Steven Thomas, Inc.

Updated June 29, 2019

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

 

 

Fine Prints: Alphabetical by Artist

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

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

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

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

 

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

 

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.

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. (That's the flash from the camera in the left side of the image).

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)

“RIVER RELECTION," color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $2950. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: from the estate of an heir of the artist. This print is on loan for an exhibition at the Minneapolis Institute of Art through February of 2020.

ARTHUR WESLEY DOW (Amer. 1857-1922)

“RIVER RELECTION," color woodcut, c. 1910, ed. small, 11 x 8 1/8.” Unsigned as is most common. $2950. This is a good example of how Dow liked to vary the coloration of the same blocks to create a wholly different mood, time of day or season. Provenance: From the artist’s estate. This print is on loan for an exhibition at the Minneapolis Institute of Art through February of 2020.

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.

ISAC FRIEDLANDER (Latvian/Amer.1890-1968)

"RHAPSODY IN BLACK," woodcut, 1931, ed. 50, 8 x 10.” Signed in pencil.  $4750. Titled in pencil and also inscribed “New York 1931.” Typed label reads “Honorable Mention, Philadelphia Print Club, 1943.” Inking slightly light, lower image. An impression was shown in the Print Makers Society of California in 1932.

FRANCES H. GEARHART (Amer. 1869-1958)

JOSHUA TREE, color woodcut, c. 1920-30, ed. small, 6 3/8 x 4 3/8.” Signed in pencil. $1950.

ERIC GILL (Brit. 1882-1940)

"STAY WITH ME APPLES,", wood engraving, 1925, P305, 5 x 3 5/8.” Signed in pencil with initials, $495. Inscribed with title and also “The Song of Songs.”

BEATRICE B. GROVER (Amer. 1901-1973)

"THE DEBUT,", lithograph, c. 1935-40, ed. 25, 5 x 7.” Signed in pencil. $175. Know also as Beatrice Beard. Member of the National Association of Women Artists; studied at the National Academy of Design and with Gutzon Borglum. Know primarily for her illustration work and medical illustration. Wrote and illustrated the children’s book Broad Stripes and Bright Stars (1941). There is a portrait bust of the artist from 1934 by Isamu Noguchi in the Wadsworth Atheneum. With a blind stamp on the sheet of Old Queens Gallery, New Brunswick, N.J.

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.

EDNA BOIES HOPKINS (Amer. 1872-1937)

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

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

JANE BERRY JUDSON (Amer. 1868-1935)

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

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

JANE BERRY JUDSON (Amer. 1868-1935)

GORGE OF THE GENESEE, NO. 2," color woodcut, c. 1925-30, ed. 100, 6 x 8.” Signed in pencil. $1350. Judson studied at Pratt Institute in New York (where Dow taught but it has not been established if she studied with him) and studied woodblock printing with the British master, Allen Seaby in England. Judson was a member of the Boston Society of Arts & Crafts; elected a Craftsman in 1930 and promoted to Mastership in 1932.

JEAN EMILE LABOUREUR (Fr. 1877-1943)

“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.

CLARE LEIGHTON (Amer. 1885-1976)

“PULLING CORN,” wood engraving, 1952, B641, ed. c. 100, 6 1/2 x 5 1/2.” Signed in pencil. $525. Old hinge remnants top corners.

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.

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)

“TEMPLE IN RAIN,” Framing

MAX OPPENHEIMER (Aus/Amer. 1885-1954)

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

MARGARET J. PATTERSON (Amer. 1867-1950)

“CAPE COD HOUSE," color woodcut, c. 1920, 7 x 10 1/8.” Signed in pencil. $4500. A wonderful, richly-inked, impression. Trimmed to image by the artist and mounted by her on card as is common.

MARGARET J. PATTERSON (Amer. 1867-1950)

[SPANISH COASTAL TOWN], color woodcut, c. 1909, ed. very small, 6 5/8 9 ½.” Unsigned.  $2250. This relates very strongly to an oil painting of the same title (Bakker 1990 catalog, #7, pictured).  In 25+ years of dealing in the artist’s work, I’ve never seen this image.

WALTER JOSEPH PHILLIPS (Can. 1884-1963)

“HOWE SOUND, BRITISH COLUMBIA,” color woodcut, 1935, ed. 100, 10 1/4 x 12 3/8.” Signed in pencil. $4250. This image has particularly wonderful colors..

 

HULDA D. ROBBINS (Amer. 1910-2011)

“BOY ON A WHEEL," color screenprint, 1947, ed. 45, 14 1/4 x 10 1/4.” Signed in pencil. $495. Robbins created a series of quirky screenprints in the 1940’s. According to the artist’s inscription ("Co5"), 5 screens were used in printing this image. Has never beenpreviously framed nor matted.

HULDA D. ROBBINS (Amer. 1910-2011)

“QUARRY ON THE RIVER, MERCER COUNTY," color screenprint, 1942, ed. 45, 12 x 14 1/4.” Signed in pencil. $425. Robbins created a series of quirky screenprints in the 1940’s .According to the artist’s inscription ("Co12"), 12 screens were used in printing this image. Has never been previously framed nor matted.

HULDA D. ROBBINS(Amer. 1910-2011)

“THE DREAMER," color screenprint, 1947, ed. 35, 14 x 10.” Signed in pencil. $495. Robbins created a series of quirky screenprints in the 1940’s. According to the artist’s inscription ("Co6"), 6 screens were used in printing this image. Has never beenpreviously framed nor matted.

DELI DANIEL SACILOTTO (Can. b. 1936)

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."

STEELE SAVAGE (Amer. 1898-1970)

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

PALMER SCHOPPE (Amer. 1912-2001)

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

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.

RAPHAEL SOYER (Amer. 1899-1987)

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

RAPHAEL SOYER (Amer. 1899-1987)

PORTRAIT OF A PARTLY-DRAPED MODEL WITH ARMS FOLDED, lithograph, 1937, ed. very small, 9 3/4 x 9 7/8.” Signed in pencil. $1950. Rare. Not in Cole. From an earlier listing of this image by Ed Pollak: "This print has a very strong relationship to Toward the Light,' Cole 35, which Cole and Gettings date to It shows the same model, in the same drapery, though here with her hair down, facing the same light (here the window is not shown, but the light is shown on the model's face and arms). Soyer, quoted by Gettings, claims there was no preparatory drawing for 'towards the light,' that it was done directly on the stone, yet it seems obvious that the two works were done at the same time."

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).

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.

STOW WENGENROTH (Amer. 1906-1977)

“SUMMER FLIGHT," (Ogunquit, Maine), lithograph, 1954, S216, ed. 35, 9 1/2 x 15 1/2.”  Signed in pencil. $300. A scene in Ogunquit in January of 1954.

SAMUEL P. ZIEGLER(Amer. 1882-1967)

DESERT SCENE, etching, 4 1/4 x 3 7/8.” Signed in pencil. $150. The artist was active in Texas.

 

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