WAYMAN ADAMS (Amer. 1883-1951)

FIGURES IN A DOORWAY, NEW ORLEANS, lithograph, c. 1930, ed. small, 14 x 7 1/2.” Signed in pencil. $695. Inscribed “New Orleans” in left margin. There is also an impression of this image in the collection of Cassilhaus in Durham NC. I have found no other impresssions.

WAYMAN ADAMS (Amer. 1883-1951)

"THE OFFERING," lithograph, c. 1931, ed. 100, 10 x 8 3/4.” Signed in pencil. $695. An Impression of this print was exhibited at the Printmakers Society of California exhibit in 1931 and also in 2005 at the Spartanburg (SC) Museum of Art’s “Southern Masters of Printmaking” exhibit.

FRANK HARTLEY ANDERSON (Amer. 1890-1947)

"CHURCH SUPPER," woodcut, 1936, LC2, 10 1/2 x 12 3/8.” Signed and titled in pencil. $975. Presentation print of the Southern Printmakers Society 1936. Another impression of this print is in the collection of the Library of Congress. Professional repair of tear in center image that is virtually undetectable.

WILL BARNET (Amer. 1911-2012)

"STRANGE BIRDS," lithograph printed on orange paper, 1947, C93, ed. 300, 10 x 13 1/4.” Signed in pencil. $1100. Commisioned for Portfolio No. 1, published by Laurel Gallery which also contained prints by Joan Miro, Anne Ryan, Stanley William hayter, Walter Pach, Reginald Marsh and George Constant.

GEORGE WESLEY BELLOWS (Amer. 1882-1925),

"PORTRAIT OF ANNE," lithograph, 1923-24, Mason186, ed. 42, 9 7/8 x 7 5/8.” Signed in pencil. $1250. Also signed by the printer, Bolton Brown. With original label from Frederick Keppel & Co., New York. Impressions of this print are in the Amon Carter Museum, and the Cleveland Museum of Art among others.

MUIRHEAD BONE (Brit. 1876-1953)

“MANHATTAN EXCAVATION,” drypoint, 1923-18, Dodgson 390, ed.151, 12 3/8 x 10 1/4.” Signed in pencil.SOLD. Titled on lower sheet edge. Large margins.

FELIX BUHOT (Fr. 1847-1898)

“L'HIVER A PARIS OU LA NIEGE A PARIS,”etching, drypoint, aquatint, etc.,1879, B/G128ii/ix, 9 3/8 x 13 3/4.” Signed in the plate only. SOLD.Uncommon state.

SAMUEL CHAMBERLAIN (Amer. 1895-1975)

"MANHATTAN OLD & NEW," drypoint, 1929, ed. 100, 9 x 7 1/8.” Signed in pencil. $425. Titled in lower margin. Impressions of this print were exhibited in 1930 at the Chicago Society of Etchers and the Brooklyn Society of Etchers.

LOVIS CORINTH (Germ. 1858-1925)

"SAINT MICHAEL" ("DER HEILIGE MICHAEL"), drypoint, 1923, M672, 8 7/8 x 6 3/4.” Signed in pencil. $325. From the portfolio “Die Kunst der Gegenwart” Plate 1. With the blindstamp of publisher Marées-Gesellschaft. Slight cockling to the thin paper.

LOVIS CORINTH (Germ. 1858-1925)

"SALOME," etching, 1919, S367, ed. 150, 7 7/8 x 9 7/8.” Signed in pencil. $325. Published within the portfolio “Jahrbuch der Originalgraphik.” (”Yearbook of Original Graphics”) edited by Hans W. Singer.

MIGUEL COVARRUBIAS (Mex. 1904-1957)

"THE LINDY HOP," lithograph, 1936, AAG ed. 200,13 1/8 x 9 1/2." Unsigned as usual.SOLD. With the AAG titling information and logo on the reverse of the sheet and with original AAG label. Faint toning to sheet.

EDWARD JULIUS DETMOLD (Brit. 1883- 1957)

"AN ARAB AND HIS CAMEL IN THE DESERT," color etching with additional hand coloring, c. 1925, ed. 100, 8 1/2 x 17 3/8.” Signed in pencil. SOLD. Signed, numbered and annotated 'E.J.D. imp' in pencil indicating a proof printed by the artist. Great deep blue sky! An impression of this print is in the collection of the Victoria & Albert Museum.

WERNER DREWES (Amer. 1899-1985)

"CHAOS OF THE CITY," engraving, 1976, R248, ed. 22, 13 3/4 x 10 3/4.” Signed in pencil.  SOLD. An artist’s proof outside the edition of 22. Another impression of this image is in the Collection of the Smithsonian. Uncommon.

WERNER DREWES (Amer. 1899-1985)

"CRESCENDO," drypoint, 1975, R242, ed. 17/xx, 12 x 8.” Signed in pencil.  $950. Another impression of this image is in the Collection of the Smithsonian. Uncommon.

MABEL DWIGHT (Amer. 1876-1955)

"THE CLINCH," lithograph, 1928, R&P32, ed. 50, 9 x 11 1/2.” Signed in pencil. SOLD. This image appears on the front cover of the catalog raisonne of Dwight’s prints by Robinson and Pirog. Inscribed to a Mr. & Mrs. Warnecke. This is the second state where the clock reads 8:55 (Instead of 12:15 in the first state). In the this state the screen shape is slightly changed, the couple is redrawn and there is a curtain added behind them. Light skinning, verso not affecting front. Collections: Bibliothèque Nationale, Fogg, MoMA, Philadelphia, Whitney, Wolfsonian, Yale.

WHARTON ESHERICK (Amer. 1887-1970)

“CONCERT MEISTER,” wood engraving, 1937, 5 1/2 x 7.” Signed in pencil. $1650. Esherick was an important modern designer, artist and furniture maker. This image is listed in “Wharton Esherick 1887-1970 American Woodworker,” Moderne Gallery, Philadelphia, May 3-June 20, 1996, p. 25. Uncommon. Slight rubbing at first name of signature.

WILLIAM RUSSELL FLINT (Brit. 1880-1969)

"ROUND A VENETIAN BRAZIER," drypoint, 1935, R242, ed. 27, 4 3/4 x 8 1/2.” Signed in ink.*  $195. *Signature is faded.

MARION GREENWOOD (Amer. 1909-1970)

"HONG KONG GIRL," lithograph, 1948, AAA ed. 250, 12 3/8 x 8 7/8.” Signed in pencil.  $150. With original AAA label.

MARION GREENWOOD (Amer. 1909-1970)

"NEW YEAR'S EVE," lithograph, 1942, AAA ed. 250, 11 7/8 x 9 1/4.” Signed in pencil. SOLD. Pictured in Paths to the Press, Printmaking and American Woman Artists, 1910-1960, p. 143.

THOMAS HANDFORTH (Amer. 1897-1948)

"LOGGERS," etching, c. 1927, 5 7/8 x 6 3/8.” Signed in pencil. $225. Titled in lower left margin. Other impressions of this print are in the collections of the Minneapolis Institute of Art, Huntington Museum of Art, the Seattle Art Museum among others.

TED HAWKINS (Amer. 1910-1969)

"SAN JOSE," aquatint, c. 1940-50, 8 1/2 x 11.” Signed in pencil. SOLD. Extremely faint toning on old mat opening; 2 brown paper hinges upper corners.

ELLA S. HERGESHEIMER (Amer. 1873-1943)

"IN PROVINCETOWN," Provincetown white-line color woodcut, c. 1925, ed. probably small, 11 3/4 x 9 3/4.” Signed in pencil and noted "imp." SOLD. Regrettably, Hergesheimer’s white line prints are scarce. Noted “Ed. 75 1st Print” in margin. Light stain lower left just out of image area.

MORRIS HENRY HOBBS (Amer. 1892-1967)

"CABILDO ALLEY, OLD NEW ORLEANS," etching, 1946, 8 3/4 x 6.” Signed in pencil. $225. Titled in pencil and inscribed to a Calhoun Johnston.

DAGMAR HOOGE (Germ. 1870-1931)

GONDOLIERS IN VENICE color woodcut, c. 1920, 10 7/8 X 16.” Signed in pencil. SOLD.

MERVIN JULES (Amer. 1912-1994)

"IT'S A HIT!," screenprint in colors, 1944, ed.likely very small,* 15 1/4 x 20 1/4.” Signed in pencil. SOLD. An impression was exhibited at Lyman Allyn Art Museum, New London CT in 1998 called "All Stars: American Sporting Prints from the collection of Reba and Dave Williams." Pictured in color (Plate 24) in American Screenprints, by Dave and Reba Williams, National Academy of Design, 1987. Framed (photo has reflections in glass). RARE! *I can find no other impressions for this image except the one cited above suggesting that perhaps the screen was damaged and very few prints were executed.

NORMAN KENT (Amer. 1903-1972)

"ONE O'CLOCK," woodcut, c.1931, ed. 22/50, 7 x 5 3/8.” Signed in pencil. $325. Pictured in The Prints of Norman Kent, catalog #14, for an exhibit and sale at Hobart & William Smith Colleges, Geneva, New York, April 24-May 12, 1987. An impression was in the exhibition of woodblocks by the artist held at the Memorial Art Gallery, Rochester, NY in May 1931. Framed.

ROCKWELL KENT (Amer. 1882-1971)

“MAN AT MAST,” wood engraving, 1929, Burne-Jones 33, ed. 100, 8 x 5 1/2.” Signed in pencil. SOLD. Professional repair of tear lower right corner of image that is virtually undetectable.

ROCKWELL KENT (Amer. 1882-1971)

“SERMILIK FJORD,” color lithograph, 1931, Burne-Jones 65, ed. 150, 13 1/8 X 18 3/4.” Signed in pencil. SOLD. With a label from Doll & Richards, Boston.

ROCKWELL KENT (Amer. 1882-1971)

“THE FALLER,” chiaroscuro wood engraving in black & tan, 1942, BJ133, ed. 550, 10 3/4 x 8 1/4.” Signed in pencil. SOLD. This print was created as a holiday gift for customers of the Weyerhaeuser Timber Company. Two small paper hinges up margin edge verso.

ALEXANDER Z. KRUSE (Amer. 1888-1972)

"KINGSBRIDGE LOCAL," etching, c. 1935-45, ed. 75, 7 7/8 x 10.” Signed in pencil. $350. Another impression is in the collection of the Wichita Art Museum..

BLANCHE LAZZELL (Amer. 1878-1956)

ABSTRACT ART EXHIBIT POSTER, HERRING GALLERY, woodcut, 1925, small ed.--rare, 8 1/4 x 5.” Unsigned. $525. Lazzell and Jesse Freemont Herring met during a sketching tour in Italy in February 1913. They reunited in Provincetown in 1915, Herring had returned to her artistic endeavors and where Lazzell moved (from Morgantown, WV) to pursue a career in the fine arts. In the mid-1920s, Herring became the curator of the Berkeley League of Fine Arts, where in 1925 Lazzell was honored with a one-woman exhibition of her woodcuts. Slight time toning to the lower sheet edge.

HOWARD LEIGH (Amer. 1896-1981)

“BOWERY, NEW YORK," lithograph in black & tan, c. 1930, ed. 20, 20 1/4 x 16 1/4.” Signed in pencil. $595. Arguably the artist’s finest print. Uncommon.

LUIGI LUCIONI (Amer. 1900-1988)

SLEEPING DOG, etching, 1951, E165??, ed. small,* 4 x 5.” Signed in pencil. $295. *Lucioni’s etchings of dogs were intended as Christmas cards and were not printed in large number. Uncommon.

LUIGI LUCIONI (Amer. 1900-1988)

"SLEEPING DOG," etching, 1949, E111, ed. small,* 4 5/8 x 6 1/2.” Signed in pencil. $295. *Lucioni’s etchings of dogs were intended as Christmas cards and were not printed in large number. Uncommon.

HELEN MALTA (Amer. 1912-1975)

CARD PLAYERS, etching, 1930's, ed. 20, 5 x 7.” Signed in pencil. $195. Helen Wagner Malta worked in New York City in the 1930s, teaching at the Harlem Art Center and working in the New York branch of the WPA graphics division. Some of her works were shown at various WPA shows in New York during the 1930s. Her work is included in the collections of the Philadelphia Museum of Art and the National Gallery of Art. Malta was mentioned in the Appendix of of Dave and Reba Williams’ landmark catalog American Screenprints (1987).

HELEN MALTA (Amer. 1912-1975)

"WORKERS," lithograph, 1930's, ed. 8, 6 1/4 x 8 1/4.” Signed in pencil. $225. Helen Wagner Malta worked in New York City in the 1930s, teaching at the Harlem Art Center and working in the New York branch of the WPA graphics division. Some of her works were shown at various WPA shows in New York during the 1930s. Her work is included in the collections of the Philadelphia Museum of Art and the National Gallery of Art. Malta was mentioned in the Appendix of of Dave and Reba Williams’ landmark catalog American Screenprints (1987).

SAMUEL MARGOLIES (Amer. 1897-1974)

"IDLE COLOSSUS," soft-ground etching & roulette, c. 1935-39, ed.c. 20, 14 3/4 x 11 3/4.” Signed in pencil.SOLD. A rare image. I have seen a reference to another impression that had the Federal Art Project, WPA, New York ink stamp. Noted “’Pure’ soft ground” in lower margin. Tape stains upper margin edge, verso.

JOHN MARIN (Amer. 1870-1953)

"DOWNTOWN, THE EL," etching, 1921, ed. c. 275,* 6 5/8 x 8 1/2.” Signed in pencil. SOLD. Published by The New Republic, New York as part of their portfolio that included Hopper’s “Night Shadows.” *The portfolio’s edition was more than 500 but Marin’s prints were divided between this and another image making this image scarcer than the other images in the portfolio.

JACK MARKOW (Amer. 1905-1983)

"STREET IN MANASQUAN (NJ)," lithograph, c. 1935-4 ed. small, 8, 9 1/2 x 11 1/2.” Signed in pencil. $425. Stamped “FEDERAL ART PROJECT NYC WPA.”

ETHEL MARS (Amer. 1876-1956)

UNTITLED--WORKHORSES, color woodcut, c. 1903-08, R&S21, ed. 5, 6 1/4 x 8 3/4.” An unsigned proof.SOLD. Pictured in color, p. 13, catalog 21, in Tres Complementaires: The Art and Lives of Ethel Mars and Maud Hunt Squire (Mary Ryan/Susan Sheehan Galleries, 2000). Likely printed in Paris. With original gallery label on the reverse. Great colors! Trimmed to image by the artist. Framed.

REGINALD MARSH (Amer. 1898-1954)

"GAIETY BURLESQUE," etching, 1930,* ed. c. 40, 12 x 10.” Signed in pencil. SOLD. With margins that are unevenly trimmed. Noted “34a” in the lower left margin (*Sasowsky notes that #’s 30 through 39 were printed in October 1934. Faint small tape stain upper right corner. An impresssion was exhibited in 1931 at the Print Makers Society of California.

MILDRED MCMILLEN (Amer. 1884-1940)

"THE ATTIC WINDOW," woodcut, 1920, ed. small, 17 1/2 x 14 5/8.” Signed in pencil. SOLD. A self-portrait of the artist in her studio. Another impression is in the National Portrait Gallery, Smithsonian Institution. McMillen was one of the founding members of the Provincetown Printers, working only in black and white.

WILLIAM C. MCNULTY (Amer. 1889-1963)

"TOWERS IN THE SUN," drypoint, 1946, , R242, ed. 75, 11 1/8 x 13.” Signed in pencil. $1200. Light creasing in margins.

LON MEGARGEE (Amer. 1883-1960)

"HOPI (Arizona)," woodcut, c. 1920-33, 11 x 11.” Signed in pencil. SOLD. aka “Hopi Medicine Man” and “The Snake Priest.” Another impression of this image was exhibited at The Grace Hudson Museum: “Lon Megargee: Legendary Prints of the Southwest December 3, 2008 to March 8, 2009.”

LON MEGARGEE (Amer. 1883-1960)

"NAVAJO PONIES," woodcut, c. 1920-33, 7 1/4 x 9.” Signed in pencil. SOLD. Slight wrinkling in broad upper margin edge, well out of image area.

LON MEGARGEE (Amer. 1883-1960)

"TAOS PUEBLO," woodcut, c. 1920-33, 9 x 6 7/8.” Signed in pencil. SOLD.

LON MEGARGEE (Amer. 1883-1960)

"THE DANCE," woodcut, c. 1920-33, 9 x 6 5/8.” Signed in pencil. SOLD.

LON MEGARGEE (Amer. 1883-1960)

"THE DRUM," woodcut, c. 1920-33, 11 x 11.” Signed in pencil. SOLD. Another impression of this image was exhibited at The Grace Hudson Museum, “Lon Megargee: Legendary Prints of the Southwest December 3, 2008 to March 8, 2009.”

HENRY V. MILLER (Amer. 1891-1980)

ABSTRACTION, watercolor, 1946?, 13 1/2 x 10.” Signed and dated. SOLD. Miller, best known as an author (Tropic of Cancer, Black Spring, etc.) was also an artist, creating abstract paintings drawn from his subconscious. He rarely sold his work, instead gifting it to friends.

HENRY V. MILLER (Amer. 1891-1980)

NUDE WITH SAILBOAT, watercolor, 1937, 11 3/8 x 9 3/8.” Signed and dated. SOLD. Miller, best known as an author (Tropic of Cancer, Black Spring, etc.) was also an artist, creating abstract paintings drawn from his subconscious. He rarely sold his work, instead gifting it to friends. Extremely faint horizontal crease in image.

HENRY MOORE (Brit. 1898-1986)

"RECLINING NUDE," color etching & aquatint, 1983, Cramer 670, ed. 75, 7 3/8 x 9 3/8.” Signed in pencil. $1950. From Sketchbook 1980. Printed by James Collyer and John Crossley, London. Published by Raymond Spencer Company Ltd., London, for the Henry Moore Foundation, Much Hadham. Nicely framed. With original clam shell box contaning: folder and tissue guard which originally held the print; softbound catalog by Ann Garrould; hard bound Sketchbook which shows the artist’s creative process (this signed and numbered as the print on the rear pastedown). All pieces in mint condition.**See below listing for photo of box and contents**.

HENRY MOORE (Brit. 1898-1986)

"RECLINING NUDE," Box and Contents.

CLAIRE MOORE* (Amer. 1912-1988)

"STREET ACCIDENT," lithograph, c. 1935-43,ed. c. 25, 13 1/4 x 16.” Unsigned. SOLD. *aka CLAIRE MAHL. Stamped “ FEDERAL ART PROJECT NYC WPA” but neither signed nor titled. Other impressions of this print are in the collections of the Metropolitan Museum of Art and the Whiney Museum.

MARY MULLINEAUX (Amer. 1875-1965)

"THE OLD WELL," Provincetown white-line color woodcut, c. 1925-35, ed. probably small, 8 1/8 x 10 3/8.” Signed in pencil. $2850. Mullineaux studied the white-line technique with Blanche Lazzell in Provincetown. She had 3 prints included in the landmark 1983 exhibit Provincetown Printers: A Woodcut Tradition. Her prints are quite rare.

ANGELE MYRER (Amer. 1896-1970)

"DORY FISHERMAN," Provincetown white-line color woodcut, 1958, ed. probably small, 14 1/8 x 16.” Signed in pencil. $5250. Myrer was included in the landmark exhibition, Provincetown Printers: A Woodcut Tradition curated by Janet Flint. Wonderful colors and embossing of the white line. On back: titled by the artist and inscribed “Block XXIII, print #3, January 1958.” Provenance: from the family of the artist. Faint mat line.

ANGELE MYRER (Amer. 1896-1970)

"PROVINCETOWN," Provincetown white-line color woodcut, 1955, ed. probably small, 11 1/2 x 16 1/4.” Signed in pencil. $6500. Myrer was included in the landmark exhibition, Provincetown Printers: A Woodcut Tradition curated by Janet Flint. Wonderful colors and embossing of the white line. Provenance: from the family of the artist.

ANGELE MYRER (Amer. 1896-1970)

"STAR AND CANDLE," Provincetown white-line color woodcut, c. 1950-58, ed. probably small, 6 1/8 x 4 1/4.” Signed in pencil*. $575. *Signed and titled on the back of what was a folded card now affixed to the rear of the mat. Myrer was included in the landmark exhibition, Provincetown Printers: A Woodcut Tradition curated by Janet Flint. Wonderful colors and embossing of the white line. Provenance: from the family of the artist.

WOLDEMAR NEUFELD (Amer. 1909-2002)

"HELL GATE AT NIGHT," color woodcut, 1973, ed. 100, 12 1/4 x 18 1/4.” Signed in pencil. SOLD. Good colors; a whisper of toning in the old mat opening. Colorful bird’s-eye view with Carl Schurz Park and Gracie Mansion in the Yorkville neighborhood of Manhattan’s Upper East Side in the foreground, and the East River and RFK/Triborough Bridge and the Hell Gate Bridge in the background.

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

"CHICAGO--THE ILLINOIS STEEL CO, 92d ST.," etching & drypoint, c. 1911, 8 3/4 x 11 3/4.” Signed in pencil. $750. Inscribed in pencil, lower left, “Steel Mill.”. Another impression of this in the collection of the Art Institute of Chicago, and the Indianapolis Museum of Art. Another impression of this print was shown in 1912 exhibition of the Chicago Society of Etchers at the AIC.

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

"THE PIANO," color woodcut, 1906, Minn12, ed. small, 8 1/8 x 10.” Signed in pencil. SOLD. Trimed by the artist as usual for his early prints and attached to mount at the corners. Arguably the artist’s best non-white line print. aka “The White Gown,” “Lady at the Piano.” Pictured in Janet’s Flint’s Provincetown Printers p. 9. Impressions in the Metropolitan Museum of Art, Smithsonian,etc. Framed in lovely gilt frame.

LOUIS ORR (Amer. 1879-1961)

PORTFOLIO: "DARTMOUTH COLLEGE: 10 ETCHING BY LOUIS ORR" etchings, 1928,ed. 100, Signed in pencil. $1200. Folio measures 18 x 13.” Rare to find original portfolio complete. Fine condition with tissue guards. Frontispiece had been removed and framed but is back in the portfolio. It has some hinge remnants, verso and a short margin tear at the bottom. Other prints fine. A few light scattered spots of foxing on a few sheets. **Ask for photos of all**.

LOUIS ORR (Amer. 1879-1961)

PORTFOLIO: "EIGHT ETCHINGS," etchings, 1928, ed. 100?, Signed in pencil. $1200. This is a complete portfolio of 8 original pencil signed etchings (plus the Baker clock tower on folding cover of the set) of prominent Dartmouth College buildings. Elephant Folio - over 15 - 23" tall. Near mint condition with original tissue guards. Slight toning to portfolio cover. Rare to find original portfolio complete. **Ask for photos of all**.

MARGARET J. PATTERSON (Amer. 1867-1950)

"TREES ON THE HILLTOP," color woodcut,c. 1915-20, ed. 11/100,* 10 1/4 x 7 1/8.” Signed in pencil. SOLD. Great colors--one of Patterson’s most colorful images. Trimmed to the image and mounted on black paper by the artist. Titled and numbered on the reverse of the print. *Patterson planned editions of 100 but likely never completed them. Some creases from printing.

VOJTECH PREISSIG (Czech. 1873-1944)

5 ORIGINAL PRINTS*, various media, 1929, ed. c. 1000, 9 1/2 x 6 1/2’ (volume). Unsigned as usual. $1250. Published in The Print Connoisseur, Vol. IX, No. 2, April 1929. *Contanins: “Snow,” aquatint; “The House” [cover], linoleum cut in 3 colors; “Manhattan,” original mezzotint; “St. Nicholas Church,” 4 color linoleum cut; “Slovak Trumpeter,” 4 color linoleum cut, as well as other Preissig images. Rare to find the intact volume. Some chipping and edge tears to paper cover; internally fine. See one print below, ask to see others.

VOJTECH PREISSIG (Czech. 1873-1944)

"MANHATTAN," mezzotint from The Print Connoisseur.

MABEL PUGH (Amer. 1891-1986)

“HOUSETOPS--ITALY,” wood engraving, 1919, ed. 100, 10 x 6 7/8.” Signed in pencil. $350. Aka, “Housetops--Perugia.”

PIERRE-AUGUST RENOIR (Amer. 1879-1961)

"CLAUDE RENOIR, FILS DE L'ARTISTE, DE PROFIL," etching, 1908, D17, S17, 6 1/8 X 3 5/8.” Unsigned as usual. $750. On laid paper with blossom (?) watermark. Provenance: Far Gallery, NYC and with their label.

LUIGI RIST (Amer. 1888-1959)

"SCALLIONS,", color woodcut, 1946, W19, ed. 150,7 1/8 x 9 3/8.” Signed in ink. $1750. This print won a purchase prize in the 18th International Exhibition of the Northwest Printmakers in 1947. One of Rist’s best images in fine condition with wonderful colors.

SHIRLEY RUSSELL (Amer. 1886-1985)

"HIBISCUS,", color woodcut, c. 1935, 14 x 10 3/4.” Signed in pencil. SOLD. Tape stains margin edges, slight pigment bleed.

CHARLOTTE SAPHIRO (Amer. early 20th c.)

“APPLE PICKERS," lithograph, c. 1925-30, ed. small, 12 3/4 x 9.” Signed in pencil. $495. The artist was a a member of the Clay Club in New York City in 1914 as noted in the Supplement to Mallett’s Index Index of Artists. That is the only reference I can find on the artist. A great image! Faint glue stain in outer left margin, far from image.

WILLIAM SEWELL (Amer. 1901-1951)

“TIMPANI," lithograph, c. 1929-30, C17, ed. c. 15, 10 5/8 X 8 1/4.” Signed and dated in pencil. SOLD. Inscribed in the left margin, “Instant in Eternity for Exactly the Right Thing to Happen at Exactly the Right Moment.”

RAPHAEL SOYER (Amer. 1899-1987)

“WASHINGTON SQUARE," lithograph, 1945, ed. small, 7 7/8 x 7." Signed in pencil. $950. A rare and early print by the artist. Slight toning to sheet.

BERNARD STEFFEN (Amer. 1907-1980)

“HAYING," silkscreen in colors, 1946, ed. 150, 10 x 8.” Signed in pencil. $1250. This was the presentation print for The American Color Print Society in 1946 (and with the original label). Pictured in A Spectrum of Innovation: Color In American Printmaking 1890-1960 by David Acton, p. 169.

HARRY STERNBERG (Amer. 1904-2001)

4 SEASONS, 4 silkscreens in colors, 1941, Ryan 70, ed. 30, 6 1/4 x 9” each. Signed in pencil. SOLD. Quite uncommon to find a full set. Impressions of this set are in the collection of the Weisman Art Museum. Some stray ink in margins from printing. **Spring pictured** Others follow below...

HARRY STERNBERG (Amer. 1904-2001)

4 SEASONS: "Summer" SOLD

HARRY STERNBERG (Amer. 1904-2001)

4 SEASONS: "Fall" SOLD

HARRY STERNBERG (Amer. 1904-2001)

4 SEASONS: "Winter" SOLD

WILLIAM STRANG (Scot. 1859-1921)

“THE WORSHIPPERS," drypoint & sandpaper tone, 1890, S189, OC155, 8 x 6." Signed in pencil. $250. AKA “Adoration.” Noted lower left margin, “David Strang imp.” Slight crease near signature.

CARL THIEMANN (Aus. 1881-1966)

"SAN GIORGIO, VENICE," color woodcut, 1925, M348, 5 7/8 x 8 5/8.” Signed in pencil. $325. Another impression of this image is in the collection of the Fine Arts Museum of San Francisco. Stamped “Printed in Germany” on the reverse.

CHARLES TURZAK (Amer. 1899-1985)

"WASHINGTON & LASALLE ST." (Chicago), woodcut, 1935, ed. 50, 10 3/4 x 8 7/8.” Signed in pencil. $1350. An uncommon image by the artist. I can find no auction sales or dealer listings going back 20+ years.

HYMAN WARSAGER (Amer. 1909-1974)

"PROSPECT PARK" (Brooklyn), woodcut, c. 1935-43, ed. small, 7 3/4 x 9 3/4.” Signed in pencil.  $750. Stamped FEDERAL ART PROJECT NYC WPA.” Other impressions of this print are in the collections of the Metropolitan Museum of Art and the National Gallery of Art. Few chips to sheet edge far from image.

FEROL SIBLEY WARTHEN (Amer. 1890-1987)

"SAILBOAT AND GULL," Provincetown white-line color woodcut, 1953/1971*, ed. > 39, 7 x 7.” Signed in pencil. $1950. Warthen learned the white-line method from Blanche Lazzell in the early 50’s. *The block for this print was cut in 1953 and this print pulled in 1971 as print #39. Inscribed on the reverse, “Block IX, cut June 1953. Print 33, August 29, 1969 and signed again.

JAMES A.M. WHISTLER (Amer 1834-1903)

“WHISTLER WITH THE WHITE LOCK," etching & drypoint, 1876-79, K172, G162, ed. small, 4 5/8 x 3 1/8.” Unsigned as usual. $1950.

HARRY WICKEY (Amer. 1882-1968)

“HUDSON HIGHLANDS UNDER SNOW," etching, ed. 100, 9 x 11 1/4.”Signed in pencil. $375.

MEYER WOLFE (Amer. 1897-1985)

“RED EYE'S HALL" (Nashville, Tennesse), lithograph, 1934, ed. 25, 14 x 11 1/2.” Signed in pencil. SOLD. A great image. Another impression of this print is in the collection of the Library of Congress. This is one of a series of approximately 15 lithographs created by Wolfe depicting lives of African Americans in Nashville during the Jim Crow era. Professional repair of tear lower left corner of image that is virtually undetectable. Light glue stains, verso.

SAMUEL J. WOOLF (Amer. 1880-1948)

“ABRAHAM LINCOLN," lithograph, 1942, AAA ed. 250, 11 3/4 x 7 1/2.” Signed in pencil. $95. Another impression is held in the Carnegie Museum of Art and the Georgetown University Library among others.

WILLIAM ZORACH (Amer. 1887-1966)

“FATHER AND SON,” linocut, 1915, ed. small, 5 1/2 x 9 5/8.” Signed in pencil. SOLD. Other impressions are in the Collections of the Whitney Museum, the Smithsonian, the Philadelphia Museum of Art among others.

WILLIAM ZORACH (Amer. 1887-1966)

“MOUNTAIN STREAM,” linocut, 1914, ed. small, 10 3/4 x 14.” Signed in pencil. $4250. A stunning modernist image! Narrow margins.