Fine Prints

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.

Arguably the artist’s finest print. Uncommon.

Titled in pencil and inscribed to a Calhoun Johnston.

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.

This image was reproduced as one of 12 images for the AMERICAN BLOCK PRINT CALENDAR of 1938, published by Gutenberg Publishing Co., Milwaukee, Wisconsin. Murphy was a student and teacher at the Rhode Island School of Design. She exhibited with the Boston Art Club, the Society of American Etchers, the Philadelphia Print Club and the National Academy of Design among others. Another impression of this print is in the collection of the National Gallery of Art.

On laid paper with blossom (?) watermark. Provenance: Far Gallery, NYC and with their label.

Another impression of this image is in the Collection of the Smithsonian. Uncommon.

Unsigned. From the estate of publisher William Edwin Rudge. Full margins.

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.

Another impression is in the collection of the Wichita Art Museum.

From The Print Connoisseur.

Unsigned. From the estate of publisher William Edwin Rudge. Full margins.

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).

*Signature is faded.

From the portfolio “Die Kunst der Gegenwart” Plate 1. With the blindstamp of publisher Marées-Gesellschaft. Slight cockling to the thin paper.

Published within the portfolio “Jahrbuch der Originalgraphik.” (”Yearbook of Original Graphics”) edited by Hans W. Singer.

*Lucioni’s etchings of dogs were intended as Christmas cards and were not printed in large number. Uncommon.

Slight cockling to sheet.

Stamped “FEDERAL ART PROJECT NYC WPA.”

*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).

Light creasing in margins.

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).

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.

Aka, “Housetops--Perugia.”

An impression of this print was exhibited at the Society of American Etchers exhibition in 1940.

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.

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.

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.

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).

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.

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**.

*Lucioni’s etchings of dogs were intended as Christmas cards and were not printed in large number. Uncommon.