARTE PARTICULIERE DE VIRGINIE, MARYLAND, PENNSILVANIE, LA NOUVELLE IARSEY ORIENT ET OCCIDENTALE. Alexis-Hubert Jaillot. Published by Pierre Mortier, Amsterdam. Copper plate engraving, c. 1700. Image size 20 3/8 x 31 3/8" (516 x 796 mm). An important and quite beautiful chart of the mid-Atlantic coast line. Shown is an area from Staten Island in New York southward to Carratuck Inlet in North Carolina with the Chesapeake Bay featured prominently. This chart is by A.H. Jaillot, and appeared in the atlas "Suite du Neptune Francois‌" This atlas was published by Pierre Mortier for Jaillot. Cartographically, this map is a very close copy of John Thornton & William Fisher's chart of 1689 that appeared in "The English Pilot, The Fourth Book," which in turn was largely based on the hugely important and rare Augustine Herrman map. This is a very nice example of this scarce chart. Very good condition save for some areas of strengthening on the verso due to verdigris, an acidic green pigment. Original outline hand coloring with some modern enhancing. Fig. 23, p. 37 in On the Map, Maryland and the Chesapeake Bay. #7903-2 $8,500.




Old Print Gallery founders 1988 (left to right): James von Ruster, James C. Blakely and Judith Blakely.

1220 31st Street, N.W., Washington, D.C. 20007 Published by: The Old Print Gallery Editor: Laura Graham

Telephone: 202-965-1818 Fax: 202-965-1869 Email:

In Partnership with THE OLD PRINT SHOP in New York City

Items are offered subject to prior sale. All are original prints in good to fine condition except as noted. Any major faults or restorations are carefully noted. Prices are net. Insured shipping is at additional cost. We extend five-day return privileges. Sales tax applies to Washington, D.C. and New York orders. “The Old Print Gallery” and “The Old Print Gallery Showcase” are exclusive, federally protected trademarks and their use without permission is expressly prohibited.


Our History The Old Print Gallery was established in historic Georgetown in 1971 by three partners, James C. Blakely, James von Ruster and Judith Blakely. The Blakelys had dreamed of a print gallery for some time. In fact, they spent their 1969 honeymoon on a print-buying expedition in New York City. But in Washington, both antiquarian book dealers and galleries warned them that the city would not support an antique print gallery. Others had tried and not succeeded. Undaunted, they opened in April with little fanfare and were gratified when they grossed several hundred dollars their first day. During the early years, Washington was a hotbed of frenetic political activity, from anti-Vietnam demonstrations to the Watergate break-in. Activists and reformers poured into the city, many finding their way to The Old Print Gallery, perhaps as a respite from the turmoil around them. Focused on antique historical and decorative prints, the gallery quickly grew into one of the James Blakely and James von Ruster 1979. largest, most diverse and respected print shops in the U.S.. It evolved into a knowledgeable resource for private collectors, public institutions and corporate collections. To increase and improve gallery offerings, Judy undertook numerous buying trips, sometimes two-week forays to New England, sometimes short jaunts to the South and Midwest. Eventually she traveled abroad, to England and the Continent. She bought significant prints at New York auctions, schlepping them back on the Metroliner. All the while, James Blakely was charming visitors at the gallery with elaborate explanations and tales about the prints on display. It was his vision and enthusiasm that kept the gallery pushing forward. By 1974, the gallery was issuing illustrated catalogs nationwide. During the high-flying 1980s, the gallery expanded into antique maps and began providing appraisal and paper conservation services. James von Ruster set up the conservation lab and became an expert at creating and using paper pulp to fill holes and deep cracks. One client was astounded after James rejoined separated pieces of a large-folio Currier and Ives city view, inpainting losses with such skill that the repairs could only be seen on the reverse. James also oversaw the custom frame shop, which educated clients on the importance of preservation framing. The gallery facilitated the growth of several important collections, particularly in the areas of Washingtoniana, Western Americana and historic prints. It provided artwork for major government venues, including the National Portrait Gallery, State Department and the U.S. Capitol. Movie directors came calling as well. Ken Burns used maps and prints from The Old Print Gallery for his Civil War epic. The partners also brokered the sale of private collections, including one of the largest color-plate book libraries of the period. Throughout the 1990s and early 21st century, the gallery continued in good times and bad, even after the death of James Blakely in 1992. In 2006, The Old Print Gallery merged with The Old Print Shop of New York City. Mr. Von Ruster and Mrs. Blakely viewed this move as the best way for The Old Print Gallery to continue to serve art collectors, both local and national. It also enabled the gallery to expand its inventory by offering 20th century and contemporary American prints to its clients.


2. NEW BERNE, N.C. Three-color lithograph, 1864. Combe, Del. Lith. of Major & Knapp 449 Broadway New York. The two rivers are Trent and Neuse. Numerous vessels are identified in the title margin. Image size 19 x 30 3/8" (482 x 770 mm). Good condition and color. #6874.2 $4,500.

3. NORTHERN LIBERTIES & SPRING GARDEN WATER WORKS. Thomas M. Scott. Published by P. S. Duval & Co.'s Steam Lith. Press, Philadelphia. Lithograph, original hand color, c. 1852. On stone by C. C. Kuchel. This waterworks was noted for its Egyptian Revival architecture, with its lotus-bud column smokestack and large doorway. Completed about 1845, it was located beside the Schuylkill River near Girard College. Image size 17 1/8 x 25 1/8" (435 x 638 mm). Good condition and color save multiple marginal repairs; backed with Japan. Wainwright 254. Cresswell, Prints of Philadelphia, 175. Deak 637. #62472.1 $3,500.


4. NEWPORT, R.I. John P. Newell. Drawn, lithographed & published by J. P. Newell, Newport, R.I. Two-stone lithograph, 1870. Printed by New England Lith. Co. 109 Summer St. Boston. A beautiful view of this busy seaport by J.P. Newell. Image size 17 x 33 1/2" (432 x 851 mm). Good condition. #25851-3 $4,500.

5. PHILADELPHIA, FROM CAMDEN. 1850. John W. Hill. Published by Smith Brothers & Co., New York. Tinted lithograph, hand-colored, 1850. Scarce colored lithograph by B. F. Smith, Jr., after J. W. Hill and Smith. Printed in tints by Sarony, N.Y. Copyright by Francis Smith, 1850. All kinds of ferries, steamboats and sailing vessels fill the Delaware River between the Camden docks and Philadelphia waterfront. Image size 23 1/4 x 39 3/4" (591 x 1010mm). Fair condition and color with several repaired tears, top margin and part of blue line border restored, publication line partly trimmed. Backed with Japan. Reps, Views, 3578; Prints of Phila., 1676. #48372-1 $6,500.


6. STEAMER ROBERT E. LEE. : CAPTAIN J.W. CANNON. : FROM NEW ORLEANS TO ST. LOUIS 1210 MILES. : TIME: 3 DAYS 18 HOURS 30 MINUTES. Published by Stetson & Armstrong, New Orleans. Color lithograph with hand-coloring, c. 1870. Lith. by Hatch & Co. New York. This print is very rare. Image size 18 1/4 x 29 1/8" (462 x 470 mm). Fair condition, good color. Mottling of the margins, tear top center into color 3", small hole in the title margin, all skillfully repaired. #45293-1 $15,000.

7. GREAT EASTERN. CONDUIT A LONDRES PAR FEU MR. BRUNEL. Published by Eugene Jouy Editeur, Paris. Three-stone lithograph, hand colored, c. 1860. Printed by Lemercier & Cie. This ship portrait shows the immense size of Brunel’s maritime masterpiece, the six-masted British side-wheeler which laid the Atlantic cable in 1865-66. With dimensional statistics in the title margin. Image size 14 3/8 x 24" (366 x 609 mm). Fine condition and color. #45327-1 $1,500.


8. VIGILANT AND VALKYRIE IN A “THRASH TO WINDWARD,” : IN THEIR INTERNATIONAL RACE FOR “THE AMERICAN CUP” OCT. 7TH 9TH & 13TH 1893. : WON BY THE VIGILANT. Published by Currier & Ives, 115 Nassau St. New York. Lithograph printed in color, 1893. Large folio - image size 16 x 24" (406 x 610 mm). Good condition and color save unobtrusive repaired break in sky. Conningham 6454. Gale 6973. #35259-4 $3,500.

9. BOSTON & PHILADELPHIA STEAMSHIP LINE. W. H. Rease. W.H. Rease Lith. & Print. N.E. cor. 4th & Chesnut Sts. Phila. Lithograph printed in color, undated. Side view of a steamship with continuing description: "Steamship Saxon. Capt. Matthews 1200 Tons Register. Steamship Norman. Capt. Baker 1200 Tons Register. These Steamships, new & everyway well fitted & appointed, form a Regular Line, running through from Port to Port in 48 hours...." Agents in Boston and Philadelphia are also named. Image size 17 x 31 1/4" (430 x 795 mm). Good condition and color save for small repaired tear in top margin. #27396-1 $3,500.


10. PETER FRANCISCO’S GALLANT ACTION WITH NINE OF TARLETON’S CAVALRY IN SIGHT OF A TROOP OF FOUR HUNDRED MEN. August Kollner. Lithograph, hand colored, c. 1845. Lithograph drawn by August Kollner after the 1814 copper engraving by Webster and Worral. Lithographed by Thos. Sinclair, Philadelphia.. Renowned for his strength and bravery, Francisco served in the Continental Army under Lafayette and others before running into Tarleton's dragoons outside an Amelia tavern. Image size 10 3/4 x 15 1/2" (273 x 397 mm). Good condition with modern hand color, save for repaired original folds and marginal tears, one shortly into image, and a marginal replacement at lower right; backed with Japan. #63022-1 $585.

11. THE SURRENDER OF CORNWALLIS AT YORKTOWN, A.D. 1781. Edouard Armand-Dumaresq. Engraving, undated, c. 1860. Painted by Armand Dumaresq. Engraved & printed by Illman Brothers. Eleven people identified above the title, from left to right, "Comte de Custin; Duc de Laval Montmorench; Duc de Lauzun; Major General O'Hara; Comte de Deuxponts; Comte de Rochambeau; Marquis de Lafayette; General Washington; General Lincoln; Baron Steuben; General H. Knox." Image size 15 7/8 x 23 11/16" (403 x 601 mm). Good condition. #44206-2 $1,950.


12. GENERAL FRANCIS MARION, OF SOUTH CAROLINA, : IN HIS SWAMP ENCAMPMENT, INVITING A BRITISH OFFICER TO SHARE HIS DINNER OF SWEET POTATOES AND COLD WATER. Published by Currier & Ives 125 Nassau St. New York. Lithograph, hand-colored, 1876. Small folio - image size 8 12 x 12 3/8" (216 x 315 mm). Good condition save repaired tear through title. Conningham 2250. Gale 2438. #29612-3 $850.

13. MARION CROSSING THE PEDEE. William Ranney. Published by the American Art-Union, New York. Engraving, 1851. Engraved by C. Burt. Printed by J. Dalton. The American Art Union, a member supported art publisher, annually produced and issued prints to its subscribers between 1840 and 1851. Originally called the "Apollo Association for the Promotion of the Fine Arts in the United States", the organization was founded by James Herring, a New York businessman and art patron. After Herring broke with the renamed American Art-Union, it continued to thrive as a popular source of American themes in fine art prints. Original paintings by the likes of Thomas Cole were won through subscriber lotteries. This engraving - "Marion Crossing the Pedee" - was one of five small folio prints subscribers received in the Union's final year, 1851. Francis Marion is probably the best-known American Revolutionary War hero from the southern colonies. Image 7 7/8 x 11 7/8" (303 x 22mm) plus title and margins. Good condition with 1 1/4" margins. Hand-colored. Well repaired small marginal tears, none into image. #43075-2 $1,100.


14. PANORAMA OF THE SEAT OF WAR. BIRDS EYE VIEW OF VIRGINIA, MARYLAND AND DELAWARE AND THE DISTRICT IF COLUMBIA. John Bachmann. Published by Charles Magnus, New York. Lithograph printed in color, 1864. A detailed overview of the Chesapeake Bay region shown during the Civil War. The cities of Petersburg, Richmond, Fredericksburg, Washington and Baltimore are shown prominently. Drawn from nature and on stone by John Bachmann. Image size 18 x 28 1/4" (457 x 28 1/4") plus margins. Fair condition, good color, slight mis-registration of stones, center fold with associated tears. #25927-4 $1,900.

15. BATTLE OF BULL’S RUN, VA, JULY 21ST 1861. : THE SIXTY-NINTH N.W.S.M. (IRISH) STRIPPED TO THE WAIST, CHARGING THE ENEMY AT THE POINT OF THE BAYONET. Published by Geo. Whiting 87 Fulton St. New York. Lithograph hand-colored, undated, c. 1861. E. B. & E. C. Kellog, 245 Main St. Hartford, CT and Geo. Whiting. 87 Fulton St. New York. Image size 8 1/2 x 12 15/16" (215 x 329 mm). Good condition and color, save for a few minor repairs in the title margin. #69175-1 $350.

11 16. THE BATTLE OF SHARPSBURG, MD. SEPT. 16TH 1862… Published by Currier & Ives, 152 Nassau St. New York. Lithograph hand-colored, undated. Title continues "In this battle the Federal troops under Genl. McClellan, contended the great Rebel army commanded by Generals Lee, "Stonewall" Jackson, Hill and Longstreet, : for three days, The Rebels fought with desperate determination and courage, but the indomitable valour and heroism of the gallant Union Soldiers : finally prevailed and defeated the enemy with great slaughter." Small folio - image size 8 1/8 x 11 7/8" (205 x 301 mm). Good condition with light original color. Title variant of Conningham 429. Gale 480. #6716-4 $425. 17. THE BATTLE OF ANTIETAM, MD. SEPT. 17TH 1862…[Three additional lines of text.] Published by Currier & Ives, 152 Nassau St. New York. Lithograph, hand-colored, undated. Small folio - image size 7 3/4 x 12 1/4" (197 x 312 mm). Good condition and color. Title variation of Conningham 384. Title variation of Gale 426. (two lines not three). #3511-3 $375. 18. BATTLE OF FREDERICKSBURG, VA. DEC. 13TH 1862… Published by Currier & Ives, 152 Nassau St. New York. Lithograph, hand-colored, 1862. Title continues "This battle shows with what undaunted courage, the Lion-hearted Army of the Potomac always meets its foes. - After forcing the passage of the Rappehannock on the 11th in the : face of a murderous fire from concealed Rebels, and taking possession of Fredericksburg on the 12th, on the morning of the 13th the Army rushed with desperate valor on the : intrenchments of the enemy, and thousands of its dead and dying, tell of the fearful strife which raged till night put an end to the carnage. Though driven back by an : intrenched and hidden foe, the soldiers of the North are still as ready to meet the traitors of the South, as in their days of proudest victory." Small folio - image size 7 15/16 x 12 13/16" (202 x 326 mm). Good condition, some staining and tears on edges of margins. Conningham 405. Gale 450. #22251-1 $400.

12 19. CUSTER’S LAST CHARGE. : BREVET MAJOR-GENERAL GEORGE A. CUSTER, LIEUTENANT-COLONEL 7TH U.S. CAVALRY. : KILLED IN THE BATTLE WITH THE SIOUX, JUNE 25TH 1876. Published by Currier & Ives 115 Nassau St. New York. Lithograph with original hand color, 1876. Equestrian portrait of the famous cavalry general, sword in hand. He was killed, along with most of his command, at the Battle of the Little Big Horn, commonly known as "Custer's Last Stand." Small folio - Image size 11 5/8 x 9 5/8" (296 x 240 mm). Good condition and color. Conningham 1333. #63566-1 $550.


21. MOA-NA-HON-GA, AN IOWAY CHIEF. #67030-1 $425.

22. NAW-KAW, A WINNEBAGO CHIEF. 67031-1 $575.

McKenny-Hall Indian Portraits Drawn by Charles Bird King. Lithographed, colored and published by J. T. Bowen, Philadelphia. Hand-colored lithographs. 1848-54. From the octavo edition of "History of the Indian Tribes of North America" by Thomas L. McKenney and James Hall. Paper size 10 1/4 x 6 5/8" (260 x 168 mm). All good condition with original hand-color. Email: Telephone: 202-965-1818 Tue. - Sat. 10 am - 5:30

13 23. MAP OF LINGUISTIC STOCKS OF AMERICAN INDIANS CHIEFLY WITHIN THE PRESENT LIMITS OF THE UNITED STATES. J. W. Powell. Government Printing Office, Washington DC. Chromolithograph, 1890. From "Report on Indians Taxed and Indians Not taxed" from the Annual Report of the Bureau of Ethnology. Lithographed by Sackett & Wilhelms Litho. Co. This map clearly depicts the geographic range for various Indian language groups as designated by several early explorers and ethnologists. Some groups, such as the Algonquian and Shoshonean, cover vast areas. Others are more locally confined, especially along the West Coast. Image size 20 3/16 x 17 1/2" (513 x 443 mm). Good condition and color with traces of original folds. #69439-1 $285. 24. MAP OF KANSAS, NEBRASKA AND COLORADO SHOWING THE SOUTHERN PORTION OF DACOTAH. S. Augustus Mitchell. Published by S. A. Mitchell, Philadelphia. Hand-colored engraving, 1867-68. 1869 issue, with Wyoming no longer attached to Dakota. A decorative map of the plains and Rocky Mountains. From Mitchell's "New General Atlas." Nicely embellished with a grapevine border. Presentday Wyoming is noted as 'Attached to Dacotah'. Shown are some of the western overland trails, counties, cities, towns, transportation routes, and Indian reservations. A nice bright impression. Image size 10 1/2 x 14 1/2" (292 x 336 mm). Good condition and color. #39355-2 $285.


25. THE WHITE LILY WITH VARIEGATED LEAVES. Dr. Robert John Thornton. Published by Dr. Robert John Thornton, London. Aquatint, stipple and line engraving, 1800. From “The Temple of Flora or The Garden of Nature.� First of four states. Engraved by Stadler after the painting by Henderson. Printed in color and finished by hand. This fine publication had a total of thirty-one plates. They are among the most important (and most beautiful) botanical prints ever published. Image 17 3/4 x 13 7/8" (452 x 353 mm) plus title and margins. Good condition and color. #49662-1 $7,250.

26. PETUNIA. F. Lambotte. Published for J. Rothschild by Alphand, Paris. Chromolithograph, c. 1868. Drawn on stone by F. Grobon. Printed by Auguste Bry. From "Flore Ornamentale des Promenades de Paris." Image size 15 5/8 x 11 1/4" (397 x 285mm) plus line border and margins. Fine condition and color. #48158-1 $550.

27. LAELIA, PURPURATA. PLATE XL. Walter Hood Fitch. Lithograph, handcolored, c. 1875. Printed by Vincent Brooks. Image size 15 1/4 x 11 1/8" (388 x 283 mm). Image size 15 1/4 x 11 1/8" (388 x 283 mm). Good condition and color. #66674-1 $350.


28. AMANDIER A GRANDES FLEURS. Pierre Jean Francois Turpin. Published in Paris. Stipple engraving, printed in color and finished by hand, 1808-1835. From Henri Louis Duhamel du Monceau's "Traite des Arbres Fruitiers," one of the finest and rarest books on fruit, with many beautiful plates. Plate mark 12 3/8 x 9 1/2" (315 x 243 mm). Good condition and color. Dunthorne 101. #58300-1 $650.

29. PHAETHORNIS CEPHALUS. (Mexican Hermit). John Gould. Published London. Lithograph handcolored, 1849-87. From “A Monograph of the Trochildae, or Family of Humming-Birds.� Printed by Hullmandel and Walter from drawings by J. Gould, H.C. Richter and William Hart, lithographed by the artists. Published London, 1849-87. Average paper size 21 x 14" (534 x 354mm). Good condition and color. #44179-1 $900.

31. PLATE 17. LEMON. Maria Sibylla Merian. Published by Joanem Oosterwyk, Amsterdam. Counterproof from engraved plate, 1719. A fine "counterproof" imprint from Merian's finest work "Dissertatio de Generatione et Metamorphosibus Insectorum Surinamensium." Peter Dance in "The Art of Natural History", refers to this series as "easily the most magnificent work on insects so far produced... combining science and art in equal proportions...." A counterproof is a technique of pulling an impression from a freshly printed image that has just been removed from a press, before the ink has been allowed to dry. This process allows the artist to closely replicate the original drawing (as the counterproof would be oriented in the same direction, show no plate marks, and depict only lightly inked lines). This made them highly suitable for coloring, with the end result being as close to the original watercolor as possible. This technique was difficult, time consuming and expensive, making production a deluxe or very special edition. Prints such as these were usually reserved for a select few subscribers. This particular edition is rarely seen on the market. Paper size 20 5/8 x 13 3/4" (524 x 350mm). Good condition save for two small dark spots in paper. Outstanding original handcolor. #22329-1 $2,500.


31. LIMON CEDRATO. Page 162. . Image size 12 1/4 x 8" (312 x 201 mm). Good condition save stain in upper right margin corner. #58258-1 $1,100. .

32. CEDRO di FIOREE SUGO DOPPIA. Page 118. Image size 12 ½ x 7 3/4” (316 x 197mm). #58251-1 $850.

33. LIMON CEDRATO. Page 68. Image size 12 x 7 3/4” (306 x 196mm). #58259-1 $1,200.

VOLCKAMER’S “NURMBERGISCHE HESPERIDES” Johann C. Volckamer. Published Nuremberg. Copper plate engravings, hand-colored, 1708-14. Most of the plates are devoted to citrus fruits, bedecked with ribbon and positioned above views of the gardens and palaces of Germany, Austria and Italy. These unusual engravings are prized for their unique combination of botanical illustration with landscape art. All are in good condition with modern hand-color. Dunthorne 323. Blunt 138.

34. LE FRANCOLINI BRUNTACHETE. TAB. XXXVII. Good condition with original color. #49544-1 $350.

35. L’ALBATROSS. TAB. LXXI. Good condition and color save light marginal foxing. #49538-1 $375.

36. LE WHIP-POOR-WILL, ou PETIT TETTE-CHEVRE. TAB. XXI. Good condition with original color save stain in lower corner margin. #49548-1 $385.

GEORGE EDWARDS Published by Johann Joseph Fleishmann, Nuremberg. Copper engravings, hand-colored, 1749-53. Engraved by Johann Michael Seligmann for his work "Sammlung Verschiedener Auslandisher und Seltener Vogel". This is the German edition of George Edwards' "A Natural History of Uncommon Birds" and Mark Catesby's "Natural History of Carolina, Florida and the Bahama Islands." Average platemark 10 x 8" (253 x 203 mm).


Our History Mr. von Ruster retired in 2010 and Mrs. Blakely greatly reduced her hours in 2011. The gallery continues under the direction of Laura Graham, offering the finest prints and maps to both sophisticated and new collectors. After creating a formal exhibition space to display and promote contemporary and early 20th century works, the gallery began presenting shows. The first opened in September of 2010, featuring kaleidoscopic modified aerial photographs by DC’s renegade cartographer, Nikolas Schiller (see page 23). For the event, richly detailed antique maps were hung on one side of the gallery and Schiller’s contemporary cartographic creations on the other. This playful pairing of new and old set the foundation for the gallery’s future approach to prints and maps. As a venue for contemporary art, the gallery has attracted participation of notable local printmakers, such as Susan Goldman, Jake Muirhead and Philip Bennet, as well as many supplied by The Old Print Shop. Besides gallery openings, we have hosted printmaking workshops and artist talks. Stretching the range of the venue, we recently presented a show of bronze figures and prints by Italian-based sculptor Robert Cook. To share the exciting changes and events occurring at the gallery, as well as showcase its fine selection of prints, The Old Print Gallery began a blog ( in the winter of 2010. Visitors to the blog find weekly features such as Past/Present, a pairing of two complimentary prints from both our antique and contemporary holdings. We also interview artists about their inspiration and techniques, highlight new additions to our collection and announce upcoming events and shows. The gallery will continue to serve the Washington art community and beyond, introducing new and noteworthy printmakers, while furthering knowledge of significant and collectable historical works and maps. It is this celebration of both old and new that makes the Old Print Gallery a distinctive art destination.

37. FORBIDDEN FRUIT. Luigi Rist. Color woodcut, 1948. Edition 150. Signed in ink within image, titled in pencil in margin. Very good condition. #2718-2 $4,500.

38. MEDAL SWAYING. Robert Cook. Bronze, 2006. Edition 5/10. Signed, dated. Size 6” tall (153 mm). Very good condition. #78324-1 $600.


39. FLYING BRANT. Frank W. Benson. Drypoint, 1925. Edition 150. Image size 4 3/4 x 6 7/8" (121 x 173 mm). Second state of two. Signed in pencil. Very good condition. Paff 241. #2711-2 $850.

41. THE START. Frank W. Benson. Etching, 1922. Edition 150. Second state of two. Image size 4 7/8 x 3 13/16" (124 x 96 mm). Signed in pencil. Very good condition. Paff 211. #2712-2 $ 3,500.

43. HA’NTED. Martin Lewis. Drypoint and sandground, 1932. Recorded impressions 107. Image size 13 1/8 x 8 7/8" (335 x 226 mm). Signed in pencil. Good condition. Some paper toning. #32051-6 $8,500.

40. LAMBING. Clare Leighton. Wood engraving, 1933. Edition 100. Signed and titled in pencil. Inscribed "24/30." Image size 8 x 10 3/8" (202 x 264 mm). Good condition. Top right corner of paper is missing and right side of paper (in margin) is slightly crumpled. BPL 22. #40884-2 $1,200.

42. CRADLING WHEAT. Thomas Hart Benton. Published by Associated American Artists. Lithograph, 1939. Edition 250. Signed in pencil. Image size 9 7/16 x 11 7/8" (240 x 302 mm). Very good condition. Fath 27. #1251-5 $4,500.

44. CAPE ANN WILLOWS. (Rockport, Massachusetts). Stow Wengenroth. Lithograph, 1947. Edition 272. Image size 8 3/4 x 13 1/2" (222 x 342 mm). Signed in pencil. Very good condition. Stuckey 164. #2842-2 $750.


45. HIAWATHA AT NIGHT. Otto Kuhler. Etching, 1934. Edition 25. The Hiawatha, the first completely streamlined train, was designed by Otto Kuhler. Signed in pencil. Image size 7 15/16 x 9 7/8" (201 x 250 mm). Very good condition. #20541-2 $3,500.

46. LE PENSEUR de NOTRE DAME. John Taylor Arms. Etching, 1923. Edition 150. Image size 12 3/8 x 9 7/8" (315 x 251 mm). Signed and dated in pencil. Good condition, save for minor light discoloration. Fletcher 136. #2339-1 $5,500.

47. SUBWAY SHIFT; THE SECOND FRONT. Benton Murdoch Spruance. Lithograph, 1943. Edition 35; 30. Signed and titled in pencil Image size 10 3/16 x 16 1/4" (358 x 412 mm). Very good condition. Fine/Looney 223. #65417-1 $9,000. 48. DERRICKS AT NIGHT. Martin Lewis. Drypoint, 1927. Recorded impressions 104. Kennedy Galleries recorded 72 sales during the artist's lifetime at $25 each. Image size 7 15/16 x 11 15/16" (201 x 303 mm). Very good condition. McCarron 62. #1569-5 $9,500.

49. FROM ROSSLYN TO GEORGETOWN. Prentiss Taylor. Lithograph, 1955. Edition 30. Signed, titled and dated in pencil. Inscribed, "30 prints." This view depicts the industrial scape of that time, showing Francis Scott Key Bridge leading to Georgetown. The Washington Flour Mill, a meat rendering plant, as well as the twin stacks of the power generating plant for the streetcar system are shown. On the left is Georgetown University. On the horizon is the National Cathedral under construction. Image size 12 1/4 x 17 3/4" (310 x 452 mm) Very good condition. Rose & Quiroz 93. #72436-1 $1,200.


50. KIMONO. Pia Oste-Alexander. White-line woodcut, 2002. Signed and titled in pencil. Inscribed "A/P." Image size 17 1/4 x 13 3/4" (434 x 350 mm). Good condition. Printing creases in lower margin. #54258-1 $600.

51. WILD MALLOW. Charles Svendsen White-line woodcut, c. 1925. Titled and signed in brown ink, as well as signed with artist's blue signature stamp in lower right corner. Image size 10 x 11"(254 x 279mm). Fine condition, save border of brown tape around the outside rim of paper. #73791-1 $475.

52. CRESCENT MOON and BLUE FISH. Pia Oste-Alexander. White-line woodcut, 1998. Signed and titled in pencil. Image size 13 1/4 x 16 1/2" (336 x 418 mm). Very good condition. 36792-4 $750. 53. FOUR FRUITS. Pia Oste-Alexander. Whiteline woodcut, 1999. Signed and titled in pencil. Image size 16 1/2 x 17 3/4" (405 x 453 mm). Good condition. Printing creases in lower margin. #35870-2 $750.

54. THE NORTH. Su-Li Hung. Color woodcut, 1985. Edition 30. Signed, titled, and dated in pencil. Image size 7 3/16 x 7 3/4" (182 x 198 mm). Very good condition. #18922 $350.


55. POPPY TIME #4. Marti Patchell. Monoprint, 2011. Monoprint with copperplate etching, relief roll, and stencils. Unique. Signed verso. Image size 18 x 24". Very good condition. #77256-1 $400.

57. RUST VASES. Susan Goldman. Monotype, 2005. Signed and dated. Image size: 26 x 24" (660 x 610 mm) Very good condition. #69558-1 $1,600.

56. THE GLORY OF FALL #1. Marti Patchell. Monoprint with etching and stencils, relief rolled on to zinc plates, 2011. Unique. Ed. 1/1. Signed and titled in pencil. Image size 18 x 24" (457 x 609 mm). Very good condition. #77251-1 $400.

58. ORANGE STILL LIFE. Susan Goldman. Monotype with woodcut, 2007. Signed, dated, and titled in pencil. Image size 23 1/2 x 35 1/2" (595 x 900 mm). Very good condition. #69553-1 $1,100. 59. NEBULA. Philip Bennet. Water-based monotype, 2011. Signed and titled in pencil. Inscribed “1/1�. Image size 9 3/4 x 14" (250 x 358 mm). Very good condition. #76410-1 $500.

For more information go to or email us at or call us at 202-965-1818 Tue. - Sat. 10 am - 5:30 pm


60. C&O CANAL LOCK 7 #12. Martha Oatway. Monoprint on mylar, 2009. Edition 1. Signed in pencil. Image size 6 1/4 x 8 1/4" (160 x 210 mm). Very good condition. #70017-1 $275.

63. PINE CONE. Jake Muirhead. Drypoint, 2010. A/P. Signed and titled in pencil. Image size 8 3/4 x 9" (222 x 228 mm). Very good condition. #75188-1 $350.

61. C&O CANAL LOCK 7 #6. Martha Oatway. Monoprint on mylar, 2009. Edition 1. Signed in pencil. Image size 6 1/4 x 8 1/2" (160 x 218 mm). Very good condition. #70014-1 $275.

64. BASEBALL. (brown). Jake Muirhead. Soft ground, aquatint and drypoint 2010. A/P. Signed and titled in pencil. Image size 9 3/4 x 8 7/8" (247 x 225 mm). Very good condition. #77338-1 $350.

62. C&O CANAL LOCK 7 #11. Martha Oatway. Monoprint on mylar, 2009. Edition 1. Signed in pencil. Image size 7 3/8 x 8 1/2" (188 x 216 mm). Very good condition. #70015-1 $275.

65. ORCHARD TREES. Jake Muirhead. Etching and aquatint, 2011. A/P. Signed and titled in pencil. Image size 8 3/4 x 11 3/4" ( 222 x 298 mm). Very good condition. #75178-2 $400.


66. JULLIARD. (left). Robert Cook. Bronze, 1986. Edition 6. Signed and dated. 13” tall (331 mm). Very good condition. #78180-1 $2,500.

68. TUMBLERS. Robert Cook. Copperplate etching, 1991. Inscribed “A/P II.” Signed, titled and dated in pencil. Image size 6 x 9" (152 x 228 mm). Very good condition. #78243-1 $450.

67. JUDY DANCING. (right). Robert Cook. Bronze, 1988. Edition 6. Signed and dated. 13” tall (331 mm) . Very good condition. #78181-1 $2,500.

69. JUMPING at the WOODSIDE. Robert Cook. Woodcut with watercolor, 1995. Edition 20. Signed, titled and dated in pencil. Inscribed "8/20, 1st State." Image size 7 3/4 x 9 3/4" (197 x 248 mm). Very good condition. #78239-1 $500.

71. GEORGETOWN QUILT - WEST. Nikolas Schiller. Modified aerial photograph, 2010. Edition 3. Signed in pencil. Image size 30 x 20” (762 x 508 mm) Very good condition. #69542-3 $500.

70. MEDAL ICARUS (High). Robert Cook. Bronze, 1991. Unique (lost wax process). 9” diameter (230 mm). Signed and dated. Very good condition. #78219-1 $2,500.

72. GEORGETOWN QUILT - CENTER. Nikolas Schiller. Modified aerial photograph, 2010. Edition 3. Signed in pencil. Image size 30 x 20" (762 x 508 mm). Very good condition. 69540-3 $500.

73. GEORGETOWN QUILT EAST. Nikolas Schiller. Modified aerial photograph, 2010. Edition 3. Signed in pencil. Image size 30 x 20" (762 x 508 mm). Very good condition. #69541-3 $500.


74. VIEW OF THE MALL TO THE CASTLE. (Washington, DC). Richard Haas. Lithograph, 1983. Edition 10. Inscribed “A/P.” Image size 14 ¼ x 42 1/2” (362 x 1110 mm) Very good condition. #53245-1 $900.

75. VUE PERSPECTIVE DE LA GRANDE PLACE DU PEUPLE, AU ROME. No publisher’s name given. Copper engraving, original color, c. 1775. A "vue d'optique" or perspective view. These popular engravings were published in Europe during the last half of the 18th century. They were meant to be seen through device called a zograscope or optical machine. This "machine" uses a pair of mirrors and a magnifying glass and would give the viewers 3-D perspective. Image size 9 3/8 x 15 15/16" (239 x 407 mm). Good condition. #55736-1 $385.

The Old Print Gallery, Inc. T: (202) 965-1818 F: (202) 965-1869 Hours: Tuesday- Saturday, 10 AM to 5:30 PM

The Old Print Gallery Showcase- October 2012  

Volume XXXV, Number 1 October 2012

The Old Print Gallery Showcase- October 2012  

Volume XXXV, Number 1 October 2012