Steven Thomas, Inc.

Updated August 29, 2015

Fine Prints: Alphabetical by Artist

All items are hand signed by the artist unless specifically noted otherwise.

All items are properly matted and unframed unless otherwise noted. All defects, minor and major, are noted.

Please See our "Conditions of Sale" page for information on shipping, guarantees, etc.

You can jump to artist's last name by using the alphabet, below. Also, you can search for a given name, item (e.g. "elephant"), location, etc. by using the "Find" function on your web browser. PC users: Control + F and Mac users: Command + F.

 

Alphabetical by Artist: A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X | Y | Z

 

GRACE ALBEE (Amer. 1890-1985)

SUB TREASURY BUILDING", N.Y. ,” wood engraving, 1947, LOC4, ed. 25, 8 3/8 x4 5/8.” $1150. Signed in pencil. Provenance: Bethesda Art Gallery and with original invoice.

JAMES E. ALLEN (Amer. 1894-1964)

BRAZILIAN BUILDERS,” etching, 1933, R59, ed. c. 50, 16 7/8 x 8 1/2.” Signed in pencil. $3,200.

Inscribed with title in lower margin and with original price of $18.00. This image was on the cover of the Herald Tribune Magazine on Oct. 15, 1933. $100 prize for best print in 1934, Philadelphia Print Club. Few tape stains upper margin edges, well out of image.

JAMES E. ALLEN (Amer. 1894-1964)

“FOUR PIPE LINES,” lithograph, 1937, R12, ed. 20, 15 x 10 5/8.” Signed in pencil. $2850. An uncommon image.

JAMES E. ALLEN (Amer. 1894-1964)

“KILL CREEK (Train), lithograph, 1937, R16, ed. 25,  11 7/8 x 9.” Signed in pencil. $975. From the family of the artist (full provenance available to the buyer). Exhibited in “Working America” at the Metropolitan Museum in 1983.

JAMES E. ALLEN (Amer. 1894-1964)

“OIL REFINERY I,” lithograph, R24, ed. 40, 14 5/8 x 9 3/8.” Signed in pencil.  $1150. From the family of the artist (full provenance available to the buyer). Light staining upper left margin edge, well out of image.

JAMES E. ALLEN (Amer. 1894-1964)

“OIL REFINERY II,” lithograph, R25, ed. 15,  15 ½ x 9.” Signed in pencil. $1300. From the family of the artist (full provenance available to the buyer).

JAMES E. ALLEN (Amer. 1894-1964)

“PIPE AND BRAWN,” lithograph, 1937, R28, ed. 40, 11 7/8 x 14 1/2.” Signed in pencil. $2450. This image is rarely seen.

 

JAMES E. ALLEN (Amer. 1894-1964)

“PIPE LAYERS I,” lithograph, 1937, R29, ed. 40,  14 ¾ x 11 ½.”  Signed in pencil. $1650. From the family of the artist (full provenance available to the buyer).

JAMES E. ALLEN (Amer. 1894-1964)

“S-CURVE,” lithograph, 1937, R36, ed. 60, 14 ½ x 11 ½.”  Signed in pencil. $1750. From the family of the artist (full provenance available to the buyer). AKA “Pipe Layers II.” Exhibited in “Working America” at the Metropolitan Museum in 1983. Very faint toning in the old mat opening. Tape remnants upper margin edge.

JAMES E. ALLEN (Amer. 1894-1964)

“THE AQUADUCT,” lithograph, 1937, R1, ed. 40, 11 3/8 x 14 5/8.” Signed in pencil.  $1650. From the family of the artist (full provenance available to the buyer). Tape remnants upper margin edge.

JAMES E. ALLEN (Amer. 1894-1964)

“THE BRIDGE,” lithograph, 8 5/8 x 6 ½.” Signed in pencil. $1250. From the family of the artist (full provenance available to the buyer). Not listed in the Mary Ryan Gallery’s exhaustive catalog of 1984, hence probably quite rare. Very faint toning in the old mat opening.

JAMES E. ALLEN (Amer. 1894-1964)

“THE TRENCH,” lithograph, 1937, R43, ed. 30, 15 ¼ x 10 ½.”  Signed in pencil.  $1650.  From the family of the artist (full provenance available to the buyer). Very faint toning in the old mat opening.

 

JOHN TAYLOR ARMS (Amer. 1887-1953)

“IN MEMORIAM" (North Portal of Chartres Cathedral), etching, 1939, F317, ed. 312, 14 5/8 x 12."Signed in pencil. $2950. Pictured in American Prize Prints of the Twentieth Century, 1949. It has been said that this plate took about 1000 hours to complete. Printed on light blue/green paper. Large (full?) margins; Small hinge remnants upper corners.

 

PEGGY BACON (Amer. 1895-1987)

PICNIC,” drypoint, 1926, F65, 5 3/4 x 8 1/4.” Signed in pencil. $1,950.

Very faint light striking in old mat opening. Full margins. With original label from Kraushaar Galleries, NYC. This print is not commonly seen. People in print are (l. to r.) artist John Carroll, his wife Pinkey, Bacon and her (then) husband Alexander Brook.

JOHN BEERMAN (Amer. b. 1958)

[CLOUDS], etching & aquatint, 1990, ed. 140/200, 7 3/4 x 10 3/4.” Signed in pencil. $450.

 

CECIL C. BELL (Amer. 1906-1970)

EAST RIVER SWIMMERS,” lithograph, 1936, ed. 5/20, 11 3/8 x 15.” Signed in pencil. $1,250.

Bell did a painting of this same subject in 1937.

CECIL C. BELL (Amer. 1906-1970)

EAST SIDE RELIGIOUS CELEBRATION*,” etching, 1936, ed. 18, 13 1/4 x 9 3/4.” Signed in pencil. $1,000.

*Also known as “Angels Over Delancey Street.” A wonderful New York City print purchased from the estate of the artist.

 

VIRGINIA BILL (Amer. early 20th c.)

“IN CENTRAL PARK,” Provincetown white-line color woodcut, ed. small, 10 3/8 x 9 ¾.”  Signed in pencil. $1350. A wonderful scene with great colors! With original label giving an alternate title, “Seals in the Park,” the artist’s New York City address and the original price of $15.00

VIRGINIA BILL (Amer. early 20th c.)

“OLD JEWISH CEMETERY,” Provincetown white-line color woodcut, ed. small, 11 ¾ x 9.”  Signed in pencil. $750. This cemetery is located on W. 11th St. in the Village (NYC).

VIRGINIA BILL (Amer. early 20th c.)

ST. MARK'S CHURCH” [NYC], white-line color woocut, c. 1930, small ed., 12 x 9 3/4.” Signed in pencil. $1,950.

The new Who Was Who In American Art lists the artist and notes she exhibited at the Salons of America in 1934. I have also had a New York skyline white-line printby this artist in the past. Con Ed building in background. Full margins; very faint mat line.

 

JESSIE ARMS BOTKE (Amer. 1883-1971)

"DUCKS AND HOLLYHOCKS,” color woodcut, c. 1930, ed. likely small, 12 1/2 x 9 3/4.” Signed in pencil. $5750. According to Annex Galleries, this image was created after one of her paintings with similar imagery. This rural garden was probably the artist’s garden in Santa Paula, California. Jessie and Cornelius collaborated on a number of their color linocuts in the Arts and Crafts style, signing them “Botke Prints” or “The Botkes.”

 

NORBERTINE BRESSLERN-ROTH (Aust. 1891-1978)

“THE BLUE HOUSE, TRIPOLIS,” color linocut, 1928, 9 3/8 x 8 1/2.” Signed in pencil.  $1350. Slight cockling to the paper as is common with this thin paper. Noted "handdruck" in the margin and also titled in German,“Blaues Haus” on sheet edge. Titled in English on original mat. Uncommon.

 

GOTTLOB L. BRIEM (Germ./Amer. 1899-1972)

POWER, WASHINGTON BRIDGE, NYC,” etching, 1931, ed. 2/100, 14 3/4 x 9 1/2.” Signed in pencil. $1,250.

Glue stains along left margin edge.

GOTTLOB L. BRIEM (Germ./Amer. 1899-1972)

39th STR. & 6th AVE., NYC,”etching, c.1930, ed. 14/100, 13 x 9 3/8.” Signed in pencil. $1,250.

Light glue stain upper margin right margin corner. This image and the following 2 exhibit Briem’s etching talent and use of unusual perspectives.

 
 
 

PRESCOTT CHAPLIN (Amer. 1897-1968)

“TWELVE MEXICAN WOODCUTS IN COLOR,” woodcuts with hand coloring, 1931,ed. 64/100, 10 1/4 x 12 1/2” (or reverse), sheet size. Signed in pencil.  $3250. These are all hinged but not matted. Published by Murray & Harris, Los Angeles, with margins, contained in black paper covered portfolio.

ELIZABETH COLWELL (Amer. 1881-1954)

“THE THREE ELM TREES BY THE LAKE,” color woodcut, 1920, small edition, 9 x 14 3/8.” Signed in pencil. $2250. This is one of only three prints pictured in her 1910 catalog On The Making Of Wood-Block-Color Prints, and is also the largest and most expensive of 35 prints listed. Another impression exhibited at Brown-Robertson Gallery in NYC in 1921.

HOWARD COOK (Amer. 1901-1980)

“MERRY-GO-ROUND,” etching, 1931, D159, ed. 50 (only 25 printed),  9 7/8 x 7 3/4.” Signed in pencil.  $4250. Inscribed with the number 50 in a circle and “1931 imp.” Pictured in A Treasury of American Prints by Thomas Craven. Uncommon.

 

JOHN WESLEY COTTON (Amer. 1869-1931)

“IN THE PYRENEES,” color etching and aquatint, 1914, ed. 50, 7 3/8 x 4.” Signed in pencil. $650. I have seen this print titled as above but it sure looks like Bridal Veil Falls in Yosemite to me...
Other impressions of this print exhibited at the Art Institute of Chicago and the Print Makers Society of California in 1920.

 
 

ISAMI DOI (Jap./Amer. 1903-1965)

“MOONLIGHT,” linocut, 1924, 8 x 6.”  Signed in pencil. $1350. This is a very early work by this artist who was based in Hawaii.  Two chips/stains from attachment to original mount in margin edges well out of image.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $3450. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: from the estate of an heir of the artist.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $3450. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: From the artist’s estate.

ARTHUR WESLEY DOW (Amer. 1857-1922)

[SUNSET, IPSWICH MEADOWS], watercolor, c. 1890, 9 3/4 x 12 1/2” (sight).Unsigned. POR

Unsigned. This came from a collection of Dow items including 2 signed paintings, an Ipswich print, a rare Dow exhibition catalog and Dow’s own copy of the book By Salt Marshes that was exhibited at the Panama Pacific Exposition of 1915. These came to Arthur Warren Johnson (Dow’s first biographer and author of Arthur Wesley Dow, Historian—Artist—Teacher 1934) from Minnie Dow and passed through to the Ladd family of Ipswich. Full provenance.

 

WERNER DREWES (Amer. 1899-1985)

“LOOKING INTO SPACE,” woodcut, 1934, R101, few impressions, 11 x 8 1/8.” Signed in pencil. $1950.

WERNER DREWES (Amer. 1899-1985)

“SMALL FORMS ON CROSSING BANDS,” drypoint and roulette, 1935, R197, ed.  20, 7 1/8 x 10 5/8.” Signed in pencil. $1950.

FRITZ EICHENBERG (Amer. 1901-1990)

SUBWAY ("SLEEP"),” wood engraving, 1934, ed. 200, 6 1/4 x 4 3/4.” Signed in pencil. $1,650.

One of the artist’s early, iconic, images of New York created soon after his arrival in America in 1933.

 

FRANK MORLEY FLETCHER (Brit/Amer. 1866-1949)

Woodblock Printing [book], Book w/ original color woodcut, 1916, 7 1/2 x 5 1/8 [book].” Unsigned as usual. $275.

A treatise on woodblock printing by the important artist and teacher. (This book was used by the Chase brothers to teach themselves the art of woodblock printing while they were living in a teepee). This edition has an original woodblock print tipped in. (Later editions had a facsimile print tipped in). The book was issued with 2 different images, the one with the boat (pictured) and one with a cart.

 

 

ISAC FRIEDLANDER (Amer. 1890-1968)

"ROPE DANCER," color woodcut,1957, ed. 3/15, 16 1/8 x 8 1/2." Signed in pencil.  $1750. An uncommon image.

WANDA GAG (Amer. 1893-1946)

“SIESTA,” lirthograph, c. 1937, W114, ed. 50,  9 7/8 x 12 1/8.” Signed in pencil. $2250. Selected for Fine Prints of the Year volume 16 (1938) and selected for exhibit at the New York World’s Fair of 1939.

                               

EIZA DRAPER GARDINER (Amer. 1871-1955)

“BOY AND CAT,” color woodcut, <, 1916, F5, ed. 40, 9 1/4 x 7 5/8.” Signed in pencil. $1350. Signed in the image and trimmed to the image by the artist, which is common.

EIZA DRAPER GARDINER (Amer. 1871-1955)

“MY DOG,” color woodcut, c. 1917-20, F20, ed. 25, 9 3/4 x 7 1/2.” Unsigned*. $995. *Signed and titled on the reverse of the original mat. Purchased by the previous owner from the artist’s nephew. 2 tapes stains upper margin edges.

EIZA DRAPER GARDINER (Amer. 1871-1955)

“THE RIVER,” color woodcut, <1919, F37, ed. 40,7 1/2 x 10.” An unsigned proof.. $595. Titled in pencil. There was an “E.D. GARDNER” (sic) listed as exhibiting at the Society of Arts & Crafts Boston in 1897 with a Rhode Island School of Design connection, which could very well be Eliza Draper Gardiner.

 

GERALD GEERLINGS (Amer. 1897-1988)  

“GRAND CANAL, AMERICA” (“Electrical Building at Night,” drypoint, 1933, Cz31, ed. 100, 11 7/8 x 8 7/8.” Signed in pencil. $1950.  A great impression.

                               

EUGENE GRIGSBY (Amer. 1918-2013)

NO VACANCY,” woodcut, 1964, ed. 15/50, 16 x 11 1/2." Signed in pencil. $1,950.

This work grew out of the problems Grigsby and his family faced trying to find lodging traveling across the U.S. on his way to a teaching assignment in Arizona in 1946. Illustrated (full page) in Eye of the Shamba, retrospective catalog of the artist’s work at the Phoenix Art Museum (2001).Grigsby was a pupil of Hale Woodruff. He was also an educator, activist and diplomat. His works are in the collections of the Metropolitan Museum of Art, Library of Congress, Moorehouse College, the Milwaukee Museum, etc.

NORMAN BASSETT HALL (Amer. 1889-1957)

MY NEIGHBOR'S HOUSE,” color woodcut,ed. 79/100, 8 1/2 x 11.” Signed in pencil. $1,950.

Two thin spots professionally backed verso (one in margin one in sky) which are virtually undetectable. This impression pictured in American Bungalow magazine No. 72, Winter 2011, p. 60.

PETER C. HELCK (Amer. 1893-1988)

RAILROAD CROSSING,” lithograph, 1938, ed. 100, 16 x 12.” Signed in pencil. $1,350.

Tape stain along top right and left margin edges, well out of image area. Faint mat line from previous matting, matted out.

ELLISON HOOVER (Amer. 1888-1955)

“ARC DE TRIOMPHE IN SNOW," lithograph printed in light blue ink, c. 1930, ed. c. 12, 12 1/2 x 9 1/2.” Signed in pencil. $1750. This print is not commonly seen. The arch is located at the end of the Champs-Elysées, in the center of the Place Charles de Gaulle. It forms a nice pair with Hoover’s “Washington Arch in Snow.” Full sheet.

ELLISON HOOVER (Amer. 1888-1955)

“WASHINGTON ARCH IN SNOW," lithograph, c. 1930, LOC 6 (illustrated), ed. 40, 11 3/8 x 9 3/8.” Signed in pencil. $1750. Full sheet. This forms a nice pair with Hoover’s “Arc de Triomphe in Snow.”

 

EDNA BOIES HOPKINS (Amer. 1872-1937)

"PETUNIA,," color woodcut, 1907-8, V51ii, 7 x 4 1/2." Signed with chop mark in block only. $750.

Signed with the artist’s chop mark only. This original woodcut was bound into a high quality short-lived literary publication in 1908. It was printed “from the original blocks by careful working on a hand press.” There was also a “very limited” number of this image that was hand printed and signed in pencil (I have seen only one of those in 25+ years).

JANE BERRY JUDSON (Amer. 1868-1935)

AFTERLOW, SHEEPSCOT RIVER, MAINE,” color woodcut, c. 1920-30, ed. 18/100, 8 x 6.” Signed in pencil. $1,350.

Upper right corner clipped, well out of image area. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

 

JANE BERRY JUDSON (Amer. 1868-1935)

CAPT'N SETH'S DOORWAY,,” c. 1920-30, ed. 38/100, color woodcut, 8 x 6.” Signed in pencil. $1,395.

Judson studied at Pratt Institute in New York (where Dow taught but it has not been established if she studied with him) and studied woodblock printing with the British master, Allen Seaby in England. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

 

JANE BERRY JUDSON (Amer. 1868-1935)

OUR VILLAGE STREET,” color woodcut, c. 1920-30, 6 x 8.” Signed in pencil. $695.

With the artist’s Castile, NY label as well as a label from The 19th Annual Exhibit of Rochester Art, April 1932 at The Memorial Art Gallery, Rochester, NY. Judson studied at Pratt Institute in New York (where Dow taught but it has not been established if she studied with him) and studied woodblock printing with the British master, Allen Seaby in England. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

 

EDMUND D. KINZINGER (Germ./Amer. 1888-1963)

[TWO CUBIST FIGURES,], woodcut in brown, 1913, 12 1/4 x 9 1/2.” Estate stamped. $1,650.

Estate stamped verso and recto and dated 1913 in pencil in Kinzinger's hand. Kinzinger studied in Germany and in Paris, France with Leger and Matisse. He worked in Texas from 1936 until his death. Full margins; light scattered foxing in margins; old hinges upper margin edge. Slight bleed of pigments visible mainly verso. His early works are uncommon.

GENE KLOSS (Amer. 1903-1996)

QUIETUDE,” etching, 1926, K84, ed. likely small, 4 1/2 x 3.” $1,150.00 Signed in pencil. $1,150.

KARL KNATHS (Amer. 1891-1971)

“LILACS,” Print with original printing block,  Provincetown white line color woodcut, c. 1925, ed. very small,  9 5/8 x 5 ½.” POR Signed in pencil. POR.  Knaths’ white-line prints are extremely  rare.  Foxing, mostly in the margins; brown paper tape. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014. **SEE BELOW FOR PHOTO OF BLOCK**

KARL KNATHS (Amer. 1891-1971)

58. “LILACS,” The original printing block. Very nicely framed in frame matching above print. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.

YASUO KUNIYOSHI (Amer. 1893-1953)

“BULLFIGHT,” lithograph, 1928, D37, ed. 22/41, 9 1/8 x 13.” Signed in pencil. $1350. On chine applique. Very faint mat line, matted out; brown paper tape in margin edges, verso.

 

PAUL LANDACRE (Amer. 1893-1963)

“BALDY,” wood enrgaving, 1932, ed. c. 15, 3 3/8 x 4 3/8.” Signed in pencil. $3750. A scarce image.

PAUL LANDACRE (Amer. 1893-1963)

“BLACK STALLION,” wood engraving, 1940, LOC1, Cz17, 6 1/8 x 7 1/8.” Signed in pencil. $1250. Publication #17 of the Woodcut Society of Kansas City, 1940, and in its original folder. Slight cockling to the paper.

PAUL LANDACRE (Amer. 1893-1963)

“SULTRY DAY,” wood enrgaving, 1937, AAG ed. c. 200, 7 7/8 x 6.” Unsigned as usual. $2250. Full sheet.

ANTHONY LAPAGLIA (Amer. 1897-1993)

[TWO LONG-TAILED BIRDS ON A BRANCH], color woodcut, c. 1925, 13 1/2 x 9.” Signed in pencil. $395.

*Mallett’s Index of Artists Supplement lists Lapaglia as a New York artist who was a member of the Washington Square Outdoor Show Assn. The New York Historical Society has 10 of his woodblocks in their holdings.

CLARE LEIGHTON (Brit./Amer. 1901-1988)

“MAPLE SUGAR,” wood enrgaving, 1949-50, B612, ed. 10/50, 9 5/8” (tondo). Unsigned as usual. $2250. In the late 1940's Wedgwood commissioned Leighton to produce a series of 12 wood engravings (which they issued as pottery plates) to represent the traditional industries for which New England was famous:Maple Sugaring was for Vermont and New Hampshire.

TOD LINDENMUTH (Amer. 1885-1976)

“AT DAYBREAK,” color linocut, c. 1917*, 9 5/8 x 7 1/4.” Signed in pencil. $1750. *Signed and dated August 1939 (although the block was cut earlier).

 

NAN LURIE (Amer. 1910- )

“WOMEN;S HOUSE OF DETENTION,”  lithograph, c. 1936, ed. c. 25, 19 1/8 x 13.” Signed in pencil.  $2250. Lurie was born in New York and studied at the Art Students League. She worked for the WPA for four years. Published by the Federal Art Project, WPA, New York (not marked).

 

ORA INGE MAXIM (Amer. 1911-1968)

“THE BLUE FISH,” Print with original printing block, Provincetown white-line color woodcut, c. 1930, PPB46, ed. very small, 13 1/2 x 10 ¾.” Signed in the block ony. POR.  The block came from the artist's was exhibited in “Provincetown Printing Blocks,” (Provincetown Art Association & Museum, March 11 to April 24, 1988, #46). Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.**SEE BELOW FOR PHOTO OF BLOCK**

ORA INGE MAXIM (Amer. 1911-1968)

“THE BLUE FISH,” The original printing block. The block came from the artist's was exhibited in “Provincetown Printing Blocks,” (Provincetown Art Association & Museum, March 11 to April 24, 1988, #46). Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.

 

MARGARET J. PATTERSON (Amer. 1867-1950)

“CAPE COD HOUSE," color woodcut, c. 1920, 7 x 10 1/8.” Signed in pencil. $5750. A wonderful, richly-inked, impression. Trimmed to image by the artist and mounted by her on card as is common.

MARGARET J. PATTERSON (Amer. 1867-1950)

MORNING GLORIES,” color woodcut, c. 1925, ed. 100, *9 3/4 x 7.” Signed in pencil. $5,250.

*This is not numbered, but most of the artist's color woodblocks were planned as editions of 100 but it is widely believed that she didn't complete them. Faint mat line--matted out. This impression pictured in American Bungalow magazine No. 72, Winter 2011, p. 61.

MARGARET J. PATTERSON (Amer. 1867-1950)

[SPANISH COASTAL TOWN], color woodcut, c. 1909, ed. very small, 6 5/8 9 ½.” Unsigned.  $3350. This relates very strongly to an oil painting of the same title (Bakker 1990 catalog, #7, pictured).  In 25+ years of dealing in the artist’s work, I’ve never seen this image.

MARGARET J. PATTERSON (Amer. 1867-1950)

SWANS,” color woodcut, c. 1920, 7 1/8 x 10 1/8.” An unsigned proof. $5,750.

An unsigned proof from the estate of Sylvan Cole. A particularly luminous impression of this print with nice embossing ("gauffrage") on the wings. The sheet is trimmed to the borderline which is often the case with Patterson's woodcuts.

MARGARET J. PATTERSON (Amer. 1867-1950)

“THE SANDS, CHATHAM” (Mass.), color woodcut, c. 1915, 7 1/8 x 10 1/8.” Unsigned. $3500. Another impression of this print was exhibited at the famed Panama-Pacific International Exposition in San Francisco in 1915.

MARGARET J. PATTERSON (Amer. 1867-1950)

"VIGNOLE FROM A GONDOLA,” color woodcut, c. 1920, ed. small, 10 x 7.” Signed in pencil. $2250. Small chip to border, lower right.  An uncommon image.

 

CHARLES HOVEY PEPPER (Amer. 1864-1950)

[(BRETON?) WOMAN IN FOREST], color etching & aquatint, 9 7/8 x 6 7/8.” Signed in pencil. $1,250.

Inscribed “To my friend Birchall*, Feb. 27, ‘03.” *Possibly the artist William Birchall. Cockling to paper.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

[FRENCH WOMAN IN CLOAK AT DOORWAY], color woodcut,, c. 1906, 12 1/8 x 8 7/8.” Signed in block only as usual. HOLD.

Full provenance (from the artist’s estate). Trimmed to the image.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

[ORIENTAL WOMAN SEATED IN DOORWAY], color woodcut, c. 1903, 12 1/8 x 9 1/8.” Signed in block only as usual. $2,500.

Full provenance (from the artist’s estate). Signed in image, with artist’s chop and a script printer’s (?) mark only.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

SAMISEN DANCER,” color woodcut, 1903, 12 x 9 1/8.” Signed in block only as usual. $2,500.

Signed in image, and with artist’s chop only.

 

CHARLES HOVEY PEPPER (Amer. 1864-1950)

THE CONSPIRATORS,” color woodcut, 1906, 14 x 10 1/4.” Signed in block only as usual. HOLD.

Signed in image and with the artist’s chop only. Trimmed to the image. Full provenance (from the artist’s estate). Pictured in Meech and Weisberg, Japonisme Comes to America, p. 163.

 

JOHN E. PLATT (Brit. 1886-1967)

SNOW IN SPRINGTIME,” color woodcut, 1920, C6, ed. 39/100*, 9 5/8 x 11 7/8.” Signed in pencil. $1,475.

* (Only 71 impressions recorded). Very nice colors and impression. Nice embossing in the sky with the use of uninked blocks.

(VARIOUS ARTISTS) PROVINCETOWN

A MODERN PLIGRIM'S PRINT BOOK, (Book with11 original woodcuts), 1935, ed. unknown, 8 1/.2 x 5 3/4” (Book). Signed in blocks only. $950.

Published in cooperation with The Provincetown Art Assoc. & Museum. Original woodcuts by TOD LINDENMUTH, KARL KNATHS, CHAS. KAESELAU, OLIVER CHAFFEE, BLANCHE LAZZELL, AGNES WEINRICH, VOILLAN B. RANN, SAUL YALKERT, S. SHACKELFORD, E.R. EULER, ADA GILMORE.

LUIGI RIST (Amer. 1888-1959)

“FRUIT DISH,” color woodcut, 1945, W18, ed. 150, 14 x 9 ¾.”  Signed in ink. $5250.  Wonderful colors; slight toning in margins.

 

LUIGI RIST (Amer. 1888-1959)

SUNFLOWER,” color woodcut, 1940, W7, ed. 200, 11 3/4 x 15 7/8” Signed in ink. $3,400.

This print is pictured on the cover of The Prints of Luigi Rist, by Dave and Reba Williams. “Sunflowers” won first prize at the second annual exhibition of the American Color Print Society at the Philadelphia Print Club in January of 1941. Moderate toning & mat line in margins; 2 chips in upper margins, well out of image; light scuff, upper left, professionally touched up and virtually unnoticeable.

ERNEST DAVID ROTH (Amer. 1879-1964)

[LOWER MANHATTAN WITH BROOKLYN AND MANHATTN BRIDGES], graphite and pen & ink, c. 1935, 12 3/4 x 9 1/2.”  Signed.  $1250.

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RUDOLPH RUZICKA (Czech./Amer. 1883-1978)

NEWARK: BROAD STREET,” pencil & watercolor, 1916, 8 1/2 x 5 1/2." Signed in pencil. $2,500.

This watercolor came from an important Czechoslovakian collection. Full provenance available to purchaser. This would appear to be a study for the color wood engraving of the same title that was published in 1917.

LOUIS SCHANKER (Amer. 1903-1981)

“3 FIGURES, #2,” color woodcut, 1944, BM45, ed. 6/35, 6 x 7 1/8.”  Signed in pencil. $1175. From “The Line Form Color” portfolio. Small 1/4” chip in upper right margin, out of image area.

LOUIS SCHANKER (Amer. 1903-1981)

“CAFE #1,” color linocut and woodcut, 1938, BM14, ed. 2/35, 9 x 5 1/2.”  Signed in pencil. $1250. With pencil inscribed lines for matting identical to the ones that appeared on another impression of this image that sold at Swann Galleries in March of 2007. Even toning to the paper.

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EMMA SCHLANGENHAUSEN (Aus. 1882-1947)

LEGENDE [book], book with 10 original woodcuts, 1936, 9 3/4 x 5 3/4" (book).Signed in pencil. $975.

This book contains 10 hand signed woodcuts measuring about 4 3/4 x 3" each. They are tipped in and titled on the mount. The book itself, is hardbound and, I am told, chronicles (in German) the legend of Christmas and is by Robert West. The 3 page text is in typescript and the title page is hand drawn, which leads me to believe this book is unique or a mockup for a published work. A stunning book. Book is signed and dedicated by the artist inside the front cover. The artist studied with Alfred Roller and Koloman Moser. She also won a silver medal at the St. Louis Expo in 1904.

MILLARD SHEETS (Amer. 1896-1994)

“"FISHERMAN'S HOUSE, HAWAII," woodcut, 1950, ed. 8/75, 11 5/8 x 8 7/8.”  Signed in pencil. $1500.

 

JOHN SLOAN (Amer. 1871-1951)

NUDE SKETCHES,” etching, 1917, M187, ed. 70,* 3 1/4 x 6 1/2.” Signed in pencil. $1,350.

*Planned edition of 100. With a detailed pencil remarque, lower left margin, duplicating the feet of the left most figure. Light tape stains verso, extreme margin edges; tack holes sheet edges for drying.

CHARLES W. SMITH (Amer. 1893-1987)

ABSTRACTIONS, [Book w/ 6 orig. color woodcuts], ed. 250, 10 x 8 1/2.” Unsigned as issued. $2,400.

The artist’s landmark book, published in 1939 by the Johnson Publishing Company, New York. With 6 original abstract color woodcuts bound in. Prints are unsigned, as usual. Another copy of this work is in the collection of the Library of Congress.

WUANITA SMITH (Amer. 1866-1959)

"PROW," white-line color woodcut, ed. very small, 13 7/8 x 11 1/2." Signed in pencil. $1,950.

Possibly a scene in Provincetown, Nantucket or Delaware... Large margins; few printer's creases in margins. Very faint toning in old mat opening. The artist had a print (catalog #58, "Wharfs") in the landmark exhibit of 1983, Provincetown Printers: A Woodcut Tradition.

WUANITA SMITH (Amer. 1866-1959)

MID-SUMMER" (Poppies), white-line color woodcut, ed. small, 12 x 6 1/2.” Signed in pencil. $1,250.

Lovely colors and impression.

 

MAUD HUNT SQUIRE (Amer. 1873-1955)

“PETITE FILLE A CONCARNEAU,” color etching & aquatint, 1907, ed. likely small, 6 1/8 x 4 ¾.” Signed in pencil. $1750. Referring to Mary Ryan’s 2000 catalog, Tres Complementaires, this is typical of the color etchings Squire produced in Paris and Brittany during 1907 (although this image is not in the catalog). Signed and located, “Paris” in margin.  Titled “Little Girl, Concarneau” and with price of $6.00, verso.  Staining and some skinning upper margins edges, well out of image.

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M. LOUISE STOWELL (Amer. 1861-1930)

SANCTA CECELIA,” color woodcut*, ed. small, 7 1/8 x 9 1/8.” Signed in block only. $1,450.

Not pencil signed. After a design by Harvey Ellis (and with his monogram in the image, upper left). Tipped onto its original mount and signed, dated noted “The Far East Shop, Rochester, N.Y.” in letterpress on the mount. Mount is stained but print is fine. Uncommon. *There seems to be other printing elements involved in addition to woodcut...

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M. LOUISE STOWELL (Amer. 1861-1930)

[ST. MICHAEL OVER MONT SANIT-MICHEL], color woodcut*, ed. small, 6 1/4 x 9.” Signed in block only. $1,450.

Not pencil signed. After a design by Harvey Ellis (and with his signature in the image, upper left). Tipped onto its original mount and signed & dated in letterpress in the margin. Embossed “M.L.S.” in print. Noted “The Far East Shop,Rochester, N.Y.” on the mount. Mount is stained but print is in fine Uncommon. *There seems to be other printing elements involved in addition to woodcut...

JULIUS TANZER (Amer. 1905-1963)

“REMOVAL OF THE 2nd AVENUE EL,” lithograph, c. 1942, ed. small, 11 ½ x 13 ½.”  Signed in pencil.  $1250. Rare.

GRACE MARTIN TAYLOR (Amer. 1902-1995)

THE MIMIC,” Provincetown white-line color woodcut, 1958/1973, ed. very small, 14 1/2 x 12.” Signed in pencil. $2,500.

Inscribed in pencil with the title and “Artists Proof II” also inscribed in lower margin “Proof 2” and “9-1-73.” Taylor carved the block in 1958 and also printed an edition in 1973. Some light scattered foxing in margins. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.

BYRON THOMAS (Amer. 1902-1978)

“SKATER,” lithograph, 1939, ed. 50, 11 5/8 x 14 5/8.” Signed in pencil. $950. Another impression of this print was exhibited (catalog #30) in "BYRON THOMAS: A Retrospective Exhibition," held 22 September to 18 October 1964, Dartmouth College, Hanover, NH. (Traveling to Babcock Galleries and Springfield Art Museum, Springfield, MO). Full sheet; tape remnants upper margin edge, well out of image.

 
 

EMILE A. VERPILLEUX (Brit. 1888-1964)

“TOWERING NEWCOMER,” color woodcut, 1929, ed. small, 18 x 13.” Signed in pencil. POR. With original label from Kennedy Galleries giving the title.  A nice vintage view of City Hall and the Woolworth Building (The “Newcomer”??).  Typical oil pigment bleed in the margins. Some soiling in margins.  Rare!

JACQUES VILLON (After), (Fr. 1875-1963)

COMPOSITION,” color etching & aquatint, 1928, GP660, ed. 20/200, 19 5/8 x 13 5/8.” Signed in pencil. $2350. Very large (full?) margins. Few spots, left margin edge, well out of image area.

 

 

FEROL SIBLEY WARTHEN (Amer. 1890-1987)

“LIGHTHOUSE, PROVINCETOWN,” Provincetown white line color woodcut, 1952/1977, ed. c. 30, 11 x 13.”  Signed in pencil.  $4750. Inscribed on the reverse: “’Lighthouse, Provincetown,’ Block VIII, cut Nov. 1952/One block method, watercolor, spoon-rubbed/ Print #30, Sept. 1977, Ferol Sibley Warthen.”  Wonderful colors and printing of this large Provincetown print. Another impression pictured in Blanche Lazzell: The Life and Work of an American Modernist, p. 199.

ERNEST W. WATSON (Amer. 1884-1969)

“COAL YARD,” color linocut, ed. 60/100, 9 1/8 x 7 7/8.”  Signed in pencil.  $650. Very faint mat line, matted out. Few specks of light foxing in the margins. Good colors in this very atmospheric image.

MAX WEBER (Russ.-Amer. 1881-1961)

“NUDE WOMAN WITH ARM UPRAISED,” linocut, 1930-2, R42, 6 x 2 3/4.”  Signed in pencil.  $1200. Label from original frame reads “B Torso $45.” Northwestern University has this same image in their collection and theirs is in color. From the porfolio “Woodcuts and Linoleum Blocks by Max Weber,” New York, E. Weyhe, 1956. One of 5 signed prints included in the first 25 portfolios.

 

REYNOLD WEIDENAAR (Amer. 1915-1985)

“BRIDGE BUILDERS, MACKINAC STRAITS,” mezzotint, 1956, ed. 243, 12 3/4 x 6 7/8.”  Signed in pencil.  $1850. With original AAA label. Two light tape stains margin edges, verso.

REYNOLD WEIDENAAR (Amer. 1915-1985)

“TRAIN CARRIER, LUDINGTON,” etching, 1964, ed. 4/200,* 13 x 16 7/8.”   Signed in pencil.  $2500. *This print is rarely seen, leading me to think that, given this low number, that the edition was never completed. I can find only one auction sale and one museum holding of this print. With label of National Academy of Design Exhibit 139, 1964. Also noted in margin (in the artist’s hand?) “This impression awarded the Arms Memorial Prize.”

 

AGNES WEINRICH (Amer. 1873-1946)

“FRUIT BOWL,” Provincetown white-line color woodcut, with original printing block, c. 1920, ed. very small, 10 ½ x 10 ½.”  Signed in pencil. POR. Weinrich’s prints are uncommon; more so with the original printing block that retains nice colors.Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014. **SEE BELOW FOR PHOTO OF BLOCK**

AGNES WEINRICH (Amer. 1873-1946)

“FRUIT BOWL,” The original printing block. Weinrich’s prints are uncommon; more so with the original printing block that retains nice colors. The block was exhibited at the Provincetown Art Association and Museum, March 11-April 24, 1988  [“Provincetown Printing Blocks.”], catalog #17. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.

AGNES WEINRICH (Amer. 1873-1946)

“STILL LIFE: #6” Print with original printing block,  Provincetown white line color woodcut, c. 1920, ed. small, 12 x 8 7/8.”  Signed in pencil.  POR. The print exhibited: “The Provincetown Print 1915-1996,” Prov. Art Assn. & Museum, June 21 to July 15, 1996. The block is nicely framed. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.**SEE BELOW FOR PHOTO OF BLOCK**

AGNES WEINRICH (Amer. 1873-1946)

“STILL LIFE: #6” The original printing block. Very nicely framed in frame matching above print. The block was exhibited at the Provincetown Art Association and Museum, March 11-April 24, 1988  [“Provincetown Printing Blocks.”], catalog #20. Exhibited at the Provincetown Arrts Association and Museum, "Provincetown Print" May 23- August 10, 2014.

 

WILLIAM L. WYLLIE (Brit. 1851-1931)

BRITTANIA AND OTHER J-CLASS YACHTS OFF NO-MAN'S LAND FORTIN THE SOLENT,” etching, 3 1/2 x 13 1/8.” Signed in pencil. $1,250.

 

 

ANDERS ZORN (Swed. 1860-1920)

“EKA,” etching, 1913, A255, HH260, 3 5/8 x 4 3/4.”  Signed in pencil.  $1100.

Very faint old mat line well out of the current matting configuration.

 

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