Eight Etchings, 1930–1959

Bishop, Isabel
Early 20th Century
Mid-20th century


Note: this set will appear in an exhibition at the Susquehanna Art Museum from August 13 through October 17, 2021. It can be purchased now, but won’t be available Until October 20.

Eight etchings gathered in archival box.

Black ink on ivory Rives paper

Each etching is pencil signed and numbered

Edition: 50 + 10 impressions from each plate

Each sheet measures approximately 10″ x 13″. Image size for each etching given below.

Very good condition

Note: keep scrolling thumbnails to see all 30 images of this set

Sleeping Man / 1930 / Catalog raisonné: Teller 11A / 4” x 4 ⅞”

Delayed Departure / 1935 / Catalog raisonné: Teller 18A / 5 ¾” x 6 ¾”

Putting on the Jacket / 1945 / Catalog raisonné: Teller 37A / 3 ⅜” x 6”

Park Bench / 1946 / Catalog raisonné: Teller 40A / 4 ⅞” x 5 ⅞”

In the Square / 1949 / Catalog raisonné: Teller 44A / 3 ⅜’ x 5 ⅜”

Sweet Sixteen / 1954 / Catalog raisonné: Teller 49A / 4” x 5 ¾”

Lunch Break / 1956 / Catalog raisonné: Teller 50A / 3” x 4 ⅞”

Girl at Soda Fountain / 1959 / Catalog raisonné: Teller 54A / 3” x 5 ⅜”

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1 in stock


This suite gathers the best of Isabel Bishop’s “lost” etchings. Created over three decades, the plates were  worked to varying degrees of completion, put aside, and forgotten. They were uncovered in 1983 when Bishop finally dismantled the Union Square studio she occupied for so many years.

Like most of Isabel Bishop’s graphic work, these were printed in editions by master printer Stephen Sholinsky. (Bishop proofed her own plates only sporadically, never completing intended editions.) Each of these prints bears Sholinsky’s embossed chop in the lower right margin, and Bishop’s pencil signature below the image.

The edition of Eight Etchings, 1930–1959 includes 50 numbered impressions of each image. There are 10 more signed proofs of each image, marked as printer’s proofs, BAT, etc.

One set is marked “Whitney Proof” on each etching, and is held in that Museum.

The set we are offering is in exceptionally good condition. There is no trace of mat burn, light damage, hinge remnants, or any other evidence that these were ever displayed.

Each print is placed in a folded sheet of the same heavy Rives paper. Two more folded sheets bear the letterpressed title page, the foreword by Sylvan Cole, the list of images, and publication data. This last page is also pencil numbered and signed by Bishop. These loose signatures are gathered into a beautiful, sturdy, archival, clamshell box. The box measures 11 ½” x 14 ½” x 1 ⅛”. It is covered in warm grey cloth, with gold-stamped type.

Altogether, this package is a joy to peruse. The owner can safely hold and directly view each etching, without ever touching it. The format is also ideal for libraries and university art collections with limited archive capacity, as these original works are contained and protected in such compact form.

Framing or other display presents no challenge, since all sheets are gathered but not bound.

Additional information