Steven Thomas, Inc.

Uploaded July 31 1pm EST


Email Blast #8: New Purchases: Since I am no longer doing print fairs, all new items will be offered first in this fashion. No one knows what they new items are until the day of upload and all people on our email list get an equal shot at the new prints. Upload will always be at 1pm Eastern time on the designated day so all can have an equal chance.

These blasts are what will happen when I compile a critical mass of new items. I will be sending these out a number of times per year. This is in lieu of yearly catalogs and will give all on my mailing list a more or less equal shot at new items. **IF YOU ARE NOT ON MY EMAIL LIST YOU CAN SIGN UP AT THE BOTTOM OF THIS PAGE (**We never share, sell or otherwise expose your email address).

Some of my photos tend to be a bit dark or yellowish due to problems witht the white balance on my camera.

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.

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You can jump to artist's last name by using the alphabet, below. Also, you can search for a given name (e.g. "Benton"), 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 (Fr./Amer. 1928-2005)

"FORGOTTEN THINGS," wood engraving, 1942, PCC21, ed. 200, 8 x 11 1/4.” Signed in pencil.  $450. Print Club of Cleveland Publication No. 21 for 1943 and with original label. Very faint toning in old mat opening.

JOHN TAYLOR ARMS (Amer. 1887-1953)

"GATES OF THE CITY," etching & aquatint, 1922, F126, ed. c. 25*, 8 1/2 x 7 3/4.” Signed in pencil.  HOLD. *A Trial proof outside the edition of c. 25. #There was also an edition of 75 in color. Noted “Trial Proof” left margin. A wonderful impression with large margins.

JOHN TAYLOR ARMS (Amer. 1887-1953)

"LA CHIESA, BORGIO," graphite, 1926, F178, ed. 106, 6 1/8 x 4 1/2.” Signed in pencil. SOLD. Printed by Frederick Reynolds and No. 7 in the Italian series. With the original pencil drawing study for the etching. Framed together, front to back. See below for photo of the etching.

JOHN TAYLOR ARMS (Amer. 1887-1953)

"LA CHIESA, BORGIO," etching, 1926, F178, ed. 106, 6 1/8 x 4 1/2.” Signed in pencil. SOLD

PEGGY BACON (Amer. 1895-1987)

"THE SIGHTS OF TOWN*," lithograph, 1946, F151, ed. 250, 8 1/4 x 10 3/8.” Signed in pencil.  $175. *A view on Cape Cod--either Provincetown or Wellfleet--exhibiting Bacon’s wry humor.

WILL BARNET (Amer. 1911-2012)

"AUGUST," etching, 1940, S84, ed. 100, 9 3/4 x 7 7/8.” Signed in pencil. $350.

FRANK W. BENSON (Amer. 1862-1951)

"ALERT," drypoint, 1925, F242, ed. 150, 4 7/8 x 6 7/8.” Signed in pencil. $395.

ARTHUR WESLEY DOW(Amer. 1857-1922)

"APRIL SUNSET," color woodcut, 1916, ed. very small, 4 1/8 x 7.” Signed in pencil in the image, lower right..  $12,500. Wonderful colors and impression! I can find no record of this print anywhere. Titled in pencil on original matting. Tipped on to original mount, inscribed by Dow on the reverse of mount, “Wood Block Print by Arthur Wesley Dow, 1916.”

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

"FLOODGATES," color woodcut, 1899, ed. 80, 8 x 10.” Signed in pencil.  $4750. Fletcher, the Arthur Wesley Dow of Great Britain, moved to Santa Barbara in 1923 and started the Santa Barbara School of the Arts. Works by this artist are important, uncommon and highly sought after. He taught, among others, Nordfeldt and, indirectly (via his book, Woodblock Printing), the Chase brothers. Wonderful colors! Light toning, bottom margin which is not uncommon.

HENRY GLINTENKAMP (Amer. 1887-1946)

"VOTERS PUPPETS,", woodcut, c. 1929, ed. 50*, 6 1/2 x 4 3/8.” Signed in pencil.  SOLD. *Inscribed "X-Imp" in pencil. This appears as the chapter heading for "Politics: From Agrarianism to an Industrial Dynasty" (p. 228) in Machine Made Man by Silas Bent. This book was published in 1930 and Glintenkamp did the woodcut illustrations for it. In this world of Citizens United, this image is unfortunately topical today.

EDWARD LYNAM GRANT (Amer. 1907-1998)

"CHECKERS,", woodcut, c. 1930's, ed. 2/200*, 6 x 7.” Signed in pencil.  SOLD. *It seems unlikely that this edition was ever fulfilled. The artist was born in Delaware and studied early on with Thorton Oakley. He worked in the area for most of his active career and was all but forgotten upon his death. In 2008 and 2009 the Biggs Museum held a retrospective of his paintings, “Forgotten Dreams: The Paintings of Edward Grant.” (An impression of this print was exhibited there). Deaccessioned by the Portland Museum of Art. Faint mat line.

EDWARD LYNAM GRANT (Amer. 1907-1998)

"FRIDAY NIGHT,", woodcut, c. 1930's, ed. likely small, 6 3/8 x 7 1/4.” Signed in pencil.  SOLD. The artist was born in Delaware and studied early on with Thorton Oakley. He worked in the area for most of his active career and was all but forgotten upon his death. In 2008 and 2009 the Biggs Museum held a retrospective of his paintings, “Forgotten Dreams: The Paintings of Edward Grant.” Deaccessioned by the Portland Museum of Art.

ANTHONY GROSS (Brit. 1905-1984)

"KITES IN BATTERSEA PARK,", etching, 1934, R99, H3403, ed. 50, 11 1/4 x 7 7/8.” Signed in pencil.  SOLD. An impression of this print is in the British Museum.

NORMA BASSETT HALL (Amer. 1889-1957)

“OCTOBER IN SANTA FE, color woodcut, 1948 ,P86, ed. 100, 10 x 8.” Signed in pencil. $2950. 9th Presentation Print for the American Color Print Society and with the original folder cover.

AL HIRSCHFELD (Amer. 1903-2003)

“KABUKI: KANOKO," color lithograph, 1976, ed. 275, 29 7/8 x 21 1/4.” Signed in pencil. SOLD. Al Hirschfeld , who's work was greatly influenced by the Japanese woodblock printers Sharaku and Utamaro, came full circle when he created this series of Japanese theatrical form. The "Kabuki" series is a suite of twelve lithographs illustrating the performers "avant-garde" style in the classical Japanese Kabuki theater. Three small stains from tape showing through from verso upper margin edges well out of image area.

EDNA BOIES HOPKINS (Amer. 1872-1937)

“LILY OF THE VALLEY", watercolor over graphite, c. 1925, 11 x 7 3/4.” Unsigned. SOLD. Pictured in Arthur Wesley Dow: His Art and His Influence (1999, Spanierman Gallery), plate 50. Also with label from the Spanierman Gallery. Tack hole in each upper corner; slight creasing lower corner. Very nice framed (see framing below).

EDNA BOIES HOPKINS (Amer. 1872-1937)


KARL KNATHS(Amer. 1891-1971)

“LODGING,” monotype in colors, c. 1917-20, 14 3/4 x 11 3/4.” Signed in pencil. $3750. Fabulous colors and impression.


“LA BOUTIQUE DU CREMIER,” engraving, 1937, L526, ed. 100, 5 7/8 x 5 1/8.” Signed in pencil. $450. With the blind stamp of the Peintres Graveurs Français. One small tape stain left margin edge, verso. With a label from the Crocker Galleries, San Francisco.

BLANCHE LAZZELL (Amer. 1878-1956)

“ABSTRACT COMPOSITION #6,” graphite, c. 1928, 9 x 7.” Unsigned. SOLD. Provenance: Martin Diamond Fine Arts, Inc. and with their label identifying the artist and title. Framed.

MARTIN LEWIS (Amer. 1881-1962)

“BOSS OF THE BLOCK,” etching & aquatint, c. 1939, M128, ed. c. 212, 10 7/8 x 7 5/8.” Signed in pencil. $1650.

NATALIE LOVELL (Amer. 20th c.)

“KINGSTON, N.Y.,” monotype in colors, c. 1941, 9 X 12.” Signed in pencil. SOLD. Inscribed in pencil on reverse of original mount “Mrs. Chas. B. Goodspeed” and with a label from the Museum of Modern Art noting “LOAN, 41.1588 Goodspeed.” Bobsy Goodspeed was active in the Chicago art world between the wars and was president of the Chicago Art Club and her husband, Charlres, was on the board of the Art Institute of Chicago.

BERTHA LUM (Amer. 1869-1954)

“TEMPLE IN RAIN,” color woodcut, 1916, GP48, ed. > 89, 10 1/4 x 4 3/4.” Signed in pencil. $1450. Also known as “Pagoda in Rain.” Provenance: Hirschl & Adler Galleries, New York. In a nice Arts & Crafts style gilt frame. Another impression of this print is in the collection of the Brooklyn Museum.

BERTHA LUM (Amer. 1869-1954)


REGINALD MARSH (Amer. 1898-1954)

“GIRL WALKING, ELEVATED,” lithograph, 1945, S28, ed. 250, 10 1/2 x 7 3/4.” Signed in pencil. SOLD.Narrow top margin.

MILDRED McMILLEN (Amer. 1884-1940)

“HOUSETOPS” (Provincetown), woodcut, 1918, ed. small, 17 1/4 x 14 5/8.” Signed in pencil. SOLD. One of the original Provincetown Printers. McMillen never worked in color and her prints are uncommon. An impression of this print was exhibited at the Chicago Society of Etchers exhibit at the Art Institute of Chicago in 1919. An impression is in the collection of the National Gallery of Art.The artist was featured in Janet Flint's landmark 1983 exhibition, Provincetown Printers: A Woodcut Tradition.

WILLIAM MCNULTY (Amer. 1889-1963)

"IN THE FIFTIES" ("WHIRLPOOL"), etching, c. 1930, ed. 100, 13 1/2 x 7 1/4.” Signed in pencil.  SOLD.

LEO J. MEISSNER (Amer. 1895-1977)

“FUTURE NEW YORK, #2,", wood engraving, c. 1927, ed. 30, 12 1/2 x 8 1/2.” Signed in pencil. SOLD. There was an image titled simply “Future New York” exhibited at the 1927 Eighth International Print Makers Exposition in Los Angeles. I find no other listing of this image. Very faint irregularity in the printing, lower left corner, due the presence of the watermark in the paper..

KENNETH HAYES MILLER (Amer. 1876-1952)

"LEAVING THE SHOP," etching, 1929, 7 7/8 x 9 3/4.” Signed in pencil.  SOLD.

FRITZ NETTEL (Germ. early 20th c.)

“HOLLZSCHNITTE AUS DEM KRIEGSGEFANGENEN LAGER KNOCKLOE, ISLE OF MAN*,” softbound book with woodcuts, Signed in the block only. Book: 10 x 8 1/2." Prints: 5 x 6" or smaller. SOLD. *Woodcuts from the Prisoner of War Camp, Knockaloe, Isle of Man.” Seven woodcuts tipped onto the pages along with 6 impressions of the artist’s bookplate. At the onset of WWII, the British Government passed the Aliens Restriction Acts leading to the internment of all Germans males of military age (and later Austrians and Turks). Knockaloe was the largest of the camps.

FRITZ NETTEL (Germ. early 20th c.)


pictured. SOLD


MAX OPPENHEIMER (Aus/Amer. 1885-1954)

"ROSENQUARTETT," etching, ed. 50, 9 1/4 x 12 1/4.” Signed in pencil.  $950. Large margins, irregular cut on right side.

RUDY POZZATTI (Amer. b. 1925)

“PALAZZO, FLORENCE,” etching, aquatint & softground, 1954, PCC33, ed. 250, 9 3/4 x 13 3/8.” Signed in pencil. SOLD. Print Club of Cleveland Publication No. 33 for 1955 and with original label.

DOEL REED (Amer. 1886-1985)

“DARK MESA," aquatint, 1969, C&R111, ed. 25, 10 1/2 x 17 3/4.” Signed in pencil. SOLD. This impression exhibited 21st Annual Boston Printmakers Exhibition, Boston Museum of Fine Arts, 1969 (label attached) & 11th Annual National Exhibition of Prints & Drawings, Oklahoma Art Center, 1969. Also with Reed’s label noting “only available proof.”

WILLIAM SELTZER RICE (Amer. 1873-1963)

“WINDBLOWN POPLARS," color woodcut, c. 1920-25, ed. very small, 12 x 9.” Signed in pencil. $4500.

WILLIAM SELTZER RICE (Amer. 1873-1963)

“YELLOW CALLA," white-line color woodcut, c. 1925-30, ed. very small, 9 1/4 x 6.” Signed in pencil. SOLD. White line prints by Rice are quite uncommon. According to David Acton in A Spectrum of Innovation, p. 102, Rice used this technique solely for floral subject and only worked in the medium for about 5 years. This print is similar to the print, “White Calla,” pictured on p. 103 of Spectrum but this image focuses on one bloom and has a richer background and overall coloration. I have had this image in white, titled “Calla,” in the past.


“THE FIRST NEW CANAAN EXPRESS," lithograph, ed. 15/115, 3 1/8 x 11.” Signed in pencil. $150. Faint mat line, matted out.


ABSTRACT COMPOSITION, color lithograph, 1970, ed. 41/120, 29 1/2 x 21” (sheet).  Signed in pencil. $495. The artist was part of a group exhibit in 1967 at MOMA, “Canada ‘67” and has written extensively on the printmaking process.He has worked in New York and this print looks similar to other works of his from his "Bowery Series II."

PALMER SCHOPPE (Amer. 1912-2001)

“THE BLUES," lithograph, 1936, ed. 25, 9 3/4 x 12 3/4.”  Signed in pencil. $1250.

RAPHAEL SOYER (Amer. 1899-1987)

“CASTING OFFICE," lithograph, 1945, C65, ed. 250, 9 3/4 x 12 3/4.”  Signed in pencil. $750.

HANS THOMA (Germ. 1839-1924)

“DER ADLER" ("THE EAGLE"), drypoint, 1901, B481, 5 1/4 x 5.” Signed in pencil. SOLD.

HANS THOMA (Germ. 1839-1924)

“KATZE" ("CAT"), etching, 1901, B479, 7 3/4 x 6 1/4.” Signed in pencil. SOLD.


“THE BICENTENNIAL PAGEANT OF GEORGE WASHINGTON", 20 etchings, 1932, 14 5/8 x 19 5/8” [sheets]. All signed in pencil. SOLD. The complete portfolio of 20 etchings housed in paper title folder with accompanying paperwork. All works signed in pencil and in pristine condition. Works by Frederick Childe Hassam (American, 1859-1935); William Auerbach- Levy (Russian/American, 1889-1964); Ralph L. Bow (American, 1879-1952); Samuel V. Chamberlain (American, 1895-1975); Kerr Eby (American, 1889-1946); Sears Gallagher (American, 1869-1955); Arthur William Heintzelman (American, 1891-1965); Eugene Higgins (American, 1874-1958); Earl Horter (American, 1881-1940); Robert Lawson (American, 1892-1957); Allen Lewis (American, 1873-1957); Francis Luis Mora (American, 1874-1940); Robert Hogg Nisbet (American, 1879-1961); Louis Conrad Rosenberg (American, 1890-1983); Ernest David Roth (American, 1879-1964); Albert Edward Sterner (American, 1863-1946); Walter Ernest Tittle (American, 1883-1960); Levon West (American, 1900-1968); John W. Winkler (American, fl. 1918-1937); and George Hand Wright (American, 1872-1951)..

HEINRICH VOGELER (Germ. 1839-1924)

“DIE AMSEL" ("THE BLACKBIRD"), etching & aquatint, 1899, R32, 6 1/8 x 6 1/8.” Signed in pencil. SOLD. This is more commonly seen without the pencil signature.

HYMAN WARSAGER (Amer. 1909-1974)

“NOCTURNE," etching & aquatint, c. 1935-39*, 10 x 8.”  Signed in pencil. $750. *I have seen an impression of this image stamped with the Federal Art Project, WPA NY stamp (this impression is not stamped).


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