Riveter
Screenprint, 1935, Moore 126, edition unknown. 11 3/8 in. in diameter. Signed and titled in pencil. Signed in the image in ink. This is a superb impression with the printed surface in pristine condition. The paper is watermarked "MANSFIELD, vellum finish" and the margins are wide but slightly uneven. (There is a repair in the upper right corner of the sheet well away from the image.) This very rare work was done in New York and it's a iconic image for American printmaking during the 1930s. Sternberg produced an etched version of the same subject as well as a lithographic version which is slightly different in conception. This exceptional print is on the cover of American Screenprints by Reba and Dave Williams, 1987, published by the National Academy of Design. Impressions are in the Cincinnati Art Museum, the Davis Museum at Wellesley College, and the National Gallery of Art.
SOLD

Blast Furnace
Etching and aquatint, 1946, edition 250. 11 3/4 x 8 3/8 in. Signed in pencil, lower right. This is a fine impression with wide margins. The condition is very good apart from light toning within an earlier mat opening. This potent image was published by Associated American Artists in New York. It appears on page 194 of American Prize Prints of the Twentieth Century by Albert Reese.
SOLD

Blast Furnace #1
Etching and aquatint, 1937, Moore 147, AAA 828; edition 250. 11 3/4 x 8 3/8 in. Signed in pencil. This is a superb impression with full margins. The condition is fine. Sternberg produced another such image in lithography which is in the opposite direction of this one (see Blast Furnace 2.) This print was not published by AAA until 1946. It was included in American Prize Prints of the 20th Century by Albert Reese (see page 194).
$1,400

Construction
Etching and aquatint, 1932, Moore 89, edition 20. 13 7/8 x 10 7/8 in. Signed and titled in pencil. The print is also inscribed in pencil "edition 20". This is a superb impression, rich in contrasts, printed on a cream wove paper. The margins are probably full measuring about 1" on the top and sides with 2" on the bottom. The condition is fine other than for a soft crease in the lower left margin, well away from the image, and small old hinges at the top corners. This rare and remarkable print was published by Weyhe Gallery, New York, and appears in Fine Prints of the Year, 1933. Impressions are located in the Brooklyn Museum and the Minneapolis Institute of Art.
SOLD

Excavation - Radio City
Etching and aquatint, 1932, Moore 82, edition 20. 14 3/4 x 11 3/4 in. Signed and dated in the plate, lower left. Signed and titled in pencil below the image. This is a superb impression of a very rare print. Fine condition. The margins are 3/4" to 1 1/2". "I had a studio in a building on 53rd Street between 5th and 6th Avenues. The building was torn down to make room for this excavation... This was, up to that time, the deepest excavation ever made in New York City." (Sternberg)
SOLD

Forest of Flame
Lithograph, 1939, Moore 158, Warner 56; edition unknown. 12 1/2 x 16 1/2 in. Signed on the stone, lower right. Signed and titled in pencil. This is a fine impression with wide margins. The condition is excellent apart from a small, very faint spot of toning in the margin above the second smokestack on the left. This exemplary print from the period is illustrated and discussed in Graphic Excursions, American Prints in Black and White, 1900-1930, Selections from the Collection of Reba and Dave Williams (1991), entry 81. Impressions are located in the Art Institute of Chicago and the National Gallery of Art, among other institutions.
SOLD

Picasso
Screenprint, undated (1940s), edition unknown but probably fewer than 50. 16 3/4 x 11 1/4 in. Signed in ink, lower right, within the image. This is a good impression in very good condition. The margins are full. (Note a few tiny uninked areas mostly in the lower portion of the image. There is wrinkling in the paper primarily in the right margin area.) Sternberg was a prominent teacher at the Art Students League for some thirty years.
SOLD