Steven Thomas, Inc.

Updated April 21, 2014

 

SALE!!!!!...continues....

April 2014: WHY NOT CONTINUE THE SALE?? Everyone who has asked for a sale price has bought the print--that's how good the prices are!!

SALE!!!! Any prints below marked "SALE Ask for Price" are drastically reduced. Years ago I tried to confine my inventory to 8 solander boxes...now I'm at 10 and growing...time to clean house. The more prints you pick, the steeper the discount. If you want it, you will be able to buy it. (Ask about other unmarked prints too...)

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)

“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)

“MEN AND IRON,” lithograph, 1935, R21, 14 ½ x 9.” Signed in pencil. $2500. From the family of the artist (full provenance available to the buyer). Noted “Hyatt Series” in pencil in lower margin. Very faint toning in the old mat opening.

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 I” (Variant), lithograph, R24a, ed. 40,  16 x 11.” Unsigned. $500. From the family of the artist (full provenance available to the buyer). This is a variation of Ryan’s catalog #24, “Oil Refinery I,” but, while it is the same image, it is noticeably larger. Perhaps and early working proof before he finalized it into the smaller version.

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.

GEOFFREY ARCHBOLD (Amer. 1902-1938)

“DRUMMER," pochoir, c. 1930, ed. c. 25, 2 1/2 x 2 1/4.” Unsigned. $350. Stamped on original backboard “No. 27 in A.F.A. Exhibition No. 301.” (American Federation of Arts). With typed label giving artist’s name and title. Titled in margin and also numbered #27. Archbold died at a young age and his works are rarely encountered. I have been unable to determine the date of this AFA exhibition but I believe it was in the mid 1930's. Tape remnant lower margin edge well out of image.

GEOFFREY ARCHBOLD (Amer. 1902-1938)

“HOMO," pochoir, c. 1930, ed. 5/25, 5 1/4 x 3 3/4.” Signed in pencil. $750. Stamped on original backboard “No. 30 in A.F.A. Exhibition No. 301.” (American Federation of Arts). With typed label giving artist’s name and title. Archbold died at a young age and his works are rarely encountered. I have been unable to determine the date of this AFA exhibition but I believe it was in the mid 1930's.

GEOFFREY ARCHBOLD (Amer. 1902-1938)

“STILL LIFE," pochoir, c. 1930, ed. c. 25, 7 3/8 x 5 1/4." Signed in pencil. $750. Stamped on original backboard “No. 34 in A.F.A. Exhibition No. 301.” (American Federation of Arts). With typed label giving artist’s name and title. Archbold died at a young age and his works are rarely encountered. I have been unable to determine the date of this AFA exhibition but I believe it was in the mid 1930's.

 

JOHN TAYLOR ARMS (Amer. 1887-1953)

“FROM KNOEDLER’S WINDOW, MCMXXV,” etching, 1935, F293iv/v, ed. 271, 5 ¼ x 4 7/8.”  Signed in pencil.  $750. Dated 1936 and “IV.”  Nice crisp impression.  Paper clip stain upper margin edge, well out of image.

 

ETHEL V. ASHTON (Amer. 1896-1975)

“PICNIC,” lithograph, c. 1940, ed. small,  9 x 12.” Signed in pencil.  $295. Ashton was a Philadelphia artist who was a studio partner for many years with Alice Neel. In 2013 she was the subject of a retrospective at the Woodmere Museum in Philadelphia.

SALE!! Ask for new price

MARIO AVATI (Fr. b. 1921)

DES FRAISES AU MOIS D'AOUT (Strawberries),” color mezzotint, 1974, ed. 9/16, 9 5/8 x 12 1/8.” Signed in pencil. $750.

Provenance: Gage Gallery, Washington, D.C. Two tiny cloth hinge remnants upper margin edge.

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MARIO AVATI (Fr. b. 1921)

L’EAU A LA BOUCHE (Watermelon Slices),” color mezzotint, 1981, ed. 21/85, 11 1/4 x 15 1/2.” Signed in pencil. $825.

Provenance: Gage Gallery, Washington, D.C. Two tiny cloth hinge remnants upper margin edge.

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MARIO AVATI (Fr. b. 1921)

LA TABLE AUX RADIS (Radishes),” color mezzotint, ed. 26/85, 10 7/8 x 13 3/8.” Signed in pencil. $850.

Provenance: Gage Gallery, Washington, D.C. Two tiny cloth hinge remnants upper margin edge.

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MARIO AVATI (Fr. b. 1921)

UN OEUF ET DES COQUES (Eggs and Shells),” color mezzotint, ed. 51/85, 10 3/4 x 13 1/2.” Signed in pencil. $750.

Provenance: Gage Gallery, Washington, D.C. Two tiny cloth hinge remnants upper margin edge.

MILTON AVERY (Amer. 1893-1955)

"NUDE COMBING HAIR,” etching, 1950/61, L30, ed. 59/90, 8 ½ x 6 1/8.” Signed in pencil.  $4750. Etched in 1950 and printed in the edition of 90 in 1961 to accompany the special edition of Milton Avery: Paintings 1930-1960 by Hilton Kramer.  Tape remnants upper margin edge, verso, well out of image area.

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PEGGY BACON (Amer. 1895-1987)

"CONTENTMENT," lithograph, 1936, F127, ed. 35, 11 x 16.” Signed in pencil. $575.

Two tiny tape stains in 2 sheet corners, well out of image; a whisper of an old mat line, matted out.

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.

PEGGY BACON (Amer. 1895-1987)

THE SIGHTS OF TOWN" (Provincetown), pastel, 1945,15 1/2 x 19 1/2.” Signed. $3,500.

Titled in pencil in the lower margin. This painting is virtually identical to the lithograph by the artist of the same title that was created in 1946 (Flint 151). It is highly likely that this painting was exhibited in Bacon’s one person exhibit, “Summer Folks, Provincetown” held at the American British Art Center, October 29-Novemeber 17, 1945 but I have been unable to get a copy of the catalog to confirm it.

XAVIER J. BARILE (Amer. 1891-1981)

“SAILOR AND GIRL” (Pueblo, Colorado*), monotype, 1945, ed. 1, 9 x 13.”  Initialed pencil.  $525. With original label giving title, medium, date and original price of $450. Also signed on reverse in pencil “Xavier Barile by Camille B. Tortorella [the artist’s sister]. Inscribed in the plate, upper center, “Pueblo.” *Barile was head of the art department at Pueblo Jr, College from 1939-45.

CHARLES W. BARTLETT (Brit. 1860-1940)

MADURA,” color woodcut, 1916, M4, 11 3/4 x 8 3/4.” Signed in pencil. $1,350.

The scene is a former king’s palace used by Hindu merchants for displaying their wares. Lovely colors; likely never framed.

CHARLES W. BARTLETT (Brit. 1860-1940)

NEGISHI,” color woodcut, 1916, M29, 14 x 9.” Signed in pencil. $1,250.

Light even toning to the sheet.

CHARLES W. BARTLETT (Brit. 1860-1940)

SILK MERCHANTS, INDIA,” color woodcut, c. 1919, M22, 10 x 14 1/4.” Signed in pencil. $1,350.

 

CHARLES W. BARTLETT (Brit. 1860-1940)

TAJ MAHAL, TWILIGHT,”c. 1919 M14, color woodcut, 10 x 14 1/2.” Signed in pencil. $1,250.

 

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.

THOMAS HART BENTON (Amer. 1889-1975)

“MINSTREL SHOW,” lithograph, 1934, F7, ed. 100, 8 ¾ x 11 ½.” Signed in pencil. $4750.   An uncommon early print.  Included in the “Fifty Modern Prints Exhibition” at the Weyhe Gallery in NYC in February 1935. A fine impression; sheet has deckle edges on all sides. Three small tape stains, upper margin edge.

LEON BIBEL (Amer. 1913-1995)

WINDY CITY,” lithograph, 1937, ed. 16, 13 5/8 x 9 3/4.” Signed in pencil. $1,750.

Slight soiling in margins, well out of image area.

ANDRE BIELER (Swiss/Can. 1896-1989)

22. “LA LAINE DES MOUTONS” (“The Sheep’s Wool”),  color pochoir, c. 1930, ed. 3/25, 8 ¾ x 9 1/4.”  Signed in pencil. $825. Bieler was known to have experimented with pochoirs combined with woodcut in the late 1920’s to early 30’s but this work appears to be purely pochoir.  His editions were quite small because of the laborious printing process and he sold few of these works (Ainslie, p. 66). Another impression of this print is in the collection of the Canadian Museum of Fine Arts.

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.

ISABEL BISHOP (Amer. 1902-1989)

IN THE BUS,” etching, 1947, T41, ed. c. 200, 4 7/8 x 3 1/8.” Signed in pencil. $575.

Tape remant, upper margin edge, verso, well out of image area.

MORRIS BLACKBURN (Amer. 1902-1979)

RADAR AND EXHUST[sic],” serigraph in 10 colors, ed. 1/35, 11 7/8 x 9.” Signed in pencil. $875.

Titled, noted “serigraph in 10 colors” and with artist’s Spring St., Philadelphia address on the back of the original matting. Slight skinning and glue residue, upper margin corners, well out of image area.

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ARNOLD BLANCH (Amer. 1896-1968)

DUCK HUNTER,” color lithgraph, c. 1939, 8 1/8 x 13 1/4.” Signed in pencil. $375.

One of 100 prints chosen for Thomas Craven’s iconic 1939 volume, A Treasury of American Prints. Hinge stains and remnants upper margin edges and some mild edge skinning all well out of image.

CLARENCE W. BOLTON (Amer. 1893-1962)

“HILLTOP FARM,” lithograph, c. 1930, 8 ¼ x 12 ¾.” Signed in pencil.  $850. Titled in pencil lower margin. 

 

MUIRHEAD BONE (After) (Brit. 1876-1953)

[STOKING THE SHIP'S BOILERS], collotype with some hand coloring, c. 1917, 22 1/2 x 16 3/4.” Signed in pencil. $650.

Signed in pencil and with “M.B.” blindstamp. Mat line, matted out.

ROBERT BONFILS Fr. 1886-1972)

“LE TENOR,” color lithograph, ed. 15/32, 9 ¼ x 10 3/8.” Signed in pencil. $275.

FISKE BOYD (Amer. 1895-1975)

“CONCEPT” (UN Building), woodcut, 1951, LOC3, ed. 100, 11 7/8 x 8 7/8.” Signed in pencil. $495. Illustrated, Print Collector’s Quarterly 11.  This etching is based on a painting done in Ireland. Noted “F36” in lower right margin edge.

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FELIX BRACQUEMOND (Fr. 1833-1914)

”CANARD SURPRIS,”  etching, c. 1882,, L394, B778, ed. 100,14 x 10 1/2..” Signed in pencil. $525. Also with the initial “B” inscribed in ink, lower left margin. Repair to upper right corner just into image.

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.

GEORGE ELBERT BURR (Amer. 1859-1939)

”MOONLIGHT, PHOENIX,”  etching & aquatint, c. 1925, S266, 3 5/8 x 5 ¼.” Signed in pencil. $950.

LETTERIO CALAPAI (Amer. 1902-1993)

---WHY HAST THOU FORSAKEN ME?,” color woodcut, c. 1955, ed. 11/30, 19 7/8 x 13 7/8.” Signed in pencil. $750.

This is a color woodcut that Calapai created after plate 4 (LC161) from the Suite, “Seven Last Words of Christ.” This image was in “LETTERIO CALAPAI, Woodcuts and Wood Engravings 1934-1977, Retrospective Exhibition,” December 4 to December 31, 1977 No. 101. Printed on rose colored paper; full margins and just a whisper of an old mat line that is matted out.

SALE!! Ask for new price

DAVID YOUNG CAMERON (Brit. 1865-1945)

"PERTHSHIRE INTERIOR,” etching, 1893, R175, ed. c. 12, 7 x 10." $550.

Two tiny hinge remnants margin edge; faint toning from old mat. Aka "Interior, Perthshire."

MASSIMO CAMPIGLI (Ital. 1895-1971)

“COMPOSIZIONE CON DUE FUGURE,” color lithograph, 1965, MT197, ed. 152/210, 20 ¾ x 16 1/8.” Signed in pencil. $1250.

 

FEDERICO CASTELLON (Amer. 1914-1971)

MEMORIES,” lithograph, 1940, AAA ed. 250, 12 5/8 x 9 3/8.” Signed in pencil. $350.

 

SAMUEL V. CHAMBERLAIN (Amer. 1895-1975)

CURVING CANYON, NEW YORK,” drypoint, 1929, C86, ed. 93/100, 8 1/2 x 5 3/4.” Signed in pencil. $550.

 

PRESCOTT CHAPLIN (Amer. 1897-1968)

“AMANTES,” woodcut, 6 ¾ x 4 7/8.” Signed in pencil. $325.

 

PRESCOTT CHAPLIN (Amer. 1897-1968)

EL CARGADOR,” (“The Loader”) woodcut, c. 1930, ,7 x 4 7/8.” Signed in pencil. $425.

Pictured in Mexicans: Twelve Woodcuts by the artist, 1930, The University of Seattle Bookstore; Number 43, University of Washington Chapbooks. Plate 1.) Wonderful sense of movement much like John J.A. Murphy. Pinhole in upper margin, 3/4” out of image area.

WALDO S. CHASE (Amer. 1895-1988)

“SEATTLE SKYLINE,” color woodcut, 1927, ed. 99/100, 4 7/8 x 11 3/4.” Signed in pencil. $1650. Brother of W. Corwin Chase. The brothers taught themselves the art of the color woodcut in the mid 1920’s using Frank Morley Fletcher’s manual and produced magnificent color woodblocks for only about ten years. Although this is an edition of 100, I have never seen this image (going back over 30 years). Tight vertical printing crease in image.

HOWARD COOK (Amer. 1901-1980)

“NANNY AND KID,” etching & aquatint, 1937, D195, ed. c. 25,  8 1/8 x 11 3.48.” Signed in pencil.  $975. Uncommon (I can find no auction or dealer listings going back 25 years). Another impression of this print is in the collections of the National Museum of American Art, the Philadelphia Museum of Art and the University of New Mexico. With original backing paper giving title and price ($15.) and the address of Weyhe Gallery in New York. Glue stain upper margin edge, well out of image.

 

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JOHN WELSEY COTTON (Can./Amer 1869-1931)

BELLS OF CAPISTRANO,” etching & drypoint, 1918, 6 7/8 x 5.” Signed in pencil. $425.

Noted “No. 1” in margin. Titled and with artist’s Glendale, CA address in pencil lower left margin edge. Another impression of the print was exhibited at the Chicago Society of Etchers exhibit in 1918 and also at the Print Makers Society of Los Angeles in 1918.

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JOHN WELSEY COTTON (Can./Amer 1869-1931)

CARMEL MISSION,” etching, 2 3/4 x 3 7/8.” Signed in pencil. $295.

Slight cockling to paper.

JOHN WESLEY COTTON (Amer. 1869-1931)

“IN T HE 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.

 

JOHN WELSEY COTTON (Can./Amer 1869-1931)

THE POTTERY PAINTER,” color aquatint, c. 1918, ed. 1/25, 9 1/2 x 6.” Signed in pencil. $1,450.

Another impression of this print is in the collection of the California State Library. Very faint spot in sky.

ESTHER M. CRAWFORD (Amer. 1872-1958)

OLD BRIDGE, KIOTO,” color woodcut, c. 1915, 4 3/8 x 6 1/2.” Signed in pencil. $795.

A gem! A very strong Dow influence both in style, subject matter and size. Studied with Dow at Pratt Institute in New York and also with Nordfeldt in Chicago. May also have been influenced by Frank Morley Fletcher who taught in Santa Barbara...Most likely an impression of “Old Canal--Kioto” exhibited at The Print Makers of Los Angeles (later Printmakers Society of California) in 1915.

LESLEY B. CRAWFORD (Amer. 1887-1963)

“AT THE EMPIRE,” lithograph, 1939, ed. likely small, 9 1/8 x 7 ¼.” Signed in pencil. $300. The artist was based in New Jersey and Vermont.  The Smithsonian has an impression of “The Waiting Room” (as “Railroad Station”) in their collection. Her works are also in the collection of The Metropolitan Museum of Modern Art  and the New York Public Library.

LESLEY B. CRAWFORD (Amer. 1887-1963)

 “FERRY SLIP,” lithograph, 1939, ed. likely small, 8 ½ x 11 3/8.” Signed in pencil. $375.

LESLEY B. CRAWFORD (Amer. 1887-1963)

“THE WAITING ROOM,” lithograph, C. 1940, ed. likely small, 13 ¼ X 9 5/8.” Signed in pencil. $375. The Smithsonian has an impression of  this image (as “Railroad Station”) in their collection.

 

JOHN STEUART CURRY (Amer. 1896-1946)

THE PLAINSMAN,” lithograph, 1945, C40 AAA ed. 250, 15 3/4 x 9 5/8.” Signed in pencil. $1,950.

Full margins. With original AAA label.

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CHARLES F. DAUBIGNY (Fr. 1817-1878)

POMMIERS AU AUVERS,” etching 1877, D126V(?), 7 3/4 x 10 1/2.” Signed in plate only. $325.

This varies from D126/IV in that it does not the have Cadart name or address. It is with the title and the letterpress “Daubigny del et sc.”

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ARTHUR BOWEN DAVIES (Amer. 1862-1928)

SHIPS” (Three Nudes), lithograph & lithotint, 1919-20, Cz147, ed. 10/25, 15 3/4 x 10 3/4.” Signed in pencil. $850.

Titled, dated and editioned in pencil on reverse (also titled recto). The Ferargil Gallery stamp verso disappeared during conservation.

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ARTHUR BOWEN DAVIES (Amer. 1862-1928)

DOORWAY TO ILLUSION” softground etching & aquatint, 1919*, Cz93, ed. 200, 7 3/4 x 6 1/2." $425.

*From the posthumous edition printed and signed by Frank Nankivell and with Davies' stamped signature. Exhibited (as "Nudes" #46) Aug. 1964, Dartmouth College, Hanover, NH, "The Collection of Mr. & Mrs. Byron Thomas, Woodstock, Vermont."

EDGAR DEGAS (Fr. 1837-1917)

“MILLE. NATHALIE WALKONSKA,” etching, 1860-61, D7II/ii, 4 ¾ x 3 ½.”  Unsigned as usual.  $325. A later impression taken from the canceled plate.

 

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KARL DEHMANN (Amer. 1886-1974)

"VIEW FROM BROOKLYN BRIDGE," color etching & aquatint, c. 1930-40,,15 x 11 7/8”* .Signed in pencil. $750.

*This has a very large plate mark; the actual printed image is 13 x 8 7/8.” Some stray ink within the plate mark but outside the viewable image. Two tape stains, left margin edge, well out of image. A powerful image of the New York skyline from the Brooklyn Bridge. Dehmann was born in Hamburg and studied there until 1910 when he went to Paris to study. He also studied in Italy; in 1920 he moved to Dötlingen. In 1939 he came to New York. He lived in Brewster, NY at the end of his life.

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KARL DEHMANN (Amer. 1886-1974)

WALL STREET AND SUBTREASURY,” color etching & aquatint, c. 1940, 14 7/8 x 11 1/8.” Signed in pencil. $495.

Dehmann was born in Hamburg and studied there until 1910 when he went to Paris to study. He also studied in Italy; in 1920 he moved to Dötlingen. In 1939 he came to New York. He lived in Brewster, NY at the end of his life. With original label from Randolph Galleries, NYC.

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ADOLF DEHN (Amer. 1895-1968)

MADAME AND THE GIRL,,” lithograph/chine applique, 1928, LO83, ed. 24/30, 8 7/8 x 10 5/8.” Signed in pencil. $575.

Printed by Edmond Desjobert, Paris. From the estate of Sylvan Cole. Very faint mat line matted out.

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ADOLF DEHN (Amer. 1895-1968)

"SEPTEMBER MORN," lithograph, 1945, L359,ed. 30/50, 11 1/4 x 17." Signed in pencil. $995.

 

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.

LEON L. DOLICE (Amer. 1892-1960)

SPRING IN MANHATTAN,” color linocut, c. 1950, 14 x 16.” Signed in pencil. $750.

This not part of the series of 24 color linocuts the artist created from 1951-2 but is similar in subject matter. Prints of this size by Dolice are not common. Light skinning on reverse in top margin but of little effect on this heavy paper.

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.

KATHERINE DREIER (Amer. 1877-1952)

"VARIATION 27*," lithograph w/ pochoir coloring, 1934, 8 1/2 x 11 7/8." With stamped signature, as issued. $950.

*From the Portfolio 1-40 Variations, Vol. II). There were to be 80 portfolios of the 40 variations but only 65 were completed. The printing was supervised by Marcel Duchamp in Paris and the portfolios assembled by the Pond-Ekberg Co. of Springfield, Mass with an introduction by Lazlo Moholy-Nagy. With the stamped signature and date (as all were issued) and editioned in ink, lower left, "Vol. II-27." ((27th variation in volume II).
Dreier started the Société Anonyme in New York with Marcel Duchamp in the 1910's.

WERNER DREWES (Amer. 1899-1985)

"FOREST" ("IN THE FOREST"), drypoint & roulette,1931, R175 (intaglio), ed. 25/30, 11 x 9." Signed in pencil. $975.

A scene in Bucks County, PA.

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)

“PROSPECT PARK BRIDGE” (Brooklyn), drypoint, 1933*, R193,  ed. 30, 6 1/8 x 9 ¾.” Signed in pencil. $775.  Aka “Prospect Park, Brooklyn.”  *This impression is dated 1936 and Rose states that this is not uncommon.

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.

OSCAR DROEGE (Germ. 1898-1983)

“TULIPS,” colr woodcut, c. 1920-1930, 15 3/4 x 11 3/4.” Signed in pencil. $950. I have never seen a floral by Droege before.

 

WILLIAM H. DRURY (Amer. 1880-1960)

DANCING STEVEDORES,” etching, 1930, 8 3/4 x 11.” Signed in pencil. $1,250.

Another impression of this print was exhibited at the Brooklyn Society of Etchers in 1930 and this print was selected as one of the Fine Prints of the Year for 1930.

WALTER R. DUFF (Amer. 1879-1967)

NEW YORK CURB MARKET” (Stock Exchange), etching, c. 1930's, ed. 30/150, Signed in pencil.$950.

This highly detailed--and probably highly ironic--look at the New York Stock Exchange may afford hours of enjoyment. With original label from William Macbeth Galleries, NYC.

 

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DAPHNE DUNBAR (Can./Amer. b. 1833)

"CURLY CORNER" (Scottie), lithograph, ed. 20, 12 3/8 x 9." Signed in pencil. $350.

MATTHIAS DUWEL (Germ. b. 1957)

[FEMALE FIGURE], monotype, 1988, ed. 1, 10 ½ x 8.” Signed. $275.  Signed and dated 23-11-88.  With copy of label on reverse giving a NYC address and also the address of Galerie Bellier, 7 Quai Voltaire, Paris.  Some stray pigment and fingerprints in margin.

MATTHIAS DUWEL (Germ. b. 1957)

[TWO FIGURES], monotype in colors, 1988, ed. 1, 10 ½ x 8.” Signed. $275.  Signed and dated 19-11-88.  With label on reverse giving a NYC address and also the address of Galerie Bellier, 7 Quai Voltaire, Paris. Some stray pigment and fingerprints in margin.

MABEL DWIGHT (Amer. 1876-1955)         

“WHITE MANSION,” lithograph, 1934, RP72, ed. 40, 10 7/8 x 15 ¼.” Signed in pencil. $675. Nicely framed.

MABEL DWIGHT (Amer. 1876-1955)  

“WINTER, CENTRAL PARK,” lithograph, 1931, RP58, ed. 24, 9 7/8 x 11 ½.” Signed in pencil. $575. Uncommon. Nicely framed.

 
 

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.

RAY EUFFA (Amer. 1904-1977)

“FULTON FISH MARKET,” serigraph, c. 1940, ed. 13/350, 11 x 20.” Signed in pencil. $650.

 

VADIM DMITRI FALILEEF (Russ. 1879-1944)

TWILIGHT" (Dock Scene), color linocut, 1916, 10 1/2 x 13 7/8.”Signed in pencil. $875.

Pictured in color in Vadim Dmitri Falileef by V. Tchesnokov (Moscow, 1975), catalog #43 as well as in V. Falileev by N.I. Romanov, 1923, color plate opposite p. 50. With the usual pigment “bleed” in the margins.

 

MAX FERENKES (Amer. 1905-1984)

E. WELLS STREET" (Milwaukee), etching, 9 1/4 x 6 7/8.” Signed in pencil. $250.

Slight staining and skinning upper and lower margin edges verso.

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HANS FIGURA (Austrian 1896-1946)

COENTIES SLIP, N.Y.,” color etching & aquatint, c. 1930, ed. 40/250,* 14 7/8 x 11 1/4.” Signed in pencil. $475.

*Original gallery label states “Edition limited to 100 proofs by Figura.”

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HANS FIGURA (Austrian 1896-1946)

TELEPHONE BUILDING” (New York City), color etching & aquatint, 1929, ed. 44/250, Signed in pencil 13 1/8 x 8 1/2.”. $525.

This budiling is now known as the Verizon Building and is just north of ground zero. This view is probably looking west along Barclay St. with the tracks of the 9th Ave. El crossing Greenwich St.

EUGENE C. FITSCH(Amer. 1892-1972)

BROADWAY NIGHT--JOHN BARRYMORE IN 'SOUND'” lithograph, 1928, ed. 11/25, 13 3/4 x 10 1/8.” Signed in pencil. $1,450.

Small tape stain, lower right corner. Titled and numbered in lower margin under matting.

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. I have one of each.

 

WILLIAM RUSSELL FLINT (Brit. 1880-1969)

TEN STUDIES OF CONSUELO CARMONA,” collotype?, 1953, ed. 100, 10 3/8 x 15 3/8.” $525.00 Signed in pencil. Signed in pencil

Published by Frost & Reed and with their blindstamp.

MARK FREEMAN (Amer. 1908-2003)

FIRE ESCAPE,” color lithograph, 1952, ed. 75, 18 7/8 x 12 1/8.” Signed in pencil. $525.

Tape stains margin edges, recto, well out of image area. With original label from East Side Gallery, NYC.

MARGUERITE FREY-SURBEK (Swiss 1886-1980)

[GARDEN SCENE], color woodcut, 11 x 7 1/2.” Signed in pencil.  $300. Light soiling confined in margins.

ISAC FRIEDLANDER (Amer.1890-1968)

CONEY ISLAND,” etching & aquatint, 1932, ed. 11/15, 10 1/2 x 8.” Signed in pencil.* $3,950.

*This is signed, dated and initialed G.F. (Gilda Friedlander). Unsigned impressions were initialed by Mrs. Friedlander as they were sold. Large (full?) margins. Pictured in Pressed in Time: American Prints 1905-1950 (2007, Huntington Library and Art Gallery) plate 18.

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.

                               

MICHAEL J. GALLAGHER (Amer. 1898-1965)       

“MISSISSIPPI RIVER CRAFT,” woodcut, 6 x8.” Signed in pencil by the artist's widow. $650. Initialed in the block, signed in pencil by the artist’s widow.

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EDNA GASS (Amer. 1906-1991.)

"LES REFUGES", monotype in colors, ed. 1, 12 1/8 x 9 3/8." Signed in pencil. $275.

A Philadelphia area artist who was active in the New Hope art colony and, in her later years, Florida.

MAY GEARHART (Amer. 1872-1951)

“MARKET REPORTS,” color etching, c. 1930,  3 ¾ x 3 ¾.” Signed in pencil. $850. Light toning to paper.  Another impression of this print was exhibited at the Chicago Society of Etchers at the Chicago Art Institute January-March 1930. The Smithsonian also owns a copy of this image.

                               

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.

                               

PAUL GEISSLER (Germ. 1881-1965)           

“THE MOUTH OF BROADWAY, NEW YORK,” etching, c. 1930, 11 5/8 x 9 ¼.” Signed in pencil. $295.

ROBERT GIBBINGS (Brit, 1889-1958)

“THE LOST ANCHOR,” wood engraving, 1935, ed. 200, 8 7/8 x 8 ½.” Signed in pencil. $525.  Publication #18 of the Woodcut Society of Kansas City, 1936, and in its original folder. 2 glue spots, upper margin corners, from original mounting in folder (well out of image area).

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JEAN GOODWIN* (AMES) (Amer. 1903-1986 )

Book: Block Prints of the Southland, color linocuts (8), 1931, ed. 250 (?), 12 1/4 x 9 1/2” (prints: 8 x 6 1/2.”). $425.

*WPA printer, enamelist and muralist who lived in Southern California and likely came into contact with the large contingent of students of Dow who were assembled there. A stunning book with 8 color linocuts by the artist. Verses by Eleanor H. Northcross and printed by Thomas E.Williams and Arthur Ames at the Press of the Santa Ana [California] Junior College. Binding chipped , some light staining on prints.

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THOMAS D. GREENLEY (Amer. 1905-1971)

WHITE CHRISTMAS,” color woodcut, 1946, 7 3/8 x 10.” Signed in pencil. $525.

Also signed in pencil by Francisca B. Greenley (presumably his wife) who I believe collaborated with him (according to a label from another work of theirs that had both their names noted). Wonderful colors and printing!

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JOHN W. GREGORY (Amer. 1903-1992)

"CORTEZ STREET, BOSTON, AT NIGHT,"" lithograph, 1935, ed. small, 9 x 11 3/4." Signed in pencil. $525.

Faint soiling in lower margin edge.

GEORGE GROSZ (Germ./Amer. 1893-1959

STORM CLOUDS, CAPE COD,” lithograph, 1949, ed, 252, 8 7/8 x 12 7/8.” Signed in pencil. $575.

Print Club of Cleveland Publication No. 27 and with their original label. Full sheet; two old hinge remnants and a few specks of very light foxing in margin area.

ROBERT GWATHMEY (Amer. 1903-1988)

NON-FICTION,” serigraph, 1945, ed. 25*, 17 1/4 x 13 7/8.” An unsigned proof. $1,250.

*An unsigned proof. Full sheet. Staining in lower left margin, well out of image. Slight soiling upper right corner in image.

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.

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SAMUEL HALPERT (Amer. 1884-1930)

WINDOW,,” lithograph, ed. 19/50, 14 3/8 x 11 1/8.” Signed in pencil. $450.

Glue residue upper margin edge, verso; chip to upper left sheet corner. The artist exhibited at the Armory Show in 1913. This work is similar to an oil the artist executed in 1918.

 

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WILLIAM ST. JOHN HARPER (Amer. 1851-1910)

LIGHT OF ASIA: YASODHARA,” gouache on board, 1894, 12 3/4 x 9” (sight). Signed. $895.

Titled on reverse, lower right, and also noted “#4” and “12952-3.” In the upper left it is inscribed “No. 23.” Yasodhara was a devotee of the Buddha. Sir Edwin Arnold wrote a book in 1879 titled The Light of Asia and it was of the life and teachings of the Buddha. This may have been an illustration for a later edition of that book...

GEORGE O. (“POP”) HART (Amer. 1868-1933)

“HAPPY DAYS” (Self Portrait), etching and drypoint, 1925, C23, ed. 50, 10 3/8 x 8 7/8.”  Signed in pencil. $550. Titled in lower margin.  Stamped on verso “Downtown Gallery” and “D.G.” and “Jan. 2, 1925.”  Few small unobtrusive embossed impressions in margin (from etching plate?).

JOHN FRANCIS HART (Amer. 1867-1950)

[BLACK MEN ROLLING DICE], woodcut, c. 1930’s, 4 3/8 x 5 7/8.”  Signed in pencil. $275. Trimmed along bottom cutting off part of title and very bottom part of signature.  Image clean and intact.

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ARTHUR W. HEINTZELMAN (Amer. 1891-1965)

“LANCASTER COUNTRY FARMER,” drypoint, 1946, ed. 250, 11 7/8 x 8 ½.” Signed in pencil. $195.  A publication of the Society of Print Connoisseurs with original label.

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.

HELEN WEST HELLER (Amer. 1872-1955)

EAST WIND,” woodcut, 1932, LOC8, 5 7/8 x 7 7/8.” Signed in pencil. $595.

Another impression of this print is in the collection of the Library of Congress.

PAUL CESAR HELLEU (Fr. 1859-1927)

LA BELLE PARIESENNE--PORTRAIT OF MME. CHOUCARY,” color etching & drypoint, c. 1898-9, ed. 100, 21 5/8 x 13 1/4.” Signed in pencil. $5,750.

Wonderful colors and impression! Very, very faint thin horizontal impression upper image, visble only when held in raking light.

HILAIRE HILER (Amer. 1898-1966)

[INDIAN WITH BOW IN FOX COSTUME]*, color silkscreen, 1934, 9 3/8 x 6 3/4." Signed in pencil. $850.

Hiler first began experimenting with abstract painting in 1920-21. I have seen another impression of this print annotated "Paris." *I have heard that the given title for this print is "Manitou" ("The Great Spirit") but have not been able to confirm this. Light skinning in lower left margin corner.

MORRIS HENRY HOBBS (Amer. 1892-1967)

ENTRANCE TO LALANNE RESIDENCE, OLD NEW ORLEANS,,” etching, 4 7/8 x 3 7/8.” Signed in pencil. $275.

Dedicated in pencil “For Thomas R. Black.”

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KARL HOFER (Germ. 1878-1955)

"GRUPPE" ("PARTY"),, lithograph, 1945-8, RL84, 8 1/4 x 9 3/4.” Signed in pencil. $425.

Tape stain bottom margin edge. Faint mat line, matted out. Very large margins.

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KARL HOFER (Germ. 1878-1955)

"LACHENDER MANN" ("LAUGHING MAN",, lithograph, 1945-8, RL118, ed. 26, 10 7/8 x 9.” Signed in pencil. $650.

Faint mat line, matted out.

IRWIN D. HOFFMAN (Amer. 1901-1989)

PASTORAL, PUERTO RICO,” etching, 1938, ed. 250, 9 x 11 3/4." $325. Signed in pencil.

IRWIN D. HOFFMAN (Amer. 1901-1989)

LA ARROYA,,” etching, 1933, 5 7/8 x 8 15/16." Signed in pencil. $300.

Also known as "El Arroyo, Mexico."

EDNA BOIES HOPKINS (Amer. 1872-1937)

“PEPPER BERRIES,” color woodcut, c. 1907-09, V50, ed. > 14, 10 7/8 x 7 1/4.” Signed in pencil.  $15,000. AKA “Pepper.” Other impressions of this print are in the Bibliotheque Jacques Coucet, Paris; the Museum of Fine Arts, Boston and the Library of Congress. An uncommon print: not included in Mary Ryan’s exhibit in 1986 nor has it appeared at auction or in dealer catalogs going back over 20 years. Noted No. 7 in margin. Few tape stains margins edges well out of image area.

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).

EARL HORTER (Amer. 1881-1940)         

[NEW YORK SKYLINE], etching & drypoint, c. 1930, 11 1/4 x 8 3/8.”  Signed in pencil. $225. Some soiling in upper margin, well out of image margin tear upper margin, well out of image. Light rust stain upper center in image.

 

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EDGAR IMLER (Amer. 1896-1973)

CIRCUS,,” etching & aquatint, c. 1935, 11 7/8 x 8 7/8.” Signed in pencil. $675.

 

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ROBERT BRUCE INVERARITY (Amer. 1909-2000)

AT REST" (Boat in Moonlight), color woodcut, c. 1930-40, 6 x 6 1/4.” Signed in pencil. $450.

With original typed label reading “An original block print cut and hand printed by Bruce Inverarity, FRSA [Fellow of the Royal Society of Artists, London].”

 

JANE BERRY JUDSON (Amer. 1868-1935)

AFTERLOW, SHEEPSCOT RIVER, MAINE,” color woodcut, c. 1920-30, ed. 18/100, 8 x 6.” Signed in pencil. $1,750.

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. $1,850.

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)

“MOUNT MONADNOCK FROM JAFFREY, N.H.,*” color woodcut, c. 1920-30, ed. 58/100, 6 x 8.” Signed in pencil. $2250. * --Series #1--Morning.” Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932. A wonderful Arts & Crafts image with great colors and printing.  Nice original Foster Brothers frame.

 

JANE BERRY JUDSON (Amer. 1868-1935)

OUR VILLAGE STREET,” color woodcut, c. 1920-30, 6 x 8.” Signed in pencil. $1,250.

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.

ANDREW KAROLY (Amer. b. 1895)

INTERIOR, NEW YORK STOCK EXCHANGE,” etching, c. 1940, ed. 100, 11 x 12 3/4.” Signed in pencil. $395.

A nice companion to the larger view of the exchange on my website (WALTER R. DUFF, “New York Curb Market”). With original label from New York Trust Co. inscribed and dated 1952. Professionally repaired vertical tear in margin stopping at signature.

ANDREW KAROLY (Amer. b 1895)

[MANUFACTURER’S TRUST COMPANY*], etching, 1933, ed. 8/75, 10 3/8 x 8 1/8.”  Signed in pencil.  $295. *This might be the building on the corner of Eight Ave. and 14th Street that was built in 1907 originally for the New York County National Bank and acquired by the Manufacturers Trust Co. in 1932.

YOSUF KARSH (Can. 1908-2002)

“DAG HAMMARSKJOLD,” gelatin silver print, 1958, 14 ¾ x 12.” Signed in ink. $850.  Literature: Yousuf Karsh, Portraits of Greatness, 1959, reproduced page 91.  In original folder; signed in ink on the front and stamped on the back “Karsh, Ottawa” and numbered “16.”

 

ROCKWELL KENT (Amer. 1882-1971)

THE FALLER,” chiaroscuro wood engraving/black & tan, BJ133, ed. 550*, 10 3/4 x 8 1/4.” Signed in pencil. $1,750.

This print was created as a holiday gift for customers of the Weyerhaeuser Timber Company and is accompanied by the original gift card that was printed by Associated American Artists. A hint of a mat line in lower margin, matted out.

ROCKWELL KENT (Amer. 1882-1971)

THE LOOKOUT,” wood engraving, 1929, BJ51, ed. 120, 7/78 x 5 7/8.” Signed in pencil. $2,950.

Two small expertly repaired thin spots in upper margin well out of matting area.

ROCKWELL KENT (Amer. 1882-1971)

“TWILIGHT OF MAN,” wood engraving, 1926, BJ6, ed. 120, 5 ½ x 7 ¾.” Signed in pencil. $2950. This print was awarded the first prize gold medal at the Philadelphia Sesquicentennial Exposition of 1926 and also chosen for inclusion in the American Institute of Graphic Arts’ Fifty Prints, 1926.  The is a slight miss in the first name of the signature.

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.

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HANS KLEIBER (Amer. 1887-1967)

THE LOG BOOM” etching, 7 1/2 x 11.” Signed in pencil. $575.

Titled in pencil in lower margin. Old paper hinge remnants upper edges, verso.

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JOHAN ADAM KLEIN (Germ. 1792-1875)

AUF DEM FURMA--GEBRIGE IN DER SCHWEIZ,,” etching, 1820, 6 7/8 X 8 1/4.” Signed in plate only. $150.

*“On the Furman Mountains in Switzerland.” Signed in the plate only.

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WALTHER KLEMM (Aus./Germ. 1883-1957)

AUSZUG ZUR JAGD” "(Leaving for the Hunt"), etching & drypoint, c. 1915, ed. 22/80, 7 3/4 x 11 5/8.” Signed in pencil. $375.

 

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.

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GENE KLOSS (Amer. 1903-1996)

THE FIESTA PARASOL,” etching, 1969, K530, ed. 75.11 x 14.” Signed in pencil. $1,500.

 

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GENE KLOSS (Amer. 1903-1996)

THE VISITOR'S TALE,” etching & drypoint, 1971, K538, ed. 35, 10 x 14.” Signed in pencil. $1,500.

Noted “Artist’s Proof” in the artist’s hand. Story-telling at Taos to the Taoe Head Man by a man from the Keresan pueblo of Kihwa (Santo Domingo).

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.” Signed in pencil. POR.  Knaths’ white-line prints are extremely  rare.  Foxing, mostly in the margins;  brown paper tape. **SEE BELOW FOR PHOTO OF BLOCK** ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

KARL KNATHS (Amer. 1891-1971)

58. “LILACS,” The original printing block. Very nicely framed in frame matching above print.ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

SIGISMOND KOLOS-VARY (Hung. 1899-1983)

[ABSTRACT COMPOSITION], color etching & aquatint, 1952, ed. c. 200 11 5/8 x 15 1/2.” Signed in pencil. $675.

Noted in margin, “Epreuve d’Artiste xx/xx.”

YASUO KUNIYOSHI (Amer. 1893-1953)

THE CYCLIST,” lithograph, 1939, DL77, ed. 250, 12 1/2 x 8 3/4.” Signed in pencil. $2,850.

From the estate of Sylvan Cole.

LAWRENCE A. KUPFERMAN, A.N.A. (Amer. 1909-1982)

INNER HARBOR, BOSTON,” etching & drypoint, c. 1932, ed. 9/40, 5 3/4 x 10 7/8.” Signed in pencil. $1,250.

Another impression of this print was exhibited at the Brooklyn Society of etchers exhibit of 1934.

RICHARD FRANCIS LAHEY (Amer. 1893-1978)

“BILLIARDS,” etching,  c.1931, ed. 100, 6 7/8 x 9 7/8.” Signed in pencil. $525. Another impression of this print was exhibited at the Print Maker’s Society of California exhibit in 1931 (this impression is inscribed and dated 1933). 2 paper hinges upper margin corners.

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)

“FOREST GIRL,” wood enrgaving, 1936, AAG ed. <200, 8 1/2 x 6.” Unsigned as usual. $595. Full sheet and with original AAG matting. Tape stains upper margin corners from original hinges which is typical. Large (full) margins.

PAUL LANDACRE (Amer. 1893-1963)

“RIMA,” wood enrgaving, 1936, AAG ed. <200, 8 1/2 x 6.” Unsigned as usual. $595. Full sheet and with original AAG matting. Tape stains upper margin corners from original hinges which is typical. Large (full) margins.

 

BERTHA M. LANDERS (Amer. 1911-1996)

APPROACHING STORM, ACALPUCO,” lithograph, ed. 25, 12 1/2 x 17 3/8.” Signed in pencil. $450.

Landers was one of the founding members of The Printmakers Guild in Dallas which began in 1939 when she was denied membership in the all-male Lone Star Printmakers.

HENRIETTA DEAN LANG (Amer. 1876-1940)

“BLUE MORNING GLORIES #2,” Provincetown white line color woodcut,  c.1935, ed. small, 13 1/8 x 10.” Signed in pencil. $950. She most likely knew fellow Michigan artists and Provincetown printers Hope Vorhees and possibly Ada Gilmore and Oliver Chaffee.

ANTHONY LAPAGLIA (Amer. 1897-1993)

[FIELD WITH FLOWERING TREES], color woodcut, c. 1925, ed. 21/50, 8 1/4 x 13 1/2.” Signed in pencil. $675.

*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 7 of his woodblocks in their holdings including this image. Noted in pencil in right margin “Landscape #3.”

ANTHONY LAPAGLIA (Amer. 1897-1993)

[STILL LIFE WITH GLASS PITCHER, PLATE AND FLOWERS], color woodcut, c. 1925, ed. 15/37, 10 1/8 x 14.” Signed in pencil. $425.

*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.

ANTHONY LAPAGLIA (Amer. 1897-1993)

[STILL LIFE WITH TEAPOT AND POMEGRANATES], color woodcut, c. 1925, 9 5/8 x 13 1/2.” 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.

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.

BARBARA LATHAM (Amer. 1896-1976)

“IN THE PARK,” wood engraving, c. 1939, ed. unknown, 8 x 10.” Signed in pencil. $975. Pictured in the 1939 World’s Fair volume, American Art Today.

GEORGE LAZLO (Hung./Amer. 1891-1965)

SHORE ISLAND FERRYMAN,” lithograph, 1931, ed. 28/50, 14 1/4 x 19 3/4.” Signed in pencil. $450.

There is a Shore Island in Ireland in the Shannon Estuary and also off the coast of Greenwich, Connecticut.

DORIS LEE (Amer. 1905-1983)

“AFTERNOON NAP,” lithograph, 1948, AAA ed. 250, 3 3/4 x 5 1/4.” Signed in pencil.$250. With Original AAA label.

SALE!! Ask for new price

LOUIS A. LEGRAND (Fr. 1863-1951)

FEMME DE CHAMBRE” ("Bedroom Women"), drypoint, 1910, A408ii, ed. 34, 6 3/8 x 4.” Unsigned as usual. $200.

Plate 3 From “Femmes Damnees” (”Cursed Women”), 5 drypoints inspired by the poems of Baudelaire, but never published. Full Sheet. Unsigned as usual.

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LOUIS A. LEGRAND (Fr. 1863-1951)

FRONTISPIECE FOR "FEMMES DAMNES," drypoint, 1910, A406vi, ed. c. 36, 5 3/4 x 8.” Unsigned as usual. $200.

From “Femmes Damnees” (”Cursed Women”), 5 drypoints inspired by the poems of Baudelaire, but never published. Full Sheet. Unsigned as usual.

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LOUIS A. LEGRAND (Fr. 1863-1951)

"L'AIEULE" ("The Grandmother"), color etching & aquatint, A202iv, L98, ed. 81/100, 14 1/8 x 18 3/4.” Signed in pencil. $525.

Signed in the plate and signed in pencil on the mat. With the red Gustave Pellet blind stamp, lower right.

CLARE LEIGHTON (Amer. 1901-1988)

“COTTON PICKERS,” wood engraving, 1941, BPL490, ed. 110, 5 7/8 x 4 1/8.” Signed in pencil. $750.  

TOD LINDENMUTH (Amer. 1885-1976)

“AT DAYBREAK,” color linocut, c. 1917, 9 5/8 X 7 1/4.” Signed in pencil. $1475. Slight even toning to paper.

 

TOD LINDENMUTH (Amer. 1885-1976)

“AWAITING THE TIDE,” color linocut, c. 1917, 9 7/8 x 7 3/8.” Signed in pencil. $1650. Great colors. An uncommon image.

 

TOD LINDENMUTH (Amer. 1885-1976)

“GULLS AND FISHING FLEET,” color linocut, c. 1917-20, 15 x 11 3/4.” Signed in pencil. $1950.

 

 

TOD LINDENMUTH (Amer. 1885-1976)

IN THE WEIR,” color linocut, c. 1917, 9 1/8 x 7.” Signed in pencil. $1,750.

Toning in old mat opening not apparent in current matting configuration.

TOD LINDENMUTH (Amer. 1885-1976)

“ON THE MOORING,” color linocut, c. 1917, 6 1/8 x 8.” Signed in pencil. $1450.

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CHARLES WHEELER LOCKE(Amer. 1899-1953)

[CENTRAL PARK], lithograph (lithotint?), 4 7/8 x 9." Signed in pencil. $295.

Hinged with a strip of brown paper tape.

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ROBERT F. LOGAN (Amer. 1899-1959)

WORKS NO. 2” [Factory Scene], drypoint, c. 1928, ed. 12/80, 10 3/4 x 12 7/8.” Signed in pencil. $375.

Logan’s print, “Works No. 1,” is nearly identical to this image but more finished and listed as an edition of 100. Another impression of this print was exhibited at the Chicago Society of Etchers exhibit in 1928.

MARGARET LOWENGRUND (Amer. 1902-1957)

“THE PARSONAGE,”  lithograph, 1935, ed. 50, 11 1/8 x 15 1/4.” Signed in pencil.  $775.

LOUIS LOZOWICK (Amer. 1892-1973)

"FIRST AVENUE MARKET," lithograph, 1934, F115, ed. 2/50, 11 3/4 x 8 7/8." Signed in pencil. $4,750.

Margin uneven, upper left corner; light skinning upper and lower margin edges; short mended tear, left margin edge (all preceding well out of image area). Printed by Jacob Friedland, New York, with the blind stamp lower right.

 

LOUIS LOZOWICK (Amer. 1892-1973)

TRAINS AND FACTORY (STEEL MILL),” lithograph, 1933, F113, ed. 10, *10 1/2 x 7 1/8.” Signed in pencil. $3,850.

An uncommon image. Full margins. *There was an additional printing in 1972 of 5 impressions by Burr Miller that were numbered “I/x-v/x.” The stone was then destroyed.

ADRIAN LUBBERS (Amer. 1892-1954)

“BROADWAY, NEW YORK,” lithograph, 1926, 13 x 7 ¾.” Signed in pencil. $595.

ADRIAN LUBBERS (Amer. 1892-1954)

“SKYLINE FROM JERSEY HEIGHTS,”  lithograph, 1929, ed. v/x, 10 ¼ x 12.” Signed in pencil.  $875.

ADRIAN LUBBERS (Amer. 1892-1954)

“TIMES SQUARE,” lithograph, 1929, ed. 58, 13 ¾ x 8 ½.”  Signed in pencil. $1100.

LUIGI LUCIONI (Amer. 1900-1988)

“BIRCH GROUP,” etching, 1944, E90, AAA ed. 250, 6 ¾ x 12 1/8.” Signed in pencil. $195. A few light specks of foxing confined to back and margins.  In original AAA mat with label.

LUIGI LUCIONI (Amer. 1900-1988)

“SHADOW AND SUBSTANCE,” etching, 1943, E85, AAA ed. 250, 7 3/8 x 9 7/8.” Signed in pencil. $195.

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CATHERINE LUM [BAILLET] (Amer. 1908- )

"THE PHILOSOPHER," color woodcut, 1924, ed. small, 7 x 4 3/8." Signed in pencil. $525.

The artist was Bertha Lum's daughter. It is signed with her married name, Catherine Baillet. Another impression of this print is in the Fine Arts Museum of San Francisco collection. (Another daughter, Eleanor, also did woodblock prints. She was also known as “Peter Boy” and often signed her prints with this name...).

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ALEXANDER S. MACLEOD (Can./Amer. 1888-1946)

HUKILAU AT PUNALEU,” lithograph, LOC3, 12 1/4 x 14 1/4.” Signed in pencil. $750.

Another impression of this print is in the collection of the Library of Congress.

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ALEXANDER S. MACLEOD (Can./Amer. 1888-1946)

IN THE KAMANI SHADE,” lithograph, 11 1/2 X 13 5/8.” Signed in pencil. $750.

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ALEXANDER S. MACLEOD (Can./Amer. 1888-1946)

PANDANUS GROVE, HAWAII,” lithograph, 12 1/8 x 14 1/4.” Signed in pencil. $750.

According to a notation on the original mat, this print was an Honorable Mention at the Honolulu Printmakers.

AUGUSTE EMIL MALO-RENAULT (Fr. 1870-1938)

[CARD PLAYERS], color etching and drypoint, 6 5/8 x 4 ½.” Signed in pencil. $425. Most of Malo-Renault's work involves Breton and Parisian subjects.  This appears to be a working proof as there are notations by the artist and hand painted color samples in the margin. Inscription on reverse in French may be the title.

PEPPINO MANGRAVITE (Amer. 1896-1978)

TOMORROW'S BREAD,” lithogrtaph, 1946, AAA ed. 250, 8 1/4 x 13 1/4.” Signed in pencil. $395.

With original AAA label.

REGINALD MARSH (Amer. 1898-1954)

IRON STEAMBOAT CO.,” etching with hand coloring, 1932, S131, ed. c. 21, 7 x 9.” Signed in pencil. $6,500.

A rare New York image by Marsh and the fact that it is hand colored makes it even more so...

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). See next entry for block. ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

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). ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

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RUTH MCCREARY (Amer. Unknown)

[FARMERS LEANING ON PITCHFORKS IN FIELD], lithograph, 1947, Noted #4, 12 1/4 x 9 1/2.” Signed in pencil. $350.

 

MILDRED McMILLEN (Amer. 1884-1940)      

"THURSDAY, SUNDAY AND HOLIDAYS" (Carousel), woodcut, 1914, 9 1/4 x 10 3/4.” Signed in pencil. $2150. A wonderful carousel scene with children. McMillen was in Europe in 1913-14 when this print was executed. The title comes from the sign--in French--advertising the ride. One of the original Provincetown Printers, McMillen never worked in color and her prints are uncommon. ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

WILLIAM C. MCNULTY (Amer. 1889-1963)

JUNK SHOP,” etching, 1925, ed. 20/100, 6 1/4 x 7.” Signed in pencil. $450.

Two tiny hinge remnants upper corners.

WILLIAM C. MCNULTY (Amer. 1889-1963)

NEW PANTS,” etching, 1933, 8 5/8 x 11 1/4.” Signed in pencil. $1,350.

Aka “New Pants, Orchard St.” (Full title from James Boyd Coll. in NY Historical Society). Another impression exh. at Brooklyn Society of Etchers 1933 and 1938. Very uncommon. Very faint mat line, matted out.

JOHN C. MENIHAN (Amer. 1908-1992)

“DROP TESTING PARACHUTES,” lithograph, 1943, 8 ¼ x 14 1/8.” Signed in pencil. $475.  With original typed label giving artist and title.  Pictured (as “Parachute Drop Test”) in “John Menihan: Prints from the Thirties and Forties,” 1988, Memorial Art Gallery, Rochester, N.Y.  During the war, Menihan temporarily gave up his art career to work in the family’s business, which made parachutes during the war (and which helps explain the subject matter of this print).

CHARLES MERYON (FR. 1821-1868)      

"RUE DES MAUVAIS GARCONS, PARIS," etching, 1854, D27iii, S38iii, 4 7/8 x 3 3/4.” $850. 2 hinge remnants upper corners, well out of image.

M. VAUGHN MILLBOURN (Amer. b. 1893)

"PURPLE ASTER,” color wood engraving, c. 1930-40, ed. 5/12, 7 1/4 x 6." Signed in pencil. $250.

LILIAN M. MILLER (Amer. 1895-1943)

PAGODA AT DUSK--KYOTO,” (small version), color woodcut, 1934, M96, 4 3/4 x 12 1/2.” Signed in pencil. $650.

Pictured in Between Two Worlds: The Life and Art of Lilian May Miller, p.76. Two tiny pieces of paper tape, upper corners.

JEAN-FRANCOIS MILLET (Fr. 1814-1875)

LA CARDEUSE,” etching. c. 1855-6, D75, LD15, 10 1/4 x 6 15/16.” Signed in plate only. $1,850.

Light stain upper margin edge, well out of image; light stain, upper right, just touching the platemark.

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WILLIAM MONK (Brit. 1863-1937)

THE STRAND MORTUARY,” etching, c. 1910, 11 7/8 x 7 3/4.” Signed in plate only. $175.

Original etching signed only in the plate as issued by The Artist Engraver, Plate VIII and in its original folder. Arguably one of Monks finest works. A very solemn and atmospheric scene of old London.

JOHN J.A. MURPHY (Amer. 1888-1967)           

[JESUS DIES ON THE CROSS], wood engraving, 1921, ed. likely small, 3 x 3 ½.” Signed in pencil. $450. This is an image from the artist’s 1921 “Stations of the Cross” series. Another impression of this print is in the collection of the National Gallery of Canada and the Herbert F. Johnson Museum of Art at Cornell University.

JOHN J.A. MURPHY (Amer. 1888-1967)           

[JESUS FALLS], wood engraving, 1921, ed. likely small, 3 x 3 ½.” Signed in pencil. $450. This is an image from the artist’s 1921 “Stations of the Cross” series.
                                                           

JOHN J.A. MURPHY (Amer. 1888-1967)           

[JESUS IS NAILED TO THE CROSS], wood engraving, 1921, ed. likely small, 3 x 3 ½.” Signed in pencil. $450. This is an image from the artist’s 1921 “Stations of the Cross” series. Another impression of this print is in the collection of the National Gallery of Canada and the Herbert F. Johnson Museum of Art at Cornell University.
                                                           

ANGELE MYRER (Amer. 1896-1970)      

"LOUISBURG SQUARE" (Boston), Provincetown white-line color woodcut, 1955, ed. small, 13 x 10.” Signed in pencil. $5250. Noted on reverse: “Block XIX, Print #2.” Wonderful colors and nice use of the wood grain to enhance the composition of the print. Very faint toning in the old mat opening and some thin spots in the (broad) margin area. Myrer was included in the landmark 1983 exhibition, Provincetown Printers: A Woodcut Tradition curated by Janet Flint. An impression of this print was exhibited at the Provincetown Art Assn. & Museum in 1957.

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FRANK NANKIVELL (Amer. 1869-1959)

[3 NUDES], etching & aquatint, 11 7/8 x 7 1/8." Signed in pencil. $350.

Tiny tape stain extreme upper right margin corner.

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FRANK NANKIVELL (Amer. 1869-1959)

"BLOSSOMING EARTH," etching & aquatint, ,12 x 8." Signed in pencil. $350.

Titled in pencil in lower margin. Tape stains upper margin corners.

ANNA NEAGOE (Amer. 1885-1986)

[ABSTRACT], aquatint, 12 x 8 3/4.” Signed in pencil. $475.

Neagoe, obscure to be sure, has a very large write up in the DICTIONNAIRE BIOGRAPHIQUE DES ARTISTES CONTEMPORAINS (1910-1934). She studied with Lhote and worked and exhibited in France and New York, where she also studied at Cooper Union. She also painted WPA murals for the Lanchaster, New York, High School, 1935-1936.

ANNA NEAGOE (Amer. 1885-1986)

[ABSTRACT], lithograph, 13 1/2 x 10 5/8.” Signed in pencil. $475.

Neagoe, obscure to be sure, has a very large write up in the DICTIONNAIRE BIOGRAPHIQUE DES ARTISTES CONTEMPORAINS (1910-1934). She studied with Lhote and worked and exhibited in France and New York, where she also studied at Cooper Union. Two small, light foxing spots in image. Toning, verso. She also painted WPA murals for the Lanchaster, New York, High School, 1935-1936.

JACKSON LEE NESBITT (Amer. 1913-2008)

“OCTOBER AFTERNOON,” etching, c. 1945,RS26, AAA ed. 100,9 5/8 x 13 5/8.” Signed in pencil.  $1250.  With original AAA label.

ROBERT VON NEWMANN (Amer. 1888-1976)

“THE FOUR NET MENDERS,” woodcut, 1934, ed. 200, 11 x 8 ¼.” Signed in pencil. $295.  Publication #37 of the Woodcut Society  of New York, 1950, and in its original folder.

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WILLIAM NICHOLSON (Brit. 1872-1949)

AN ALMANAC OF TWELVE SPORTS, (BOOK), color lithographs after color woodcuts, 1898, 12 ¾ x 10.” $750.  A print of a different sport for each month of the year. Words by Rudyard Kipling.  Soiling to the covers; prints clean.Signatures intact but separated from binding.

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BROR J.O NORDFELDT (Amer. 1878-1955)

ST. PAULS CHAPEL*, NYC,” etching & drypoint, c. 1914-15,LOC2, ed. 100, 12 3/4 x 10 3/8.” Signed in pencil. $525.

This image is variously referred to as “St Paul’s Church” and “St. Paul’s Chapel;” this impression is titled in the artist’s hand “St. Paul’s Chapel” (and is also pictured in an old Arthur Hahlo catalog and titled as such).

BROR J.O. NORDFELDT (Amer. 1878-1955)

“THE QUARRY,” color woodcut, 1906, D13, 8 1/8 x 11 1/4.” Signed in pencil.  HOLD.  Also known as “The Stone Workers” and “Three Men Working.” A pretty uncommon image by the artist: going back over 20 years I can find only 2 auction sales and no dealer offerings. 2 very faint spots of toning in image and one spot in lower left margin. Colors are stunning and fresh. Likely never framed.

HUGO NOSKE (Aus. 1886-1960)

[DAY LILLIES BY THE WATER], color woodcut, 11 1/8 x 8 1/8.” Signed in pencil. $575.

Two small hinge remnants left margin edge; wonderful colors!

HUGO NOSKE (Aus. 1886-1960)

[FISHERMAN CASTING A NET], color woodcut, 9 1/2 x 13.” Signed in pencil. $675.

An unusual subject for the artist. Signed in image, lower right.

J. PATRICK O’BRIEN (Amer. early 20th c.)

[MOUNTAINS IN WINTER], monotype, 1927, ed. 1, 12 x 9.” Signed in ink, $575. The artist was known as a sculptor and exhibited in the San Diego area in the 1920’s. (See: Hughes, The Artist in California). Provenance, Kennedy & Co. NYC.  Possibly a scene in the Western U.S.  Light sunning in old mat opening.

ALEXANDER OPPLER (Germ. 1869-1939)

[FIGURES ON A DARK STREET], etching & aquatint, c. 1925, 9 3/8 x 6 ¼. Signed in pencil. $375.

 

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WILLIAM PADEN (Amer. 1930-2004)

SEN JYO-JIKI,” color woodcut, ed. 30/100, 12 x 16.” Signed in pencil. $350.

The artist was born in Indiana and studied printmaking in Japan. He is the author of Notes to the Hanga Printmaker: The Biomechanics of Printing.

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EMILY PARKS (Amer. 20th c.)

"UNIFORMS ON WOODLAWN AVE.,” lithograph, c. 1941-5, ed. 10, 13 1/4 x 9 1/2.” Signed in pencil. $425.

Skinning and glue stains in margins, verso, not affecting recto.

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)

[FLOWERS IN A VASE], watercolor and gouache, 1929 *13 ½ x 9 ½.”  Signed. $3950.  Signed and dated 1929.  This is somewhat similar to the woodblock “Grandmother’s Flowers” but differs in a number of ways.  It may be a study for a yet-undiscovered print.  Wonderful colors and composition.

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)

“PETUNIAS," color woodcut, c. 1920, 7 1/4 x 10 1/8.” Signed in pencil. $4950. This print is not commonly seen. In 35 years in the business I’ve never owned this image until now. Very nice colors and impression. Very faint vertical stain beginning at the “J” in the signature and going a short way into the image.

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.

 

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JOSEPH PENNELL (Amer. 1857-1926)

THE ELEVATED,” etching, 1921, ed. 50?, LOC513, W789, 9 7/8 x 6 7/8.” Signed in pencil. $750.

Narrow top margin. One speck of foxing on top of building; tiny chip, right margin, not affecting image. With the orignal label from F. Denks, Fine Etchings, NYC.

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. $2,800.

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. $6,750.

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.

CHARLES HOVEY PEPPER (Amer. 1864-1950)

“THE KEKEMONO,” color woodcut, (Hanging Scroll), color woodcut, 12 1/8 x 9 1/8.” Signed in block only as usual. $2,500.

Full provenance (from the artist’s estate). Pictured in Meech and Weisberg, Japonisme Comes to America, p. 159. Signed in image, and with artist’s chop only.

ROBERT PHILIPP (Amer. 1895-1981)

“IN THE PARK,” lithograph, 1912, 12 3/4 x 8 3/4.”  Signed in pencil.  $195.

MATT PHILLIPS (Amer. 1927- )

"FLOWER MARKET II,” monotype in colors, 1964, 9 x 6 1/4.” Signed in pencil. $425.

JOHN E. PLATT (Brit. 1886-1967)

BUILDING THE TRAWLER,” color woodcut, 1929, C18, ed. 72, 9 x 13 7/8.” Signed in pencil. $775.

Inscribed “XLIV.”

JOHN E. PLATT (Brit. 1886-1967)

SIESTA,” color woodcut, 1925, C13, ed. 100*, 9 1/8 x 12 7/8.” Signed in pencil. $950.

*Inscribed “4/6 Experimental proofs.”

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.

JOHN E. PLATT (Brit. 1886-1967)

THE PORT OF ST. TROPEZ,” color woodcut, 1924, C12, ed.120, 13 3/8 x 10 1/4.” Signed in pencil. $950.

Inscribed “No. 36” in pencil.

JOHN E. PLATT (Brit. 1886-1967)

THE SCRUM,” (Rugby Football), woodcut, 1921*, ed. 22/75, 10 x 15 1/2.” Unsigned. $295.

*This is a posthumous impression from the original keyblock authorized by the Platt family. It is unsigned but stamped with the Platt studio stamp in the lower right margin edge.

(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.

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AUGUSTA RATHBONE (Amer. 1897-1990)

[ART STDUENTS--SELF PORTRAIT], gouache & pencil, 1922, 14 x 10” (image). Signed. $375.

Signed with monogram and also in full in pencil. From the artist’s personal portfolio. This may date from her studies in Paris.

RICHARD H. REIBER (Amer. 1912-)

“WHEELS OF FORTUNE" (Locomotive), etching, 5 1/8 x 8 1/2.”  Signed in ink.  $175.

PIERRE AUGUST RENOIR (Fr. 1841-1919)

FEMME NUE ASSISE,” c. 1906, D12, S12, 7 1/4 x 5 5/8.” Unsigned as usual. $3,500.

Full sheet, excellent condition and impression.

PIERRE-AUGUST RENOIR (Fr. 1841-1919)

“LOUIS VALTAT,” lithograph, 1904, D38, S38, ed. 950,9 3/8 x 11 5/8.” Signed in the stone only.  $1750. From Douze Lithographies Originales.

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.

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ARNOLD RONNEBECK (Amer. 1885-1947)

COLORADO MINNG TOWN,” lithograph,1933, ed. 1/25, 9 5/8 x 14 1/2.” Signed in pencil. $425.

Full margins; some light glue stains margins edges.

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LOUIS CONRAD ROSENBERG (Amer. 1890-1983)

ROYAL INSURANCE BUILDING,” (NYC), etching & drypoint, 7 1/8 x 9 5/8.” Signed in pencil. $625.

Nice view of three bridges in New York’s East River: The Brooklyn, Manhattan, and Williamsburg. Titled and dated in the plate. There is another, vertical, view of the same building that was executed in 1927.

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LEWIS W. RUBENSTEIN (Amer. 1908-)

MACUMBA,” lithograph, c. 1940-45, ed. 250, 10 x 13 3/4.” Signed in pencil. $200.

Very faint sunning in old mat window. Macumba is a term used by Brazilians in Rio de Janeiro to describe types of African spirit worship. The gods were summoned by drums which led to the development of the samba, the rhythm of the saints...

SHIRELY RUSSELL (Amer. 1886-1985)

CARMEL MISSION,” color woodcut, c. 1935, ed. 27/50, 14 1/8 x 11 1/8.” Signed in pencil. $1,150.

Printed in Japan by Watanabe.

 

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

"CORNHILL, BOSTON," color wood engraving, 1916, ed. 39/50, 7 3/8 x 5." Signed in pencil. $625.

 

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

"NEW YORK PUBLIC LIBRARY," color wood engraving, 1912, 3 1/8 x 3 5/8." Signed in pencil. $495.

This print came from an important Czechoslovakian collection. Full provenance available to purchaser. Czech National Gallery Stamp and collector's stamp verso.

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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.

 

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

[ST. PAUL'S CHAPEL, NEW YORK], wood engraving, 5 7/8 x 5.” Signed in pencil. $175.

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

THE WASHINGTON MONUMENT IN THE PUBLIC GARDEN, BOSTON,” color wood engraving, 1933, 5 1/4 x 3 1/2.” Signed in pencil. $225.

 

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

[VASE OF LILACS IN WINDOW], color woodcut, ed. 5/50, 9 1/2 x 7.” Signed in pencil. $475.

Inscribed “Goldshow” on the reverse.

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

"WASHINGTON HALL," (West Point), color wood engraving, 7 x 5.” Signed in pencil. $395.

Very faint mat line, matted out; 2 hinge remnants, upper margin edge, verso.

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KIYOSHI SAITO (Jap. 1907-1997)

[WOMAN IN PROFILE], color woodcut, 14 1/2 x 9 1/4."Signed in black ink. $650.

Signed in black ink in the image; sealed in the image. Light crease upper left corner, well out of image. Title may be "Bunraku" (Puppet).

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.

LOUIS SCHANKER (Amer. 1903-1981)

“ST. GEORGE AND THE DRAGON,” color woodcut, 1941, BM52, ed. 8/11*, 8 7/8 x 12.”  Signed in pencil. $875. *The Brooklyn Museum catalog lists this as being an edition of 10. Signature reinforced likely by the artist. Very, very faint toning; 4 paper hinges on sheet corners, well out of image area.

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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.

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EMMA SCHLANGENHAUSEN (Aus. 1882-1947)

[STYLIZED (PRAYING?) WOMAN], woodcut, c. 19020's, 10 1/4 x 7 7/8.” Signed in pencil. $550.

The artist studied with Alfred Roller and Koloman Moser. She also won a silver medal at the St. Louis Expo in 1904. Trimmed to image (by the artist?) and signed on original mount.

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GILBERT SCHOENBROD (Amer. 1903-1996)

HUNTER,” (Native American), drypoint, 1937, ed. 3/50, 6 x 8.” Signed in pencil. $525.

The artist was from Highland Park, IL and active in Pacific Grove, CA. He exhibited drypoints at the Chicago Society of Etchers and Brooklyn Society of Etchers exhibits in the 1930’s. The National Museum of American Art has 2 of his prints. Small tape stains, verso, margin edges.

FLORA SCHOFIELD (Amer. 1873-1960)

“TROPICAL PLANTS,” woodcut, 5 x 6 7/8.” Signed in pencil*. $525. Schofield was one of the Provincetown Printers.  Few small expertly repaired holes in margins, out of image area.

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KARL SCHRAG (Germ./Amer. 1912-1995)

NIGHT OF THE POET,” color etching, aquatint & engraving, 1973, ed. 15/50, 18 x 18” (tondo).Signed in pencil. $450.

GEORGES SCHREIBER (Amer. 1904-1977)

“REST FROM PLOWING,” lithograph, 9 1/4 x 13 1/8.” Signed in pencil. $275. This print is not commonly encountered. Chip to sheet upper right corner and repaired tear, lower left corner, both well out of image area.

IRVING SCHWARTZ (Amer. 1895-1989)

CORPUS CHRISTI,” etching & aquatint, 1934, 5 x 6 7/8.” Signed in pencil. $525.

Another impression of this print was exhibited at the Printmaker’s Society of California in 1934. Titled in pencil. Also exhibited at the Philadelphia Society of Etchers, Newman Galleries and exhibited at the Grand Central Galleries, New York. He exhibited at the Los Angeles County Fair, Rosenberg Library, Galveston, Dallas Art Museum, Centennial Museum, El Paso and the El Paso Museum of Art.

IRVING SCHWARTZ (Amer. 1895-1989)

SIESTA,” etching & drypoint, 8 1/8 x 6.” Signed in pencil. $450.

Texas artist.

MARY LOUISE SHEPHERD (Unknown)

[WOMAN WITH BOUQUET], color woodcut, C. 1930, 7 x 5.”  Signed in pencil. $1750. Trimmed to the border and affixed to the original mount and signed by the artist on the mount. The style--and even the trimming and mounting--is very reminiscent of the work of Ethel Mars.

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ELLA SHERLEY (Unknown)

CHEESE STORE,” lithograph, 1949, 13 3/8 x 11.” Signed in pencil. $475.

Dated “1/7/49” in margin and also initialed “EAS” on verso. Tape stains margin edges verso not affecting recto.

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ELLA SHERLEY (Unknown)

MIDTOWN,” lithograph, 1949, 13 5/8 x 11.” Signed in pencil. $525.

Dated “1/5/49” in margin. Initialed “EAS” in margin, recto.

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HENRY B. SHOPE (Amer. 1862-1929)

WEBER, MCLOUGHLIN CO. NORTH RIVER" (NYC), etching, c. 1921,ed. 50, 8 3/8 x 5 5/8.” Signed in pencil. $375.

Inscribed with title lower sheet edge, recto and also recto with title and “Etching, 40 W. 59th St., New York.” Other impressions of this print were exhibited in 1921 at the Print Makers Society of California, The Chicago Society of Etchers and the Brooklyn Society of Etchers. Light tide mark left margin edge, well of our image.

FREDERIC VALPEY SHOTWELL (Amer. 1907-1929)

“DOWNTOWN DETROIT,” etching, c. 1920’s, ed. small, 10 7/8 x 13 7/8.”  Signed in pencil. $495. *Noted in margin in pencil, “Signed by his Mother, 1929.”  Due to the artist’s short life, it seems likely his Mother may have signed many of his prints. Expertly repaired pinhole upper left just out of plate area (noticeable only when held to light).

JOHN SLOAN (Amer. 1871-1951)

“BUSSES IN WASHINGTON SQUARE,” etching, 1925, M219, ed. 100, 8 x 10.” Signed in pencil. $2050.  Two small spots on glue from old hinges at margin edge.

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.

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GEORGE HENRY SMILLIE (Amer. 1840-1920)

OLD NEW ENGLAND ORCHARD,” etching, 1883, 8 1/8 x 12 1/8.” Signed in pencil. $425.

Signed in pencil, which is not common for this print. Pictured in The New York Etching Club Minutes by Stephen A. Fredericks, (2009), p. 61.

CHARLES W. SMITH (Amer. 1893-1987)

[ABSTRACT: BLUE AND BLACK GEOMETRIC], gouache, c. 1947, 17 x 12 5/8.” Signed. $3,250.

Smith is an important early abstract artist (who in the late 1930’s taught a Bennington College) whose work is not commonly encountered. From the estate of Vincent Shea, former Vice President of the University of Virginia and a close personal friend of the artist.

CHARLES W. SMITH (Amer. 1893-1987)

[ABSTRACT: BLUE PLANES], gouache, c. 1947, 12 1/2 x 17.” Signed. $2,250.

From the estate of Vincent Shea, former Vice President of the University of Virginia and a close personal friend of the artist.

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.

CHARLES W. SMITH (Amer. 1893-1987)

LINOLEUM BLOCK PRINTING, (book),” 1925, 9 3/4 x 7 3/8” (book) .Unsigned. $225.

Some wear and minor soiling to covers. Illustrated with some nice color prints by the artist.

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.

WUANITA SMITH (Amer.1866-1959)

[THE YOUNG SAILOR], watercolor, 18 ½ x 13 1/2” (sight). Signed. $750.  Also signed on the reverse and with the artist’s 251 So. 17th St. Philadelphia address. Very likely a book illustration as Smith did many.  May be from the “Little Runaways” series (”At Home”...and Mother...”At Orchard House”) by Alice Turner or another series also by Turner: “Grandpa’s Little Girls”...(“At School”...”Grown Up”...and “Miss Abitha” or...Mary Lee’s Friend by Anna Merrill or...Haven’t been able to check out these titles.

 

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HOWARD E. SMITH, N.A. (Amer. 1885-1970)

“GO” [Polo Players], etching, c. 1928, 7 3/8 x 8 7/8.” Signed in pencil. $325.

An impression of this print was exhibited at The Print Makers Society of California exhibit in March of 1929. Pictured in Fine Prints of the Year Vol. 6 (1928).

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RAPHAEL SOYER (Amer. 1899-1987)

DANCERS,” lithograph, 1954, C74, AAA ed. 250, 12 x 8.” Signed in pencil. $775.

 

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RAPHAEL SOYER (Amer. 1899-1987)

NUDE IN INTERIOR,” lithograph,1954., C76, AAA ed. 250, 12 1/4 x 9 1/4.” Signed in pencil. $875.

Stain lower center margin 5/8” from image (not visible as matted).

BENTON M. SPRUANCE (Amer. 1904-1962)

"FLASHY BACK,” lithograph, 1931, FL56, ed. 32/34, 12 ½ x 9 ½.” Signed in pencil. $4250.  Light tape stain, upper margin edge, verso.

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.

MAYBELLE R. STAMPER (Amer. 1907-1995)

[ABSTRACTION], etching and aquatint with hand coloring, 1950, ed. 3/4, 7 1/2 x 6 1/2.”  Signed in pencil. $850. Inscribed on sheet, “One of the color stones or ‘7 Compatibles’ worked on with engraving needle. Water colored by hand 1953.” Tape residue in 3 spots, upper margin edge; light mat line.

BERNARD STEFFEN (Amer. 1907-1980)

“HAYING,” lithograph, 1937, AAA ed.250, 8 1/2 x 12 3/4.”  Signed in pencil. $1100. With original AAA label. Transparent glue stains upper margin edge, well out of image.

BERNARD STEFFEN (Amer. 1907-1980)

“MILKING TIME,” lithograph, c. 1935, ed. c. 25, 10 ¾ x 6 1/2.”  Signed in pencil. $675.  Light soiling in margins out of image area.

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BERNARD STEFFEN (Amer. 1907-1980)

RILED ROOSTERS,” serigraph, c. 1940, ed. 50, 11 1/4 x 13 3/4.” Signed in pencil. $875.

Old mat line, matted out.

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C. STILSON (Amer. 20th c.)

STEEL NUMBER ONE,” lithograph, ed. 200, 14 x 9 1/2.” Signed in pencil. $250.

 

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C. STILSON (Amer. 20th c.)

STEEL NUMBER TWO,,” lithograph, ed. 200, 9 5/8 x 14 1/8.” Signed in pencil. $250.

 

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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...

JAMES SWANN (Amer.1905-1985)

“1828 LINCOLN PARK WEST,” etching, 1963, 5 x 3.” Signed in pencil. $400.

This might be very rare as it is not listed in the Joseph Czestochowski catalog raisonne of the artist’s prints nor can I find listings for this in the past 20 years of auction or dealer catalogs. This is one of six Louis Sullivan row houses still standing in Chicago and known as the Ann Halsted house.

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.ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" 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.

JAMES JACQUES TISSOT (Fr. 1836-1902)

“GRAND'GARDE" (Souvenir du Siege de Paris), etching and drypoint, 1878, W42, ed. c. 100, 10 1/2 x 7 1/8.” Signed only in the plate as usual.  $500. Some roughness around plate mark.

CHARLES TUNNICLIFFE (Brit. 1901-1978)

“TO THE SLAUGHTER,” etching, ed. 27/75, 11 ½ x 8 3/8.” Signed in pencil. $650.

 

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.

 

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

COMPOSITION,” color etching & aquatint, 1928, GP660, ed. 200*, 19 5/8 x 13 5/8.” Unsigned. $850.

*This is an unsigned proof (there is a signed edition of 200). It is noted in pencil in the margin “limited” and also stamped “OUT OF PRINT----LAST COPY AVAILABLE.”

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CHRISTIAN J. WALTER (Amer. 1872-1938)

LAUREL RIDGE,” woodcut, ed. 19/100, 6 3/8 x 9 1/8.” Signed in pencil. $750.

Walter was a well-known Pittsburgh artist and this scene, Laurel Ridge, is in that 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.

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)

“CATHEDRAL REPAIRS, MEXICO CITY,” mezzotint, 1949, W29, LOC2, ed. 186, 8 7/8 x 6/78.”  Signed in pencil.  $575. Print Makers Society of California Gift Print for 1949.

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.ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

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. ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" 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. **SEE BELOW FOR PHOTO OF BLOCK** ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVOINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

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. ON LOAN TO THE PROVINCETOWN ART ASSN. & MUSEUM FOR THEIR SHOW "PROVINCETOWN PRINTS" MAY 23-AUGUST 10, 2014.

STOW WENGENROTH (Amer. 1906-1977)

“BROOKLYN CITY,” lithograph, 1932, S24, ed.25, 10 3/4 x 16 1/2.”  Signed in pencil.  $3250. A wonderful impression. Scarce.

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STOW WENGENROTH (Amer. 1906-1977)

“HER MAJESTY” (Norwalk, CT), lithograph, 1975, S361, ed. 60, 9 ¼ x 15 ½.” Signed in pencil. $875. This image was used as the cover to the Stuckey supplement to the catalog raisonne.  Nicely framed.

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STOW WENGENROTH (Amer. 1906-1977)

RENASCENCE" (Bayport, N.Y.), lithograph, 1936, S50, ed. 30, 10 1/4 x 16 1/4.” Signed in pencil. $950. HOLD

Chip out of upper right sheet corner

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STOW WENGENROTH (Amer. 1906-1977)

SUMMER SHADOWS,” (Wiscasset, Maine), lithograph, 1947,S171, ed. 85, 8 1/4 x 15 3/8.” Signed in pencil. $875.

LAWRENCE NELSON WILBUR (Amer. 1897-1988)

“MANHATTAN MOUNTAINS,” etching & drypoint, 1938, ed. 40, 14 5/8 x 12 ¼.” Signed in pencil.  $895. A large and impressive NYC image. Another impression of the print was exhibited at the Society of American Etchers 23d Annual Exhibit at the National Arts Club in 1938.  This image is in the collection of the New York Historical Society and is part of a grouping titled “Fine Art Prints of New York City, 1870-2003.”

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JOHN W. WINKLER (Amer. 1890-1979)

ON THE FARM,” etching, 1924, ed. 50, 5 7/8 x 7 1/4.” Signed in pencil. $195.

Full margins; two paper hinge remnants, upper margin edges.

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JOHN W. WINKLER (Amer. 1890-1979)

ORIENTAL QUARTERS,” etching, 1921, ed. 30, 4 1/8 x 5 1/2.” Signed in pencil. $395.

Signature is faint. Few thin tape remnants upper margin edges, verso. Not in Millman catalog.

DONALD WITHERSTINE (Amer. 1896-1961)

"MESSENGERS OF THE SEA," woodcut, c. 1920's, ed. 100, 9 5/8 x 9 5/8." Signed in pencil. $375.

 

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THOMAS WATERMAN WOOD (Amer. 1823-1903)

“HIS OWN DOCTOR,” etching, 1883, 11 ½ x 7 7/8.” Signed in the plate only. $150.  Some soiling in margins, well out of image.  Good impression.

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GUY LIVINGSTON WOOLLEY (Amer. 20th c.)

CHURCH OF THE BATTURE,” (New Orleans?), etching & aquatint, 1957, 9 x 13.” Signed in pencil. $450.

Woolley lived and worked in New Orleans and the surrounding areas. His shop and living quarters was at 827 Saint Peters Street, in the French Quarter where he printed his own artwork. His printing press was in the slave quarters which was off of the courtyard. Paper tape, upper corners. With old label from Academic Artists Association, Springfield, Mass.

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GUY LIVINGSTON WOOLLEY (Amer. 20th c.)

HAPPY IS THE FAMILY,” (African-American Family), etching, 1952, 7 3/4 x 5 1/4.” Signed in pencil. $250.

Woolley lived and worked in New Orleans and the surrounding areas. His shop and living quarters was at 827 Saint Peters Street, in the French Quarter where he printed his own artwork. His printing press was in the slave quarters which was off of the courtyard. Paper tape, upper corners.

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.

 

WILLIAM L. WYLLIE (Brit. 1851-1931)

“OLD WATERLOO BRIDGE FROM THE SOUTH BANK,” drypoint, 7 ½ x 13 7/8.” Signed in pencil. $750. Very faint toning from old mat. The Waterloo Bridge, built in 1817, was demolished in 1936 and replaced with the present-day structure. An impression of this print is in the collection of the National Maritime Museum, Greenwich, England. With old label giving the title as only “Waterloo Bridge.”

HARTWELL YEARGANS (Amer. b. 1925)

“FORMAL ATTIRE,” etching, 8 5/8 x 6.”  Signed in pencil.  $995. Signed, titled and inscribed “A/P II.”  Six small pieces of tape margin edges, verso. An important African-American artist.

 

JOSEF ZENK (Amer. 1904-2000)

“THE CYCLE,” color woodcut, c. 1945, ed. 5/15, 7 ¾ x 11.” Signed in pencil. $750.

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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