Current Catalog
You can filter by the artist’s last name by using the alphabet below:
"Builders"
Cover of Herald Tribune Magazine 9/3/33 and cover of Sunday Review, Brooklyn Eagle 3/25/34; in American Prize Prints of the Twentieth Century and Fine Prints of the Year 1933. This image was the first of his set of Steel Workers prints. An impression was exhibited in the Society of American Etchers exhibit in 1940.
"Teeming Ingots"
Presentation print for The Society of American Etchers. A fine, richly inked impression. With original label from Frederick Keppel & Co. giving the title as “Molten Iron.” (That title also cited in The Prints of James E. Allen (2022) by Lynn McRae, p.5.
"Camellias"
Inscribed “2/1/5 ‘42.”
Works by this New Jersey printer are, sadly, not commonly encountered. At the Print Club of Phila. 10th Annual Exhibit of Block Print Makers she was singled out along with Blanche Lazzell, Frances Gearhart, Wuanita Smith, William Rice, etc.
Four reinforced folds that are barely apparent; glue stains lower sheet corners out of image area.
"Night Blooming Cereus #4"
A simply stunning print reminiscent of the works of Edna Hopkins. Works by this New Jersey printer are, sadly, not commonly encountered. In Print Magazine, 1931: Print Club of Phila. 10th Annual Exhibit of Block Print Makers she is singled out along with Blanche Lazzell, Frances Gearhart, Wuanita Smith, William Rice, etc. Hand written label on back giving title, artist and address and noted “NOT FOR SALE $150.00.”
Industrial Scene
Light crease, lower right margin out of image and matting area. Bibel was an extraordinary and compelling artist who was part of the New York City W.P.A. Federal Art Project in the 1930’s. His work is in the collections of the Metropolitan Museum of Art and the Museum of Fine Arts in Boston, among many others. He was truly passionate about labor and union issues and concerned with justice as it impacted the very poor during the Depression. (From Park Slope Gallery).
“Washington Bridge, New York,”
Bormann was a talented Austrian woodcut artist. She studied printmaking techniques at the Academy of Vienna. Her first woodcuts were published in 1917 and during the following two decades she created landscapes and city views of Munich, Vienna, Paris, Florence, Venice, Dalmatia and Istanbul. After the Second World War, she continued to travel and work extensively. During the early 1950's, she produced woodcuts of New York, Washington and San Francisco.
2 small chips to left and right sheet edge, out of image area.
Untitled (Profile)*
* page 37 from Le tir à l'arc
Printed by Desjobert, Paris, published by Louis Broder, Paris. With a label from the Vincent Price Collection. Faint Ink bleed at image edge and in white area of image. Glue remnants upper margin well out of image area.
“Brooklyn Bridge,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“Central Park,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
"Central Park South"
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it. Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“East Side,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
"Empire State"
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality.Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“Fifth Avenue,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“Times Square,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“Washington Arch,”
This was intended as a greeting card and opens to a blank inside. I have kept it as such and hinged and matted it.
Dolice produced numerous etchings, aquatints, linocuts, and pastels of New York, often with an atmospheric, moody quality. Dolice's work, which has recently seen a renewed focus, is in the collections of the Museum of the City of New York, the New York Public Library, Georgetown University, and the Print Club of Philadelphia.
“February,”
Esherick was an important modern designer, artist and furniture maker. This image was reproduced in Century Magazine (June 1923). Pictured (full page, p. 22) in “Wharton Esherick 1887-1970 American Woodworker,” Moderne Gallery, Philadelphia, May 3-June 20, 1996, Catalog # 55.
“Evicted,” aka “Consolation*,”
*While this impression is titled “Evicted,” I have seen another example of this image referred to as “Consolation” (although not titled in the print). The Philadelphia Museum of Art has an impression and listed additional titles as “Sorrowing Farmers” or “Farmers' Sorrow.”
“Giant Eucalyptus, San Diego, Cal.”
Regrettably, Hergesheimer’s white line prints are scarce. (*Unlikely edition was completed). This impression exhibited Philadelphia, PA, Philadelphia Art Alliance, "Fourteenth Annual Exhibition of American Prints," December 7-27, 1936, with label.
“Subway Tunnel”
August Mosca, known as an Urban Realist, originated from Naples before studying at both Pratt Institue and the Art Students League in New York in 1929-1931. Highly influenced by Joseph Stella, Mosca found his inspiration in the Florentine and Northern Italian schools of the Renaissance.
"New York Bridges"
Titled in pencil, lower right margin. Very few examples have sold of this image. The Library of Congress has this titled simply “Bridges.” I have also seen this listed as “New York Bridges.” The National Museums of Liverpool have it titled at I have it listed. The Altera Art website states, “Joseph Pennell's 1908 etching "The New York Bridges from Lower Manhattan" provides a captivating bird's-eye perspective of the city. The artwork showcases the iconic Brooklyn Bridge, along with other bridges spanning the East River, with a bustling cityscape of Lower Manhattan in the foreground. This etching is a testament to Pennell's mastery of the medium, capturing the urban landscape with detail and depth. Its historical significance lies in its portrayal of the city's rapid growth and modernization during the early 20th century.”
Repair to right margin stopping at image edge.
“Los Cordovas”
Full margins. Uncommon. Other than a few impressions in museum collections I can find no offerings or auction sales of this image going back nearly 30 years. (The catalog raisonne does not even list the dimensions). Exhibited in 1963: Library of Congress; Boston Museum of Fine Arts and National Academy of Design. With Reed’s original label.
“Germinal” (7 lithographs)
The suite of seven lithographs printed for ‘Secession’ in 1926, in their original folder. This depicts the horrible conditions in French mines. Each print is signed with initials and titles in the plate and signed in pencil by the artist. With original portfolio cover.1. Hochofen (Blast Furnace); 2. Einfahrt (Entrance); 3. Bergmann vor Ort (Miner on Site); 4. Karrenschieber (Cart Pusher); 5.Zechenbruke (Colliery [Coal Mine] Bridge); 6. Ein Opfer der Schlagender Wetter (A Victim of the Beating Weather); 7. Aufstieg (Ascension).
“Sally”
*Platemark extends to 6 1/4” but mat has been cut to center image. Sickert did many versions of this image both in pen & ink and etching between 1911 and 1915. With original exhibition catalog and bill of sale from Thomas Agnew & Sons, London. In the exhibition catalog this impression is noted “Small Plate First State.” This most resembles Tryoyen’s Third state but without letters (not all versions are pictured in Troyen’s catalog).
“South of the Loop”
Not commonly seen. With a hand written label that reads “Given to H.L.H by Prof. Alma Herbst, Labor Econ., when she retired from O.S.U. Turgok (sic), an immigrant from Z+Czech., did this at Hull House in Chicago, and gave it to Prof. Herbst.”
“Six Ways to Draw on Copper”
Various media: etching, engraving, drypoint, mezzotint, softground etching. Some slight spots of scuffing to aquatint background.
With original little 4 page brochure explaining the printing methods; the artist’s label and a printed label stating “Please do not sell this particular impression. It is part of an exhibition. Write for a duplicate etching”
