Spring
ANGELE E. MYRER
American, (1896-1970)
White line woodcut printed in colors, 1958, small edition. 11 1/4 x 12 1/4 in. Signed, titled and dated in pencil. This is a fine impression of this rare and exceptional American modernist woodcut. The margins are full showing tack holes on the right edge of the sheet. This was done to keep the sheet in proper registration throughout the printing process. The condition is fine apart from old paper tape along the top edge and a faint suggestion of a mat line in the outer margins. Myrer studied with Karl Knaths in Washington, DC from 1940-44. There she met Ferol Warthen and Angèle spent her summers in Provincetown. After her husband died in 1949, she moved to Provincetown and the two artists studied with Blanche Lazzell. They had adjoining studios at 77 Commercial Street in Provincetown's West End. Myrer was a regular exhibitor at the Provincetown Art Association from 1938 to 1958.
$8,800

Louisburg Square, Beacon Hill, Boston
THOMAS NASON
American, (1889-1971)
Wood engraving, 1930, Boston Public Library 119, edition 70. 7 x 8 in. Signed in pencil. A fine impression of this uncommon print. Very good condition.
SOLD

Haystacks
THOMAS NASON
American, (1889-1971)
Wood engraving, 1949, Boston Public Library 462, AAA 1117; edition 250. 6 3/8 x 8 7/8 in. Signed and dated in pencil. This is a very fine impression printed on thin wove paper. The margins are full and the condition is excellent. Here we have a fine example of Nason's work in the wood engraving medium.
SOLD

The Gambrel-Roofed Barn
THOMAS NASON
American, (1889-1971)
Chiaroscuro wood engraving, 1947, Boston Public Library 393; edition 90. 5 5/8 x 10 1/8 in. Signed, dated and numbered in pencil. This is a superb impression printed on thin cream Japan paper. The margins are full and the condition is fine. For this outstanding and somewhat experimental print, Nason found it difficult to obtain boxwood blocks so he printed a tint with a copper plate. The black was printed from a woodblock and the olive was printed from the copper plate.
SOLD

Amston Pond
THOMAS NASON
American, (1889-1971)
Engraving, 1947, Boston Public Library 424, edition 250. 6 7/8 x 10 1/2 in. Signed in pencil. Here we have a fine impression with full margins. The condition is excellent. This copperplate engraving was published by the Society of Print Connoisseurs.
$475

Ozark Bridge
JACKSON LEE NESBITT
American, (1913-2008)
Etching, 1941, Retif / Salzer 20; edition 250. 11 3/4 x 9 1/2 in. Signed and titled in pencil. This is a fine impression with wide margins. The condition is excellent. This exemplary work was designed on a sketching trip in Arkansas with Thomas Hart Benton and two other artists. This work was published by Associated American Artists but a few impressions were also printed by the artist. This is one of those as it shows his signature and date on the plate in the extreme lower left corner.
$1,250

October Afternoon
JACKSON LEE NESBITT
American, (1913-2008)
Etching, 1946, Retif / Salzer 26, AAA 930; edition 250. 9 3/4 x 13 5/8 in. Signed and titled in pencil This is a superb, luminous impression with the full margins. Excellent condition. The setting is a sorghum mill near Liberty, Missouri. The artist considered this to be his best, early print. It was published by AAA in 1947.
$2,000

Auction Barn
JACKSON LEE NESBITT
American, (1913-2008)
Lithograph, 1989, Retif/Salzar 37, edition 250. 17 x 12 1/2 in. Signed, titled and numbered in pencil. This is a superb impression with full margins. The condition is fine. This exceptional work was inspired by Benton and his strong sense of design. Apparently, Nesbitt and Benton visited the barn on one of their sketching trips. Nesbitt also produced an egg tempera painting which is now in the collection of the University of Missouri. The barn is/was located outside of Independence, Missouri. The printer was Wayne Kline.
$3,000

The Spirit of Butler
JACKSON LEE NESBITT
American, (1913-2008)
Etching, 1940, Retif/Salzer 19; edition 100. 13 x 10 1/8 in. Signed and titled in pencil, and, with the inscription, "The Butler Mfg. Company Spirit." This is a fine impression of this extremely rare print. We've never seen it for sale and there are no auction records for it. Butler was run by Swedes and the sitter, Swen, is surrounded by the products made by the Company. This is an exemplary work depicting the American industrial scene circa 1940. The margins are full and the condition is fine apart from faint discoloration in the lower right margin corner.
SOLD

Solid Reflections
LOUISE NEVELSON
American, (1899-1988)
Etching, engraving, aquatint and soft ground, 1953-55 , Baro 24, Pace 47; edition 20. 27 3/8 x 21 3/4 in. Signed, numbered and titled in pencil. This is a superb, rich impression printed on RIVES watermarked paper. The margins are full and the condition is excellent. This was one of about thirty etchings Nevelson did while working at Atelier 17 in New York between 1953-55. One a few proofs were printed at that time. The formal edition was printed at the Hollander Graphic workshop by Emiliano Sorini between 1965 and 1966 under the supervision of the artist. This impression is from this edition. The imagery here anticipates her growing interest in black sculpture.
SOLD

The Bridge
BJO NORDFELDT
American, (1878-1955)
Woodcut printed in colors, 1906, Donovan/Brown 8; edition unknown. 8 1/8 x 10 1/4 in. Signed, dated and numbered "No. 117" in pencil. This is a fine impression with narrow margins to just around the borderline, so typical of this print. The condition is also fine. (There's a tiny speck of foxing at the borderline, upper right and a very subtle soft crease in the lower left corner of the image.) This lovely print appears in multiple color variations which is a concept Nordfeldt mastered with great effect. He was an experimenter. While spending time in Paris studying French woodcuts he became aware of Japanese Ukiyo-e prints which inspired him throughout his career. Furthermore, he studied with Frank Morley Fletcher while in England. Nordfeldt was living in Chicago in 1906 and this work was likely inspired by his time in Sweden where he was born. Impressions of this print are located in the Metropolitan Museum of Art, The Minneapolis Institute of Art and the Smithsonian American Art Museum.
$7,000

Landscape with Live Oak
ROI PARTRIDGE
American, (1888-1984)
Etching, 1946-51, White 264, edition 62. 7 3/8 x 9 in. Signed in the plate, lower right. Signed in pencil. Here we have a fine crisp impression with probably the full margins. The condition is excellent. According to White, "This etching was made on the La Cumbre Ranch near Santa Barbara, California."
$800

Garden Flowers
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1921, Bakker 90, intended edition of 100. 10 1/4 x 7 1/4 in. Signed in pencil in the lower right corner of the image. Signed, titled and numbered in pencil just below the image. This is a fine impression with fresh colors. The print is trimmed to the image by the artist as is so often the case with this print (and others). The condition is fine apart from traces of an old adhesive on the verso edges from an early mount. The intense work involved in rubbing the colors into the back of the sheet from the blocks is perfectly demonstrated here. The end result is almost sculptural. Due to the labor intensive nature of printing just one impression, and given the scarcity of her prints, we doubt that the full editions were ever printed.
$5,500

Windblown Trees
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1920, Bakker 56a, edition unknown. 7 x 9 3/4 in. Signed in pencil, lower right, within the image. This is a superb, vibrant impression of this well known image. The print is trimmed along the edge of the image (by the artist) and attached at the top to a black paper support sheet which extends slightly beyond the print (also done by the artist). In addition, the print and black paper are mounted at the top edge to a sturdy, tan matboard-like support. This is the original presentation as prepared by Patterson and we've seen this approach before. The condition is excellent. As viewed on page 20 of the Bakker retrospective catalogue from 1989, there's an oil study for this image as well as a charcoal and white pastel drawing.
SOLD

Coast Cedars (2)
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, undated but probably about 1920., Bakker 58, edition 100. 7 1/8 x 10 1/8 in. Signed, titled and numbered (1/100) in pencil. This exceptional, vibrant impression is printed on the typical study, fibrous wove paper. There's a small spot of blue ink on the right edge of the image, most likely from the printing process. The margins are full apart from three small, similar rectangular cutaway areas on three sides. What sets this print apart is the depiction of snow on the tree limbs and foreground reflecting Patterson's interest in depicting changing seasons. We are not sure why the number (2) is next to the title but it most likely refers to this being the second version of the print, i.e. winter. This exceptional arts and crafts image was probably done on Cape Cod, about the same time she produced such notable works as Summer Clouds, Windblown Trees and The Sands, Chatham.
SOLD

Anemones
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, 1920s, Bakker 99a, intended edition of 100. 9 7/8 x 7 in. Signed, titled and numbered in pencil. This is a fine fresh impression with rich colors. The margin are full and the condition is very good. (There are old hinges at the top corners and a thin layer of light tissue attached across the top edge of the sheet.) As is typical with Patterson's woodcuts, the paper is roughed up from the printing process primarily on the verso and also on the margins, recto, in a few spot. She favored a heavy, fibrous paper which helped her create an almost three dimensional effect with her images.
SOLD

In the High Hills
MARGARET PATTERSON
American, (1867-1950)
Woodcut printed in colors, circa 1925, Bakker 80a, intended edition of 100. 11 x 8 7/8 in. Signed, titled and numbered in pencil. This is a very fine impression of this compelling image. The margins are full and the condition is fine apart from a couple of minor printing creases, so typical of her work. This lovely impression is one of so many color variants seen in not only this print but in most of Patterson's oeuvre. She was an avid experimenter with color from one block to the next.
$6,000

Flower Market and Butter Tower, Rouen
JOSEPH PENNELL
American, (1857-1926)
Etching, 1907, Wuerth 463, edition probably 75. 11 x 8 1/2 in. Signed in pencil. This is a fine impression printed on antique laid paper. The margins are full and the condition is fine. (There's a small strip of white paper tape across the top margin edge.) The Butter Tower (Tour de Beurre) is one of the lofty towers that comprise Rouen Cathedral. Constructed in a flamboyant late gothic style, the foundation stone for this tower was laid in 1485.
$600

New York, from Weehawken
JOSEPH PENNELL
American, (1857-1926)
Etching, 1908, Wuerth 495, edition probably 50. 10 15/16 x 8 3/8 in. Signed, titled "Weehawken" and dated in the plate, lower left. Signed in pencil. Here we have a fine impression with full margins. The condition is very good apart from slight time toning along the bottom edge of the sheet and also on the verso. Inscribed "trial proof" in pencil by the artist. Weehawken is opposite New York in the Lincoln Tunnel area.
$800

On the Way to Bessemer
JOSEPH PENNELL
American, (1857-1926)
Etching, 1909, Wuerth 520, edition probably 90. 11 x 7 in. Signed in the plate, lower left. Signed in pencil. This is a fine, atmospheric impression with full margins. The condition is excellent. (There's a subtle printing crease in the lower left corner of the image.) This Pennsylvania subject epitomizes Pennell's interest in the growth of industrialized America during the early years of the 20th century.
$800