Steven Thomas, Inc.

Updated April 3, 2017

IMPORTANT: We are actively buying but are no longer doing print fairs. All of our new inventory will be showcased first in email "Blasts" and shown on our "Current Catalog" page. (You can sign up for these emails at the bottom of this page). Recipients of the email blasts will see our newest items first. Those who know us understand that we offer unusual items, fairly priced.

 

 

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

 

ELEANOR BEATRICE ACKER (Amer. b. 1907)

"SALANDRA," color woodcut, 1940, ed. 1/5, 15 x 11 1/4.” Signed in pencil. $950. A simply stunning print reminiscent of the works of Edna Hopkins. Works by this New Jersey printer were printed in small editions and are, sadly, not commonly encountered. Print Magazine, 1931: Print Club of Phila. 10th Annual Exhibit of Block Print Makers she is singled out along with Blanche Lazzell, Frances Gearhart, Wuanita Smith, William Rice, etc.

JAMES E. ALLEN (Amer. 1894-1964)

"THE FLATS," lithograph, 1937, R11, ed. 40, 11 3/8 x 14 5/8.” Signed in pencil. $2750. Inscribed by the artist. This image is not commonly seen. With a great train somewhat reminiscent of Benton’s “Going West.” Pristine condition, never before hinged or matted.

VIRGINIA BILL (Amer. c. 1885-1960)

“OLD JEWISH CEMETERY,” Provincetown white-line color woodcut, ed. small, 11 3/4 x 9.”  Signed in pencil. $950. This cemetery is located on W. 11th St. in the Village (NYC).

VIRGINIA BILL (Amer. c. 1885-1960)

[SKATERS], etching & drypoint with hand coloring, ed. small, 7 7/8 x 5 3/4.".”  Signed in pencil. $950. This work shares elements with the artist's white-line woodblock of skaters in Washington Square listed above.

EDMUND BLAMPIED (Brit. 1886-1966)

"VIN ROUGE,” drypoint, 1932, A167B, ed. 1/100,* 9 1/4 x 11 3/4.” Signed in ink. $1250. *Annotate in the artist’s hand in ink: “1/100, Proof selected for Mr. Bailey by Edmund Blampied.”
Lovely framing with 8 ply matting.

BERNARD BUFFET (Fr. 1928-1999)

"LE MOULIN DE LA GALETTE," color lithograph, 1965, S308, ed. 300, 25 1/2 x 19 5/8.” Signed in pencil. $1300.

GEORGE ELBERT BURR (Amer. 1859-1939)

"EVENING, NORTH WALES," color etching & aquatint, c. 1915, S44, 6 1/8 x 9 3/8.” Signed in pencil. $850. Noted “No. 20” in lower right. (Seeber’s impression was No. 18 and he notes striking variations in colors within the edition). Another impression of this print was exhibited at the Panama Pacific Exposition in San Francisco in 1915.

GEORGE ELBERT BURR (Amer. 1859-1939)

"MT. BYERS, COLORADO” color etching & aquatint, 1915, S74, ed.100, 6 7/8 x 9 7/8.” Signed in pencil. $1450. Another impression of this print was exhibited at the Art Institute of Chicago Exhibition of Etchings in March of 1915. With the artist’s original label giving title, proposed edition (150) and print number in edition (2). Pictured in color in A Spectrum of Imnovation: Color in American Printmaking by David Acton.

GEORGE ELBERT BURR (Amer. 1859-1939)

"OASIS OF THE SEVEN PALMS, CALIFORNIA," etching, S195, ed.40, 5 x 6 7/8.” Signed in pencil. $400. Initialed by the artist in the margins as well.

GEORGE ELBERT BURR (Amer. 1859-1939)

"SUPERSTITION MOUNTAIN, APACHE TRAIL, NIGHT," etching, aquatint & drypoint, c. 1931, S325,,11 3/4 x 9 3/4.” Signed in pencil. $1800. A wonderfully dark, atmospheric impression An Impression of this print was exhibited at the Printmakers Society of California exhibit in 1932. Tape stains in broad margin edges.

GEORGE ELBERT BURR (Amer. 1859-1939)

"WHIRLWINDS, MOJAVE DESERT," etching, S197, 4 7/8 x 6 3/4.” Signed in pencil. $400. Noted by Burr in margin: “Trial Proof, Final State.” Initialed by the artist in the margins as well.

MASSIMO CAMPIGLI (Ital. 1895-1971)

“DAMA BLANCA,” color lithograph, 1962, MT182, ed. 125, 17 3/4 x 21 3/4.” Signed in pencil. $900.

 

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.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $2950. 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. $2950. 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)

“POPLARS ON THE AVEN RIVER," etching, 1887, 5 3/4 x 3 3/4.” Signed in the plate as usual. $475. One of Dow’s earliest graphic works, it illustrates an old Breton song. Illustrated in Arthur Wesley Dow by Frederick C. Moffatt p. 30. Framed.

KERR EBY (Amer. 1890-1946)

"TWO BRIDGES," etching, 1930, G149, ed. 90, 7 3/4 x 14 7/8.” Signed in pencil.  $750. An impression of this print was exhibited at the Brooklyn Society of Etchers exhibit in 1931.

FRITZ EICHENBERG (Amer. 1901-1990)

"CENTRAL PARK IDYLL*," wood engraving, 1935, LOC2**, ed. 25, 7 3/4 x 6.”. Signed in pencil.  $950.*Chauffeur waits as rich man feeds swan. Uncommon.**Library of Congress impression has a WPA stamp. Extremely faint toning on old mat opening.

ERNEST FIENE (Amer. 1894-1965)

“CITY LIGHTS 9MADISON SQUARE PARK, N.Y.),” etching & drypoint, 1932*/1940,AAA ed. 250. 11 3/4 x 9 1/4.” Signed in pencil. $795. With original label from Associated American Artists (*There was also an edition of 40 titled “Madison Square Park” in 1932). Very rich impression.

DON FREEMAN (Amer. 1908-1978)

“DRESS REHEARSAL,” lithograph, 1933, M68, small edition. 11 3/4 x 14 1/8.” Signed in pencil. $750. Tape stain lower margin edge, out of image area. Provenance: Margo Feiden Galleries, NYC.

DON FREEMAN (Amer. 1908-1978)

“ENEMIE'S PUBLIC,” lithograph, 1935, M103, ed. 35, 9 5/8 x 11 3/4.” Signed in pencil. $850. Tape stain upper margin edge, out of image area.Provenance: Margo Feiden Galleries, NYC.

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.

MYRTLE M. YOUNG HOBART (Amer. 1873-1946)

[2 FIGURES READING BY A LAKE], monotypein colors, 1919, 6 3/8 x 6 7/8.” Signed in pencil. $750.Signed in pencil in the image (and dated) “Myrtle M. Young.” With a label from Oakland Museum verso. She shared a studio in San Francisco and exhibited with her artist husband Clark Hobart, who was himself known for his monotypes. Nicely framed.

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)

AFTERGLOW--SHEEPSCOT RIVER, ME.," color woodcut, c. 1925-30, ed. 19/100, 8 x 6.” Signed in pencil. $1350.

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)

GORGE OF THE GENESEE, NO. 2," color woodcut, c. 1925-30, ed. 100, 6 x 8.” Signed in pencil. $1350. 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.

ROCKWELL KENT (Amer. 1882-1971)

“THE OARSMAN,” wood engraving, 1931, BJ86, ed. 150, 5 1/4 x 6 7/8.” Signed in pencil. $2950. Very nicely framed with UV glass and 8 ply matting.

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. $1250. *Signed and dated August 1939 (although the block was cut earlier).

 

SAMUEL MARGOLIES (Amer. 1897-1974)

“REFLECTIONS," (Central Park), mezzotint, 1941, AAA ed. 250,14 5/8 x 10 1/2.” Signed in pencil. $400.

 

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.

JACK McMILLEN (Amer. 1910-1999)

“FIREBOAT--BROOKLYN BRIDGE," lithograph, 1935, ed. small, 11 x 13 1/2.” Signed in pencil. $575. The artist was born in Texas (some sources say Connecticut) and died in California. He studied at the Art Students League in New York, The University of Kentucky, University of Illinois, Minneapolis School of the Arts and the University of Missouri. He painted WPA murals in D.C, Missouri, Georgia and Alabama.

THOMAS MORAN (Amer. 1837-1926)

“TOWER OF CORTES, MEXICO" etching & roulette, 1883, K35, 11 5/8 x 9 1/2.” Signed in pencil. $750. Not commonly encountered with the pencil signature.

LOUIS ORR (Amer. 1879-1961)

"THE ROCK HOUSE, NEAR CHARLOTTE, MECKLENBURG COUNTY, NORTH CAROLINA" etching, 10 1/8 x 8.” Signed in pencil. $475. From the suite of North Carolina etchings produced by the artist from 1939-1952. In original paper matting and tissue guard. Noted on the mat edge in pencil, “Plate XIX, Album IV.”

MARGARET J. PATTERSON (Amer. 1867-1950)

“CAPE COD HOUSE," color woodcut, c. 1920, 7 x 10 1/8.” Signed in pencil. $4500. 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. $3,950.

*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.  $2250. 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)

“THE SANDS, CHATHAM” (Mass.), color woodcut, c. 1915, 7 1/8 x 10 1/8.” Unsigned. $2250. 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. $1495. Small chip to border, lower right.  An uncommon image.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

[DUTCH WOMAN IN CLOAK AT DOORWAY], color woodcut, c. 1963, 12 1/8 x 8 7/8.” Signed in block only as usual. $2,800.

Full provenance (from the artist’s estate). Published by Kobayashi Bunshichi.
Printed to the image; signed in the image only.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

[DUTCH WOMAN IN FOREST], color etching & aquatint, c. 1903, 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)

"DYN-KO LOOKS AT THE GARDEN," color woodcut, 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. Published by Kobayashi Bunshichi.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

GEISHA," AKA THE JAPANESE DANCE, 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. Published by Kobayashi Bunshichi. AKA “Samisen Dance.”

 

STEELE SAVAGE (Amer. 1898-1970)

“DON JUAN,” pen & ink with white, 1932,9 5/8 x 6 3/8." Unsigned. $450. An Illustration for Kenneth How’s 1932 book The Other Don Juan. Savage was an American illustrator best known for his illustrations in Edith Hamilton’s Mythology and WWII recruiting posters. Unsigned; noted in pencil in margins: "Harbor Press" and "opp. p. 44" and "#2" and "DON JUAN" and "6508-5-3." A copy of article discussing this image and Rockwell Kent's drawing of the same subject in the December 1932 edition of The Bookman magazine accompanies the drawing. (This work was erroneously sold as a work of Rockwell Kent at Swann Galleries in 2004).

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.

BENTON SPRUANCE (Amer. 1904-1962)

“VAGRANT,” lithograph, 1938, FL158,, ed. 35, 14 1/2 x 8 3/8.”  Signed in pencil. $2000. Two tiny pieces of brown paper tape upper margin corners, well out of image.

ABRAM TROMKA (Amer. 1896-1954)

[HOBOS SLEEPING ON SIDEWALK], lithograph, c. 1935-40, ed. c. 25, 11 1/8 x 13 7/8.”  Signed in pencil. $400. A strong Depression-era scene.

EMILE A. VERPILLEUX (Brit. 1888-1964)

“TOWERING NEWCOMER,” color woodcut, 1929, ed. small, 18 x 13.” Signed in pencil. $2750. 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)

"SUNRISE," Provincetown white-line color woodcut, 1959, ed. small, 19 5/8 x 11 1/2.” Signed in pencil. $7500. Framed. Noted “Print 2.” Warthen learned the white-line method from Blanche Lazzell in the early 50’s. One of the largest and perhaps best prints Warthen ever executed! Another impression of this print exhibited in “Ferol Sibley Warthen” at the Provincetown Art Association and Museum, June 29--July 21, 1985. With label from the Cape Cod Art Association First Jury Show, 1962 and a label from Annual Exhibit of of Boston Printmakers at the MFA, Nov. 1959. Also exhibited at the Washington Printmakers Jan. 1962. Print one of this image was exhibited at the Provincetown Art Association and Museum, June 1959. With sales history of this print as well as Print 1.

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.

HERBERT WATERS (Amer. 1903-1996)

[NEW ENGLAND VILLAGE IN WINTER*], color woodcut, c. 1940, 6 1/8 x 5 1/4.” $195. Thin tape stains top and bottom margins in center, out of image area. *According to the accompanying label, this is White River Jct., Vermont. It is looking Northeast from the current Rt. 4 over the White River into Hartford Village. 1/8" tape stain upper margin edge.

AGNES WEINRICH (Amer. 1873-1946)

“GRAPES & PEACHES" *Print with Original Printing Block), Provincetown white-line color woodcut, c. 1920, ed. very small, 10 1/2 x 10 1/2.”  Signed in pencil. POR. Weinrich’s prints are uncommon; more so with the original printing block that retains nice colors. The block was exhibited in “Provincetown Printing Blocks,” (Provincetown Art Association & Museum, March 11 to April 24, 1988), #17. AKA “Peaches & Plums.” Both the print and the block were exhibited at the Provincetown Art Association & Museum “The Tradition of the Provincetown Print May 23--August 10, 2014. The blue lines in pastel were drawn by Weinrich to frame the print. I have seen this on other woodblock prints of hers. **SEE BELOW FOR PHOTO OF BLOCK**

AGES WEINRICH (Amer. 1873-1946)

“GRAPES & PEACHES" Original Printing Block), 10 1/2 x 10 1/2.”  En suite with the above.

WILLIAM ZORACH (Amer. 1887-1966)

“MADONNA AND CHILD” color linocut with gold additions, 1949,*, ed. very small, 8 1/4 x 5 3/4.” Signed in pencil. $1500.

 

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