Fine Prints Catalog
You can filter by the artist’s last name by using the alphabet below:
"A Turn to the East," with "PEKING"(aka "CHINA GATE"),
Cyrus Leroy Baldridge and Caroline Singer’s "Turn to the East" portfolio with original color woodblock titled “Peking” plus 8 photo offset color lithographs. Pristine condition. Published by Shozaburo Watanabe. In original portfolio. From the estate of publisher William Edwin Rudge.
"Petunia"
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).
Abstract Art Exhibit Poster, Herring Gallery
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.
"Workers"
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).
5 Original Prints*
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.
The Print Connoisseur Vol. IX, No. 2, April 1929
The full volume of the Print Connoisseur containing 5 original prints: “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.
The Print Connoisseur published illustrated articles on contemporary etchers and engravers on a quarterly basis from January, 1920 to December, 1931. A minimum of one original print was commissioned for each issue and the more expensive, limited editions of 100 each contained a signed impression in pencil by the artist. During its decade of publishing such major artists as George Elbert Burr, Frank Benson, Norman Kent, Lynd Ward, Winkler, Preissig, Alan Lewis and J. J. Lankes contributed original etchings and woodcuts. This New York based publication was thus responsible for commissioning some of the finest original art of early twentieth century America.
Abstractions, [Book w/ 6 orig. color woodcuts]
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.
“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.
Pictured in The Art of Emma Bormann by Andreas John.
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.
“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 also printed some of these as postcards with a postcard printed back and the title, “Visions of New York.”
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 also printed some of these as postcards with a postcard printed back and the title, “Visions of New York.”
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.
“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).
“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”
"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 also printed some of these as postcards with a postcard printed back and the title, “Visions of New York.”
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.